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marvel-theory · 6 years

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Trans!Peter & Genderfluid!Loki

Even if they’re technically enemies Thor still respects Loki so so much so of course uses appropriate pronouns whenever they change and he knows about it

One time he’s talking with all the avengers about Loki and he uses “she” cuz Loki is a girl right now so he explains to everyone

After that instead of being just an insane villain they understand Loki just a little bit better cuz that must be hard

After whatever conflict that is is over Peter comes onto the scene

He meets Thor and is of course hella excited and just totally adorable like he is

And Thor starts talking about his sister, Loki

Peter is a little confused so Thor explains that Loki was born female but found that she identified as male most of the time but still female some of the time so she’s genderfluid and right now Thor has a sister not a brother

And Peter is internally like omgomgomgomgomgomgomg someone who is similar to me

He explains that he’s trans to Thor and that makes Thor happy cuz the young spider opened up to him

Thor admits that he still has contact with Loki even though they’re trying to kill each other just a little bit and Peter is excited he wants to meet this trans AFAB genderfluid asgardian villain

Thor trust’s his sister enough and is 110% sure that Peter would tug her heartstrings in just the right way that she wouldn’t kill or manipulate him so he lets Loki know that she has a fan

Loki obviously thinks it’s a trick until Thor is really insistent and pleading and she knows him and his voice and eventually gives in and then bip bop boop next thing you know Thor is ferrying Peter to meet Loki (who is male again)

Thor stays very nearby but doesn’t eavesdrop just is near enough that if something happens he can slap a hammer on Loki’s head and carry Peter to safety

Peter also has his suit on hand but isn’t wearing it

“Hi it’s nice to meet you Mr. Loki sir!”

And they talk for quite a while actually first about gender which is the whole reason that Peter wanted to see Loki in the first place but then about other stuff like parents and lonliness and Loki is surprised at how much of himself he sees in this bouncy little spider toddler

They get along pretty well and even though Loki had at first been planning to manipulate Peter and turn him he actually truly doesn’t want to anymore because he doesn’t want Peter to be led down the path he took and especially not by Loki himself

He gets pretty heckin soft for Peter after a few meet ups and their conversations go from completely deep about terrible dysphoria their worst mistakes regrets and childhood trauma,,, to really chill stuff like music taste (Peter introduces Loki to some things) and other interests (magic and science)

One day “Hello Mr— oh! Hi Miss Loki!” And Loki grins so purely because the only other person who’s respected her like that is Thor

And she can shapeshift so it’s really obvious what gender she is at any given time

Basically Peter becomes Loki’s life after a while like screw taking over the world let me take care of this kid instead

And honestly Thor is shook because Loki seems legitimately happy and Peter doesn’t seem brainwashed or anything

But he decides to actually come be with the two while they’re talking one day and he’s surprised to learn a some things about his sister like she knows a lot about the plants on Midgard

But it’s not nearly the kind of conversation Thor imagined them having

He puts his hammer down

“Oh, oh, Mr. Thor can I try to lift it!?”

AND HE DOES IT JUST FLOOP AND UP IT GOES

He swings it around for a little while while Thor and Loki are actually frozen in astonishment

“Miss Loki, catch!”

AND SHE DOES!,?!?!?!!?

PETER BASICALLY CLEANSED LOKI EVEN THOUGH HE WENT LOOKING FOR HER FOR SOMEONE TO RELATE TO LOKI GOT HER FIRST REAL ACTUAL FRIEND AND KIND OF A SON

Thor feels super outdone at this point tbh but Peter and Loki just wanna play catch with it

Thor doesn’t let them he takes Peter home (stark tower just cuz) immediately but Loki follows them

She appeals to Tony like please I’m fine now I just wanna protect this sweet summer child you have found and put in a spider suit

The hammer thing is actually what convinces Tony she’s not a complete menace so she’s allowed to stay

He’s a little shook that she’s a girl tho

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geggidys · 7 years

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Spirit

TLDR; It’s very early on a Wednesday, I rambled hard. I fucking love this album and you can pry it from my goddamn hands when I’m dead

It’s just been fascinating to me lately how different other people’s reviews have been for this album! Seeing older fans and newer/younger fans love and hate the album for different reasons.

Granted, I do consider myself a newer fan. Sure, Just Can’t Get Enough, Personal Jesus, Master & Servant, Sweetest Perfection, Enjoy The Silence were already known to me and I had them already in my iTunes chilling around, but it was just a few years ago when I went “Hey, I want to listen to the entirety of Violator because I hadn’t yet, hey let me listen to this Songs Of Faith And Devotion album right after.”

I love electronic music. My late nineties, early aughts were full of a bunch of techno and trance whatever I could find on Kazaa (remember that shit I SURE DO). I still have some Blank & Jones and Scooter from that time, that just never wanted to leave. Know what else I love when it comes to music?

Atmosphere.

It takes a lot for me to hate an album. I don’t think there’s an album I’ve listened to that I actually legitimately hate. Songs, maybe, but I stay away from them when I do. When I listen to an album, I love the songs for their own reasons to varying degrees and then figure out the feel of the album. Ultra actually took a while for me to like because I couldn’t find a feel to the album, so I disregarded it until I gave it another listen and found its feeling, at least to me. A person going through a dream and a nightmare in the same night.

When the world was introduced to the era of peche under Ben Hillier, we got Playing The Angel. This loud, all over force of an album that just had SO MUCH in it and man. It was good! Sure it’s funny when you’re going from Goodnight Lovers on Exciter to A Pain That I’m Used To and its goddamn Inception bwongs, but that energy continues into John The Revelator and into Suffer Well and even into the less intense The Sinner In Me and Precious. Each of the songs on PTA felt similar no matter what their pace was.

Sounds Of The Universe is weird. It is. Because of the feel of the album, it’s definitely one of those, with all its exaggerated bip-boops, that some of songs by themselves seem out of place, but playing them in sequence from the album, they make more sense. It’s like SOTU is one song in multiple parts.

(That said holy shit Come Back and Corrupt amirite)

And then we got Delta Machine. I. Man. I love DeMa, it’s bassy and swaggy but I will admit, it did have a few weak spots. And I know people that love the weak spots on that album. Welcome To My World is one of my favorite peche openers, Angel is great, Heaven is great, Secret To The End ... I don’t know what it was? I couldn’t latch on to that song. Or My Little Universe. Or Broken. Soft Touch Raw Nerve. Alone. The vocals with the music just didn’t seem to match.

The 4-year void is full of MG and Angels & Ghosts, my workout album and “I’M GETTING EMOTIONAL ON A 4 HOUR CAR RIDE HOME OVER MY SUN” album respectively.

When we were getting more and more bts news of Spirit in March and April of last year, and we all found out about James Ford, I got excited. One, because new producer, woop! Two, because he’s worked with Arctic Monkeys and Florence and Foals, which is some good pop I’ll be honest.

I did, unfortunately, listen to the album when the leak came out. I did a first taste, recorded it, then deleted the album to wait for its proper release. As I started writing this, I started the album, and Poison Heart has just finished.

When Going Backwards starts, it isn’t the heavy bass beat of Welcome To My World, it isn’t the startup of a modular system of In Chains, it isn’t the... bwongs of A Pain That I’m Used To. It isn’t remarkable, just a piano and a simple beat. As Dave starts to sing, and then he finishes, and the music swells a bit more, there’s already something. There doesn’t seem to be a fight over the music or the vocals. One isn’t louder or more intense than the other, like the vocals are their own instrument and actually a part of the song? Martin’s backing vocals are there in support and it doesn’t feel like it’s overpowering Dave like some bits of Delta Machine felt?

Everything is balanced what the fresh hell is this.

Then Where’s The Revolution starts. We know this song by now. Going from the first song to this, the synth is there. It isn’t exaggerated like SOTU. But there’s something else starting now before Dave starts singing about how we’re getting pissed on. There’s that subtle... like a guitar string stroke, that sounds like train wheels on a track, before it continues to be just a subtle guitar through the rest of what Dave’s singing before the chorus repeats. I love that shit. And the train rhythm on “train” and “coming” and “get” and “board”.

What’s that going on in my brain? Is that. Is that atmosphere returning on a Depeche Mode album?

The Worst Crime starts. It feels like Gone Too Far from The Light The Dead See. Which is my favorite song from that album, diggin’ that already. Yeah this song is political I mean it’s talking about a lynching ffs, it’s slow, and that buildup is a goddamn tease. Again, though, the bass and the treble aren’t overpowering each other. You’re still stamping your foot to the drums, then it stops.

Scum. I love Scum. Have I said I loved Scum I fucking love Scum. There was a review that described it as My Little Universe getting drunk and hanging out with bad people at a club and it still makes me laugh because it does. Dave’s... abusing the microphone dust filter as he’s singing it but it adds to that - gasp my heart - atmosphere of it being this omnipresent whatever following this, well, scum, around. Then we get to that “You wouldn’t even offer up your crumbs/to the dying/and the crying/you’re dead inside you’re numb/you’re hollow/you’re shallow/your empty life is done” and it just feels like a threatening lean-in before the “PULL THE TRIG-AH” and man. Man. Man.

So what’s next. You Move. Oh my heart. It starts like a sleaze and while it isn’t Deeper And Deeper from Hourglass sleaze it’s still a sleaze. There’s a good low bass, these reversing forward and back quick bips of something and that lead-in effect on Dave’s vocals makes it, oh no I’m saying the word again, feel smokey and whispy and just something you want to throw twenties at. The lyrics are simple but I don’t care I’m throwing my money at it I LIKE THE WAY YOU MOVE FOR ME TONIGHT.

Then it ends, then an organ. Then “I felt better.” Cover Me. Now, sure, like any song this could’ve sounded different in lots of ways. But this is perfect. It feels empty, purposefully. A void of space and stars, like you’re sitting alone in a field at night and looking up. Then the 2:40 mark and the remaining 2:15 is just drifting, but speeding up, building up to something and you’re going somewhere. I love it. Even the Alt Out mix of this song is fantastic and satisfies the Blank & Jones I used to listen to. (Also reminds me of Science & Machinery by Andy Stott, for some reason?)

Eternal is now starting. We get another organ, and Martin’s fallen angel of a perfect voice sings “Oh little one, I will protect you” and I feel all verklempt because it was definitely written around when his daughter was born around this time last year. It’s Addams Family-like, there’s an odd dread to it, and you figure it’s just him being gothic as it talks about black clouds and something that starts with ra as he drags that a bit and you’re thinking oh, it’s rain. But it’s a different word, and the black cloud is something else and you get this “Oh NO.” feeling as that dread throughout the rest of the song is now something less campy and A LOT MORE SERIOUS, and at the climax of the song - ack atmosphere I’m dying help I love it I can’t-

Now we get twangs, and a heavy drum, and Dave singing about Poison Heart. Honestly, this should’ve been Delta Machine. This whole song. It ravels around something, then suddenly unwinds into this mess of intense before it ravels and coils around again like thorns. You know Dave’s tattoo on his left arm? The heart with the thorns across it and the elongated cross-shape piercing down from the top of it? That’s it, that’s Poison Heart.

And suddenly we’re all going to bop to So Much Love. It’s like I Feel Loved met A Question of Time at a party, broke a window or two or five, and are now running from the cops. Sure, any of the layers of synth in this song could have been louder than any other, I’m sure you can figure out which layer I’m talking about, but they weren’t, they’re busy being crisp and playing off of each other.

We’re back to being political with Poorman, and at this point I really don’t mind because I’m still coming down from the high of the last song, that the mid-tempo of this song and the continuing, not even sure if it’s a guitar note dragging out or not after the half-way point, is getting my pulse evened out. Sure this song isn’t my top five on the album at all, but again we get a nice balance and something I won’t skip if the album is playing in my car or in my headphones like some songs on Delta Machine might.

I’m always wary about peche songs that have titles like No More (This Is The Last Time), it reminds me of Soft Touch Raw Nerve or Miles Away/The Truth Is and I love the latter a lot more than the former. Everything is low, it’s like it belongs in a movie when two characters are facing each other on a cloudy city day and have to turn around and walk away from each other within the three minutes the song lasts. Man isn’t atmosphere great?

Speaking of low, the last song is sung by Martin, and fuck when did we get so blessed? He’s normally second-to, from Blue Dress going into Clean, One Caress going into Higher Love, The Bottom Line going into Insight, or Jezebel going into Corrupt. But nope, Martin gets the last say this time, and going by the feel of the album I don’t mind that at fucking all. Because I got to hear Martin sing the word “fucked”. The synths seem their purest in this song, like an updated Speak & Spell, it feels 80s but we know it isn’t. It’s 2017.

Depeche Mode is evolving. Some older fans don’t want that but hey sit down shut up for a second.

They are evolving. For the over three decades they’ve been around, the rise-rise-rise they had, building their... little world of their own brand of darkness that isn’t really darkness, the explosion of everything of Songs Of Faith And Devotion, the tiny sprout in the ashes that was Ultra, the start of wildflowers that was Exciter, the sudden expanse of flora that was PTA, SOTU and DeMa. So what’s Spirit? Well, in all the trees and the light and the dark in the world that’s been here forever, Spirit is the final piece. Spirit is the deer in the distance, looking at us and acknowledging us. It came from somewhere, it may have already been here, we may have heard of it from the people that knew of it since their world was forming. But we’re finally seeing it for ourselves.

ᕕ( ᐛ )ᕗ

#Fuck I'm devout #Depeche Mode

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