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shotforfavor · 2 years

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assigning a mychem song to each tma entity :o)

i dont have anything for dark and buried. umm. also i dont know how to put a cut in a post sorry

corruption- demolition lovers. the relationship isnt good for either of them, but hes still willing to die for her ("im trying to let you know just how much you mean to me, after all the things we put each other through") all of his expressions of love for her are violent in nature ("id end my days with you in a hail of bullets" "you're the only one, like a bed of roses theres a dozen reasons in this gun") their love is built on violence, its hurting both of them, yet he still wants to die with her to prove his love and devotion to her

desolation- early sunsets over monroeville. life is perfect, him and his lover are on a mall date, feels like a movie. ("then holding hands and life was perfect") then it all comes crumbling down out of nowhere when a zombie outbreak kinda thing happens and said lover is bit. ("not knowing you'd change from just one bite, i fought them all off just to hold you close") he can't exactly leave the mall he's hiding in, ("trapped in by all these mountains") and now he has to kill the one good thing he has left. then he's just defeated. he has nothing else worth living for. "but does anything matter if you're already dead?"

end- the end. obvz. "when i grow up i want to be nothing at all" most of the song to me is him expressing he wants to die/he knows hes going to, and he takes it very casually, buttttt the very end of the song... "save me, get me the hell out of here, save me, too young to die my dear, you cant take me" hes afraid of death when actually facing it

extinction- scarecrow. this ones about a nuclear bomb and trying to run from your death and look at things positively even though you know everyones going to die. but theres kind of an acceptance at the end- "love wont stop this bomb, run, run, bunny, run" after this point, the only lyrics are saying to run and hide. no more "i'll keep you safe tonight", no more romanticism that makes the destruction sound poetic and almost beautiful. just running and hiding and hoping someone makes it out alive

eye- teenagers. me personally i think this one fits. "because they sleep with a gun and keep an eye on you, son, so they can watch all the things you do" he feels like he's constantly being watched by the adults in his life, and they're just waiting for him to make one wrong move that they can use to justify calling him a bad person. he stands out, his classmates make fun of him and spread rumors about him. in the context of the song, the lyrics are all rebelling against all of this, but on their own, they sound very paranoid about what others think of them

flesh- cancer. i think this one works, the patient expresses a lot of hatred for what his body is becoming due to the disease in verse 2 especially. "turn away, cause im awful just to see" its got the aspects of insecurity and physical change out of ones control characteristic of the flesh.

hunt- vampires will never hurt you. this one isnt really a fear of being prey, but rather his fear of becoming the hunter. "can you stake my heart?" "i'll never let them hurt you, i promise" he feels that his vampirism is a different side of him completely, one thats out of his control. he'd rather be killed now than lose control and make his loved ones his prey.

lonely- ghost of you. he lost someone important, and he can't stop thinking about it and replaying their memories in his head because he doesn't want to forget them, but dwelling is only making him miss them more. ("if i died, we'd be together now, i can't always just forget her") he just replays her death over and over in his head, constantly reminded that he's now alone. ("i remember now, at the top of my lungs in my arms, she dies" "all the things that you never ever told me, all the smiles that are ever gonna haunt me, never coming home, never coming home")

slaughter- mama. i mean its literally about a soldier who did awful things during a war and his mother can't help but hate him for it. "but there's shit that i've done with this fuck of a gun, you would cry out your eyes all along" he acknowledges that he fought his hardest because he thought he'd die at war ("so raise your glass high, for tomorrow we die") and his mother would be even more terrified of him than she already is if she knew the full extent of it. the song even ends with her sobbing

spiral- drowning lessons. after the death of his lover, he is haunted by a manifestation of his guilt that takes her form and makes him relive the day over and over again ("lets say goodbye a hundredth time and then tomorrow, we'll do it again"). he desperately wants it to go away but his own mind wont leave him be ("without a sound, i wish you away" "i adore every inch of sanity, all im asking for"). a lot of things in the song also sound like hes experiencing visions of her death, twisted by his brain- describing her as a "twisted shell" and saying "these hands, stained red from all the times that ive killed you"

stranger- blood. i dont know this one just really fits to me? "well they encourage your complete cooperation, send you roses when they think you need to smile" "so give them blood, blood, gallons of the stuff, give them all that they can drink and it will never be enough" does this not give the image of like weirdly happy all the time doctors who keep doing procedures on you but you dont know like what exactly they're doing ever. also the very fun chipper tone and its contrast with the disturbing lyrics is very stranger core to me

vast- disenchanted. this one might be a stretch? after all his attempts to make life meaningful, he's left thoroughly disappointed. he realizes at the end of his life that everything has all been meaningless. he thinks life itself is overrated.

web- the jetset life is gonna kill you. this ones about drug addiction but the song portrays that as a woman who's controlling his life. "gaze into her killing jar, id sometimes stare for hours" she has him completely trapped and in the palm of her hand. "alright, she wants it all to come down this time"

very much willing to discuss any of these

#the magnus archives #tma #my chemical romance #mcr #mychem #eyetalk #crossover of the century #i just have to combine my hyperfixations or i die #and i love a bit of song lyric analysis

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melit0n · 3 months

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I love Jaws with all my heart, so, here I come with a little analysis again!

First off, the title. Bite my neck, drink my blood and make us one type vibes. Sleep Token in general has a massive thing with biting, teeth, consumption and chewing (there's a massive post on Reddit with all the times it's been mentioned, which, if I remember correctly, is around twenty), across their discography, and Jaws is the immediate beginning of this trend.

Jaws are a sign of power, destruction, love, sadness and joy. We bear our teeth when we're happy, when we're angry and when we eat. It is the ultimate metaphor for so many emotions. You don't know someone until you've seen them destroy something, to shout and scream and chew and bite, hence the line "show me those pretty white jaws; show me where the delicate stops". He's asking to see the real them, whoever they are.

All the lyrics have this underlying religious tone, as most Sleep Token songs do, but here it's more directly addressed. "Stained glass" is almost always associated with Churches and Cathedrals, and presents 'them' as something Holy; something that can and will be worshipped. However, the line "Whites of your eyes burn" completely removes all the ideas of safety that surrounds a religious figure. Of course, when it comes to divinity and sin, fire is a massive symbol we have to talk about. To burn is to suffer, but to be cleansed. It's this double entendre that presents this figure of safety as one who is also a threat. A predator.

Then, of course, we have "And I'm not here to be the saviour you long for". Unfortunately, Vessel seems to be in this constant battle of 'I can fix them; we can fix eachother. We're gonna be fine!' and 'I fucking hate you; leave me be or I'll have at you', which is what's seen in this one. Neither of them are the saviour the other one yearns for, yet Vessel still tries. He asks, and then repeats over and over, creating the tone of begging and pleading, for them to show him what they've lost and, in turn, show him love.

He's asking them for the two things they can never genuinely give, but he never stops trying because God forbid the things he'd do if he was alone again.

#also the line 'show me those pretty white jaws'#white reflects purity and innocence (especially in religious context so we're gonna roll with that) but is immediately juxtaposed with ->#the violence of jaws #plus plus!#the album art depicts a shark's jaw (apex predator) imbedded with flowers; yet again juxtaposing utter destruction and fragile beauty again #ugh I love this song #so many little details I can dig my fingers into #(and it also may be a tinsy-tiny bit relatable for me)#sleep token #st #sleep token analysis #jaws (song)#lyric analysis #mel's rambles

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joseph-plunkett · 1 month

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A Lyrical breakdown of Hozier's Too Sweet

I'd rather take my whiskey neat

He likes whiskey

My coffee black

He likes black coffee

And my bed at three

He's a bit of a night owl

You're too sweet for me

She does not enjoy those things, so they do not ❌️ make a good partnership.

Woah, revolutionary! Call up the Nobel Prize committee! This man needs to go down in history for his lyrical genius on this specific song!

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musicrunsthroughmysoul · 4 months

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I've already analyzed "Wonderland" by Big Country and I am not going back to edit it with this new thought that just came into my head earlier when I got it stuck in my head (inspired by this version of it; for some reason, because of how Stuart Adamson introduces it), but I realized that another interesting facet of "Wonderland" is that, in the most famous/well-known reference to it per Alice in Wonderland, wonderland is a place imagined by a child, and it otherwise certainly holds childish connotations. Thinking of that made me further realize how relevant the final verse and pre-chorus is, "With innocence within ourselves/We sing the same old song/And you will take my hand/And make believe it's wonderland." But it's also interesting in that final verse because, at the beginning, it deals with literally such dark, adult realities - "You still remember other days/When every head was high/I watched that pride be torn apart/Beneath a darker sky" - and it's resolved by this mobilizing offer to return to (or more like: to bring back) childish innocence in order to break the cycle of these dark realities. Because technically, that's also what he's asking of the person he's singing to, like in the second verse: "If you could hear what I must hear/Then nothing would replace/The fifty years of sweat and tears/That never left a trace/But when I look at you/I see you feel the same way too" and who he's ultimately asking to escape to wonderland with. It's kind of funny, though, because that all reads as very naïve - like 'Yeah, hey, if we all just pretended to have the same innocence we once had as children we could get along better and make more progress creating the future/reality we want instead of refusing to learn from or acknowledge the past so that our current reality is in some cases worse than ever before' - and yet it's also rather meta because it could also, therefore, still not be taken seriously (like, how often are children taken seriously to begin with!?), and I definitely think that Stuart Adamson intentionally wrote it that way. There is another point for Stuart Adamson's genius!

#crystal visions of lilies in the valley #why did the simple words 'I'll just say this: Wonderland' inspire me to write so much? 🫣#lyric analysis #I also realized a bit ago after reading someone else's analysis of ''Wonderland'' that apparently it's viewed as a love song?#and um...it could be the asexual in me who may or may not exist but that thought literally never occurred to me.#either way I certainly would not view ''Wonderland'' strictly as a love song. I think it transcends that tbh...#whether dear Stuart Adamson ever intended that or not. but that could definitely just be my bias. *shrug*#SORRY THAT I WROTE A WHOLE OTHER NOVEL ABOUT THIS SONG and I barely said anything new either. ._.#h e l p m e I love this song too much I think

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sage-nebula · 2 months

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"Suffer No Fools" - Shiver vs. Marina Analysis

It's been a few days since "Suffer No Fools" released, but I wanted to go ahead and release my analysis of Shiver's and Marina's verse since that's the one that has caused the most discussion within the fandom. I've seen a lot of debate over Marina's section in particular, with people unsure whether she was being sincere or sarcastic, and I think the actual answer is a little more complicated than one or the other, at least with regards to the first couplet of lines both she and Shiver sing. Of course, people are free to interpret this song however they wish, but after seeing numerous interpretations I personally didn't vibe with, I just wanted to put my own out there, breaking it down line by line.

So! Here we go.

Exchange 1:

Shiver: "Your haunting voice -- there's no escape. How nice it must be for your fans." Marina: "You're far too kind! I love your vibe. I can learn so much from your style."

Analyzing from dialogue only:

Shiver is insulting Marina's voice by calling it haunting and saying there is no escape, insinuating she wishes there was one. She says how nice it must be for Marina's fans, again implying that she isn't one.

Marina says that she loves Shiver's vibe, which on the surface could be a compliment, but given the context (a music battle) it could also be a Mean Girl "ooh I love your [thing] :)" passive-aggressive drawing-attention-to-something-ugly insult. More direct though, is the "I can learn so much from your style"; you can learn what not to do from someone just as much as you can learn what to do from someone. Marina's engaging in plausible deniability here.

HOWEVER. Lyrics are NOT the only thing that need to be analyzed from this first verse, which is arguably the MOST important exchange between these two. Instead, we need to look at how these lines are delivered.

Shiver is singing in a traditional Japanese folk singing style, specifically a style based on Shima-uta, which her voice actress has a background singing in. Unfortunately, I don't know the actual term for this style of singing, only that it's not kakegoe, something Shiver also does that is different from this. Anyway, in these lines specifically Shiver is singing in her Shima-uta style, a style that she has presumably been practicing since she was a small child, a style that is probably culturally significant to the Hohojiro clan. Singing in this style is not something that just anyone can do. It's completely different from singing in a (for lack of a better word) "western" style. The way you breathe is completely different. The way you incorporate your voice into your breathing is completely different. So by singing in this style, which Shiver has been doing practically her whole life and which, presumably, only she of the four there can do, Shiver is FLEXING on Marina regardless of what lyrics she chooses to sing.

But then Marina, who grew up under the domes in Inkadia, who presumably has never heard Shima-uta before she started listening to Deep Cut and heard Shiver sing, who presumably has had absolutely no training whatsoever on this style of song . . . mimics it perfectly and flexes on Shiver right back.

Could Marina's words to Shiver be interpreted as passive-aggressive in turn? Yes. But does it matter? No, not really. Because in this first verse, Marina's ACTUAL comeback is to take the style of singing that Shiver has been perfecting her entire life and throw it right back in her face despite having never (as far as we or Shiver know) practiced it herself. Shiver was flexing by presumably doing something Marina couldn't do, only for Marina to do it flawlessly, being every bit as divine with a voice so fine as Pearl said she was previously. Marina says "I love your vibe" so she takes it. Marina says "I have so much to learn from you" but does she really, when she can already do exactly what Shiver can, and has, just now, right in front of her?

And Shiver noticed, hence:

Exchange 2:

Shiver: "You remind me of my neighbor's little daughter . . . What's that saying? 'Octo see, octo do.'" Marina: "Glad you approve -- your praise has left me moved. Thanks to your notes, I'll find my groove!"

Shiver drops the Shima-uta singing, because now there's no point. Marina can also sing in that style, so it's no longer a flex. Shiver lost ground on that one, so instead we're back to the same (again, for lack of a better word) "regular" style of singing that everyone else is using. For that reason, we can go back to analyzing purely based on the words alone.

Shiver is calling Marina a copycat, essentially, because Marina copied her Shima-uta singing style in the previous verse (hence why Shiver had to drop it, as previously noted). Marina then gives her "glad you approve -- your praise has left me moved" . . . basically noting that by Shiver accusing her of copying, Shiver is saying that Marina -- someone who just tried the singing style off the cuff right there on the stage for the first time -- was just as good as Shiver, someone who has trained in that style her whole life. The audience saw for themselves that Marina was able to emulate the style, but Shiver saying, "you copied me!" is basically admitting that Marina was just as good as her in Shiver's own eyes, and Shiver is a pro. That's Shiver's aggravation handing Marina the win and Marina smiling wide as she accepts it.

Exchange 3:

Shiver: "Oh, look at the time. Isn't it getting late?" Marina: "Not at all! I could go on like this all night long."

This one doesn't even really need an analysis. For all that she prides herself on being "so cool even sharks call her cold-blooded," Shiver is known for being easily irritated and riled when she's losing due to her competitive nature. Marina successfully got under her skin, and this is her trying to end the battle fast because she didn't have any further comebacks. Marina, meanwhile, gives the classic "I could go on all night" because she's not riled at all, and is instead perfectly comfortable in this environment, knows what she's doing, and has had the upper hand from the start.

It goes back to another post I made about Experience vs. Inexperience. Shiver and Frye are still new idols, whereas Pearl and Marina have been at this for a long while. And while off the stage Marina is a sweet, kind, gentle person who will go out of her way to help others, and can sometimes be a little spacey or naive, she's also a 23-year-old literal genius who has been in the music industry for years now and knows full well what a rap / music battle is and knows her way around a stage. Personally, I found it to be a little infantilizing to insinuate that she "didn't realize Shiver was insulting her," when not only do I think she knew full well, but also she was the one with the upper hand not because of sick burns (that's Pearl's department), but because of sheer innate musical talent.

But those are just my thoughts! Everyone else is free to have their own.

#splatoon #splatoon 3 #suffer no fools #off the hook #deep cut #shiver hohojiro #marina ida #keep in mind that Shiver is my favorite Deep Cut member please #i mean no disrespect to her in any of this #i really do just think it's her inexperience in the music industry etc #and Frye's as well #i think that in Splatoon 4 we'll see that Shiver and Frye have matured some & made some headway in their own careers #(and Big Man too ofc but tbh he's already there with the maturity imo)#(hence his collabing w/ Squid Sisters & non-hostility toward OtH)#then again maybe Deep Cut wants to stay indie. idk! we'll see

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403tarot · 9 months

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. . . THINGS YOUR FUTURE SPOUSE WILL NOTICE THE MOST (AND LOVE) ABOUT YOU + LITTLE ANALYSIS OF THE RELATIONSHIP

hello! today's subject is future spouses, to the ones that seek a true love. take what resonates to you and leave the rest away. close your eyes, take a deep breath and choose the pic that calls you the most. feedbacks are always highly appreciated <3

PICK A PILE !

* i recommend you to listen to the song and read the lyrics after reading your pile for a more immersive experience in the vibe of your relationship with your future spouse !

IF YOU CHOSE PILE 1 ...

wow, your meeting with your future spouse will be a soul connection. destiny will lead you to them so that finally, your lives regain balance.

this person will appreciate the fact that you're always willing to roll up your sleeves and solve your problems. your attitude and talent for dealing with difficult situations come from a long path of responsibilities and maturity. many times, you had to take the lead and handle situations for which you weren't prepared, with no assistance – just you and your survival instinct. however, this hasn't made you lose the part of you that wants to experience pure and true love, someone who loves you for who you are and takes care of you.

i see that this relationship will be very peaceful and kind, a new stage in both of your lives. you might feel like you've known each other for a long time, even from past lives. this sensation might scare you a bit at first because you might not be used to having someone who understands and responds to you and your ways as well as your future spouse, as your connection might be the strongest you'll ever experience with someone in your lifetime.

this person will be the one who admires the little things about you, from your most impressive talents to the sound of your laughter. expect many candlelit dinners, conversations under the moonlight, and someone who covers you with a warm blanket if you fall asleep first. they will watch you as you sleep and count each of your eyelashes, resisting the urge to trace your lips with the tips of their fingers just to touch you and make sure you're real. you will be a gift in each other's lives for sure.

cards pulled: 8 of pents, page of cups, strength, justice | the lovers, the moon | ace of wands, 2 of pents, knight of wands | ace of pents, the world | blood bond (connections)

IF YOU CHOSE PILE 2 ...

your relationship with your future spouse will be the model of the relationship you've always dreamed of. when you saw a couple with such a beautiful connection that happiness seemed to radiate from the people involved, and you wondered if you would ever have something like that, know that your relationship will be your ultimate standard.

one of the things your future spouse will admire most about you is your persistence and commitment to everything you set out to do, including your relationship. i see you as the one who takes care of things, who ensures that the relationship stays on track with your ability to always keep everything in its proper place. this person will find you very intelligent and coherent not only about life matters but also emotionally. you are someone in constant evolution who always seeks to be a new and improved version of yourself without losing your authenticity.

this relationship will make you feel capable of achieving anything when you're by this person's side. they will always encourage you to pursue your aspirations and cheer for you wholeheartedly. beyond that, they will be there with you in your victories, defeats, sorrows, and joys. you'll be able to lean on this person and open up your feelings to them because you know they'll understand you like no one else ever could.

your future spouse will love loving you and will also enjoy showing their feelings! it's as if this person wants to shout to the whole world how happy they are to have the opportunity to create a beautiful love story with you. expect them to take many photos of you to post on their feed, for you to be a frequent star in their stories, and also a significant commitment ring on your finger. after talking so much about how incredible you are to everyone, they have to make sure that everyone knows your heart already belongs to someone.

cards pulled: 4 of wands, queen of pents, page of wands, king of swords & king of wands | the sun & 6 of wands | the magician & 2 of pents | witches boots (stability)

IF YOU CHOSE PILE 3 ...

the relationship with your future spouse will sweep you off your feet. if you're the type of person who's afraid to show emotions due to past relationships and struggles with reciprocation, know that the universe plans to push you against the wall on this. your future spouse will gradually enter your heart and awaken a sentimental side within you that you never even imagined could (still) exist. they will revolutionize the way you express affection in all types of relationships you have in your life.

i see that this person will really appreciate your worldview and your stances. they'll want to know your opinion and value what you have to say; your ideas will matter to them. your future spouse will be someone who truly listens to you and cares about understanding how you see things. they'll admire how you engage with the world and how you showcase your personality through your clothes, the way you style your hair, your accessories and will notice every little aspect of your being and how it reflects in you, even things you thought no one else but you would notice.

your future spouse will want to heal your heart, and together you'll heal each other's souls. i see this person viewing you as a precious treasure and wanting to lay the world at your feet, protect you, and be a solid pillar for you to lean on during tough times. you'll both feel incredibly fortunate to have each other in your lives, and from this union, i see you both taking lessons that will help you evolve as individuals.

your future spouse will be someone who wants to take you on adventures and explore the world. visiting historical places like museums or art galleries will become a frequent routine in your lives. they're the type who'll want to take you to lunch at a quaint and charming bistro as you watch people pass by the window, trying to guess what they do in life, their purposes, and dreams. they'll love your sense of humor and how you present your ideas. expect them to gift you an album of photos containing all the memorable moments you've shared — it will be a quite thick album.

cards pulled: page of wands, 2 of wands, 9 of pents, the empress, ace of cups | queen of cups, 6 of cups & the tower | the lovers, king of cups, the emperor | queen of swords, ace of wands, 7 of cups | black kitten (inner child)

you can book a reading with me! a full analysis of your relationship with your FS + NSFW for just $30. an analysis of how would be a romantic relationship with your favorite idol is $25 and the NSFW comes with it as a bonus! check my pinned to know more!

#tarot readings #PAC #pick a pile #pick a card #free readings #tarot community #tarotblr #future spouse reading #pick a photo #— duckie notes ⪩♡⪨

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curekibouka-writing · 8 months

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Analyzing the lullaby motif in book 7 (+translation of lyrics)

MAJOR SPOILERS for book 7 chapter 1-5

I hope everyone remembers the lullaby Malleus sang for everyone when he overblotted because that motif came back FOUR times in chapter 5 and I am going to analyze them all because they make me way too emotional 😭

Please feel free to find the lullaby motifs in this post and this post if necessary (although one of them is not included).

Translated lyrics of the lullaby:

A warm cradle

Starlight and joy

My eyes are watching over you still, let's be together

With no fear, even if we wake from this dream

Sleep, sleep, my beloved child

In dreams, I pray you would be guided to walk toward the light

(Analysis begins under the cut:)

The melody of the lullaby has been used 5 times at least in the story, they include:

When Malleus hummed it to everyone he put to sleep during his OB

When Meleanor sang it to Malleus

When Lilia sang it to Silver

When Malleus sang it to Silver

In the bgm when Sebek was helping come out of the darkness

The themes of this piece of music are love and farewell.

Motif use 2 is chronologically when the lullaby was first sung, it’s a song of love from a mother to her child when she knows they must part. I believe that when Meleanor sang this lullaby, she had already made up her mind to fight and let her guards escape with her child. She was taking the last moments she had with her child to name him "Malleus" and sing him this lullaby (7-75). Lyrics include sth like “I will be watching over you even if we wake up from this dream” and “may you be guided and walk towards the light”. But the beauty that comes with the theme of farewell is the theme of legacy. Because even though Meleanor is now gone, her song, and thus her love, never died.

Because Lilia remembers it. Motif 3 is Lilia singing it to Silver, and he’s also sung it to Malleus before. In a musical story, even if the characters lie or don’t have perfect information, the music never lies. Even if Lilia once doubted whether he could love Malleus and hatch him properly (7-77), and even if Lilia may still doubt whether he could love Silver, a human, properly (7-81), the motif symbolises love which tells us the truth — Lilia is capable of giving love. And the legacy is not just that Lilia passed the song to Malleus, it’s that Lilia internalized the song and sang it to his own son. He has seen what kind of mother Meleanor was, and he’s learnt from her kindness, her pride, her love and he has put that into how he raise his own child. Lilia has Meleanor’s legacy too.

And then to address the two Malleus motifs. First of all Malleus never sings it with lyrics, which would imply Malleus himself doesn’t fully know the true meaning of the song. However, he knows that he’s felt happiness and protection from hearing this song, so he sings it to Silver when Lilia asks him to as motif 4 (7-81). When he sang it to Silver he sounded confused, it must’ve been a long time since he’s heard the song. But he still remembers it, which means Meleanor’s love never died because Malleus remembers it all the same. It’s still in Malleus. It’s still there.

But when Malleus overblots, the song gets twisted a little bit (motif 1). However, in Malleus’s mind, it’s still a song of happiness and protection, because he overblotted trying to protect everyone’s happiness forever. But the music sounds creepy to show you the true nature of the song is not like this. The nature of the song is that "even though I cannot be with you always, I will still love you and wish for your happiness". This is the part that Malleus did not understand and did not cope with. It’s also interesting to note that Malleus sang motif 1 with a smile and no hesitation, he was completely confident and sure in what he was doing. Meanwhile, in all other three sung versions, each singer had their own different emotions in their singing, and those emotions were a lot softer, a lot less certain.

And the fifth and final use of the motif is used in the bgm when Sebek yells at Silver for him to get a grip (7-86). The song is arranged into a victorious piece with certainty and assurance. The use of the motif reminds us of the themes: love and legacy. It calls attention to these themes and entrenchs the truth that Silver IS Lilia’s legacy, and that’s only possible because of the love that Lilia has given him. The exact part where the bgm starts playing was when Silver said "Even in the darkness, I could always hear it. 'Stand up' 'Don't give in' 'Live'... it's father's voice. [...] All that he taught me, that's the proof that he had loved me. It's not a dream and not an illusion... it's true love." (I'm serious he really said "true love" for real this IS a translation T^T). When Silver saw Lilia's memories of the song, he denied the love, he said he should not deserve it. The motif had to come back because this is the moment when Silver can finally realize “Ah. This song is full of love and father sang it for me.” The motif HAD to come back because Silver has to come to accept it.

But the bgm arrangement is also made for Sebek. The bgm is full of certainty because Sebek has no doubts in what he’s telling Silver. Sebek, who has grown up alongside Silver, has witness all the love between Lilia and Silver. He KNOWS Lilia’s love is true and he’s conveying that to Silver with certainty. This bgm summarises what Sebek was doing so well, Sebek sees the love Lilia has for Silver and was literally blasting it in Silver’s ears.

As Disney's Sleeping Beauty (1959) puts it, "true love conquers all". And we've been shown that there's love in every direction among our Diasomnia found family. Let's hope that, soon enough, Silver and Sebek would wake Lilia up, and they can finally show Malleus the true meaning of his mother's lullaby and the wish she entrusted to it — that he would walk towards the light, even if she cannot be the one guiding him...

#twisted wonderland #twst #twst spoilers #twisted wonderland spoilers #twst ch 7 spoilers #twst chapter 7 #lilia vanrouge #silver #twst silver #sebek zigvolt #malleus draconia #mallenoa draconia #meleanor draconia #twst book 7 #twst translation #twst analysis #diasomnia

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wowevenmoreloveonearth · 4 months

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You know what? I have become a gaylor sympathiser

This is going to be a long post, sorry! Please read the full post before even thinking about commenting.

Over the past few days I’ve seen a few posts on my dash about taylor swift and her fans that have left a bad taste in my mouth.

I know that a lot of people think that some fans of her are “trying to make her gay” and I just wanted to put the record straight and defend some people after actually looking at what’s going on. And I know I’m probably opening myself up for tumblr’s poor reading comprehension but before I start I’m going to say this:

I do not think taylor swift is a lesbian

Ok? Now let’s have a conversation.

First of all from what I’ve seen most of the fans who talk about Taylor swift and queerness do it from a point of literary analysis and learning queer history. This is a huge part of the community and lots of people have said that they never would have learnt so much about queer history without reading taylor swift’s works through a queer lens.

Adding on to that point, it seems a little hypocritical for the gay site which loves queer readings of books, tv shows, songs, musicals, films etc to be bullying a pretty small group of people who are mainly doing queer readings of lyrics. Especially when those people get near constant death threats. Instead of bullying these people (who don’t think or do what you think they think and do) why don’t you go outside and think “does this affect me? No. Do I agree with them? No. Am I going to cyber bully them because of this? No.”

Secondly, for the people who believe that any speculation on a real persons sexuality is 100% wrong. I used to think this too but I have changed my mind a bit about this recently after stopping and thinking about it properly. I’m not trying to change your mind at all I just want you to stop and think for a minute.

If you only get mad when speculation is queer in nature, then maybe think about that for a minute. Why is it totally wrong to think a person might be queer. We probably do it in our daily lives with people we know and they likely do it with us, back in the day that’s how queer people found each other-by speculating on sexuality. Would you be upset if you found out someone that you know thought you might be queer? I wouldn’t, maybe you would but if you would, why? Why is it terrible to think someone might be queer (this is NOT about hounding a person to admit to being queer like shawn mendes, this is just thinking in your head and on your small blog that the person will likely never see). Also this is literally the website where we talk about historical (real people) being gay even when they would have never said something to the equivalent.

An addition to this point before people start saying in the comments is that this is NOT the same situation as with kit connor. The issue there was people assuming that he was straight and taking that role away from a queer person. Speculating that he was queer was the opposite of what happened in that situation. So this is not an example of what happens when you speculate queerness.

Final things to say:

1) don’t believe every post you see with someone looking insane about taylor swift being gay, a lot of them are fake.

2) before anyone says “they should listen to real queer artists instead” most of them very much do. There’s a lot of fans of Hayley kiyoko, girl in red, Janelle monae, tegan and sara, zolita, kehlani etc.

3) there are some queer flags that are there. Sorry but there are. Hairpin drops, lavender, the ladder, flag colours, songs about women, friend of dorothy reference. Whether they are intentional is a different matter.

4) shipping real people is not what is happening for the majority of the people in the community. Also this comes back to queer vs straight again. Plenty of swifties ship taylor with men she’s been seen with and no one goes into their inboxes and sends death threats even when they are the ones making taylor swift all about the men she may or may not have dated.

5) taylor swift has never stated her sexuality. I know this may be hard to belive based off of how some people act, but it’s true. She has made vague statements which could have many meanings but she has never clearly stated anything. When gaylors get upset with taylor it is not because she said she is straight, it’s because they are getting death threats and doxxed and she seems to either be unaware of it (which is unlikely given how she seems to be a little terminally online) or she doesn’t care enough to tell her fans to stop.

6) if she does explicitly say she’s straight then there will probably be disappointment in her use of queer history and flags and her potential queer erasure (as we saw with lavender haze, with straight women describing their relationships as lavender) and centring herself in queer spaces (like the you need to calm down music video) but no one will be angry that she’s not gay. And a lot will probably be grateful that she actually explicitly stated for the record to absolve any confusion. The main issue would likely be other fans ramping up the death threats and bullying.

In conclusion: these people who do queer analysis of Taylor’s work are not trying to out her or make her gay etc. if you don’t understand it that’s fine it’s clearly not for you and you can go quite easily without seeing any of it. It’s not illegal to read works through a queer lens and if it means more people know about queer history then I think that’s a very good thing.

I changed my mind after looking at what a lot of people are actually saying rather than what people perceive them to be saying and maybe you will too?

Just be kinder to people online please and if you don’t like what people are saying block them and do not engage!

#taylor swift #long post #gaylor #gaylor swift #friend of dorothea #friends of dorothea #lgbtqia

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illululusion · 7 months

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I have not been normal about nerdy prudes must die since it came out so it seems its time for me to write my analysis of 'the summoning'.

I will put a cut down here because holy shit i did not think i was this normal about them this is long. also spoilers for nerdy prudes must die!

Now the summoning is what I would consider the climax of the show.* The scene answers the big questions of the show. Not by just stating the answer like the mayor does, it shows us. it also shows us the oh so beloved oh moment of Steph knowing she loves Peter.

The scene also uses some form of chekov's gun multiple times.

We've been told that the school was built at what used to be a black altar. this scene shows what such a black altar allows someone to do. especially in combination with the book.

A literal chekov's gun, the gun Grace stole and then Steph got is heavily implied to be used. (finally)

As i've stated before the love situation. We knew Steph and Peter had something going for them but this only confirms it.

THE PHONE! Steph thinks her phone is the thing she cherishes most, which is not a big stretch, we've seen her be willing to suffer injury to protect her phone. (a lovely little detail)

they setup Grace using the book against dirty dudes.

I may be missing something whoops but yeah,

now the scène itself has a lovely buildup. First the three are in very low energy summoning the lords in black. The frightened energy is just seeping out of them, you know this is their last resort. Then the lords in black appear, from a pure darkness, with a high energy slightly discordant song (the piano and the guitar clash a slight bit). This stands in contrast with the slow piano music under the teens throughout the scene. Within this song the lords in black seem unsurprised by the situation, they seem elated even. They also clearly state they are not forces of good at most they can be considered gray ("us spawn of the Black and White") however the other pieces of lyrics are very much against that assumption.

Let's look at some of the dialogue a bit more closely why not? I wont be looking at all of the dialogue because thats a bit too insane even for me.

"Out of the depths of Hell and back" Us spawn of the Black and White" "Cover our souls with robes of black" "And take up the arms of night"

This seems to me even like they chose to be in the black, they are from hell they're from the night.

"Nibbleline wants his sacrifice And Wiggly wants his wrath We dance around the pentagram And take all our kingdoms back"

The previous shows intent: sacrifice, wrath, getting what they deserve.

"You summon us once you summon us twice, You gamble it on a roll of the dice"

Now this is what predicts Grace's dirty dudes must die. it also seems to imply that Steph's father among others used the book foolishly, the chance of victory seemed to outweigh the risks.

"The devil has won it can't be undone The book has all but closed on your life"

Shows that the lords know the teens are in no position to bargain. They know theyre above them.

Wiggly: Don't be so formal, Stephie. We're all paly-wals here. I mean, look at us. We even hold court in your own tongue and form. Go Nighthawks! (Lords in Black laughing) Pokey: Our true forms would melt your minds. WIggly: Don't frighten them, Pokey, you nasty boy.

This is what we'll see more in this scene wiggly is the medium between the will of the lords in black and the teens. An interesting detail. This also seems to be Wiggly trying to make the teens be less guarded. THeyre showing some sort of "goodwill", like "hey we could easily kill you but we're throwing you a rock let's see what can happen.". Additionally, this also shows them being more powerful than the teens again.

"The Lords in Black will help you yes You stupid silly girl Why help you with the Jagerman When we can help the world!"

Once again a show of power, why even ask for help they're already there just show them what you can give them. They have got all the time for anything, theyre more powerfull than just stopping that jagerman.

"Steph: What about a bargain? We'll give you whatever you want. Just get rid of Jagerman!"

A show that the teens have no other choice. THe fact they have heard the lords in black say theyre from hell doesn't matter anymore. They're at a low point.

"Whatever we want we want we want Whatever we want we get Whatever you want you want you want Forever in our debt"

no other way to say this other than: "you fucked up kids"

Wiggly: "Oh, you'll hardly miss it. We just want what you cherish most."

hmmm understatements are fun. I love these paradoxical statements.

Wiggly: One of you must give up the thing you treasure above all else. Pokey: Do it, or die!

Once again a lovely power statement, though that's not what I found interesting. The interesting part about this is that they only ask for ONE of them fo give up what they cherish most. They could ask for way more, they've made that clear. So why ask for only one thing?

"We don't give a shit about your phone"

This is the one moment I feel like the lords in black loose their composure. My hypothesis? they don't like people lying to themselves when something is very clear.

"The Lords in Black the Lords in Black call us"

The chorus sing the lords in black call us, WHO ARE THE CHORUS I NEED TO KNOW.

"Out of the depths of hell and back Us spawn of the black and white Cover our souls with robes of black And take up the arms of night You summon us once you summon us twice You gamble it on a roll of the dice La la la la la la la la la la The devil has won it can't be undone The book has all but closed on your life"

JUSt one thing: A lovely circular closure to the scene.

OKAY thats the dialogue wooooo (theres more to be said about it probably but also I just My brain want to get to the next part.)

Okay Okay okay okay now for the fun part!

The lovely staging and costume and its so wonderfull.

So in the above image we can see the lords in black as well as the teens. As i've stated before the lords in black like to make a show in power and the dynamics are very much powerless vs. allpowerfull.

Now what the positioning on the stage does is show this contrast as well. The lords in black are all over the stage standing, moving, dancing. High energy high standing. This while the teens are sitting on the floor, all together, they're as small as they can be in this setting. This shows how little power they have at this point.

The lighting as well as the costumes adds a lot as well:

See the teens here? no special lighting aside from the effects of the lords. This is in incredible contrast with the lords. colourful and bright. This is similarly the case with their costumes, the teens all have quite plain clothes, nothing special for a costume definitely, we do have the more unique clothing to define each character** but that falls away once you look at the lords:

Wiggly: bright green light (so much fun green isnt used in stage lighting often i am in love), Green clothing, a suit with glossy pants a crown and of course the wiggly doll in the back.

Nibbly: SO PINk, but also fleshy pink somehow. the lighting isnt as obvious but it is still pink. here the sparkes return. The giant lolly. just the giant lolly.

Blinky: Interesting choice to have the face as obscured as it is. once again i cant say the lighting is very obvious but it is there. The purple orange colour contrast makes them stand out. when in comparison to the others his costume isnt as showy.

Tinky: HOLY SHIT THE EYESHADOW. which isnt visible because.... yes the lighting! yellow lighting! the outfit isn't as sparkly but because it is the brightest outfit of them all I doubt that would have been neccesary. It keeps the balance. I am also Biassed I love this getup.

Pokey: once again: LIGHTING! blue! but also, Pokey I feel is the least obvious lord in black in the scene, the positioning on the side of the stage across from Tinky the yellow and blue contrast how fun. especially as Wiggly (green) is in the middle. just so good.

I just wanted to add some more because look at how wiggly is so much higher in this scene, he needs to look down on the teens, but doesn't do that often, not even bothered to look at them wow. Also quick note wiggly seems the most bothered by the summoning, wonder why.

And whenever all of the lords are singing with their discordant choreography, the lighting goes all disco and far brighter. A great detail to show they're individuals but are similar. see how the light is not green here? yeah that happens whenever all of the lords are speaking.

All in all I think Nerdy prudes must die is now in my top three favourite starkid shows. and I will be using the lords in black as inspiration in the play I'm in currently as well because this is exactly the type of thing we were looking for. and also I am not going to be able to think about anything but this show for ages.

I highly encourage anyone to give their opinions or whatever they noticed because I need it I would love to hear them. GO NIGHTHAWKS!

1* Now this comes at a relatively late time in the (already very long) show. At the 2 hour point we've been following our dear cast for around 4/5ths of the show. Now keep in mind this is doesn't matter much, but I think it's interesting that they chose to have the climax at this point. The play being as long as it is means they had to have been very confident in their ability to keep the viewers attention and especially with the slow buildup.

2** OH MY GOODNESS I JUST REALISED HOW WELL STEPH AND PETER's PALLETTES WORK TOGETHER. like theyre both earth tones. the green and brown fit together so well, and then you also have the patterns, different but still similar enough to not clash.

#nerdy prudes must die #npmd spoilers #npmd #starkid #team starkid #lords in black #hatchetverse #nerdy prudes spoilers #nerdy prudes must die spoilers #starkid npmd #ANyways hoped people enjoyed this haha :)

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bettyshoweduptotheparty · 6 months

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1989 - The story of two muses

Back to my first and forever love – Lyric analysis!

1989 is very close to my heart, and I have always found it noticeable that this album has quite a contrast between love songs about a very up and down/anxiety filled relationship on one hand, and the very raw and heartfelt romance as portrayed in ‘This Love’ and YAIL on the other.

And the 5 new vault songs we have on Taylor’s version now have added quite a bit of detail to the picture that emerges and I’m more convinced than ever that there are two distinct relationships/muses being described and I fancied doing a deep dive into how each one is described in the music and how the themes connect to other songs. (And it may even explain the beach theme 😉)

Ok, so, I have actually sorted every song from 1989 that is about a romantic relationship, including the 5 new vault tracks, into this scheme (even though I found some really hard!)

Muse 1 – “The heartbreaker” This relationship is described as very up and down, very anxiety-driven, something you can’t walk away from like an addiction, “against your better knowledge but can’t help myself” kind of way. Taylor has described this person as ‘the one that might one day interrupt your wedding, because you’re never truly over’. Break up: ‘you left me’.

Muse 2 – “The one that came back” While this relationship is by no means described as perfect, it has a very different tone to it. It’s very much based in secure feelings, ‘us against the world’, any difficulty faced is worth it. Break up: ‘had to let it go’. And the person came back when it counted.

(Sorry about the pictures, I couldn't fit a table in any other way)

I am really impressed with how much just five new songs have furthered the story of these two relationships and I (personally) love how much this is filling in the blanks and makes everything make so much more sense. 'You can hear it in the silence' vs 'Now your silence has me screaming' almost killed me, honestly. She really found the love that needs no words. 🥰 And the direct contrast of the metaphors, one relationship as an addiction with very high highs and very low lows, and the other as the calm waves on the shore that continually come in and out with the tide, is just so masterfully done, I love it. And I think given the beach theme of the 1989 TV covers, we can guess which of the muses is being honoured in this re-branding.

Lyrical connections to later albums

Perhaps not surprisingly, these two muses and their lyrical themes show up again in Taylor’s music in later albums. The connection I’ve already seen a lot of people make is the playing cards reference from Say Don’t Go (‘I’m trying to see the cards that you won’t show’) linking to Cornelia Street (‘back when we were card sharks, playing games’). And I love how this tells the story of someone whose previous relationship impacts how they react in a new relationship. Because the person in Say Don’t Go really did lead her on and played her and then left, whereas the Cornelia Street muse didn’t but Taylor thought as much based on her previous experience (‘I THOUGHT you were leading me on…but then you called, showed your hand…’).

Another parallel to Lover songs is the ‘light in the dark’ theme that starts in This Love with “lantern burning/ flickered in my mind for only you”, which feels very similar to “chandelier still flickering here” from Death by A Thousand Cuts. This relationship/lover is the light that perseveres in the dark, even if it’s just flickering, it never goes out. It lights up the darkness (‘glowing in the dark’), whereas the other relationship is a “shot in the darkest dark”. We obviously get a whole lot more songs in later albums that reference love as light in the darkness, most prominently in Daylight, the Lover album closer. But more subtly, I also think that “Takin’ your time in the tangerine neon light” from Slut, and “hang your head low in the glow of the vending machine” from Cruel Summer follow that same pattern. Something that illuminates the darkness. And just btw, Slut and Cruel Summer give me a very similar vibe in terms of different takes on the same situation…anyone else get that? But one last, maybe more subjective, connection is the line “I’ll pay the price, you won’t”. Which everyone immediately took as a comment on double standards between men and women, but I think it could also be interpreted to mean ‘I’ll happily pay the price and take the hit, so you don’t have to’, if you interpret the song to be about dating a man in public to keep a female partner out of the public eye. With that in mind, the line becomes very reminiscent of ‘I can never give you peace’ from folklore, both expressing that Taylor wants to shield her lover from the media scrutiny that comes with dating her.

Suburban Legends alone has so many links to later songs that I had to give it its own paragraph. The chorus ‘I didn’t come here to make friends’ is so ‘I don’t want you like a best friend’ coded, and ‘We were born to be suburban legends’ gives me big reputation/big conversation vibes. Other people have already pointed out that ‘flushed with the currency of cool’ draws links to Gold Rush and Gorgeous (‘You’re so cool it makes me hate you so much’) and ‘so magnetic it’s almost obnoxious’ is very similar to ‘magnetic force of a man’ from Lover. All painting the picture of a person who is so cool and alluring that they feel almost unattainable. The whole premise of the song being that the narrator didn’t come to make friends, but instead is on a mission to get what they want, feels very Mastermind to me. The background music over the outro confirms that, as it’s the same production as Mastermind (I call it ‘game show music’ 😊) and the lyrics saying that the muse now doesn’t knock anymore, suggests to me that maybe the masterplan has worked. Lastly, the conclusion of the song being ‘my life is ruined/I always knew it’ is a different way of saying I’ll happily ruin myself for you, as in ‘for you I’d ruin myself a million little times’ from Illicit Affairs.

We don’t get nearly as many references to the first muse’s themes in later music, but ‘fell from the pedestal, right down the rabbit hole” from Long Story Short is a nice drawback to the wonderland theme. Bottom line though, ‘It was the wrong guy…’.

And there we have it, the story of the two muses of 1989. If anybody here is even remotely as excited by lyrical analysis as I am, this one is for you, and feel free to have a friendly chat in the comments if I’ve missed anything!

#lyric analysis #taylor swift 1989 #1989 taylor's version #the story of two muses #kaylor #swiftgron

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moonchild-in-blue · 3 months

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Hello! I'm sorry if this sounds weird, but, I'm new to the st community here (ran away from twt lol), and I'm wondering if there's any specific blogs that do specific things that I should catch onto? Like, blogs that do lyric analysis, lore chat, art etc?

I've been following you for a while, and I've been trying to interact with blogs that come up a lot, but admittedly I'm a bit lost lmao

Again, sorry if this is a weird ask, and doubly sorry if this is something you've already been asked before!

Hello anon!! Don't worry about the questions, I'm always happy to help, even if I have answered before!

We don't really have "specific blogs" around here as per se. There's @sleepanonymous who's the resident Librarian/Archivist/Knowledge Keeper, and then there are some blogs that do exclusively fanart and fanfiction.

Otherwise we're all a mix of everything. Most of us do a mix of lore theories / analysis / fanart / shitpost. Since the band itself doesn't have an "actual" set lore, you'll find a lot of different takes for the same songs / themes. I think we all have our own takes on the storyline, so it's really nice to read everyone's different opinions. Please feel free to join the conversation!

I have a tag specifically for ST lore on my pinned post, if you want to take a look at that!

@melit0n @undekaying @foundationsofdecay @lovingache @hookedhobbies @fivewholeminutes @thevenomousseprent are some lovely lovely people that do/have done lore / lyric analysis (and myself lol).

@leonsleftbicep @ghxstly-death do frequent headcanons if that's more your speed (and fantastic fanart as well). Not gonna be tagging all the ST artists cus I'd never shut up - everyone is so talented lmao.

Other general ST "heavy" blogs that you should follow (aka the people i interact with the most and can atest to how wonderful they are) - @murderofcrow @a-s-levynn @thejawsoffate @polteergeistt @eepymonstrr @takemetoasgard @sleeby-vessel @vesselsscarlet @tonguetyd @lifemod17 @littlequeenofthemangoes @channelsoph @foxgloveinspace and I know I'm forgetting a lot of blogs oof

If you browse through the main tags, and the lore tags, you'll find a lot more people and content to interact with! I know I'm forgetting a million different lovely individuals lmao, I'M SORRY GUYS. So if you see this, say hi and share your stuff!!

#my inbox and dms are open in case you need anything or whatever!#pls don't be afraid to reach out - everyone is super lovely here #i hope this helps!!!#darya answers #anon ask #sleep token

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thegirlwhorideslikeasamurai · 4 months

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When did Viktor choreograph Stammi Vicino and did he commission the music?

There are some controversies regarding Viktor's free programme and I took the time to look at them in greater detail and pin them down to the likeliest explanation. (some of the things discussed in this post I've mentioned in a discussion I was involved in recently. The rest of this post builds on that.)

Disclaimer: Please note that this is an analysis of the source material. Popular headcanons that have no basis in canon cannot be part of this discussion. This is getting a bit academic. Please bear with me.

1. Did Viktor commission the music for Stammi Vicino?

In an interview, Mitsurou Kubo called the aria a piece of music that exists in the world of YOI, but when we subject the hints in the anime to a close examination, they contradict her statement, making you wonder which is true.

I mean, there’s this (sorry for the crappy screenshot)

Technically, the YOI creators might just have used footage of this programme because there was no time to animate Viktor skating an entirely different routine, but due to the tight time constraints of 12 episodes that forced the creators to condense the plot to 50% of its initial size, every scene and every image demanded to be filled with meaning. Speaking of time constraints, they could have used a series of pictures that show adult Viktor in different costumes (like those that had been drawn for Yuuri's room), but they didn't do that either, which rules out technical reasons for this choice.

But there’s more.

From a storytelling perspective, it makes no sense to combine these lines with a short scene of Viktor skating Stammi Vicino if it doesn’t apply to this programme. It’s bad storytelling, period. As Viktor’s fan, Yuuri knows which songs Viktor commissioned because skaters love to talk about these things in interviews. Being a skater himself, Yuuri is knowledgeable in all kinds of music genres even if he lets his coach pick the songs for him. Skaters just happen to be exposed to a lot of music.

This scene makes it seem as if Viktor has been commissioning music for his programmes for several seasons at least. While this doesn’t rule out the possibility that he occasionally picked a song that already exists for whichever reason, Stammi Vicino applies to Viktor’s situation at the beginning of the show so neatly that the lyrics must have been tailored to him. The commentator’s words while Viktor is skating his FS furthermore suggest that this programme shows a new and personal side of him. Of course, that could also work for a song that already exists, but how likely is it that such a song 100% matches the vision of a perfectionist? That a genius like Viktor would just roll with that is debatable at least. He’d rather think “Okay, that’s nice. But this verse and that verse don’t match my idea at all. I think I'll call my composer and ask them to write a song for me.”

Stammi Vicino holds unambiguous references to Plato’s Symposium, which the YOI creators have mentioned repeatedly. And while this is neither an argument for or against the song already existing before Viktor even thought about a free programme for the season in question, it seems too coincidental from a storytelling perspective.

To me, all this points to Viktor commissioning Stammi Vicino because taken all facts together, it’s what makes the most sense.

Side note: It’s not entirely uncommon for storytellers to contradict their creation. Sometimes, you forget details, remember them wrong, or didn’t think them through. Or your views simply change. In the case of YOI, we have to factor in the possibility that certain details had to be de-homoed due to protests from parts of the Japanese fandom. The rings that were removed from many official arts that were released during the first year after the show had aired are such an example. In addition, interviews are often heavily edited.

2. When did Viktor choreograph Stammi Vicino?

The first time we see Viktor wearing the Stammi Vicino costume, is right at the beginning of episode 1 at the GPF. While there is no rule against wearing the same costume for different programmes and costumes are expensive, you usually don’t see this in real figure skating. Some figure skaters even get a new costume for the same programme mid-season because matches the purpose better.

The music, the composition and choreography, and costume build the concept of a figure skating programme. The more perfectionist a skater is (and many top skaters actually are), the more specific you can bet they are about the concept. Viktor is a perfectionist who has full authority over his programmes and he can afford having several costumes per programme. Wearing the same costume for several programmes is a breach with his characterisation.

Let’s assume for one moment that Viktor did indeed create Stammi Vicino because of his encounter with Yuuri at the GPF in Sochi. Why would the creators have been so sloppy and put him into the same costume which he wears at Worlds when they even designed costumes the other two GPF winners JJ and Chris?

Does he wear the same costume because he met Yuuri there? Well, Yuuri approached him at the banquet at the end of the competition and only because he was drunk. Before, Yuuri was to awkward to even talk to Viktor and was, in all likelihood, too busy not freaking out, dealing with having bombed his performance, and Vicchan's death. To reflect Viktor's first actual meeting with Yuuri in a programme, thus choosing a costume that resembles the suit he wore that night would make way more sense.

Some skaters change their programme mid-season. Some switch back to an old programme, other skaters create an entirely new programme. Again, a skater like Viktor could afford this and is skilled enough to bend a new routine to his vision in time for the big competitions. (For reference: Russian Nationals are two weeks after the GPF, which leaves a skater competing in both events one week in between. That’s just enough to pitch the idea to his composer and commission a costume.)

Once Nationals are over and done, Viktor could start working on the new programme and show it at Europeans for the first time. That would leave him about one month to bring it to a level that will win him this competition. Yuuri would now have about two months to create a perfect copy. As he his busy graduating and preparing his move back to Japan, it’s debatable whether this is enough time. That’s the only reasonable timeline for such a scenario. However, since Viktor wore the costume before the banquet, this doesn’t seem likely and the show gives us no clear-cut clue why that could be and I’m loath to speculate wildly.

BUT: Viktor can't have created this programme after Sochi because Yuuri explains to Yuuko that he started practising the programme when the competitions ended [for him, the season itself is not yet over]. For Yuuri, the season ended at Japanese Nationals, which happen to be at the same weekend as Russian Nationals.

Long story short: Everything points to Viktor having created Stammi Vicino at the beginning of the season in which he wins his fifth GPF and world title, respectively. And there’s a beauty in this choice because it gives Viktor an agenda beyond his love interest. Well-crafted characters exist outside of their interactions and relationships with the other characters. Giving them things that belong to them alone adds more depth to their personality and turn them into individuals. Viktor had a life before Yuuri and this life was lonely and his (secret) longing for love was an inherent part of it (I’m preparing a follow-up post that examines the lyrics more closely, so forgive me for not going into the details here).

Especially in a show that is limited to 12 episodes and in which every image is filled with meaning, including details that hint at the characters’ past are beyond precious.

Thanks for reading! <3

If you enjoy my meta, please consider checking out my works on AO3 (link in bio)! My YOI canon works all include my meta musings.

#yuri on ice #yuri on ice meta #yoi #yoi meta #my yoi meta #viktor nikiforov #katsuki yuuri #figure skating #anime #stammi vicino

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melit0n · 3 months

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Hands down, Give is one of Sleep Token's yearn-iest songs. Ever. It's not on par with TLYW, Jaws etc. (because that's a whole different layer of Sleep Token's yearning onion), but it's got a kick to it.

When I say that song is the epitome of desperate, I mean it.

Without thinking about it too much, the first time I listened to it my first thoughts were 'ah, okay, wanting to give all for your lover and be able to trust them, got it', but then I thought about it a bit more.

Like with all Sleep Token songs, it has a bit of an eerie undertone, which borders on slightly obsessive, depending on who you're talking to, with the lyrics. We have "I picture you when you are all alone", "I am the shadow, you're a passenger", "I'll be the limit of your light again" and, of course, "give me all that you can give" with "and if you want to give me anything, then give (give in again)".

Vessel is describing himself as literal darkness; he's a shadow in the gloom and whoever this is is a star glowing in the darkness. A light he aims to dampen because he wants a taste of that light. A taste of them.

However, it's this desperation for attention that gets me. "Give me all that you can give" is an easy example; he's desperately giving all he can possibly give in hopes of getting the same, or more, back. It's repeated over and over, half begging half demanding with soft dulcet tones and promises that he'll be watching for their enemies, to let them know that they contend with him etc.

Give becomes this two-faced thing of someone giving with all their might to someone who is afraid to trust, bringing up empathy from us, and someone who will not accept anything except everything. It's this sexually charged fight between who is a victim (or if there really is one here) and who is the abuser.

Further, to "give in" is to 'cease fighting or arguing; admitting defeat.' It's something primal and angry hidden under, or rather, mixed with passion, and it's incredibly well hidden.

#I know there is a bit of a divide between people who say it's just a passionate love song between someone who gives their all and is ->#only asking for the same back #Vs people who have the same ideas as me #so this is just my opinion!#would love to see anybody's additions or arguments for the other side though!#it does quite admittedly have me giggling and kicking my feet #'I will be watching for your enemies to let them know that they contend with me' had (still does tbh) me hook line and SINKER #and don't get me started on how he growls 'fibre from' in 'I'll tear the fibre from the filament'#it's this possessiveness and annoyance that's immediately hidden under 'I just wanna taste you better'#it's all these hidden little things that when you think twice about it it clicks #as per usual shout-out to Vessel for doing whatever the fuck he does with lyrics because I eat it up every time #give #give (song)#sleep token #st #sleep token analysis #sundowning #sundowning (album)#lyric analysis #mel's rambles

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itshermocrates · 1 month

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POISON- Ep. 4 Analysis

I have no idea if someone has already done something like this but these two unfortunate souls have been in my mind since I watched the show TWO WEEKS AGO. So I'm gonna share with you this personal analysis of what we saw during the Poison scene in Ep. 4 of Hazbin Hotel.

Again, I don’t know if anyone has already talked about this (I’m not very active on tumblr), but I think that what we see as Angel sings Poison is made not only to tell us how the relationship Angel has with Valentino is but ALSO how it came to be thanks to everything that's happening on screen while he's singing.

Of course the lyrics are also important so I’ll make some reference to those as well, but I’ll focus mainly on what we see. Since I can only add 30 pics in this post this will be a bit difficult but I will try my best.

SOME CONTENT WARNINGS! I'm not sure if this is even necessary but anyways,,, Pychological abuse, abuse, violence, domestic violence, drugs, addiction, sex work, dubius consent, sexual violence, abusive relationship, unhealthy power dynamics, angst, suicidal ideas (hinted), etc.

Now, without further ado, let's begin!

Before the song, Valentino and Angel have a fight in his dressing room. I want to start here because during that fight Angel gets a black eye and we get to see how the walls of his room are filled, not only by security cameras, but also by a lot of eyes that follow Angel wherever he goes inside the room. We will see more of these eyes soon enough.

After that fight Angel sends Charlie back home and we see a bit more of what we could expect from Valentino with his manipulation tactics. The sweet tone and the praise as he embraces Angel from behind, too close and too intimate considering he will be soon forcing him to go back to work.

These are the tricks every abuser uses to manipulate and control the people around them, and it’s what Valentino uses all the time with Angel.

This is the behavior of an abusive boyfriend, a dynamic they have in the present, but once Poison starts, we are presented with their backstory. Now we will get to see how that dynamic is even possible, how these two ended up together and how their relationship started and evolved.

Valentino sits next to the movie director and everyone starts moving to prepare the scene they are about to film. He is the one in control here, the one calling for action again and deciding who does what and when. And just like that we see how Angel's black eye is concealed by makeup, erasing the marks of what had just happened and metaphorically erasing the violence of the relationship he is in now.

Angel closes his eyes in displeasure, focusing on what Valentino wants from him. When he opens his eyes again, his expression is completely different, this Angel without bruises, is not only a version of him from minutes ago, before the fight with Val, or even prior to the abuse… This is the Angel before Valentino.

He walks backwards, as if he was going back in time, moving easily with the playful shamelessness that characterized him back then. When he sings “I’m not above a love to cash in” he was most likely referring to his past as a sex worker or at least, as someone who didn’t mind to sell his affections to get what he needed/wanted. During this time, he would most likely go clubbing every night, since it offered a good way to earn easy money while he had a great time, partying, drinking, consuming…

Angel probably was the type of person who used those who desired him to get whatever he wanted, a game he knew how to play. Even if it could get risky or inconvenient, he was a free soul, he was still in control of what he did or didn't do with all those people, so at the end of the day, he always won. That’s what he believes as he playfully lays back on the setting’s bed again.

That had always been true after all, or at least it was until he came across someone that beated him at his own game. Someone who would take that freedom and control over his own body away from him.

His expression changes again to one of terror when a shadow looms over his body from outside the frame. That’s the silhouette of the men he was previously filming with, but we can also imagine that this figure suddenly changing the way he moves, reacts and feels, was meant to represent Valentino.

After the other actors surround him, and the scene fades to black, we are shown what could have been Angel's previous workplace. A stripclub where he danced for money and probably engaged in sex work in a somewhat safe and controlled environment. Back then he had become popular enough to be "the star" of his own show, and a performer good enough to get a reputation that would eventually reach the ears of one of the most powerful overlords in that district.

Valentino discovered him maybe by chance, or maybe not. Maybe he had heard of Angel Dust and wanted to see for himself if this dancer was as good and pretty as all those people said. And after watching him perform Valentino was the furthest from disappointed, he had enjoyed the show so much that he decided to take a closer look at this Angel Dust’s skills.

He approaches him, maybe as a client, or maybe just as a guy interested in what he had to offer, and although Angel doesn't trust him at first, he ends up entering his game.

He was just another man who wanted to fuck him, one that had enough money to spoil him all he had ever wanted and more. It was quite the opportunity for someone as low in the food chain as him, and Angel had already played with rich men like Valentino before, he knew what he was doing.

So Angel took the bait, and had sex with Valentino. Probably a blowjob in that same club he danced at that served as a test for Valentino.

Now we have a scene with two Valentinos, one that is about to get head from Angel with a video camera on his hand, and another Val standing behind the cameras and lights of what we now know to be another movie set. The first Val we saw, extending his hand before Angel when he finished his performance, was the Val of his past, the one he sucked off the night they met. That was someone Angel thought to be somewhat honest, or, at the very least a man he heavily underestimated.

It's the playful man that winks seductively at him in the set from afar with those red hot eyes he fell for, the same that quickly turns into a different guy with similar clothes (red jacket and white fur) now recording him on set. Someone who quickly became a stranger to Angel, just as he is for us, since we can’t even see his face.

The second Val it's the real one, the one standing next to the movie director watching everything with calculating eyes and a dangerous smile. That's the man who told Angel all those red hot lies he believed to be true, and the one judging with this first meeting if the spider was a worthy investment or not.

Angel proves to be good enough. Valentino likes him, and after that night he starts to actively pursue Angel but he didn’t do that as a simple client. He can tell Angel isn't a common whore, he has talent, charisma and he's been playing this game for long enough to know all the tricks. One can only become so successful in this world knowing how to play their cards well.

It’s obvious then what he has to do to turn Angel into his next movie star. Valentino needs to make him fall in love with him and make him believe that Valentino can love him just as much. This is exactly what he is going to do.

On screen we see how Valentino's sex pollen (he's a moth guys, it has to be sex pollen) starts to fill the scene, and as it expands it engulfs Angel, making us know just how captivated, how absorbed he will end up being.

Note: I know there’s a theory that says that Valentino’s power comes from his saliva or something like that and I haven’t read it or anything, but I do believe the smoke/fog that surrounds him has the same effect as the “sex pollen” trope. Or at least it’s similar.

The red fog expands all over the frame, emphasizing Valentino’s overpowering skills and charisma. When it clears, we see Angel in a different place while he sings the second line of the lyrics “What’s the worst part of this hell, I can only blame myself”.

His expression is one of pure anguish and regret, and he’s saying this while standing in front of Valentino in his apartment. He's talking about how naive he was for believing all of Valentino's lies, to truly believe that what he felt for Angel was love. He blames himself for buying this love story and falling for him so hard it made him very easy to manipulate. He regrets not having seen it before it was too late.

Because when Valentino’s back appears at the left corner of the frame, with an extended hand and smoke-made chains, it’s Angel the one who finally cuts the distance and accepts the chains Val is offering him.

Angel was too blinded by Valentino’s courting, by his sweet words and lovely gestures, but also by the constant push and pull of their dynamic, the flirting, the teases, the seduction. He loved the attention and he loved the sense of control, of power, he could feel when he was with Valentino, an overlord no less, a demon so rich and powerful he could have anyone he could have ever wanted. But Val had chosen him, him of all people.

This brief initial moment represents the regret he feels when he remembers how it all started, when Angel thinks about the beginning of their relationship, a time when everything seemed fine and their sexual chemistry made him lose all sense of reason. Because with Val everything ended up leading him to his bed.

After this short display of regret, we are presented a sequence made to represent the fantasy Angel indulged himself in, an illusion tinted in pink colors and fun costumes. This is the story Valentino had carefully created for him to make him fall in love with him, a story that made the spider feel so good when he was by his side, he could easily excuse any warning sign in his sight.

Because Angel would obviously want to be with Valentino when all he knew about him was his lover persona, a facade that portrayed him as a passionate lover and playful partner, his (soon to be) poison.

They had fun and even when Valentino showed little fragments of his true intentions and personality, Angel was too blinded to notice that he was starting to lose the very game he had considered himself a master of. Valentino and the relationship Angel had with him was addictive, so it didn't matter what happened, Angel always came back. You can think of this as the result of Valentino’s sex pollen, his charisma or a combination of both, depending on what flavor of angst is your favorite.

What we can know for sure, is that they were both performers in their own ways, both players in the game of love, so Angel could have excused and normalized a lot of things he shouldn't have. Knowing their line of work, of course that they could get a bit too intense every now and then, of course things could get a bit out of hand between them, they were just sooo dramatic.

It was that rollercoaster of emotions, the raw intensity of it all what ended up hooking Angel so much. The playfulness that could get a bit dangerous really fast, even if the Valentino he thought he knew would never really hurt him. Right?

A few little details I like about this sequence are the way we get to see Valentino’s home in the background and how the colors of his clothes and body are darker than usual but still lighter in comparison to what we will see in the following scenes, indicating how this was still the “nice” version of Valentino.

In the same way, Angel is playing with the chains bounding his wrists together, not his neck (yet), telling us that he’s playing with fire, quite literally dancing with the idea of being owned by Val, but he is still a free soul. In this moment he was falling hard and quick for Valentino’s lies, but he wasn’t his captive yet.

He’s having fun while being manhandled by Valentino, both physically and emotionally, but he still thinks of it as a game, another part of their sex life and how they naturally work as a couple. It’s exciting, it’s new and Angel loves it.

Not knowing that the longer he stays the more power is giving Val over him. Valentino is starting to show his true colors, in these last frames we can see that his figure is getting darker as Angel is slowly discovering the manipulative side of Val, the controlling and abusive nature he had been hiding from the spider since the beginning.

The push and pull continues as we see their silhouettes dancing, even if in reality this is Valentino pulling from his side of the chain to keep Angel close, to keep him with him.

After the shadows sequence, we get back to the playfulness Angel had shown when he took the chains for himself and started to tease Valentino. Only that this time, Val’s colors are darker and his touch more possessive, more aggressive. He’s groping him and even choking him while Angel sings “I made my choice and every night I’m living like there’s no tomorrow” with a grin, showing us how this was still a game for him.

He made his choice staying with Val because he loved him and he thought he was loved in return, when the moth had been only toying with him from the moment they first saw each other. This is Angel’s greatest regret, the fact that he truly believed Val’s lies, that despite all the warning signs he kept choosing him over and over again.

Choosing to stay, to kneel before Val, to obey him with the promise of a new wave of pleasure, a new high. Just as Valentino wanted him to do as we can see the vicious smile he wears during this entire sequence.

I think the next couple of seconds tells us how, for a while, they were together and Angel was still able to keep his job at the club. He was still allowed to see his friends (his coworkers most likely) and spend time with them, while Valentino made sure to feed all his previous bad habits and addictions, giving him gifts (we know Fat Nuggets was a gift from Val), a lot of money he could spend on a whim and eventually, probably the substances to use as well.

The smile on his face, the smugness of it, makes me think he’s telling his friends about this rich guy that pampers him in every way and treats him like a prince. He has found the ultimate Sugar Daddy, a man that has changed his life forever in the best way possible. Now he can have whatever he wants, party for days without having to worry about not having enough money to eat at the end of the month or a place to stay.

Angel would have used drugs before, maybe occasionally, maybe only at parties, maybe to get the worst bits of his job done, maybe he was already a bit of an addict, but it’s now, when he has the means to consume every night that he definitely becomes one.

Valentino made sure of it.

During this time, Valentino would secure the control he had over Angel, weakening his mind and will by worsening his addiction problem while continuing convincing him of how much he loved him. The parties were incredible, the sex was amazing, and Angel felt on top of the world at every moment. He was “living like there’s no tomorrow” without realizing the higher he raised above the ground, the hardest would be his fall.

And maybe this is just me over analyzing a kinky moment, but after this, after Valentino bites Angel causing him a wince of pain and maybe even making him bleed, everything changes.

They are having sex, far from the flashing lights, they are together as Anthony and Val, as the real person who oftenly hides behind his stage persona. The person who is deeply in love with Valentino, who is vulnerable and allows his lover to hurt him however he wants because he trusts that the pleasure that follows will be worth it.

But after that bite, he’s no longer in bed with Val, he's in the same bed from the very beginning of this music video, surrounded by lights, disoriented and confused… As if he was expecting Valentino to be between his legs and not this stranger.

When he finally comes to his senses and sits, we hear for the first time the line “My story’s gonna end with me dead from your poison”. This was the beginning of the end of their honeymoon phase and the point of no return. Valentino had considered Angel weakened enough to take a step further, and a new part of him is finally uncovered when he carefully introduces Angel to the porn industry. He would do so (probably) while Angel was too intoxicated and definitely too blindly in love to know what he was doing.

Valentino becomes this overwhelming shadow that covers Angel’s body, a silhouette he can’t escape from, and when we are shown what Angel sees, we can no longer see the color of Valentino’s clothes. His colorful persona, his facade of playful lover it’s no longer in place, he has stopped pretending and acting as the good boyfriend the spider had always wanted. Now before Angel there’s only the demon that owns thousands of souls, a vicious drooling smile and sharp red eyes. An overlord to fear and be intimidated by.

The background is filled with filming equipment, and even if Valentino’s body language is meant to appear welcoming, Angel feels terrified. This is not the Valentino he knew, and now he is completely trapped. He can’t refuse now, this is a choice he is being forced to make even if his soul still technically belongs to him.

After being pressured, Angel becomes part of this industry, and although he doesn’t really like it, he still trusts Valentino enough to not run away. The overlord can be scary, but he still believes that he’s safe with him, that if Val is by his side nothing wrong could ever happen to him. And after all, he had done sex work before, right? What difference did it make to fuck strangers for money in front of a camera now?

He’s not comfortable, and every day that intimidating side of Valentino that wasn’t really there before grows darker, fiercer and scarier. Angel had seen the ugliness of Valentino before, as a man, as a possessive boyfriend, as a controlling partner, but never as the powerful demon he truly was. So he still obeys Val and features in a few movies of his choice.

We can see these doubts, Angel’s discomfort and even a bit of his trust in Valentino at the beginning of the next sequence, when they appear on the set of a different movie.

Angel was a performer, he had faked his own pleasure before, he could do it again now, and he could do it while earning way more money. He could do so, because he knew Valentino was there, guiding him, helping him, making sure his lover was safe. He always thought that Val was looking out for him, making sure he was getting the right roles in the right movies, the right contracts, and when he was nervous, Valentino was right by his side to comfort him.

But Valentino had never cared about Angel’s safety. And once Angel started to voice his doubts or show his discomfort, he made sure he couldn’t do it for much longer. The comfort Angel sought for was quickly replaced by something chemical, something that eased his nerves but also left him dazed and disoriented.

It was then that Valentino drugged him, tricked him and made him sign the contract that would leave him with only half a soul inside his chest.

Valentino had fed Angel’s addiction for a long time, adding to the mix not only the illusion of a love story, but also his own drug, his sex pollen, something that numbed the spider’s mind enough to go through all the things Valentino wanted him to do in front of the camera. Oftenly Angel was left too intoxicated to respond, too vulnerable and weak. In his last moments of lucidity he always could see Valentino, his lover, the man he thought would always take care of him, turning his back to him and leave him.

Valentino is the last thing he sees before everything fades to black around him, before he disappears. He’s no longer Anthony or Angel Dust, the stage persona, now the lines between those two different identities blurry beyond repair, and the person he becomes is a little more Angel Dust and a lot less Anthony.

I don’t think that it was just a coincidence that they used a BDSM scene to represent the moment Angel definitely lost control of his actions, his body and most likely also his soul. BDSM is all about power dynamics and the control that’s exchanged between consenting partners, only that, in this case, Angel didn’t really have a choice and there was no consent. This lack of control and safety is emphasized precisely by the type of session Angel is forced into.

He’s restrained in every way possible, he’s tied up, a blindfold covers his eyes and a gag is forced onto his mouth, one that would prevent him from closing it no matter how much he tried. He has no way to end the scene, no way to say a safeword, to complain or to stop what other people do with him or to him.

This is meant to represent the moment he signed the contract, and how he felt every time he entered the set of a new movie after he signed it. He stopped being his own person, he had disappeared, and what had been left of him was nothing but a sex toy for Valentino to control in each of his productions.

Now we see the Angel Dust that survived this state of numbness and dissociation, the one that has consumed Anthony just so he could keep himself alive.

While Angel Dust dances, seemingly enjoying the show, performing as he has always done, in the background screens we see what’s left of Anthony, of the boy feeling trapped and used with no single way out of it. This is accompanied by more fragments of that BDSM scene that changed it all, since that was a traumatic event that repeats itself in Angel’s mind every time Valentino forces him into a new role, a new movie, a new lie.

These frames show us not only the stress Angel is feeling, but also how Valentino is always there to exploit his body in the way he deems more profitable. We know this because he appears in between Angel’s anguish, but also because the same eyes that covered his dressing room walls are in the background while someone fucks Angel from behind.

While this happens we hear again “I made my choice”, a reminder of Angel’s regrets, shame and guilt. In addition the line “Every night I’m living like there’s no tomorrow” now has slightly changed, indicating the shift in Angel’s life and condition as no longer a free soul. What we hear now is “Every night I’m wasted like there’s no tomorrow”.

Where once he was happy, he’s now desperate, begging to get a way out.

We see a bit more of the playful performer, Angel Dust, and the pain of Anthony in the background before Valentino approaches him again like a great imposing figure, putting an end to his show.

The second Angel notices Valentino, distress becomes clear all over his face. He points to the left, outside of what we can see, and when he tries to escape, Valentino grabs him and pulls him closer.

He has finally come face to face with the real Valentino in all his twisted glory and he wants to run away. He knows now that what they had wasn’t love, it had never been, and it’s painful. But he’s afraid of Valentino, he can’t do anything to escape his contract and he now belongs to him (at least while they’re on set).

That last frame with Valentino embracing him, a vicious smile on his face in contrast with Angel’s terrified expression puts an end to their story, to the narration of how they came to be what they are now. After that, we are presented to the aftermath, the Angel that’s no longer intoxicated by his poison and can only dread the many past choices he would like to change.

He is now fully aware that there’s no way out of his hell, that for as long as he is alive he will be Valentino’s toy. He’s destroyed in every way, his mind is a mess too dependent on the drugs Valentino has been feeding him to properly think, and his body has stopped to feel as his own a long time ago.

How could he consider that pile of bones, fur and chemically loosen up muscles as his own? He’s disgusted, drowning in this feeling of helplessness.

And he’s even more grossed out when he notices the remains of Valentino’s poison, his drug, still lingering on his tongue. He’s so lost, he doesn’t even recognize himself. This is not where he was supposed to be, he shouldn’t be in Valentino’s apartment, he doesn’t want to be there anymore.

The substance that once had brought him so much joy, such a delicious bliss, now slips past his lips burning his skin like acid. The itch reminds him of the reason why he’s there, and he can only feel pain. The only cause for most of his problems had always been his addiction. To Val, the sex they had, his poison, the drugs he bought for him…

No matter how hard he tries to get used to this life he has with Val now, he simply can’t do it. It doesn’t matter how many movies he appears in, they are never enough, they will never be enough for the overlord. Because he’s nothing but a tool to make Valentino and the other Vs even richer and more powerful.

That’s Valentino’s business and what initially made him get close to Vox. They complimented each other and together they felt capable of ruling Hell like that was their birthright. A power Angel would never get to know firsthand, because for Valentino he was nothing but another whore to use, exploit and eventually discard.

Angel is sick of it, is tired of living a life he hates, a lonely life full of pain and abuse, all caused by the person he loved the most.

He has spent years trapped in the V Tower, watched by the countless cameras placed in every wall and every corner of his prison. Even when he’s not on set, controlled by Valentino and his team, he feels Vox lenses following all of his movements, and despite the luxury he lives in, every day he goes to sleep wishing to never wake up.

That's all, folks. I hope you liked it, or at least got as sad as I felt while analyzing this. Again this is all what I could understand from that segment of the episode I don't know if y'all already knew this but I did wanted to share it. If you liked this check my bird app account bc there is where I spend most of my online time or my Ao3 profile, although I post mostly Skfs content now <3

#hazbin hotel #hazbin angel dust #hazbin valentino #hazbin hotel theory #hazbin hotel analysis #hazbin hotel episode 4 #valangel #valentino x angel dust #hazbin spoilers #hazbin spoilers ep 4 #I could't remain crying on my own so I came to share #valentino's sex pollen is real #poison hazbin hotel

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mysisters-bike · 3 months

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Where did Dylan’s third-person speech come from?

bear with me, this thought occurred 15 mins ago on my drive to the grocery store lol. i let my spotify dj play on my drive and the song “the becoming” by nine inch nails was thrown into the mix. i wasn’t really paying attention until i heard these lyrics:

“the me that you know, he had some second thoughts

he’s covered with scabs

he is broken and sore

the me that you know

he doesn’t come around much

that part of me

isn’t here anymore”

i had to rewind it and listen again. then, it all made sense. dylan’s idolatry — of course! below is an excerpt from my case study on the topic of dylan’s idolatry for a bit more background information:

“The amount of Nine Inch Nails references [in Dylan’s journals] in staggering. It’s not unusual for teenagers to identify closely with some aspect of pop culture; who were Elvis’s biggest fans when he first came onto the scene? Teenage girls! The Beatles? Teenage girls! One Direction? Teenage girls! BTS? Teenage girls! It’s not new nor will it ever stop; teenagers love a pop icon to relate to.

Xie (2021) points out that adolescents blossoming into teenagedom are thrown into emotional unpheaval and, while attempting to establish their own independence, still require emotional validation and nourishment from others. This concept is often over-exaggerated with the common trope of the over-emotional teenager. Pfeifer and Berkman (2018) describe this idea as a caricature and an oversimplification of the adolescent mind.

How does this explain idolatry? Simply put, adolescents that experience positive acceptance and peer relationships have a negative correlation with unhealthy celebrity worship. They feel connected to their peers and do not seek validation from influences even further outside their circle. On the other hand, teenagers rejected by peers have a positive correlation with unhealthy celebrity worship. In fact, teenagers whose social needs are not adequately met seek emotional attachment and submit to irrational worship or peers or celebrities (Xi, 2021, pg. 2).

Interestingly, Xie mentions the irrational worship of both the peer or the celebrity. Not only does Dylan idolize Nine Inch Nails and encapsulate himself in their music, but he intensely cherishes and requires the validation of his peers. His world falls apart when he feels they are slipping away, to the point of privately threatening suicide.

We often find that teenagers’ emotions are discredited. Societally, we may think of this in the context of teenage girls, portrayed in popular media as catty, over-dramatic, shouting, “Ugh, as if!” When they don’t get their way. However, it’s not only teenage girls that are dismissed for being dramatic – teenage boys are too. More simply, I believe the emotions of teenage boys are overlooked. Dylan’s emotional needs were unmet and, potentially, unachievable. If he had gotten to the point of placing these expectations on celebrities, he wasn’t ever going to feel satisfied without serious intervention.

He put serious pressure on himself and his peers to satisfy a hunger they weren’t capable of satisfying with their limited emotional intelligence and capacity. As the brain continues to develop, teenagers are still emotionally immature and unavailable, even when they intend to make the best possible choices for themselves and their loved ones. Adolescents continue to fall victim to their egocentrism until they eventually develop those crucial skills of moral differentiation and their imaginary audience begins to dissipate.”

this was an analysis i had already conducted quite some time ago. when i heard those lyrics, i was reminded of this observation. reznor writes in the third person, referring to his former self. dylan’s second journal entry reads: “Existence…..what a strange word. He, set out by determination & curiosity, knows no existence, knows nothing relevant to himself. The petty declarations of others & everything on this world, in this world, he knows the answers to. Yet they have no purpose to him. He seeks knowledge of the unthinkable, of the undefineable, of the unknown. He explores the everything…using his mind, the most powerful tool known to him. Not a physical barrier blocking the limits of exploration, time thru thought thru dimensions…the everything is his realm. Yet, the more he thinks, hoping to find answers to his questions, the more come up. Amazingly, the petty things mean much to him at this time, how he wants to be normal, not this transceiver of the everything. Then occurring to him, the answer. How everything is connected yet separate. By experiencing the petty others actions, reactions, emotions, doings, and thoughts, he gets a mental picture of what, in his mind, is a cycle.”

it’s a narrative. IT’S A NARRATIVE!!!! it’s a reference to a NIN-style narrative!!!!!!!!!!!!!!!!! felt like i gained consciousness.

references:

Pfeifer, J. H. & Berkman, E. T. (2018). The Development of Self and Identity in Adolescence: Neural Evidence and Implications for a Value-Based Choice Perspective on Motivated Behavior. Child Dev Perspect, 12(3), 158-164. doi: 10.1111/cdep.12279

Xie, S. (2021). The Relationship between Peer Influence and Teenagers’ Celebrity Worship Phenomenon. Frontiers in Educational Research, 4 (12), 88-96. doi: 10.25236/FER.2021.041219

#dylan klebold #columbine #eric harris #true crime #tcc #true crime community

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