i got a new kitty last week his name is crunchy and he is so so so small. creamy looks huge next to him, and shes barely 6lbs. he is soooo affectionate and sweet and wants to be held at all times and will follow you everywhere and he is SO hungry all the time, and meows his little head off constantly.

2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I  remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs).  PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.

It’s true though!!! 🤣😂☠️

clawdeen if she slayed (and maimed and slaughtered)

The idea that SS says the Church needs to be rehabilitated in Rhea's ending is entirely on the translation. The Japanese text says that "Meanwhile, Rhea, who survived, returned to her duties as archbishop after she recovered her strength, and she aligned herself with the unified kingdom, working to rebuild the church and help people suffering from war damage." And while I've mentioned Claude's endings with Flayn before regarding Wind, the endings mention that the new order/society of Fodlan is built by the heroes who saved Fodlan which would include the CoS.

Pat really hated Rhea it seems if he does that to her ending. Her rebuilding the CoS? That's not good, she needs to make them atone. But then again, he also tried to make it so that Edelgard had similar ideals to Claude when the game ultimately says otherwise.

Oh I know, I've read your posts about this lol

TBH, while Pat is to blame for the Pat'd script, the Church, as in Rhea's church, is always depicted as needing/being reformed : it wasn't in SS's ending proper, but in Rhea's own S Support where she blames herself for, well, everything that happened but also confesses she used her position as the Archbishop for her personal plan to see her mother again...

And yet, if we look at her actions - and the ones that can be tied to her "rez Sothis plan", bar maybe making Sitri a priest/nun, what did she meant by the "took advantage of my position of the Archbishop"/"used my position as the Archbishop" to see her mother again?

In this S-support, Rhea herself considers her CoS/her lead of the CoS might be to blame for Supreme Leader's war and gives "empty" criticisms to her actions : emtpy as in, well, the game doesn't bother telling/showing what were those "occasions" where Rhea explicitely used her position as the Archbishop to make her wish come true.

Maybe if we pull our hair a bit, we can say the "Billy sitting on the chair" ceremony? That was made to "bring back" Sothis and she asked Billy to do that as their boss and the Archbishop of the CoS?

In a nutshell, it's less "the church needs to be reformed" in SS, but more "Rhea acknowledges she did BaD things (which are?) and used the CoS through her position as the Archbishop to do so (receipt not found?)" so with Billy and in the epilogue, obviously she doesn't do those "BaD" things anymore and their work is miraculous.

As for Claude, while he does "fall in love" with Flayn who is working in the Church with her Father - and this ending obviously cannot be triggered if Claude ends with Billy - Claude's very own words in his Billy S-support, imo, cannot be ignored, while Billy will take Rhea's role as the one people will rely on, he wants Billy to create a Fodlan with "new values" that won't exclude people for being different... implying Fodlan had such values before the War, CoS included - when we know, even in FE16, that this is bullshit!

So while Claude can end up with Flayn despite her being a member of the Church, she's a member of the post-VW Church that is "reformed/different" from the old church, because in VW, the Church has "new values that don't exclude people for being different".

So back to the original post

Compare with Houses, who always removes Nabateans/Rhea of the picture (except in SS’s S support) and brings “reforms” to the CoS - because it needed some, even if we will never know what they are or why those reforms were needed.

SS's reforms are less "reforms" and more "Rhea reckons she did BaD things so will stop doing them now".

The icing on the cake takes the form of Seteth'n'Flayn's paired ending, let it be in the lolcalised or even in the OG (Googled though!) script :

While Flayn disappeared soon after the war, Seteth stayed at the monastery and worked to restore the authority of the Church of Seiros. Doing away with his old strictness, he adopted a tolerant stance toward all, and encouraged his followers to do the same. When he was satisfied that the message was received, he vanished from the monastery.

In the lolcalised version, Seteth adopts a tolerant stance toward all (which he didn't have before?? Source?) and asked his followers to do the same (which he never did before either???) and apparently, when he was satisfied because his message not to be, uh, asshats was received, he finally left the monastery.

Because obviously, under the old CoS, when he was leading investigations against the Western Church and called names by those same people because his creed and followers are "too tolerant", he, uh, wasn't "adopting a tolerant stance toward all and encouraging his followers to do the same".

In the JP version :

フレンは戦後まもなく姿を消したが、セテス はその後も大司教補佐として大修道院に留ま り、教団の権威回復に努めた。かつての厳格 さは鳴りを潜め、何事においても寛大な措置 を取るよう運営方針を転換。時代に即した教 義の改革を妥協なく推し進め、信徒に混乱の ないことを見届けてから大修道院を去った

Google'd it gives some :

Flayn disappeared shortly after the war, but Seteth remained at the abbey as an assistant archbishop and worked to restore the authority of the order. His former strictness has subsided, and he has changed his management policy to take more lenient measures in all matters. He uncompromisingly promoted doctrinal reform in line with the times, and after seeing that there was no confusion among the faithful, he left the abbey.

So, sure, there's no fuckery about "a tolerant stance" because the JP script is more coherent with, well, the general script, it's more like Seteth finally stopped being so strict and became a tidbit more lenient.

And yet...

What are those "doctrinal reforms in line with the times"???

How did he change the CoS' doctrine, sure, it was to be "in line with the times", but what was changed?

This ending basically tells us - something Seteth also says in Nopes' expedition lines or in his Tea time lines? - that he doesn't agree with the doctrine (whatever it is he doesn't agree with) and since Seteth is a playable character who can be supported, his PoV is obviously biased as in, for the player, Seteth is the kind guy so if he says the CoS' doctrine needs reformation, he won't reform it to put some "might makes right" rule, but obviously reform it for the better.

What is that "better doctrine"?

This ending can be obtained in all routes where Nabateans aren't hunted to make a world "for humanity", even in SS where Rhea'n'Billy work together to make Fodlan prosperous and miraculous so... in all routes, the Church is reformed.

Houses wise : the Church is always reformed/needs reformation/did BaD things we never saw -> which serves to make it more "shady" and pretend to have "earl grey", because if the Church always needs reformation, then Supreme Leader targeting it isn't completely unjustified and nonsensical, right?

But when Nopes drops FE16's framing a little bit and we see, maybe for 15 seconds, the CoS do stuff... well, even if Seteth mentions "not agreeing with all tenets", from what we see and hear about the CoS, his doubts don't have the same weight since, hey, we witness the "help other if they need it" tenets, "don't impose the CoS' values on people who aren't from Fodlan" tenet, "we will repay our debts" tenet, etc etc.

Is this the part of the doctrine Seteth disagrees with? This doctrine needs reformation?

Tl;Dr : Church BaD which is why Supreme Leader's war isn't completely nonsensical and why the self insert of this opus can rightfully become God and run the show better than anyone who was there before, but we will never show us what this "BaD" entail, we just are told about it.

In turn, this creates Earl Grey and the "morally grey masterpiece uwu" reputation this game has - Agarthans have no place in this Earl Grey masterpiece, that's why some people try to come up with reasons or justifications to explain why they aren't that worse than the faction the game uses a piñata despite showing us all the "not BaD" things they do.

WIP Wednesdays

Tagged by: @thefreelanceangel & @lavampira (a week ago (':), plus a handful of people who tagged me weeks ago! Thank you so much for the tags, I really appreciate it! Tagging: You (: Please, if you feel moved to do so, share a WIP you're excited about and tag me so I can also be excited about it. I struggle to share things when they are done, let alone still WIP, however! I have been trying to write every day this year so I do have something to share! A little snippet from a longer piece, trying to nail down Odette and Odile's complicated relationship.

“Blessing?” Odile’s greeting is delivered in a sun-bleached drawl from the direction of Odette’s office. No doubt digging around in her research. The nun felt invisible hackles raise and she drew a breath, exhaling a prayer asking for patience. Always patience. Heeled footfalls announced Odile's movement and when she rounded the corner Odette started. She will never get use to her own face on another person. 

“Aunt Odile, I had no idea you were coming,” She injected as much warmth as she could into her smile. It doesn’t reach her eyes but that’s alright; it is an important survival instinct to watch predators. 

Odile’s lids remained half-lidded, shuttered like an abandoned home. Despite their faces being nearly-exact copies Odette has always struggled with reading her Aunt’s expressions. Now is no exception. Fear scraped hot fingernails against the back of her neck and her heart gave a sluggish squeeze.

Odile’s smile is sudden with too many too white teeth on display, momentarily blinding. There is little warmth in it only a smug satisfaction; she has read Odette’s fear and part of her cannot help but relish in it. This is a woman who never tires of her reputation being black as pitch. They stared at each other for some time in the yawning silence.

Odile spoke first, setting her satisfaction aside in favor of furthering her goals, “I let myself in,” Odette hears: this is still my home. “I came to give you this but when Flower told me you weren’t home…” Odile trailed off, letting her niece’s imagination do the work, and a moment later she offered forth ‘this.’ A thick envelope of cream colored stock sealed with a healthy wad of red wax.

tagged by my beloved @nynazenik to share some characters that i think are ~me-coded~ .. thank u for tagging me queen sorry it took like 2 weeks !! 🤍💫 tagging @sirgawin @abigail @cruelfeast @keanureves @iskarieot @laybackinsalt 💌

Yusei + Leiya collection

Can we talk about the fact that Grimace looks like a butt plug… and his name is “Grimace” 😬

May I request Gonta in green apple?? (bottom right if that wasn't clear gdhsjfs)

Gonta!!! :D

[ID: A digital painting of Gonta Gokuhara from Dangan Ronpa V3. He is shown from the side with a hand up looking a lady bug crawling on his knuckles. He is wearing a light green sweater with brown overalls over it. The background is a solid teal green. End ID]

I can't RB or send asks with videos so I'm posting it and tagging u @demonsfate

Is this Jin or is this Jin.

Do you ever make a super messed up OC for a show for babies? I did. I regret nothing.

Bio and stuff below cuz it's pretty wordy:

Ruth Riddlerustic is a storybot conspiracy theorist who has extreme paranoia and attachment issues.

After her dad's disappearance, Tru decided to become a journalist in order to uncover the reason for it. She got way more information than she bargained for, both on her dad and other storybots that have gone missing. Tru tried writing about said information, but got shut down almost immediately, being fired and tossed to the streets. They tried to get other jobs, but writing super controversial articles when you live in the internet tends to follow you around. Hard. Almost everyone refused to hear Tru out.

The progressive isolation from others took a massive toll on her mental and physical health. Their family eventually started avoiding her, even ex-communicating her from anything relating to them.

The only bot she had for support was News, another journalist at the time. She let Tru stay at her place until they could get on their feet again. Tru gained an unhealthy attachment to News as a result. After a nasty fight between the two that damaged News's arm, Tru was kicked from her apartment, officially becoming homeless.

She now sits on the streets, shouting stuff no one cares to listen to.

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So yeah, just a little messed up. I wanted to go at a different angle for this OC, especially since a good chunk of her beliefs are questions that I had about Answer Time's world-building (especially the Internet episode).

Like, how many horrific things have they scanned and sent to other routers? Are they responsible for things to trend or are there different departments for that stuff? How would crypto work if it's mined on computers? Are there crypto miners? Do they live in those servers to mine Ethereum and stuff?? Are they aware of the impact of that stuff and are just powerless to do or say anything about it???

What a horrid existence. I wonder if the bots in charge of that suff are super hush hush about it. This is why almost adults shouldn't watch kid shows.

Anyway, some images of only them and her original sketch.

Thanks for reading my mindless dribble, and have a nice day :)

I finally listened to Nopes!A Funeral of Flowers and while i prefer the FE16 versions...

AFOF is basically Rhea's theme, it's beautiful and yet encompasses her tragedy at the end of SS because the plot has her suddenly grow mad and the cast has to take her down - for some reason FEH tried to honeypot around but ultimately doesn't make sense.

In Nopes?

It only plays on Supreme Bullshit (Golden Shower has a special Nopes!made song)!

It's oddly heroic, like, a hero making their last stand but... it fits, after all, Rhea's the Hero who sacrifices her life to take down Thales!

TFW even the OST reveals Rhea is the hero of Supreme Leader's protagonist route :/

i want to spit roast steve w eddie

Legit ,,, learn how to fucking drive first ~