I would say that, considering his history, he's not that wrong, but even I have doubts as to whether that would be right. But at the end of the day, this is just a joke that's been in my head for a while, sooooo…eh.
Oh hey, an attempt at a comic? Made by me? That I didn't give up during the process or lost all motivation? What was my only attempt at this, 2019? Damn, it's been a long time.
I thought about leaving this here without editing or any colors, just the natural ones from the paper and pencil. But something in my head said "HAHAHA, no" so I went back to work.
I had to put this idea down on paper this time (literally). If another year passes without me being able to execute this idea, I would lose my mind.
This scenario was inspired by this video by Jehtt, inspired by the original meme by Windii. Credits to both of them.
For a long time I wanted to joke - especially on the anniversary - that I wanted Sammy to only have less than 5 seconds in the next game (or in other words, take his screen time in DR, and shorten it even more). You know, just for the funnies (unless..?)
But,thanks to the news released at the beginning of January this year about The Cage, I legally can't do this joke anymore…this year. Don't worry, after that comes out (and finally gives Sam the screen time he wants,hopefully) and we start to crawl into the Bendy 3 production era, I'll make this joke when I can.
Anyway, happy birthday Sammy Lawrence. You may not be my favorite character in this franchise, but there are some things I can actually appreciate about you. Plus, you made me laugh a few moments before (you know what I'm talking about) so there's that.
And happy 7 years to Chapter 2, and by extension, Susie, Norman, Alice, the Searchers, (Johnny????), and Beta Ink Bendy. (I would mention Jack too, but he was only introduced with the release of CH4, so technically it's not his birthday yet, but I'll consider him here).
And now? May I be able to do something for CH4's anniversary. Wish me luck,cus I'll need it.
(it might be really late now, but it's still the 18th where I live, so it's still his birthday, so I still won)
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Wait, so to clarify two things:
1. Crossiant had a childhood best friend, but thanks to Hag Shenanigans they’ve not only entirely forgotten said best friend, but aren’t aware they ever had a childhood best friend in the first place?
2. …Did Shadowheart just sacrifice her parents to be freed from Shar? (I’ve never actually seen that cutscene, but I’m pretty sure that’s what just happened there.)
Correct!
2. Correct! (That's the caveat, she can sacrifice her parents to break free of Shar's curse, or she can free them and live with of pain Shar's curse forever. It's a very heartbreaking scene, if you're not playing the game and able to see it yourself I'd recommend looking it up.)
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admitting what you truly want
tw: hard cnc discussion, fluff
kirishima, aizawa, bakugo, midoriya, kaminari, tokoyami, gojo, nanami, itadori
thinkin abt that moment you admit you think you might want to try hard cnc.
abt that moment when the humiliation of what you’re trying to say hits your face. you’re not sure if it’s exciting or terrifying to try and explain how badly you want him to hurt you. violate you.
you don’t know how to say the words, “i want you to rape me,” but that’s exactly what it is. how could you say that to someone so kind and loving? someone who, all things aside, looks at you with a gentle fondness you’ve never found before?…
perhaps you find a way of explaining it without using those exact words. he’s quiet, unsure of how to respond. you don’t know if he’s had the same thoughts or not, but you couldn’t hold it in anymore. he’s asking questions to be sure he understands what you’re saying, and the kindness of it almost hurts too much.
maybe the phrase that’s been stuck in your head comes tumbling out as tears spill down your cheeks. you thought you were ready to have this conversation, but somehow his kind eyes makes what you’re saying hit home. so he holds you in his arms until the weight lifts off your chest. he lets you be, lets you exist there with him until you’re ready to be welcomed with love.
it could be that, once the truth is finally in the open and the dust has settled, there’s hidden excitement stemming from a similar desire. he sees the fear in your eyes when admitting the truth and eventually smiles lovingly. he leans in to that fear and catches you before you fall, reminding you of the person you’re speaking to.
someone safe. someone kind. someone who loves you.
every fear falls away.
and the fun of something new begins.
gremlins: @callm3senpaii @arlerts-angel @dcsiremc @darkstarlight82 @bookcluberror @breadandbutter33 @i-literally-cant-with-this @she-who-writes-for-multi-fandoms @rinalouu @stvrfir3 @r4td0lll @emmab3mma @mhadabiandhawks4eva @aria-chikage @gold24fish @yazminetrahan @doumadono @dreamcastgirl99
if you’d like to be added to my tag list or you somehow got missed, let me know. ♡
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The Story Behind The Song: Arctic Monkeys’ early ambitions on ‘A Certain Romance’
Lucy Harbron – Far Out Magazine | January 17, 2024
It was 2006. Mortgages were crashing, and businesses were going bust. Tony Blair was on his last legs in office as the longest-serving prime minister since Margaret Thatcher, and the hangover of ‘Cool Brittania’ was beginning to set in with an unexpected ferocity. Things were bleak when a young Alex Turner sang, “There ain’t no romance around there” through the public’s speakers. Arctic Monkeys were about to write themselves into musical history as the voice of a new generation.
The final song on their debut album, there has always been something special about ‘A Certain Romance’. In 2022, after the release of their seventh album, The Car, Turner seemed to find himself reflecting back on that 2006 track. To the musician, that early cut holds a clue to everything that was to come as he said the piece “showed that we did actually have these ambitions beyond what we once thought we were capable of”.
Coming in at over the five-minute mark, ‘A Certain Romance’ almost feels like the Arctic Monkeys’ version of a rock opera, summarising all the themes, feelings and energy that came before it on their seminal album Whatever People Say I Am, That’s What I’m Not. It has the cheekiness of ‘Fake Tales Of San Francisco’ and the catchy instrumentals of hits like ‘Dancing Shoes’ or ‘I Bet That You Look Good On The Dancefloor’. Utilising the northern charm of ‘Mardy Bum’, it stands as a final, neatly summarising point on the social commentary found in their early tracks like ‘From The Ritz To The Rubble’ or ‘Riot Van’. Really, it could be argued that ‘A Certain Romance’ is the ultimate example of Arctic Monkeys’ original sound, perfectly encapsulating all the things that made the world listen up and pay attention.
It’s like they seemed to know that, too, always allowing the song a special place. In fact, it was really the band’s opening remark. Years before the offer of a debut album came around, the group were a well-oiled machine with their own local hits. They had the northern live music scene in their hands as their homemade demo CD was passed around like everyone’s worst-kept secret. Beneath the Boardwalk features eight out of the 13 songs that would be on Whatever People Say I Am, That’s What I’m Not, albeit in a slightly different, lower-quality version. But the opening number, ‘A Certain Romance’, sounds just the same.
It’s all there, from the rolling opening drums to that final guitar solo. Recorded and produced in a rented studio at only age 17, the existence of ‘A Certain Romance’, one of the band’s most explorative and energetic numbers, in this form this early in their career feels like a diamond sitting in a mine. It proves that they were always onto something special.
They never needed any help. In fact, their producer, Jim Abbiss, noted that they even seemed nervous about the help. “I think they were probably a bit weary, like ‘who’s this guy? And is he gonna make our sound this or that.’”
They didn’t want anything to change too much, as the group already had the songs figured out. Turner certainly did, as the track’s meandering narrative about hometown lads, fights, and local boredom is already there. Talking on a podcast, original member Andy Nicholson revealed the story behind the song. “We had a practice room with a pool table in, and we had a party in there, and we invited another band who were friends of ours, and we all had some drinks,” he said. “Then something happened, someone throws a pool cue, someone throws a pool ball, and everyone ends up fighting,” he added, explaining the lyrics, “there’s boys in bands / And kids who like to scrap with pool cues in their hands.”
But the magic of Arctic Monkeys lies in their nuance. What begins as a snooty analysis of his local landscape is a genuinely affectionate take. “Well, over there, there’s friends of mine / What can I say? I’ve known ’em for a long long time / And, yeah, they might overstep the line / But you just cannot get angry in the same way,” Turner sings, looking around at his bandmates and lifelong friends. ‘A Certain Romance’ is not only a time capsule for the group’s beginnings but is an ode to all the people who were there with them. It’s an ode to the hometown that made them and all its various characters.
But as the last guitar solo roars to life, there is an unspoken statement that they’re going to be bigger than what they came from. “I remember when we were recording ‘A Certain Romance’ and having a conversation with the producer about the final guitar solo,” Turner told NME, recalling the moment these songs were reworked for their debut. But they wouldn’t let anyone mess with ‘A Certain Romance’, knowing exactly what they were doing and trying to say with that one. In the 2003 demo version, all the feeling is already there, and Turner wouldn’t risk it.
“There’s something that happens at the end of that track where we break some rules in a single moment,” he continued. What happens at the end of the piece feels even more special, considering how the album was recorded. “These are the songs we wanna do, and I think this is the order we wanna do them in,” Alex Turner told their producer, recounting the conversation in 2007 to RadioX, “And he goes, ‘alright, we’ll try to record them in that order as well.’” As the final song, that last guitar solo is the last thing recorded for the album, standing as a cathartic outlet and a chance for the band to prove themselves.
“We focused on the [emotional] effect of the instrumentals over the words,” Turner reflected on the track, concluding, “and I feel like we’ve been trying to do that again and again since then.”
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