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xtra7s · 4 months

Note

Hi hi omg i love your writing it’s amazing! Can i request a Reneè fic where reader is in a famous band and admits in an interview how much she loves and admires Reneè (yk that clip where Reneè is like “Date me” for Rachel Mcadams) and Reneè responds and they get close and collaborate or whatever you want!

𝐄𝐜𝐥𝐢𝐩𝐬𝐞𝐝

Pairing: Renee Rapp x Reader

Synopsis: Y/N, the bassist for Eclipsed, gives Renee some props during an interview and ends up hanging out with her.

Content: mainly fluff

Word Count: 2k

a/n: okay so this one was a bit confusing to write mainly because I felt like nothing was really going on, I didnt know if you wanted smut or something else so I apologize if it isnt what u wanted :(

masterlist

The excitement buzzed in the air as Y/N YL/N, the talented bassist of the rising rock band "Eclipsed," prepared for a much-anticipated interview. The band had been making waves in the music scene, and the media was eager to learn more about the individuals behind the electrifying sound. Y/N, known for their skillful bass playing and enigmatic stage presence, was ready to share their journey.

The interview took place in a trendy studio, with the band seated on a chic, modern couch. Y/N's fingers idly traced the frets on their bass, a well-worn instrument that had seen countless gigs and late-night jam sessions. The interviewer, a music journalist with an infectious passion for the industry, dove straight into the questions.

"So, Y/N, let's start with your musical journey. How did you find your way to the bass guitar?" the interviewer inquired, leaning forward.

Y/N grinned, the memory of their musical awakening evident in their eyes. "I actually started with the guitar, but one day, I heard this deep, resonant bass line that just spoke to me. It was like the heartbeat of the song, and from that moment, I was hooked. I switched to the bass, and it felt like coming home."

The rest of the band nodded in agreement, acknowledging the pivotal role Y/N played in shaping the band's distinctive sound. The lead singer, Maya, chimed in, "Y/N brings a unique energy to our music. The bass lines add a whole new layer, creating this dynamic and powerful sonic landscape."

As the conversation flowed, the interviewer shifted gears, asking about the band's creative process. Drummer Alex spoke about the collaborative nature of their songwriting, while the guitarist, Jake, discussed the influences that shaped their sound. Y/N interjected with tales of late-night jam sessions and the organic evolution of their music.

"We all bring something different to the table," Y/N explained. "It's like a musical potluck. Each of us has our own tastes and influences, and when we come together, it creates this fusion of sound that defines Eclipsed."

The conversation turned to the band's recent successes, including a sold-out show and a growing fan base. Y/N's eyes sparkled with gratitude as they reflected on the journey.

"It's been incredible," Y/N shared. "Our fans are amazing. They connect with the raw emotion in our music, and that's the most rewarding part. Music is a language that transcends words, and seeing people resonate with what we create is truly humbling."

As the interview with Eclipsed continued, the interviewer shifted gears, a mischievous glint in their eyes.

"Now, Y/N, the music world is full of incredible artists, and one rising star who seems to have captured a lot of attention is Renee Rapp. Have you had the chance to meet her, and what are your thoughts on her music?" the interviewer inquired, a sly smile playing on their lips.

Y/N's expression lit up at the mention of Renee Rapp. "Oh, Renee is fantastic! I haven't had the pleasure of meeting her in person yet, but I'm a big fan of her work. Her music has this raw authenticity that really resonates with me. It's always refreshing to see artists who pour their heart and soul into their craft."

The rest of the band nodded in agreement, expressing their admiration for Renee Rapp's talent. Maya, the lead singer, chimed in, "I love how she fearlessly embraces her uniqueness. It's inspiring to see artists who aren't afraid to be true to themselves, both in their music and their persona."

The interviewer pressed a bit further, asking if there were any specific songs or aspects of Renee Rapp's music that Y/N found particularly inspiring. Y/N thought for a moment before responding, "I really connect with the way she uses her voice to convey emotion. It's powerful and evocative. As musicians, we're always drawn to those artists who can create a genuine connection with their audience, and Renee does that exceptionally well."

The conversation then meandered into a discussion about musical influences, with each band member sharing their favorite artists and the impact those musicians had on their own sound. It was clear that Eclipsed Echoes drew inspiration from a diverse range of genres and artists, contributing to the richness of their music.

"And, Y/N, given that you've expressed admiration for Renee Rapp's talent, do you have any comments for her?" the interviewer asked, a faint hint of curiosity in their tone.

Y/N, ever composed, smiled with her teeth. "I do,-" She paused, looking at the camera directly. "Keep your head up, bitch. you're effortlessly you and that shit is wicked. You gotta remember the comments of your loved ones are the only ones that matter."

The rest of the band nodded in agreement, sensing the delicate nature of the question. Maya, the lead singer, added, "Absolutely. It's crucial to separate someone's art from their personal lives. We're all here because of our love for music, and that's what we should celebrate."

The interviewer, quickly shifted gears steering the conversation back toward the band's music and upcoming projects. Y/N, always poised and focused on the music, gracefully navigated through the interview, steering it away from personal matters and back into the realm of creativity and passion.

As the interview concluded, it was evident that the members of Eclipsed were not only talented musicians but also individuals who valued respect and professionalism in their interactions. The episode served as a reminder that, while curiosity about an artist's personal life may arise, the primary focus should always remain on the artistry and creativity that unite the diverse and dynamic world of music.

A few days after the interview, Y/N found a pleasant surprise in their Instagram inbox. It was a message from none other than Renee Rapp herself. Excitement bubbled within Y/N as they read the message.

"Hey Y/N! 🌟 I caught your interview, and it was awesome hearing your thoughts on my music. Your band's sound is killer! Would love to chat more and maybe hang out sometime. What do you say?"

Y/N quickly replied, expressing their gratitude and enthusiasm for the unexpected message. The conversation flowed effortlessly as they exchanged thoughts about music, shared favorite artists, and found common ground in their passion for creating authentic, powerful art.

Renee suggested meeting up for a casual hangout, perhaps grabbing coffee or exploring a local record store. Y/N eagerly agreed, and plans were set in motion for a meeting between two talented musicians who had connected through their shared love for the art form.

As the day of the meetup arrived, Y/N couldn't help but feel a mix of excitement and nerves. They met Renee at a cozy cafe, and from the moment they greeted each other, it was clear that the connection extended beyond the digital realm. The conversation flowed effortlessly, filled with laughter, shared stories of musical journeys, and a mutual appreciation for the creative process.

Y/N and Renee's casual hangout unfolded into an afternoon of shared laughter, animated discussions about music, and an undeniable chemistry that lingered in the air. The cozy cafe provided the perfect backdrop for their burgeoning connection, with the aroma of freshly brewed coffee enhancing the warmth of the atmosphere.

As they chatted about their favorite bands and musical influences, Y/N couldn't help but be captivated by Renee's infectious enthusiasm. The conversation flowed seamlessly between topics, from the intricacies of songwriting to the exhilarating rush of performing on stage. Each shared anecdote deepened the connection, forging a bond between two artists who understood the unique challenges and joys of their chosen path.

The flirtatious banter began subtly, with playful glances and gentle teasing. Renee's laughter resonated like a melody, and Y/N found themselves drawn to her magnetic energy. As they strolled through a nearby record store, fingers lightly brushing against vinyl covers and sharing recommendations, the air seemed charged with an unspoken tension.

At a moment of quiet contemplation in the record store, Renee's gaze met Y/N's, and a playful smirk played on her lips. "You know," she said with a twinkle in her eye, "your interview made me curious. You mentioned appreciating someone's art without focusing on appearance. Do you always manage to separate the two?"

Y/N felt a flush of warmth creeping up their cheeks, realizing the subtle shift in the conversation. With a coy smile, they responded, "Well, I believe in appreciating the beauty in everything, whether it's in the artistry of music or… other things."

The air between them crackled with a newfound tension, and as they continued to explore the record store, the playful exchanges deepened into a more overt flirtation. A gentle touch on the arm here, a lingering gaze there—each gesture spoke volumes, creating an atmosphere charged with unspoken desire.

As they wrapped up their hangout, Y/N and Renee exchanged contact information, promising to meet again soon. The connection they forged went beyond the shared love for music, evolving into a magnetic attraction that lingered in the air, leaving both of them eager to explore the potential of this unexpected and thrilling connection.

In the days that followed their initial hangout, Y/N and Renee's connection deepened through playful messages and shared playlists. Their conversations became increasingly laced with flirtatious undertones, a dance of words that hinted at a mutual attraction.

One evening, Y/N received a message from Renee suggesting a joint songwriting session. The prospect of collaborating ignited a spark of excitement in Y/N, and they eagerly agreed. As they settled into the cozy ambiance of Y/N's home studio, surrounded by musical instruments and the gentle hum of creativity, the air seemed charged with both anticipation and a growing sense of intimacy.

As they worked on a new song, Y/N couldn't help but notice the subtle shifts in Renee's body language—the way she would lean in slightly, the lingering touches on shared instruments, and the occasional laughter that held a hint of something more. The energy between them was palpable, a magnetic force drawing them closer with each passing moment.

Renee, with a mischievous glint in her eyes, suggested taking a break and grabbing a snack from the kitchen.

As Y/N and Renee took a break in the cozy kitchen, the atmosphere crackled with a potent blend of creative energy and unspoken desire. The shared laughter and flirtatious banter lingered in the air, creating a magnetic pull that neither could ignore. Renee, feeling the palpable tension, decided to take a bold step.

As they stood near the kitchen island, discussing the finer details of their latest composition, Renee's gaze lingered on Y/N's lips. With a mischievous glint in her eyes, she leaned in, closing the distance between them and placing her hands on Y/N's waist. Time seemed to slow as Y/N felt the soft warmth of Renee's lips pressing against their own, and their back hitting the counter.

The kiss was electric, a spontaneous spark that ignited a fire between them. Y/N, momentarily stunned, soon reciprocated, their hands instinctively finding each other in a gentle embrace. The kitchen became a canvas for this unexpected moment, a dance of passion and shared connection against the backdrop of a creative haven.

Breaking the kiss, Renee grinned, her eyes filled with a mixture of playfulness and genuine affection. "Well, that was unexpected," she teased, her fingers gently tracing patterns on Y/N's arm.

Y/N, catching their breath, couldn't help but smile in response. "Glad you did it, Renee."

The shared laughter that followed sealed the moment, turning the kitchen into a haven where the boundaries between music and personal connection blurred. As they chatted over a plate of shared snacks, their knees brushed against each other under the table, creating a subtle yet electrifying connection. As they returned to their songwriting session, the newfound intimacy lingered, infusing their creative collaboration with an electrifying energy that promised more harmonies to come. The kitchen island, witness to the impromptu kiss, became a symbol of the uncharted territory their connection was now exploring.

#renee rapp #renee rapp x reader #wlw #lesbian #lgbtq #mean girls #leighton murray x reader #regina george x reader #leighton murray #the sex lives of college girls

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moonstruckme · 8 months

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You’re poly!marauders writings literally soothe my anxiety I love it so much. Could I please request poly!marauders comforting reader the night before a big presentation she’s super anxious for because she hates public speaking. I feel like they’d be so soft and encouraging when they realise how sad and anxious she is about it. You’re the best lovely 💗💖🩷

Thanks sweetheart!

poly!marauders x fem!reader ♡ 957 words

James erupts in applause as you click to the final slide, and Sirius sticks his fingers in his mouth, whistling loudly.

“Fantastic job!” James gushes, fawning. “Never seen anything like it. Will this presentation be considered for a nobel prize?”

“It ought to be,” Remus agrees, also clapping, albeit more normally. “That was great, dove. They’re gonna love it.”

“Are you sure?” You look to the screen uncertainty. “The ‘thank you’ slide isn’t too informal?”

“No,” Remus confirms. “I think it’s the perfect way to signal that you’re done.”

“But did I talk too fast? I do that sometimes.”

He gives you an odd look. “Did you think you were talking too fast?”

You shrug, looking at your pajama bottoms like there’s something interesting down there. “I can’t always hear it myself. Maybe I should run it through one more time, and you can let me know?”

“Wait, again?” Sirius sounds slightly alarmed. “This is a very interesting topic, but I think six practice rounds is probably enough. What, are you gonna give us a test or something?”

You cringe. “Sorry, I don’t mean to keep you captive. I can practice it by myself.”

You close your laptop, thinking of going to your room, but James says, “Wait, sweetheart, why do you think you need to run through it so many times? It seems like you’ve got it.”

“I just need it to be, like, muscle memory,” you reply. “A lot of the time, once I get up there, I sort of…it’s almost like I can’t think anymore, and if I don’t know the presentation super well I won’t know what to say.”

“I don’t think you need to worry as much as you are.” James’ voice has gone soft in that way he does when he wants to be extra kind. “Every time you’ve run through it tonight, it’s been flawless.”

You scoff. “Yeah, because it’s just you guys.”

“Oi,” Sirius pipes up, faux indignant. “I’ll have you know we are the most critical audience you’ll ever meet. If you can do it in front of us, those dolts will be no problem.”

“Yeah, don’t be nervous.” James gives you a smile. “You’re going to do great.”

“That’s a lot easier said than done,” you sigh.

Remus pats the arm of his chair, and you abandon your laptop, letting him pull you into his lap. Your boyfriends have the ability to bring emotions you didn’t even know you had straight to the surface, and you feel unexpectedly teary as he kisses your temple. “Would it make you feel better if we came to watch tomorrow?” he asks lightly.

You give him a small, sad smile. “Thanks, but even if you did, everyone else would still be there. It’d be a pointless trip for you.”

“Not if you could have a hug afterwards.” He sets his chin atop your head like he’s going to make you a fortress out of his own body. “Or if you just want support in the audience, we don’t mind.”

“I appreciate it,” you reply, “but I’ll be okay. I just need to get it down so that I don’t mess up.”

“And what if you do mess up?” Sirius asks, characteristically blunt. “Would it really be the worst thing in the world?”

You blush, and Remus rubs your upper arm comfortingly. “No,” you admit. “It would just be embarrassing. It would kind of ruin my day, to be honest.”

Sirius nods, looking at you evenly. “But then you get to come home, and it’ll be over. Maybe we can get you a treat or something to have tomorrow evening after you get home. That way you get a reward no matter what.”

You fidget in Remus’ hold, and you know they’re not going to like what you’re thinking, but you say it anyway. “I won’t deserve a reward if I mess up, though.”

“That’s not true,” James fires back instantly. “The reward doesn’t have to be only for if you give your presentation without a single hitch. It could just be for trying.”

You’re quiet, pleading silently for a change in topic. Remus drops another kiss on the side of your head. “You’ve worked hard on this, dovey. It’s really good, and even if everything doesn’t go as planned tomorrow, you still put a lot into it,” he pauses, stooping his head so you’re looking at him. “You deserve to feel good about yourself.”

You try to shrink, but he won’t let you, trapping you with an immovable arm around your shoulders. Remus is strong when he wants to be. He raises his eyebrows, a tiny smirk playing on his lips, until you smile.

“Okay, you’re right,” you capitulate, leaning your head on his shoulder. “Thank you guys.”

“Maybe it’d help if you got the presentation off your mind and just relaxed for the rest of the night,” James suggests. “There’s no point in fixating on it anymore, you’ve done all you can.”

“Yeah, that sounds good,” you say, and then Sirius is squishing into you and Remus’ chair, sitting half on top of both of you.

“Our poor baby,” he whines, words muffled against your cheek. “I’m sorry I made fun of your practice, sweetpea. I didn’t know you were so nervous.”

You laugh as he moves down to your neck. “It’s okay, it’s—quit, that tickles!”

Sirius ignores you, pecking relentlessly up and down your neck as Remus struggles to keep the both of you from falling off the armchair. “You’re going to do so good,” he promises ardently. “You know that, right?”

“She doesn’t even have to know it,” James speaks for you as you gasp for breath between giggles. “We know well enough to make up for her.”

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canmom · 5 months

Text

How do you live?

I (finally!) saw Miyazaki's new film 君たちはどう生きるか (How Do You Live?/The Boy and the Heron)! It's been out in the States for a while, and in Japan considerably longer, but it took a while to make its way over here.

I remember at the time it came out, people were having fun riffing on the incredibly cryptic marketing campaign, which consisted only of this rather abstract poster...

In the spirit of this, I resolutely avoided watching any trailers or knowing anything at all about the plot of the film. I picked up a thing or two here and there - I knew to expect some amazing Shinya Ohira animation for example, and you couldn't really avoid seeing the bird with teeth! - but overall, I had no idea.

There's plenty of great writing about this film in English already, such as kvin's fantastic sakugablog piece which discusses the physicality of Ghibli's animation, its weight and springiness, as a throughline. The stuff that kvin talks about really stood out to me as I watched this film. You can likewise read detailed interviews with Toshiyuki Inoue (fantastic interview for sakubutas) and Akihiko Yamashita on fufuro.

First up, the credits of this film are pretty much a who's who of the greatest jp animators of the last 30 years, and they've had some 7 years to cook it, so naturally this film looks fucking amazing. This is absolutely the kind of film that only Miyazaki could direct - its design language feels so familiar and yet it's iterating in all kinds of visually imaginative directions that show that yeah, the old bastard's still got it.

And like, god, man. This film's animation is really something special. Its real-world scenes in particular are full of shots that require an unbelievably strong sense of space, of both subtle and broad acting, the classic Ghibli attention to detail on mechanical objects and everyday tasks. It's full of bouncing and squishing and squeezing and oozing things. It loves to draw crowds and swarms of people and animals. It's the kind of film where any given shot would be the absolute star-of-the-show sakuga moment in just about any other anime film. If you wanted a complete statement of the Ghibli school of animation, it would be hard to do better.

And yet, for all that Miyazaki's known for his tight control over animation and heavy corrections to animators, in this film he had to step back from that kind of role and hand over the sousakkan reins to Takeshi Honda, who steps up admirably - as kvin writes above, bringing in more realist elements to the bouncy Miyazaki style to create a really effective unity that grounds all the big fantastical elements of the film and fills the first act with tension.

Alongside all that excellent key animation, the film's colour and photography departments evidently understand that well-chosen colours and good highlight shapes beat all the digital gradients and overlays you can imagine - the drawings get plenty of form from the strength of the animation, and the flat shading really pops. The backgrounds are as delicious as ever, skyscapes and vegetation and opulent interiors with the just-slightly desaturated and harmonious colours that just kind of remind you that oh yeah, it is still possible to do it this way.

Basically it's a Ghibli film lol. You know how it is.

But what of the story...? What's all this technical magic in service of?

The film's story has something of the feel of a serial story, perhaps reflecting Miyazaki's (in)famous process of working out the film gradually as he draws the storyboards. Certain ideas, like the parakeet empire, arrive in the film rather suddenly and then become fairly central to the plot. There's a clear emotional throughline, but this is not a film that is in a hurry to explain itself more than it absolutely has to. It wants to keep its magical elements numinous and mysterious. I would say, though, it's generally more satisfying in this approach than some of Miyazaki's other later films like Howl's Moving Castle, and resolves a lot more clearly.

So what is it like, About? Well, Miyazaki has been pretty open about channeling a lot of his personal relationships into the film, and a lot of it seems to reflect more or less obliquely on him. It's what they call a 'personal film'. The protagonist's position as the son of an aeroplane factory owner during WWII is straight-up from life. What about the old sorcerer, haphazardly stacking blocks to keep a world alive, and looking for someone to succeed him? The reading's kinda obvious, even if Miya himself says this guy is based on his memory of Takahata. Well, he can be both...

To say more I'm gonna have to delve into the spoiler zone. See you below the cut.

OK so! Let's try and get some thoughts in order.

first, a plot summary type of thing

Our first act introduces us to Mahito at roughly the moment his mother Hisako dies in a hospital fire. This is midway through the war, which is present mostly in the background - now and then we see soldiers marching around, and of course Mahito's dad runs a factory producing warplane parts, not entirely unlike Miyazaki's own father although seemingly a bit higher up the ladder.

We jump forward a little and Mahito's father remarries - to his deceased wife's sister, no less, and she's already pregnant. This is Natsuko, who does her best to play the role of mother, but Mahito still has big traumas and he is understandably not entirely on board with the idea of welcoming a mum 2 who looks almost exactly like mum 1. He moves with Natsuko into a huge old house complex, a mix of older Japanese architecture with a more recent Western wing where the family currently sleeps - and staffed by a small army of colourful old ladies who are eager for any canned meat or cigarettes they can get their hands on.

Also there's this freaky heron that keeps bothering Mahito. It seems to have something to do with a mysterious tower which turns out to have been built by his great-uncle. Mahito visits the tower, but can't make his way inside. Natsuko tells him not to go into the tower.

Mahito goes to school, but naturally they don't much take to the new rich kid on the block, and so after being attacked by his classmates on his way home he injures himself with a rock. (His dumbass dad is like, who did this to you son, I'll fuck 'em up.) For the rest of the movie, he has half his head shaved to accomodate a bandage, which is the sort of attention to detail this movie loves.

The heron has started growing teeth and talking to Mahito, telling him to come to the tower. Mahito is convinced it's a trap, and after a maybe-dream sequence in which Natsuko shoots an arrow to drive off the heron, he steals cigarettes from Natsuko in order to get one of the servants to sharpen his knife, and then constructs a bow and arrow out of bamboo - using a couple of the heron's feathers. Constructing the bow and arrow is shown in immense, loving detail.

In the process, he witnesses Natsuko walk into the forest, and also stumbles on a book: How Do You Live? by Genzaburō Yoshino, which contains a handwritten message from his mother. He looks at this book briefly... and this is about the extent of the connection of the film to the book, beyond thematic parallels.

The maids notice that Natsuko is missing. Mahito tells one of the maids, Kiriko, that he saw her go into the forest, and they follow, finding an old road that gives another approach to the tower. They're greated by the heron man, who is increasingly emerging from the heron's beak to reveal a big warty nose. He's some kind of like... heron selkie or something, a gnome in a heron skin. There's some wonderfully grotesque animation around this guy.

Heron dude taunts Mahito with an illusion of his mother Hisako. Mahito threatens him with the bow - the heron guy is like, do your worst, not realising it's a maaagic arrow. The arrow chases him around the room and pierces his beak, fucking up his magic. At this point, the tower master shows up and orders the heron to guide Mahito. Heron guy sends everyone through the floor into a fantastical world...

Mahito arrives in front of a huge, sinister tomb. He approaches the gate, and a swarm of pelicans walk up behind, crawling all over him and pressing him through the gate. This causes a storm to start brewing, since opening the gate seems to piss off the stones or something...

A fisher woman resembling a much younger Kiriko runs up and chases the pelicans away. She takes Mahito under her wing, explaining that this world is inhabited mostly by dead people, but there are also these little round guys called the wareware, who gain the ability to fly when they eat a fish's guts.

Kiriko, uniquely in this world, has the ability to kill, so she catches fish to sell to the other inhabitants and feed to the wareware; she and Mahito butcher a huge fish. Mahito fairly quickly figures out that she is somehow the same Kiriko that entered with him. She has tiny charms representing the other maids, which serve an apotropaic function.

That night, staying on Kiriko's huge derelict ship of a home, they watch the wareware rise into the sky to be born as humans in Mahito's world. They're attacked by the pelicans, but a fire-wielding magic user called Hisa (hmmmmmmmmmm) drives the pelicans away. Mahito shouts at her not to harm the wareware, but Kiriko assures him that more of the wareware will survive thanks to Hisa's intervention.

Later, a singed and dying pelican explains the pelicans' predicament to Mahito in a scene that calls to mind the animals in Mononoke-hime. The pelicans are foreigners in this world, they don't have anything to eat, so they take it as their role to eat the wareware. The heron man arrives on the scene too, offering to help Mahito find Natsuko as Mahito - coming in to his own as a protagonist more - buries the pelican. Mahito distrusts him but eventually Kiriko persuades them to give working together a try.

Mahito and the heron set out. As they pass through a forest, the heron reveals that thanks to Mahito's arrow, he can't fly and do heron shit anymore - and by magic law, only Mahito can fix the hole. Mahito applies his new woodworking skills to fashion a bung for the hole. The heron tries to stage a top 10 anime betrayal, but then the bung needs more work, so Mahito fixes it, and from that point on, the heron joins the party and he and Mahito are fast friends.

(You might wonder why I just call him 'the heron' and not by a name. He never gets named! He's just the heron man.)

Mahito and the heron arrive at the house of a blacksmith who's supposed to help them find Natsuko, only to find it guarded by big buff parakeet men. The parakeets are splendidly goofy round guys - they remind me of the heedra in Nausicaa. The heron draws the parakeets away, and Mahito enters the house, only to find, uh oh! More parakeets. The parakeets prepare to eat Mahito, who is not carrying a child and therefore fair game unlike Natsuko, but Hisa shows up and burns them with fire magic. She looks just like a young version of Mahito's mum! Funny that. Hisa helps Mahito escape into her house through the fire, and then takes him to infiltrate the parakeets' empire.

In the human world, the maids explain the backstory of the tower to Mahito's dad. It's a weird meteorite that came from space, it turns out, and Mahito's great-uncle built the tower on top of it before eventually disappearing inside. Mahito's dad overprepares in an elaborate getup complete with katana, and goes to try to rescue everyone.

Hisa leads Mahito to a corridor full of doors which open into all the different worlds, including his own world. Mahito briefly glimpses his dad coming to try and rescue him - the two see each other briefly, but the parakeets catch wind of the whole thing and attack, and so Mahito and Hisa have to flee back into the magical world. We see that the parakeet guys turn into regular parakeets when they come into the human world. Mahito's dad becomes convinced he turned into a parakeet.

Mahito and Hisa make their way to the delivery room where Natsuko is resting, waiting to give birth. On their way, lightning starts emerging from the stone - Hisa explains that the stone is sentient and pissed with them. Mahito insists on approaching Natsuko despite this being a huge taboo. They have a heart to heart - Natsuko's mask breaks and she tells Mahito she hates him, while he finally starts calling her mother, as he's assaulted by paper charms that tear at him violently. They part, with Hisa burning the charms to free Mahito, but it's too much and they both pass out.

Mahito dreams of meeting the sorcerer, who stacks irregularly shaped wooden blocks, and explains that stacking the blocks is necessary to maintain the world, buying a few days at a time. The sorcerer reveals the huge flying rock that is the source of his power; he also shows Mahito some blocks, but Mahito somehow divines that these blocks are 'stone for building tombs' and stained with malice. The sorcerer approvingly says this is a good sign for Mahito's ability to succeed him.

While they were asleep, the parakeets have captured Hisa and Mahito. One of them is preparing to eat Mahito, but the heron arrives just in time to save him. They Metal Gear Solid their way through the kingdom while the Parakeet King - a big swaggering guy very like the colonel in Castle in the Sky - goes to press a claim on the wizard, using Hisa and Mahitos' taboo act of entering the delivery room as a bargaining chip. There's some very funny scenes where the parakeets cheer for their king.

Mahito pursues the parakeet king, but the king destroys the staircase behind him, and talks to the sorcerer. The sorcerer is inclined to wave away the transgression, because he wants to let Mahito succeed him, but the parakeet king seems to be bringing him around. I kind of forget how this part went, but the parakeet king goes away from the sorcerer for a bit while Hisa is freed from her prison thing.

Mahito climbs back up with the heron man's help, arriving in the sorcerer's little subplane. The parakeet king quietly follows him, after telling his aides to inform his subjects he was a good king. Mahito approaches the sorcerer, who reveals he has found a new set of blocks, unstained by malice, and again invites Mahito to succeed him. Mahito says that his self-injury is proof of his malice, making him unfit for the job.

At this point, the parakeet king intervenes. Angry at all this sorcerous malarky, he desperately attempts to stack the stones himself, but when they don't stack, he flies into a rage and slices them with his sword. This naturally causes the world to start collapsing, and everyone runs to the doors to escape into the human world.

Mahito has by this point figured out that Hisa is his mum, and he asks if she really wants to go back to their world, knowing that she will very definitely die in a fire not much later. But she is naturally on board with this. Young!Kiriko goes with her, suggesting that she and Hisako entered the magical world at the same time. Meanwhile, Mahito returns to his own time, with Natsuko and the heron. All the various parakeets and pelicans come out through this door too. Old!Kiriko is restored from her apatropaic charm.

As everyone celebrates their safe return (and the appearance of a fuckton of birds), the heron tells Mahito that he ought to forget what happened in the magic world. We skip forward again, with Mahito - now with a baby sibling - setting off to Tokyo. Roll credits!

now let's comment on it

This is not a film that necessarily prioritises an internal logic playing out - new elements enter unexpectedly even quite late in the film. The sorcerer's motivation is murky until late on; the parakeets become major antagonists despite entering only halfway through the film.

There is a certain temptation, knowing how autobiographical this film is, to take it is a roman à clef. Mahito is of course a young Miyazaki; the old sorcerer's concern about finding a successor might be about Miyazaki wondering who should take over Ghibli or if it should just be allowed to die. Under this schema, the parakeets might be Ghibli's legion of fans, or the merchandising empire that prints their designs on every possible product. kvin's article develops this kind of reading, finding some angles I wouldn't have even considered, such as how the idea of weight communicated by the animation factors in to such an allegaroy. It's also something suggested in Miyazaki's own comments about the film, where the sorcerer is Takahata, the heron man is producer Toshio Suzuki...

It definitely helps to know a bit about Miyazaki's background when approaching this film. However, I think it would be reductive to go too far with this kind of reading, and take everything as an allegory for something in Miyazaki's life. The film still has to stand on its own feet!

'Coming of age' is the spin put on it by some outlets, like the BBC. And this is accurate to an extent. The arc of this film is similar to Spirited Away: Mahito starts out sullen and traumatised, but like Chihiro he transitions over the course of his journey in the magical world into the kind of determined Miyazaki protagonist we're used to. On this coming of age angle... well, also like with Chihiro, I don't find the Mahito of the first part of the film especially unsympathetic, his alienation is extremely natural given his situation. Mahito's dad kinda sucks! Living in wartime Japan also really kinda sucks, even if you're the son of a rich dude. But definitely over the course of the film Mahito has a change of heart towards Natsuko, and forms friendships that motivate him to try to protect them. His character arc definitely sees him become 'more prosocial'.

However, there's another angle that's pretty important - the idea of the weight of 'malice', the cursed existences of the pelicans and the like, and the fantasy of building a utopian world that is free of these things. This returns to a theme of Nausicaa, the manga in particular, where Nausicaa discovers that the world she knows - the toxic forest in particular - is actually an elaborate artificial system for cleansing the world of pollutants, that the clean world on the other side will be uninhabitable to her and her people, and that the architects of this system wait in stasis to replace them in this utopian future world. Nausicaa destroys them, commiting instead to an uncertain future.

In Mononoke-hime likewise, we encounter the lepers and former sex workers of Irontown clinging on to the 'cursed' world. Their extractivist project proves incredibly destructive, but the film still regards them sympathetically, and the resolution sees them perhaps finding a new way to live - and San, the feral girl, reconciling herself to the idea of humans.

Here, although the parakeet king forces the decision, Mahito has already declared that he doesn't believe he's fit to oversee a utopia, but instead that his place is in the awful, violent human world.

The film, and the book it's vaguely based on, are titled How do you live? In Japanese, that's a plural 'you' (君たち). There's a lot of ways you could read it, depending on who you take as 'you' - a child asking an adult how to live, or equally a future question of how will you live. This is a lot more explicit in the novel - which I have not read, but here is a summary courtesy of wiki:

Junichi Honda is a fifteen-year-old junior high school student, known by his nickname Koperu, after the astronomer Nicholas Copernicus. He is athletic and academically gifted, and popular at school. Koperu's father, a bank executive, passed away when he was young and he lives with his mother. His uncle (on his mother's side) lives nearby and visits frequently. Koperu and his uncle are very close. Koperu shares about his life and his uncle gives him support and advice. His uncle also documents and comments on these interactions in a diary, with the intent to eventually give the diary to Koperu. The diary writing, which is interspersed with the narrative, provides insight into the ethical and emotional trials that Koperu shared with his uncle. The diary entries, which cover themes such as "view of things", "structure of society", "relation", etc. are in the style of a note written to Koperu.[8]

Thinking like Copernicus that our Earth is a celestial body moving within the vastness of space, or thinking that our Earth is fixed at the center of the universe, are two ways of thinking that, in reality, are not only related to astronomy. Even when we think about things like the world around us or our own lives, the truth is that we are still revolving around them after all.

In the end, Koperu writes a decision on his future way of living as a reply to his uncle, and the novel ends with the narrator asking the question "how do you live?" to the reader.

The author of the novel was a socialist, who had been imprisoned by the nationalist government, and wrote the book intending to impart lessons on ethics. The version of his book published after the war was heavily edited to strip the book of political content. But it's also, perhaps paradoxically, a book that centres on very wealthy characters, aimed narrowly at educated boys, though it became a widely read classic.

Studio Ghibli's films, from both Miyazaki and Takahata, have a habit of being framed as imparting something to the younger generation - something the pair seem to have seen as a mission all the way back in the days of Panda Kopanda. For example, while Grave of the Fireflies is seen as the classic tragic war movie, for Takahata it was also aimed at criticising what he saw as the careless, consumerist generation of the 80s; the stubborn arrogance of the protagonist supposed to reflect on this. It's an attitude that also emerges in their comments about Chihiro. And, indeed, one of the first things we heard about How Do You Live? was that it was aimed towards Miyazaki's grandson - and more broadly towards that generation.

So what does this film have to say to the younger generations? Let's have a look at it from Mahito's POV.

For Mahito, the adults in his life are all pretty complicated. His father is enthusiastic and well-meaning but incredibly oblivious to what his son is going through (we might recall some of what Miyazaki wrote about his father in Starting Point, describing him as basically a grifter). Natsuko is masking pretty hard, trying to play the role of Good New Mum and connect to her newly acquired son, but there's an intrinsic distance. It is understandable that Mahito would want to reject them.

Mahito is... not entirely a passive character, he goes to some efforts to for example fashion the bow and arrow and repair the heron man's beak, but mostly he is pulled around by the plot into a strange world he doesn't understand. At first, his instinct is to retreat, even to the point of self-injury. Once he arrives in the magical world, he has acquired something of a purpose (finding Natsuko), but he gets pushed into near-disaster situations (the pelicans piling up to push him through the gate at the tomb) or stumbles into circumstances where something is expected of him (hey kid, gut this fish!). Gradually though his exposure to this world pulls him out of his shell. He runs into conflicts and injustices that seem intractable - the wareware and the pelicans - and has little power to intervene except to bury the bodies.

Eventually, he gets to carry out his main objective - finding Natsuko - but despite finally deciding to accept Natsuko as his new mother, he finds himself rejected, not just by her but also by the earth. Perhaps feeling responsible for getting her into trouble, his new objective becomes rescuing freshly-damsel'd Hisa. But now new adults want things of him - his great-uncle has decided he'd make a fine successor. Mahito has to make a decision here about what relationships he wants to commit to, what sort of life he wants to build - and he chooses the world he found so alienating at the outset of the film, the one which hurt him by taking his mother, not to the secondary-world fantasy.

It could be a 'this world is all we have' sort of statement, perhaps. But also the last act of the film feels like it gets a bit caught up in Castle in the Sky-style adventure-story beats.

I do feel like some aspects of the film ended up a little underbaked - which is an odd thing to say because it's not a short film and there is so much in it already. But Hisa for example - she's got badass powers and all, but I feel we barely get a chance to get a sense of what motivates her. Why did she enter the fantasy world? She acts at first like she doesn't know Mahito is her future son, but rapidly becomes incredibly devoted to him (in a way that reads a little romancey lmao). So much of her screen time is dedicated to having her convey the secrets of the world that it's hard to get a bead on her as a person.

Likewise, Natsuko - why did she enter this world to have her baby in this special ritual delivery chamber? She clearly knows more than most of the characters, but she gets kind of sidelined after Mahito confronts her, with wizard shit becoming more central. The animation does such a fantastic job of selling her feelings in the first part of the film that it feels like a shame that she drifts away at the end.

The progression of the film feels rather like a dream, where everything is arranged by symbolic significance to Mahito. It makes sense... on a magical level, where the secondary world is shaped primarily by parallels in the real one. So the tiny apatropaic statues of the old ladies protect him because they represent the role the real old ladies have in his life. Hisa has fire magic because Hisako died in a fire. Once Mahito has come to his personal resolutions about returning to the world, the magical one is no longer needed, and it collapses.

This is not such an uncommon role for magic in a story. In Miyazaki's own works, we have Totoro and Spirited Away, where a magical world provides direction or relief to a child's real struggles. Or take for example Okiura's film A Letter To Momo, in which the three yōkai recognise taking care of the grieving Momo as their explicit purpose as spirits. This magical world comes to Mahito to help him come to terms with losing his mother, and reorient himself towards living in a painful world.

Meanwhile, the sorcerer, whether he be Miyazaki or Takahata, is quite a distant figure. He may maintain the magical world by stacking his blocks, may be the authority which factions within it must plead to, but he also rules from afar in a vast empty palace full of long halls and open air spaces. His main company seems to be a big fucking rock, with which he made a 'contract'. He's generally handling it a bit better than, say, Ushiromiya Kinzo - he receives the parakeet king with good humour - but he's a pretty flawed god of his little world. So much of this world seems to pre-exist him, it's not something he constructed. Still, when he shows up, you pretty much have to do what he says.

If this is about Miyazaki's relation to Takahata, it seems like quite a sad portrayal. But 'unapproachable patriarch' does sorta describe their role in the studio from what I understand (c.f. Oshii's infamous article comparing them to the Kremlin).

When it comes to the question of who should succeed Miyazaki, we should probably consider the matter of Yoshifumi Kondō, who was being set up as the next big Ghibli director until his untimely death - which allegedly Takahata was willing to accept the blame for. The mythology built up around Miyazaki and Takahata is double-edged.

Here are some rather startling comments from Toshiyuki Inoue's interview. Inoue is one of the most impressive animators who ever lived in my book, the other star of the realist line besides Okiura. Just have a look at his booru page: iconic scenes from GitS, Akira, Millenium Actress; even in more recent films, he pretty much carried Maquia, and steals the show with his scenes in Miss Hokusai.

And yet even he was intimidated to be working alongside Miyazaki when he first came on board for Kiki's Delivery Service, fresh off Akira:

I believe you’ve always been a fan of Miyazaki’s, why were you scared to work with him? Toshiyuki Inoue: I had heard quite a few scary stories. A lot of acquaintances had worked on Nausicaä, Laputa and Totoro before that, so I knew how scary he could be when he got angry – I had heard stories of people being fired mid-production, things like that. How was it actually? Toshiyuki Inoue: Not as scary as I had imagined. He’d only rarely scream in the studio. But he did get angry. I’d sometimes be called to some separate room and lectured alongside Kōji Morimoto and Masaaki Endō. It felt like being in school all over again.

'Only rarely'. Honestly. Inoue describes how difficult it was for him to adapt his logical, analytical style to Ghibli's stretchy, bouncy characters - and how Miyazaki would disparage him if he, for example, drew a ship inaccurately.

For Inoue, coming back to How Do You Live was something like a 'return match'. He talks about how an older Miyazaki was no longer able to strictly correct the animation, and in general age was limiting him, but he still feels that Miyazaki is fundamentally superior:

Toshiyuki Inoue: I’ve always wished for a return match or a way to redeem myself. But even if I say that, I know I can’t even pretend to rival Miyazaki. I just can’t win. He’s extremely smart and learned, and on top of that, as an animator he always transcends common sense: he’s so talented that I know very well there’s nothing I can do against it. The more I learn about him, the more I realize I’ll never be on that level.

Miyazaki's genius is undeniable, but man... it's not a good mindset to cultivate if you want to find a successor lmao. If even Inoue doesn't feel he can measure up, who the hell could?

Mind you, it does rather seem that Miyazaki had mellowed out by the point of How Do You Live?. Here's Yamashita:

Akihiko Yamashita: As I said, the core of an animator’s job is to follow what the director asks, so whenever I had trouble with that, I’d go see Miyazaki to show him my roughs. He’d advise me on the things that were missing and reassure me about those that were good. He really helped me to gain more confidence in myself.

Reading these interviews underlines pretty hard that we shouldn't get too caught up in the mythology of Miyazaki the mighty auteur. While the story may be all on Miyazaki, and most of the character designs (with the notable exception of Natsuko)... so much of the details of the animation, the stuff that really makes this film land, is primarily shaped by everyone else - Honda in particular, but also the individual key animators who interpreted his scenes. I really need to get my hands on a copy of that Industrial History of Studio Ghibli book to get a less Miyazaki-centric perspective on the studio's history.

I do not feel, having come out of this film, any closer to knowing the answer to that eternally pressing question of how do you live - I guess I'm still working out my answer to that one, and I will be until I die. And maybe that's rather the point. I think this film still carries some of the flaws of Miyazaki's later films - despite having so many iconic scenes, it doesn't quite seem to know where it's going. But I am so glad to have seen this in the theatre (I saw it at the Prince Charles theatre in Soho with friends, the theatre was completely packed!), and glad Miyazaki managed to get this one out before he goes. Whatever happens to Ghibli without its sorcerer, it's been a hell of a thing to witness.

#anime #the boy and the heron #how do you live #studio ghibli #hayao miyazaki #film

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emeritus-fuckers · 5 months

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Could I request how the ghouls (+baby phantom!!) pine for a sibling of sin? :) Your writing is absolutely fantastic btw, been gobbling it up ahahaha xx

Ghouls pining after a Sibling of Sin

Alpha

This motherfucker does not know how to identify his emotions.

He will not admit it, not with a gun to his head or the gates of hell waiting to swallow him back down, he will not admit it.

He would get more aggressive at first, more angry. Standoffish and snapping at the sibling more. How dare you be so cute, you're doing something to his heart!

He'd mess with you, at first. Pull pranks and just annoy you more, and then snap when you try to call him out on it.

And then he would start to leave little gifts. Small things he would find out in the woods.

He will continue for months with these random little gifts. Starting to leave behind little compliments and such in notes.

When you figure out it’s him, you have to be the one to initiate that conversation. He will avoid feelings like the plague.

Though once he knows you feel the same? He’s your big, awkward heater.

He really enjoys knowing you’re his now.

Omega

Omega fucking sucks at flirting, honestly.

He's good at matching the flirty energy, but someone else has to flirt first because he just... doesn't know how to start it for some reason.

In his defense, usually other people start all this. Terzo

He mentions his little crush to someone (Terzo) and ends up being set up on a date with you because Terzo needs their boyfriend happy.

It's not exactly awkward, because Omega is good at keeping it cool, but it does feel like something's off.

It only feels right when you admit that you might have a tiny crush on him and he just sighs in relief before confessing as well.

And then it just... fluently changes into you guys dating?

By all accounts, it does not make sense. It just happens.

Ifrit

Ifrit is usually a pretty confident ghoul from a distance. Charismatic, energetic and playful.

When it comes to you however? He’s a very shy dumbass. You’re just…amazing.

Though he is not subtle. At all.

You can feel the heart eyes from across the room, the ghoul looks lovesick.

There’s more incidents of “bumping into you on accident” as well. He just wants to be close to you, even if he’s super nervous and shy when you both talk.

You may start to notice your favourite snacks appearing in your workspace as well as lots of flowers.

You end up walking in on Ifrit leaving a love letter and movie tickets on your bed. He was too shy to ask you out face to face.

Naturally the only logical way to break through that shyness is have him read the letter to you. Ask you out properly.

Once he’s got you? Enjoy your oversized puppy. You are the most important part of his day.

And yes. His tail wags a mile a minute whenever he sees you. He’s always excited to see his favourite sibling.

He’s always extra excited when you seek him out for kisses too.

Everyday is the best day ever for him because he has you. You’re his.

Zephyr

Zephyr is a ghoul that when determined, he knows what he wants. Normally he will go get what he wants.

However, they’re unfortunately all to aware not everyone wants a significant other with as many medical issues that they have. They get it in their head that because of the bad days, you wouldn’t want them.

The other members of the pack mention how you seem very important to them. How Zephyr lights up when you’re around.

He’s very sweet to you, bringing you drinks and snacks if he notices you working long hours. Stealing you away for breaks.

They’re completely enamoured by you, but that mental block of not feeling enough stops them for a long while from confessing his feelings.

Until one day when you come to check on them during a rough day. He’s laying in bed as you sit close to them, softly cupping their cheek and asking if they need anything. Anything at all.

It’s all it takes for him to quietly mumble “you.” Then steal a gentle kiss. Just the fact you came to check on them makes their heart soar.

Once you’re by their side, the bad days don’t seem nearly as awful. He jokes that you could fix them just by smiling like that everyday.

Not that he feels it necessary to be fixed. Not anymore. The most perfect person in the ministry thinks that he’s perfect just as he is.

That’s enough for them.

Swiss

He’ll find excuses to spend time with you. Or you’ll find xem looking over at you a lot.

Once it’s sure you are right for him…

He will most likely just pick you up and kidnap you.

In the nicest way possible…

It’s also already declared you his mate.

Luckily for you, you’ve been pining after xem for a while.

But still xey could have just asked, he got totally carried away.

He's so excited to be spending time with you, it’s infectious, as is its happiness.

Xey’ll offer you a puff on his vape.

Once you agree to be with xem he’ll give you a bite on the shoulder and declare it’s official.

Sodo

You two are friends, good friends but he just can't understand why he wants to spend more and more time with you. Why he misses you...

His way of pining is more like biting. He bites you a lot, just randomly comes up to you and bites you on the shoulder, or arm.

He would stop if you really wanted but you don't seem to be too annoyed at him. A little irritated at times yes but you never actually seem properly annoyed, in fact he saw you repressing a smile.

This just confirms to him you are the right person, he starts showing off a little around you.

Eventually he'll sit down next to you, bit your shoulder and say "you know you are my mate right?"

He tries to hide his nerves as he waits for you to respond, he glares at Aether as he walks past.

When you finally smile and say you thought he would never realise he just takes your face in his hand and kisses you. A very passionate lingering kiss. "There, now it's really official." You know him well enough to know that a kiss from Sodo is a rare precious thing and that makes you smile so much, it lights up your entire face. He really does like you, more than likes you...

Rain

She's a bit shy at first. Starts with anonymously leaving you small gifts that slowly become romantic.

Ver pining is discreet at first as he investigates if you like the gifts.

The gifts slowly become more personal over time, slowly hinting at who is sending them.

Ve giggles to himself in bed after seeing you smile at the gifts.

She's happy you love them! She really is!

Ve only gets caught because of his own clumsiness.

You know Rain's biggest enemy? The stairs?

Yeah, that's what defeats her. He left the gift at your doorstep, knocked and tried to run off...

Only to trip on the fucking stairs.

And that's the story of how Rain got caught, awkwardly confessed and somehow managed to get a partner.

Aether

Aether is very much aware of his feelings, but he also thinks you wouldn't like him.

So he stays distant, watching carefully and leaving you the sweetest notes in the world. Little treats and things that he noticed that you liked.

It would take him months to even let you realize he's almost always in the same room with you, and then he would just give you a quick smile and walk out the room, it too much to see you looking at him.

But he's only so strong.

He would break eventually, and just shoving you against the closest wall and kissing you like he would be sent back to the pit's if he didn't. Putting nearly a year of want and need into the kiss.

And then you have no chance of getting away from him. You're his now.

Mountain

So many plants.

He's not all that great with words, so he communicates with plants. Roses and daises, all the plants that you could ever want, and they will always be in the absolute best condition and if you're someone who smokes, you get the very best weed.

He leaves the plants with instructions to keep them healthy and little love notes right outside your door. Crouched down and bent uncomfortably to make sure you get it.

And when he finally gets the metal strength to confess?

His hands are shaking and he can barely get the words out. And when you accept his affection? Oh he's over the moon.

Not too much changes, but he is always at your side, arms wrapped around you and kisses your head with every change he gets. He's yours, and you are his, after all.

Phantom

Very excitable and affectionate.

They don't really pine much they just kinda bound over to you.

He very shyly asks if he can kiss you on the cheek. Xey will be totally okay with it if you say no, but if you say yes then well...

They'll give you one little kiss and grin, he's just so exited and happy. It then asks you to go on a date and you agree.

Then it's lots of little kisses all the time. On your face and neck mainly to begin with. Also xey'll kiss the back of your hand to say goodnight, then he'll try its luck and kiss up your arm.

You just get swept along by their energy and before you know it you are spending your evenings with them sat in your lap cuddling you.

He'll nuzzle into you a lot and if it is ever stressed or anything they'll bury xeir face in your neck, the scent of you just calms him.

Phil

He's pretty straightforward about it, honestly.

He befriends you at first, just to see how that's gonna go.

And eventually you both just grow closer.

After a few weeks, he asks you out on a date.

It goes smoothly, since you two were already good friends and you both had feelings for each other.

So there's not much pining here, I guess?

But there is a look of longing in his eyes whenever he looks at you for too long.

Cirrus

Just like Phil, she doesn't do pining, honestly.

Ze's a straightforward and confident person.

If she likes you, ze will walk up to you and ask you out.

Funnily enough, she will pine for you once you're in a relationship.

Ze's gonna stay awake for hours to gush over you and imagine scenarios with dreamy sighs as she kicks zir feet in delight.

She's a bit weird like that, but it's adorable.

Cumulus

She's very calm about it.

You can catch her sending soft, lovestruck looks your way, maybe a soft sigh here and there.

And the sweetest, softest smile.

She will just sorta approach you one day with a dessert she made and offer you some.

And as you share the dessert, she asks if you'd like to try getting to know each other better and maybe try out something romantic.

She's all smiley when you say yes.

Even sweeter than she usually is.

Sunshine

Feral jumpy bitey lady is kinda like a cat here.

Watches you, her pupils huge as she just has this tiny little smile on her face, literally going around like :> whenever you're around.

Does this cute thing where she just sorta peeks in wherever you are, like one of those cute smiling cats.

You eventually approach her, unable to help your giggles as you ask her if she needs something.

She meows at you before laughing, and asking you out.

Happy purrs and nuzzles ensue when you say yes.

Aurora

They've learned how to flirt from Swiss and Cumulus. She's... a bit all over the place.

On one hand, she causes chaos. On the other hand, she does sweet things.

For example, they make you cupcakes, but decorate them with dumb shit.

One muffin can be Hello Kitty, the other can be a weirdly detailed penis.

Ends up organizing the sweetest, most adorable picnic...

And hits you with the weirdest, most twisted pick-up line known to man.

But she's adorable so of course you fall for it.

Mist

Similarily to some ghouls in this post, Mist does not do pining.

He's sorta like Phil in this regard, if Phil wasn't... well, Phil.

She likes you, she comes up to you, she asks if you wanna go out.

And when you say yes, he plans a big ass ambitious date (he takes you to McDonald's).

No pining involved. Just good old "I like you, wanna date?" and that's pretty much it.

Phantom, Sodo and Swiss written by Nyx.

Alpha, Ifrit and Zephyr written by Death.

Omega, Rain, Phil, Cirrus, Cumulus, Sunshine, Aurora and Mist written by Nosferatu.

Taglist: @charlie-is-a-menace @copias-fluffy-asscheeks @randodummy @tuttifuckinfruttifriday @calliedion-dungeon @randominstake @callmeicaro @nuntia @dio-niisio @mamacarlyle @mybotanicaldemise @igodownjustlikeholymary @natoncesaid @bloodmoon-bites

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queerfandomtrifecta · 7 months

Text

So a lot is bothering me about the narrative structure of season two. If I didn’t have my own novel to work on and didn’t have several more edits commissioned, I’d write a fix-it fic for all of season two to fix the narrative stuff and to really delve into character arcs that felt off. Maybe I will anyway. Idk. If someone who actually has time wants to take any or all of this and write a fic, go for it. Can’t wait to read it. Anyway, this is a very rough outline that’s subject to change if I do write the fic, but from a developmental editing perspective, here’s my two cents nobody asked for on season 2:

Thematic elements: Atonement and coping with trauma, the crew leaving (especially in regards to Stede’s emotional wound where he’s worried about people being better off without him) and identity (especially in regards to Ed/Stede/Izzy). These are present in the show as-is, but they don’t play out well just yet. I’m focusing on these to make things cohesive.

Episodes 1-3: mostly perfect. Loved these and the pacing felt correct for the most part. I would keep the tone from these episodes through the season. Ricky would be introduced here. Zheng is fantastic and all of her stuff stays here.

What I’d change: Ned Low would be the primary antagonist for this season. Ricky would be set up through this season to be the primary antagonist next season. Ned Low’s record is Ed’s original suicide by proxy plan, and that needs to be introduced here. There needs to be a scene showing how Ned tortures people in these episodes. Izzy needs to bring it up as a concern to Ed. Ed doesn’t care about the crew’s safety, obviously, someone (Izzy) needs to mention Ned’s record and possible repercussions here. I’d also NOT play Lucius’s trauma reveal with Stede like a comedy beat. (Like seriously, I HATE that the show played SA as a comedy beat.) Black Pete would be shown crying of Lucius so it’s not just told randomly after the fact. Olu would be shown missing Jim.

Episode 4: The unicorn thing with Izzy was beautiful and I’d keep that. Stede and Ed going to Mary and Anne’s is fine. Buttons can APPEAR to turn into a seagull.

What I’d change: The Kraken Crew and Lucius need to stay paranoid longer. They need to tally things up and realize that Low’s record has been broken (I think Ed was too checked out from reality/high on rhino horn to even realize he’d broken it; Izzy has bigger things going on and likely also lost track) but that record being broken was NEVER shown in the original, just told after the fact. In order to NOT switch to a speculative genre randomly for a convenient metaphor, Buttons appears to turn into a seagull but he doesn’t literally. Revealed to the audience but not to Ed/Stede (more on this later). Stede doesn’t put it to a vote that Ed can come back. He’s the captain and decides that that’s how it’s gonna be. The crew is also gonna look to former first-mate Frenchie (whose trauma is in a box) for direction when Izzy is struggling. It’s Frenchie’s idea about the leg. Izzy is still struggling a little more after his new leg, and I think he should be shown happy at the end but with a bottle of something not far from him (but more in that later).

Episode 5: Ed’s influencer non-apology clearly written by Stede works. Ed and Stede need time apart. The cursed suit can stay for the levity of it. Ed and Fang can go fishing. The moonlight kiss scene works for the most part.

What I’d change: Izzy can be sassy with Lucius, and a bit of a mentor to Stede, but he’s going to be drinking in this episode. Not plastered drunk like ep 4, but it’s gonna clearly be a struggle and everyone is just Not Talking About It. Lucius might start to parallel that a bit and I’d like to see more interaction with them there. I’d also like to see the Kraken Crew (all the crew really) treating Izzy as their captain. Stede says he doesn’t feel like the captain and there should be a reason for that. If he forced them to let Ed back on the boat in ep 4, that can be addressed here. Izzy is following Stede so he can eventually persuade everyone they have to as well, though Izzy’s earned more trust than anyone at this point. I’d delve into him doing for Stede what he did for Ed pre-season one (“massaged the crew” when Ed’s moods seemed off to keep things running (I can’t remember the exact quote past that, but that’s essentially the idea). The Kraken Crew needs to be wary of Ed longer. They do not believe Buttons is a seagull. They all think Ed killed him and Stede says he didn’t see Buttons turn into a seagull, but he takes Ed’s side and doesn’t think Ed killed him. That starts a rift and an “us or Ed” thing that’ll play out later. Ed can try to interact with the crew and get the cold shoulder. He’s done nothing to restore his reputation. As far as the cursed suit goes, I would have them receive some sort of warning from Ned Low when they go to pawn the suit off on the other ship. Stede or/or Izzy would keep it quiet from the crew, who are only just now starting to follow Stede as the captain. Ricky needs to be shown here wanting to end piracy, and interacting with Zheng. After the moonlight kiss, I’d have them holding hands as they walk off. I think maybe Lucius would want to leave the ship here. The Swede and Buttons are gone already, and it makes sense for Lucius to want to leave but Black Pete to want to stay. They’ll both still be on board here though.

Episode 6: Calypso’s Birthday will be the plot for 7/8.

What I’d change: let me preface this by saying I haven’t worked Zheng’s plot fixes out fully. But. If we’re moving this to the next two episodes, something has to happen here. I’d keep the bit with the guilt room and with Ed giving away treasure to the urchins saying don’t be pirates, but have him say more in front of Stede about how piracy is bad for specific reasons that Stede just doesn’t clock as Ed wanting to stop. I think the plot will be along the lines of Stede engaging in more piracy. Ed will quietly be struggling with the fact that Stede is becoming a more and more proficient pirate in his own way, Ed himself not wanting to pirate anymore, and his tentative new relationship with the captain of a ship he is definitely not wanted on by anyone other than Stede. Zheng needs to interact with Ricky here about him wanting to end piracy. Izzy is a good first mate here but he’s still drinking. Lucius may start to parallel that here. Former first mate Frenchie picks up the slack and falls into a leadership role when Izzy is struggling too much, and this is eventually gonna cause him to have to deal with his trauma that’s bottled up, when he has to talk to Izzy about clearly not handling his own. Eventually, things will come to a head with the crew not wanting Ed on board. It becomes an “us vs him” thing with the crew threatening to leave if Es doesn’t. Stede will try to smooth things over but Ed will interrupt and say don’t bother, he’s leaving. He doesn’t know who he is but at least fisherman would be better than pirate. Episode ends with Stede heartbroken and Ed going off to fish in something that isn’t his leathers, so he wouldn’t be recognizable from a distance. Low pinpoints Stede’s ship but doesn’t see Ed on it, and plans to bait him out by boarding and torturing the crew.

Episodes 7-8: Nope. I’d keep almost none of this.

What I’d change: This part is also still rough and I need to flesh it out a bit more, BUT: Calypso’s birthday would be episode 7. The crew would wanna party but also wanna cheer up their sulking captain. They’re glad Ed is gone. Izzy is a good first mate here but still drinking. He encourages the party to Stede who agrees. They’re spending Ed’s treasure that he’s left, turning the poison into positivity by getting rid of the bad memories the Kraken Crew has of obtaining it. Stede and Izzy bond a lot here. Ned Low does interrupt the party (I think maybe he’s also “working” with Ricky but not really, he has his own agenda) planning to bait Ed back. The scene in Stede’s quarters would be Izzy and Stede, not Ed and Stede. Once again the crew are suffering for Ed’s actions, and THAT is how Ed can atone for it. He can save them, probably with the help of Zheng who he’ll have met when he goes off to be a fisherman. So there’s some camaraderie going there. Also, with help from Lucius and Black Pete, who will have to trust him in order to save the crew/themselves. Stede will be the one to kill Ned Low, and he and Ed will still impulsively sleep together as a coping mechanism at the end of episode 8. Izzy is still alive and well (though still drinking a lot; and I think this could be a key to Frenchie having to confront trauma instead of locking it in the box), and things aren’t smoothed out with Ed and Izzy yet, that’s for next season, Ed has ACTUALLY done something to earn the crew’s trust back, and it appears to be a happy enough ending for Ed and Stede. Also, IF Ed says “I love you”, Stede is GONNA say “I love you too” because WTAF was that in the show?! But I’d end the season with La Vie en Rose and fireworks, Izzy happy and celebrating with the crew, a happy moment for Ed/Stede, the antagonist defeated, and Ed actually having atoned for his previous actions.

All of this is rough, but it’s my original thoughts. If anyone wants to use the base of this to write a fix-it fic, go for it. I may do it myself if I can find the time between work writing responsibilities.

#ofmd spoilers #ofmd fix-it #ofmd #ofmd season 2 #ofmd season 2 spoilers #izzy hands #Ed teach #stede bonnet #Lucius spriggs #the crew of the revenge #ofmd fanfic #someone please fix this I don’t really have the time but this would work so much better #ouizzy #gentlebeard #zheng yi sao #david jenkins

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mysicklove-main · 1 year

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𝐃𝐑𝐔𝐍𝐊 𝐇𝐂𝐬

With: Izuku Midoriya, Katsuki Bakugou, Shoto Todoroki, Eijiro Kirishima, Denki Kaminari, Mina Ashido, and Ochako Uraraka

A/N: Different types of drunks are so funny to me. I love watching some ppls personalities just doing a 180, its always so amusing to me. I also might write one for demon slayer characters, I was on the fence about mha or kny. lmk if i should do it for my other loves :)

𝐈𝐙𝐔𝐊𝐔 𝐌𝐈𝐃𝐎𝐑𝐈𝐘𝐀

Light Weight/Sloppy Drunk

Light. Weight. I mean everyone know it, after one drink his cheeks are flushed and he is grinning like a mad man.

His former classmates love to just offer him drink after drink, just to see him get wasted.

Sloppy drunk. Im sorry, but he is. Slurring his words, hiccuping, stumbling everywhere.

He always ends up falling somehow, you find him laughing on the floor with people crowding over him trying to help him up.

Talks to everyone he can find. Literally they cant even understand what he is saying because he is slurring his words and rambling about everything.

”Im not drunk, Y/N! You're drunk!” As he is on the floor, refusing to grab onto your hands to help him up. He's so stubborn.

He always ends up vomiting.

You basically have to pour water down his throat to sober him up.

He refuses to go out the next couple of days cause he is so embarrassed of his actions.

𝐊𝐀𝐓𝐒𝐔𝐊𝐈 𝐁𝐀𝐊𝐔𝐆𝐎𝐔

Silent/Clingy Drunk

His usual scowl disappears, and for once in his life he looks…relaxed?

Just watches his friends do stupid things without any yelling.

Seems to scout for you the second you leave his sight.

Lots of mumbling under his breathe that nobody hears.

Sticks with you most of the time. Only talking when someone talks to him, but even so he gives one word responses.

You only know that he is drunk because of his flushed appearance and slight smile. Its so rare to see him smile in front of people.

Mumbles compliments in your ear, and plays with the hems of your outfit.

Holds your hand the entire night and follows you around.

Randomly will disappear and come back with another round of drinks for the table. Instantly becomes everyones favorite drunk.

Yells at everyone the next day if the mention anything about him being “soft”

𝐒𝐇𝐎𝐓𝐎 𝐓𝐎𝐃𝐎𝐑𝐎𝐊𝐈

Relaxed/Smiling Drunk

Its rare to see Shoto give a full smile, but after a couple of shots he just can't stop grinning.

Is surprisingly much more talkative and friendly towards his ex-classmates.

But the second he finds somewhere to sit, he is stationed there for the rest of the night.

He acts more high than drunk istg

Just sits back and smiles, laughing at everything that comes out his friends mouth.

Its so cute though, because he gets so excited when talking to you.

He def slurs his words but you cant even tease him because he looks like he is having the time of his life.

One of those drunks that finds out they have a random special talent. Like have u seen that video of the drunk dude that finds out he is fantastic at piano?? Thats shoto.

Laughs at his self when he tries to walk in a straight line. “Look Y/N. I cant walk straight!” You just have to go along with it

Doesn't get hungover at all! But also doesn't remember anything lol

𝐄𝐈𝐉𝐈𝐑𝐎 𝐊𝐈𝐑𝐈𝐒𝐇𝐈𝐌𝐀

Crying/Emotional Drunk

Something about it just gets him so emotional. He doesn't even know why.

He drinks and cries, drinks and cries, until you have to drag him home.

Most of the time he is crying about like the least important things like how good you look right now or how crazy it is that he is dating someone like you.

Other times he tries to go all “meaning of life” on everyone. It throws everyone the fuck off and you always have to try to get him back into the moment. Its so funny tho

When he bumps into someone, he apologizes so much it makes the other person feels uncomfortable.

Will randomly go silent and then start crying again. The bartender always looks so concerned.

You have to bring him home early bc he just ruins the vibe. he is not allowed to drink when you guys are tying to relax and enjoy the moment.

Sober him is way more fun lmaooo

𝐃𝐄𝐍𝐊𝐈 𝐊𝐀𝐌𝐈𝐍𝐀𝐑𝐈

Flirty/Touchy Feely Drunk

Are you surprised?

Its like every single pickup line is blurted out no matter the moment.

You'll be in the middle of a conversation and all of the sudden you hear some bullshit like. “Hey baby, are you from Tennessee?” “Denki dont.” “Cause youre the only ten I see” scares off every single girl you were talking to.

Tries to get you to do lewd ass dancing with him and acts like you killed him when you decline.

Hand on your waist, or thigh, or neck, or ass if you dont slap him away. Genuine pervert.

You catch him flirting with Bakugou once and you got so much second hand embarrassment from the way the blonde just stared at him in disgust.

Tries to unbutton his shirt, and about every ten minutes you have to rebutton it for him. “What, you cant handle all of this?” You almost kill him.

Overall, at least he is a partier and you know youll have fun with him.

Gets HORRIBLE hangovers tho. You are stuck taking care of him the next day (again)

𝐌𝐈𝐍𝐀 𝐀𝐒𝐇𝐈𝐃𝐎

Affectionate/Friendly Drunk

Makes friends with every single person she sees.

The drunk girls you see in the bathroom that hypes you up? Thats her.

Especially if you are her partner?? God damn she compliments you so much.

Ends up helping the DJ chose songs when you guys go to clubs. Seriously it is so funny how she ends up talking to everyone.

So much dancing. So so much dancing. Even if its just the two of you, you guys are dancing.

But also mom too, like makes sure everyone has water and isnt getting too fucked up (izuku). Keeps everyone a their best.

You stumble over, she catches you with the biggest smile on her face. Wont even tease you, just continues to make the vibes just absolutely great.

Holds her alcohol perfectly. Enough to get crazy, but she isnt stumbling nor slurring her words.

I just want to go clubbing with her.

𝐎𝐂𝐇𝐀𝐊𝐎 𝐔𝐑𝐀𝐑𝐀𝐊𝐀

Angry/Fight Picker Drunk

This seems like a shocker. What precious ochako getting mad at people???

Yes. She picks fights.

ALWAYS with dudes that her twice her size too. Be prepared to fight istg.

Yells at people who are too drunk (Izuku) and tells them to get their shit togehter. You have to use your hand to cover her mouth before she gets kicked out.

So many curse words. So many.

Literally gets approached by nobody because she has the biggest frown on her face.

You have to try to ease her up by dancing with her or showering her with compliments.

Cheers her up for a bit, and she goes back to all smiley and happy, but then someone interrupts the two of you, and she goes back to being pissed.

You have to watch her 24/7.

She doesnt drink that much anymore because she knows how she gets lol

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tiredmoonslut · 2 years

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I just finished S1 of Heartstopper and dare I say it....dare I say it....

I'm gonna say it. This is the sweetest piece of queer media I've ever seen. I'm sure there's more out there, but by god I am floored. Alice Oseman, can I please give you a hug?

I've never seen a show weave so deftly between my expectations. I expected a cute love story, and I got it. But what I did not expect was for the story to be so...graceful.

I'll be honest, at first glance I had low expectations for this show. The growth of queer media since the release of Love, Simon (especially MLM media) is a fantastic thing, and I'm so happy it's happening, but part of becoming mainstream is that a lot of mediocrity will come to fill the gaps. Having no prior awareness that Heartstopper was a comic series (my bad), I'd shallowly judged it as such.

Holy fuck was I wrong oh my fucking god

This show is a gift. And what makes it amazing is, as I said, how gracefully executed it is.

This show writes itself. Two teens meet-cute and have a sweet forbidden love. We all know how that goes. We even know how the gay version of that goes. But Heartstopper? It said "we see you, and raise you this". It is two teens meet-cuting and having a sweet forbidden love. But the show takes one look at all the potential tropes inherent there, and says, "nah".

Case in point. Nick. Fucking. Nelson. You are a national treasure, and I will thank Alice Oseman eternally for bringing you to me, you sweet, sweet boy. Nick's story could have been very traditional, as far as gay stories go. Masc athlete discovers he likes guys and has a crisis. Cue the internalized disgust, angry outbursts, emotional victimization, and relationship toxicity, followed by a hasty resolution that "fixes" the relationship and offers only a mildly satisfying conclusion. But what Heartstopper did so, so beautifully, is make Nick Nelson kind.

It sounds so bare minimum when viewed that way, but that is the problem. Too often in queer stories, it is either A) about the suffering of being queer, or B) about the aftermath of the suffering. Neither is uplifting, optimistic, or even nice to see represented, all the time. We've all lived it. Seeing it told so callously on a screen isn't vindicating. It's rude. Nick Nelson flies in the face of that phenomenon, simply by being kind. He is a masculine athlete who finds out he likes guys and has a bit of a crisis. But he never lashes out at Charlie, never scoffs and says "I'm not gay!", never shouts Charlie down or shames him.

From moment ONE, Nick is completely self-aware. He knows his own confusion could do harm to Charlie, so he doesn't make it Charlie's responsibility. He's proactive. He talks to people. He gets honest with himself. Soul-searches. Opens up to his feelings. Why? Because he wants to be happy, and because he is committed to kindness.

Highlighting that turned Heartstopper from a predictable gay love story into something life-giving, and warm, and adorable, and so unapologetically queer. This was underscored by Elle's storylines. Seeing a black trans girl like myself fit so perfectly into the main cast of characters and be treated with the utmost respect the entire time added years to my lifespan. Seeing an interracial lesbian couple navigate their relationship with such grace was beautiful.

And seeing all of those unique perspectives blend so easily into a unified, unapologetically queer friend group was so accurate to my own experiences as a queer individual that I found myself tearing up as I watched. This is the gooey, dramatic, teeny-bopper queer love story every queer kid deserves to be able to watch, and I literally cannot wait to get my hands on the graphic novels and the next two seasons of the show. I love it so much.

#okay I'm shutting up now #I just am so happy #heartstopper #nick nelson #charlie spring #narlie #heartstopper netflix #joe locke #kit connor #alice oseman

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spadesolace · 6 months

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the idea of yoo - 1.4. what even is love? (written)

previous | next

“you sure about joining me for this service?” you looked at rei who was also putting her shoes on. nodding in confirmation that she does want to do this.

“i wouldn’t worry much about you being bored. father lee would keep you entertained.”

“why?”

“he says some… out of pocket things.”

rei looks at you confused as you fix her top. the sad smile is still evident in your features but not quite like the weeks before. an entire month, you were busy to say the least; working on backlogs and gaining extra for you and rei - mostly for rei.

the mass was quite the usual, you did have a responsibility for being the pianist to which you have to start looking for a new one.

your gaze travels around the people sitting below, rei is right next to you, looking around the amount of instruments just for you.

there’s jimin… i really messed up.

jimin lost her spark, the same gleam you saw when first meeting had been gone - like a star after a supernova, becoming a black hole. hoping that wasn’t the case for the shining star that is yoo jimin.

yeonjun was late, sitting next to his dad, who had quite the expression for whatever they were talking about. he still looked the same from the day he found out - disappointed, sad, and confused.

deacon yoo became white noise to you, you’ve heard the same message time and time again but you weren’t expecting jeno to stand in front. if rei was bored, this got her attention.

“thank you. love! what is love? love is patient, it is kind. it does not envy nor boast, it is not proud… which is why i love this little lady.”

if the heartbreak from the past month didn’t hurt, what jeno would say next will.

“and why - she’d make me a fantastic wife. Jimin, will you-“

“NO!”

everyone turns around, yeonjun and jimin finally looks at you after a month. you were hoping not in this way, not letting your emotions get the best of you.

“i- uh- i just wanted to add that…” you maintained eye contact with jimin, within the friendship you had developed with yeonjun within the past months you learned one phrase. fuck it, we ball.

“love is-”

“love isn’t pretending.” yeonjun cut you off, taking a deep breath and a quick glance at deacon yoo then to jimin, looking at him so intently. “i know because i’ve been pretending. only for a few months, but it sucks.”

“yeon…” he’s being careful with his wording - not to cause mayhem in the small chapel. one that would make everyone question life and the little town that is kwangya.

“what sucks more is having to pretend to be - not you - your whole life.” that was directed at you, only yeonjun and rei know about it.

“my whole life, i thought there was only one way to love, but there’s more. so many more - and i don’t wanna be the guy that stops someone loving… the way they want to love.” the yeonjun you first met months ago wasn’t like this. you knew him as the tall guy with pink hair and dances every now and then. he’s matured, understood where you were coming from, and he accepted it.

deacon yoo cuts him off, assuming this whole fiasco is done and getting ready to bring the attention back to jeno, the star of the show, the golden boy of the town, the one who everyone believed jimin is destined for. within years of observing, you learned one thing from yeonjun and jeno; fuck it, we ball.

“i also have been pretending…” gasps throughout the chapel, deacon yoo has given up at this point.

“i know where this is going, naoi y/n. i’m flattered, really, but you and i wo-”

“jeno, for once in your life - can it. i’ve been writing your assignments for the entirety of high school so stop acting like the hero in this story.” he shuts up, backs away and sits down next to father lee. taking a deep breath, you look back at jimin who has been looking at you for a while now.

“if you’ll forgive me, i will just rewrite you one last time.” you look at yeonjun who finally looks up at you, a sad smile, teary eyes, and flushed cheeks - nodding to let you continue on.

“love isn’t patient, kind, humble… love is messy, deceiving, selfish, and… bold.” jimin is confused as you walk down the stairs from the balcony. rei recording everything that is happening and you just let it.

“it’s not finding your perfect half. it’s about trying and reaching, and failing - despite the effort you put in with no promise of success. love is being willing to try something new.” a quick glance at yeonjun, he smiles at you, urging you to continue on.

“love is admiring your favorite art, despite it being overrated - but despite everyone looking your way and admitting that you are no different from the rest. yet, you are. the good thing about being different is that no one expects you to be like them.” everything finally clicks to jimin, from the letters, your actions, how different yeonjun is compared to the letters and conversations she had with him.

“love is accepting them for who they are despite the deception - making them fall for the idea of you.”

“you.”

“... yeah.”

you hold your breath, jimin makes her way. assuming she’d go after you - slap you, scream even, but no. she walks towards yeonjun, somewhat apologetic eyes and a loud smack was all you heard as she leaves. everything goes into mayhem. you started this.

“AMEN!” father lee shouted as everyone started screaming, fighting, having some bits and pieces of realization. yeonjun and his father talking, you couldn’t hear it but all you could is them hugging each other then the sudden scream from mr. choi.

“ARE YOU INSANE?!” yeonjun turn his head away from his father smacking him in the head, a smile towards you and a thumbs up. mouthing we good? you nod as you sign him to cover his head for another smack from his father.

“come on, let’s get going. that’s enough of this chaotic mess.” rei pulls you out of the chapel, letting the noise die down as you walk out and head on home.

taglist [CLOSED]:

@1luvkarina @beawolfbealionbeyou @pandafuriosa60 @txtbrainrot @rinapomu @limbforalimb @yoontoonwhs @noascats @thefckghost @petruchiosstuff

#aespa x fem reader #aespa smau #aespa x reader #karina aespa #aespa #aespa karina #karina x reader #karina imagines #karina #yoo jimin x reader #yu jimin #yoo jimin #the idea of yoo smau #SHE SAID THE TITLE WHAT?!?!

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lurkingshan · 9 months

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We Need to Talk about Love in Translation

I caught up on Love in Translation this week at @bengiyo’s behest, as he’s been talking about how good it is. It’s a Thai bl on iQIYI, and in this current deluge of shows, it’s flying mostly under the radar. But this week’s episode convinced me this is a show we should be prioritizing even with so much to keep up with, and I wanted to talk a little bit about why.

Ben already covered some of the basics about the show, and I agree with all of that, but what is really blowing me away is the confidence of the writing and the control the writers have on the pacing of this story. Because this show? Moves, and it moves fast. The relationships are evolving rapidly, and our leads are moving closer every week, and yet nothing ever feels rushed or unearned. They start out adversaries, but it’s all based on a misunderstanding, and once that gets cleared up and they get to know each other, they come to like each other rather quickly. The narrative gives us good reasons for their rapidly shifting perspectives, and crucially, this is a story that is fundamentally about kind people with emotional intelligence, so their openness to changing their minds about each other tracks.

So in episode four, we begin with a classic drama set up: Phumjai, our inexperienced but enthusiastic protagonist, is finally going on a date with his crush, Tammy, and he asks his new friend and business partner, Yang, to go on a practice date with him. Yang is, of course, already half in love with Phumjai and this set up is torture for him. And so the “fake” date commences, and of course the two of them have a fantastic time, forgetting Tammy exists for long stretches before Phumjai inevitably brings her up again and Yang’s face falls. Before the date ends, they end up lounging alone under a tree, Phumjai asks Yang about what kind of lover he would want, and Yang takes the opportunity to make his feelings clear.

Their almost kiss is interrupted, but here’s the important part: Phumjai is extremely aware of what almost just happened, and what it means. He knows Yang was about to kiss him, and he was going to let him. And he knows the implications of that, unlike the typical trope where a character like him would remain confused about Yang’s intentions or his own feelings. Phumjai is inexperienced, but he’s not ignorant. Still, he has committed to a date with Tammy, and so he goes. And the whole time he’s with her, he can feel that it’s not right. He’s not feeling the same things with her that he was with Yang, and his mind wanders back to Yang continuously throughout his time with Tammy. He is not doing the typical drama thing of sublimating or ignoring his feelings. He notices what is going on with his heart and what it means.

And here is where the show wows me again: Phumjai does something about it immediately. He ends his date with Tammy without kissing her despite a clear invitation to do so and runs straight to Yang to talk to him about what he’s feeling. He tells him with total honesty that he’s been thinking about him all day, and that he didn’t feel the way he thought he would with Tammy, and that he wants to understand what is going on between them. Yang listens to him patiently as he works it out, and once he’s given an opening, he doesn’t hesitate to lean in and finish the kiss he started earlier in the episode.

Let me just emphasize again: all of this happened in one episode. This show deftly covered the emotional groundwork and character development that most dramas would take several weeks if not half a season to unpack, and it all felt organic and authentic to who these characters are. I sat up and stared at my screen in awe several times throughout this episode because I was so delighted by what was happening and how confident the underlying writing was. We are now halfway through the show, and we have ample time to work through the fallout of Phumjai’s realizations and see him and Yang actually figure out being in a relationship together (my favorite thing in any romance drama). This is a new screenwriting team (it’s literally their first credit) and they certainly have my attention. I can’t wait to see what they have in store for the second half of this story.

#love in translation #thai bl #shan shouts into the void

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earl-grey-teacake · 4 months

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hey! first of all, the idea of baby!au is fantastic. I love all your points. you already wrote about galex "stressed out of their minds new age parents" and that was fascinating to read! would you mind to elaborate the same about carlando? pretty please 🥺🙏🏻

Awww! Thank you!!!

Of course I can write a Carlando one!

Carlos and Lando didn't mean to adopt Oscar. It just sort of happened. One minute they are in Australia and the next thing they are taking a 1 month baby home. Thankfully Carlos know how to take care of a baby and make a bottle and change a diaper because Lando was incredibly lost.

Lando is very sensitive to Oscar's emotions and baby's are very emotionally volatile. While Oscar is much calmer than other babies, it can go from 0 to 100 really quick. Lando's vibe is "Oh my god, what am I doing? I don't know what I'm doing. Wait, I do know what I am doing. Nevermind, I was very wrong."

Carlos is a bit more capable due to experience but the downside is Oscar prefers Lando more and it makes taking care of him incredibly difficult. Carlos brings a "I want to help you. Just let me help you" energy that quickly becomes "I know you communicate mostly through crying but can you try a different method." Carlos wants to zone out sometimes but he can't.

Oscar wrecks terror on their marriage and social life. The only thing that is really intact is their job. Oscar's pickiness pushes an unequal distribution of labor in certain areas which strains the marriage. Oscar also doesn't have the energy to be around a lot of people for long periods of time, and his parents keep an active social life.

They had to go to couples counseling a month into the adoption which helped them find equal ground when it came to balancing childcare and their marriage. It also helped that Oscar met Logan and now was fairly content as long as he got to play with Logan.

Lando also started bringing Oscar onto his streams which garnered him a ton of new subscribers. Oscar was fairly content being held and staring at the lights and moving pictures and people found him to be adorable.

Oscar slowly enjoys Carlos's company without Lando in the picture but Carlos is the more responsible party. Feeding, doctor appointments, making sure Oscar has a hat every time he goes outside to protect him from the sun.

The one activity they do enjoy together is golf. They get a couple hours on the course and Oscar gets to sit in his carrier and nap in the golf cart.

Babies are expensive and Oscar is no exception. The issue is that the biggest expense is the wi-fi. Oscar has a designated time to see Logan, whether it be in-person or through Face Time. If George and Alex are free, a play date is an easy thing to organize. However, a face time call is usually the result. The issue lies in Oscar falling asleep with the phone in his hand but will wake up and cry if the phone is removed.

Oscar, like Logan, is a clingy baby. Even though he doesn't say it, he still clings to Carlos's shirt when he has to leave for the race. While he doesn't cry most of the time, he does get upset and hides his face. He also does the same thing with Lando. Carlos is sad but he laughs it off and tells Oscar he'll be back. Lando, however, will carry Oscar as much as he can and is very reluctant to hand him over to the caretaker. While he doesn't cry, Oscar's sad little face and his outstretched hands makes the departure very difficult.

I hope you like it! It's not as cheery as the one I did for Galex but I wanted to show the difference in dynamic and parenting style.

Thank you for sending the ask and feel free to send me more!!!! :)

#f1 rpf #f1 rpf fic #carlando #carlos sainz #lando norris #oscar piastri

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monkberrymoonsdelight · 7 months

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A Monkberry Moon Delight lyrical analysis because it is the greatest song of the 20th century

Monkberry Moon Delight is a song from Paul McCartney's 1971 album Ram. The song is generally considered to be surrealist 'nonsense' lyrics a la Lennon's late Beatles work like 'I am the Walrus' and 'Glass Onion'. But if we know anything about Paul (and Lennon-McCartney in general), he tends to put deeper emotions into his songs, often with out meaning to and without his direct knowledge:

"I don't write anything consciously, Sometime when I'm pissed off with John over Apple business a line might creep in." - Interview with Disc And Music Echo (Nov. 20, 1971)

"Songwriting is like psychiatry; you sit down and dredge up something that's inside, bring it out front." - Interview with Robert Palmer for the New York Times (April 25, 1982)

" But in a song, that's where you can [share your innermost thoughts]. That's the place to put them. You can start to reveal truths and feelings." - Interview with John Wilson fork BBC 4's (May 24, 2016)

And my favorite because it's y'know...in a song: "And when I'm gone, I leave my message in my song" - Beware My Love (Wings at the Speed of Sound, 1976)

All that being said, in my opinion, Monkberry Moon Delight is a projection of Paul's feelings of anxiety about his post-Beatles public/critical reception and his reaction to John Lennon's antagonism post-divorce. Specifically, he details his writing of Too Many People as a response to John's antagonism and the making of Ram as an attempt to recapture public attention/praise.

For context: Monkberry Moon Delight was first written/demoed at some point from May-August 1970 on his farm in Scotland. Paul's late 1969-1970 Scotland era is complicated. He often describes it as being one of the most difficult periods of his life because of the break-up of the Bealtes, the Apple financial troubles, his frayed relationship with John, and starting a whole new life which all compounded into a deep depression and alcohol abuse.

Let's start with the title and chorus. In Paul's own words, Monkberry Moon Delight comes from his kids mispronunciation of the word 'milk' and establishes MMD as a fantastical drink like 'Love Potion No. 9'. I think Paul obviously hides behind the surrealism of the lyric but its association with family and domesticity makes an interesting contrast. Though he is happy to be in his escapist domestic fantasy in Scotland, he juxtaposes this with the underlying pressure to be acclaimed (especially after being considered the greatest artist in the world for ten years). Though the song has a peppy, jaunty beat there is an air of anxiety developed through the songs key of C minor and the staccato of the piano and bass parts. His vocals also have a similar strained desperation like 'Oh! Darling'.

The lyrics:

So I sat in the attic, a piano up my nose

And the wind played a dreadful cantata

Paul starts with himself, writing. 'The attic' may be a reference to John Lennon's recording studio that he had built in his attic in Weybridge where he and Paul would often go to write.

"We nearly always went up to his little music room that he'd built at the top of the house, Daddy's Room, where we would get away from it all. I like to get away from people to songwrite, I don't like to do it in front of people. It's like sex for me" - Many Years from Now. Whether or not this is a direct reference to 'Daddy's Room', Paul is known to prefer small, confined spaces for songwriting.

'Piano up my nose' to me shows a rapt attention, leaning so close to his piano its almost up his nose. He is intently and passionately composing his 'dreadful cantata', this cantata I believe refers to "To Many People". Based on this record of the order of demos on the Ram cassette, it seems that Too Many People may have been written (or at least recorded) before Monkberry, which furthers my belief that Paul is making a meta narration of the writing of his song which he recognizes was very pointed or dreadful.

Sore was I from a crack of an enemy's hose

And the horrible sound of tomato

Here he describes what spurred him to writing this song, and this album as a whole. The 'crack from an enemy's hose' could refer to Allen Klein's treatment of Paul during the final months of the Beatles and his attempted mishandling of the release of McCartney (1970). (Note: The crack could also be from Phil Spector, the press, Ringo, George, Yoko or John; Paul is kind of getting shit from all sides right now). The 'sound of tomato' implies the idea of throwing tomatoes at an artist to express dislike or dissatisfaction, referencing the poor critical reception of McCartney (1970).

Ketchup, soup and puree

Don't get left behind

Ketchup, soup, and puree; liquidy tomatoes because splat, splat, splat go the critics. And ketchup because catch up pun.

Don't get left behind is the central theme of this song. He is worried that the public is going to forget about him while he's depressed, away in Scotland, and making critical flops. This is him desperately clinging onto the hearts of the public. Because we all know how much Paul needs to be liked.

When a rattle of rats had awoken

The sinews, the nerves, and the veins

The 'rattle of rats' could be any of the number of people who were getting on his nerves, sinews, and veins (pissing him tf off) in 1970. This could again be referencing the great "Let's all gang up on Paul McCartney" game of 1970 but because of the subsequent lyrics, I think this may be more specifically about John (and Yoko). Either way, it was these rats who annoyed him into getting to work.

My piano was boldly outspoken

And attempts to repeat his refrain

'Boldly outspoken' again connects this song to TMP. The line is similar to the TMP lyric 'This is crazy and baby, it's not like me' in the sense that both show how audacious he sees this songs as. In 'attempting to repeat his refrain' I think Paul is using the 'well he started it' justification for TMP because he's sees it as a repeat, of him rising to John's level of insults.

So I stood with a knot in my stomach and I gazed at that terrible sight

Of two youngsters concealed in a barrel, sucking Monkberry Moon Delight

Ah yes my favorite moment in all of music ever. This is the verse that really convinced me that this song may be referencing JohnandYoko. The 'youngsters in a barrel' alludes to John and Yoko's bag piece, where they would get into a black bag for...peace? As seen in Get Back, this particularly irked/disturbed Paul. "Go get in your bag. The Merseybeat award for couple of the year, goes to John and Yoko" (Get Back Episode 2). He also refers to them as 'the young lovers' in Get Back during the infamous January 13th 'and then there were two' conversation. Even though it makes him nervous and sick, part of Paul releasing TMP and Ram is to face up to the JohnandYoko powerhouse which was a non-insignificant portion of his early 1970 criticism.

Well I know my banana is older than the rest

and my hair is a tangled baretta

Here I think he is reasoning to the listener, the public, over why he thinks they've abandoned him. Paul recognizes that he has been in this music game a long time (so people may have grown bored of him) and has been depressed (and thus out of the game), his tangled 'baretta' of hair like the wily depression beard he grew out while in Scotland.

Also banana = dick, just so everyone is clear (can anyone find that banana poem from his poetry book? Also this just perpetuates my tinhat theory that all the banana milkshakes Paul got in Paris were just **** **** but I digress). Also something about Paul likening songwriting with sex so him not being 'musically desirable' is because...his music dick is old? Ok Paul.

I leave my pajamas to Billy Budapest

And I don't get the gist of your letter

This is the one lyric I am pretty unsure about. Not that every line has to fit perfectly into my interpretation but I genuinely could not make heads or tails of it. My initial interpretation was that this was referring to Billy Shears, and how during this period the Paul is dead theory regained popularity. This reference adds to the feeling of dissolution he builds in this verse.

But mike on the Beatles Bible seems to remember Billy Budapest as being a children's pajama designer though I have found not evidence of this. However going with this shot in the dark, leaving his pajamas to Billy Budapest could draw back to the theme of his current domesticity and occupation with his children.

The letter in question I believe refers to the infamous letter John and George wrote to Paul changing his McCartney release date that they had Ringo deliver which really set Paul off and kind of began the messiness of the divorce.

Catch Up, cats and kittens

Don't get left behind

Finally we get the pay off to the ketchup-catch up pun and see the resurgence of the theme; Paul feeling like he's falling behind his contemporaries and desperation to catch up.

In typical McCartney fashion, Monkberry Moon Delight is a seemingly shallow and superfluous song but actually reveals a lot about his inner turmoil at the time. Him dealing with the rejection by the critics and John by turning to his piano and creating the absolute banger that is Monkberry. This is why MMD is one of Paul's best, because of how quintessentially Paul it is. Veiling tough emotions behind ambiguous and surreal lyrics masked by a fun and light melody. Oh, the juxtaposition! Oh, the Lennon-McCartney of it all.

Anyways this is a barely organized rambling of thoughts but Monkberry Moon Delight deserves a mega analysis because it is genuinely one of the best songs Paul McCartney has ever made.

#song analysis #monkberry moon delight #Ram (1971)#paul mccartney #linda mccartney #john lennon #yoko ono #allen klein #thank you for coming to my tedtalk #seriously can someone find that banana poem it's driving me crazy

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