#Essential Sequential

[meow286]

notes on how i go about stylizing cats from reference.

ive observed when drawing a cat with extra fat, its easy to lose the form and have it look like a balloon animal. if you keep bony landmarks and silhouette in mind as you caricature this can be avoided. these landmarks are places like joints, the spine, some points of the ribcage, and certain bones in the face.

the joints are where you "break" the silhouette of the figure. these are essential to a strong drawing and selling the volume of your character. interpreting the contrast of straights and curves around the figure will give a visual rhythm and prevent your drawing from appearing stiff and lifeless. some inner descriptive lines in places where muscle, fur, skin and fat are more obvious create a more defined shape that can really add something extra if you find your drawing is appearing too flat.

selling the markings by having them follow the contours of the body will also really help in making sure your drawings come across as volumetric. its easy to slap them on as an afterthought, but copy pasted looking markings can totally ruin the illusion of your characters dimension!

this of course is all relative to your own goals when drawing a piece, if you want your art to be flat and graphic, go for it! i will say it always helps my design sense to understand how things work in a 3d space before i get really abstract with them. the more you can understand your subject the easier it is to find success with the end goal of your piece.

this also geared towards animation. when you can "see" clearly how the character is structured from every level, drawing them in sequential motion becomes just that much easier. thanks for reading!

[breakmeoff]

Spell On You │The Boy Next Door (drabble)

pairing: bang chan x fem!reader

warnings: none!

word count: 800 ish

synopsis: little do you know, chris stole something of yours the last time you were together in hopes of feeling your presence with him no matter where he is. and his bandmates are starting to see the signs that their leader may be distracted.

NEW!!!

drabble sequence: falls between The Boy Next Door chapters 9 and 10

note: because this series is going to take place over an extended period of time and i don't want to use too many time lapses, i decided i am going to start writing drabbles that fall into the same storyline.

each drabble will be able to be read as a stand alone one-shot should you not want to follow the whole story, but they will fall sequentially in between certain chapters. some will be sweet and fluffy, others will be downright filthy so stay tuned!

i would LOVE your input on these, and would be happy to take any suggestions for other fun scenarios i can throw into the mix.

thx for reading :)

Masterlist

Chris made sure you had fallen asleep before he decided to leave late that night - well, rather early that morning.  He knew he needed to get back to his own hotel and room before anyone realized he was missing.

After silently redressing and tying his shoes, Chris lifted his gaze just before he was about to stand when something pink caught his eye in the dim light of your room.

Pushing himself to his feet, he crept over to where you had laid your suitcase open, its contents spilling out all over the place.  He peered over his shoulder to your sleeping frame, and with quiet ease, picked up your small, travel sized bottle of perfume.  

Louis Vuitton - Spell on You.  How aptly named.

Tucking the mini bottle in his hoodie pocket, he walked back over to you and bent down to press a soft, lingering kiss to your temple. Hearing the softest, sweetest little sigh from you, he couldn’t help but grin like an idiot.

Wordlessly, Chris watched you sleep for a few more seconds, practically holding his breath as he made a promise to himself.

“From here on out, I will do whatever it takes to prove to you that I am yours, and that I can be exactly the man you need and want me to be.”

Gentle fingers reached for the top of the comforter, and pulled it up to cover your shoulders. A moment later, Chris softly stepped towards the door and walked out of your room.

A couple of days later, you had already taken an early morning flight back to Australia, and later that same afternoon, Stray Kids and their team headed to JFK off to the next tour destination.

With a heavy yawn, Chris filed through the security check point last, always keeping up the rear to make sure everyone was safely accounted for. After grabbing his bag from the end of the baggage scanner belt, he smirked, coming right up behind Minho who was bent down tying his shoe.

Winding his hand up likely more than necessary, Chris left a stinging slap on Minho’s clothed ass, causing him to jolt forward and almost fall on his face. Standing up straight, Minho glared his eyes over his face mask, shooting visual daggers at his hyung.

“Oh shit,” Chris saw the venom in his eyes and moved to rush forward but was pulled back by the shoulders roughly, causing him to bounce sideways into Hyunjin. The taller man side eyed both of them with a look of pure disdain, but caught a whiff of something… floral?

Upturning his nose in confusion, Hyunjin looked around to see if a woman had just passed by, but saw no one. Shrugging it off, he readjusted his headphones and strode down the airport terminal.

Meanwhile, Lee Know was out for revenge. Reaching forward to Chris’ bag, he tugged the older member back, knocking him off his balance and essentially bumping back into him too.

“What the hell…” Minho mumbled, letting go of Chris’ bag, but lowered his mask to get a better sniff. Leaning closer to Chris, who saw the younger man coming towards him awkwardly, he tried to back away.

Finally getting close enough to Chris to get a stronger whiff from his clothes, he furrowed his eyebrows and looked back to Chris’ face.

“You smell like a girl.” Lee Know deadpanned.

Chris felt the blush creeping up, starting from his ears and then across his cheeks. “I do not,” he said defensively.

Starting to quicken his pace, he walked swiftly past Changbin and Felix, trying to get away from the accusations. Lee Know shouted past them, loud enough for everyone to hear. “Yes you do! You smell like a damn garden!”

Hyunjin, with his bat-like hearing, agreed. “Jasmine maybe? Versace had a perfume with jasmine notes recently.”

Felix looked between his older members, and curiously stepped right behind Chris who has slowed down just a little. Taking a long inhale from the back of Chris’ shirt, Felix piped up. “It’s Louis… I recognize it!”

With a loud groan, tipping his head back as they continued through the terminal, Chris tried to justify himself. “I must’ve bumped into someone or walked into something…”

Wishing he had something like a mask or hat or hoodie to hide behind, Chris kept his head down and silently promised to be more careful about when he sprayed himself with your stolen perfume.

Seungmin, ever the instigator, quickly piped up while walking straight past him. “Okay Christina.”

tag list: @angel-writes-skz-here @idkimobsessed @queenofdumbfuckery @mfcherry @downingmorphine @pixie-felix @d3kstar @lveegsoi @ebnabi @nebugalaxy @babystay724 @mmarusa @imagine-all-the-imagines @erisuna @beabidoobee @hanniesbubuwife @bbykaixx @riri53 @jinniesgirl @alx-wyjsr @skzswife @hwangjoanna @stephanieeeyang @minnysproutgriffinteddy

[aeriona]

Hey guys i’m not dead ∴ ω ∴ i come bearing an offering of Critter

This is an alien organism i've had drafts of for a long time now, and only now have i really properly done anything with it. Enjoy :)

To explain this animal properly, first i need to explain where they come from.

The planet they live on is freezing cold and essentially entirely ocean, with the surface of the sea separated from the open air by several kilometers of thick ice. the sea itself is warmed completely independently of the sun, relying entirely on geothermal activity (eg hydrothermal vents) to remain habitable. It is completely pitch-dark, with the only light coming from the odd bioluminescent organism of which there are few, as most animals don't even have eyes.

The Ramosapod (sometimes referred to as an "octospider" in common English) is a large aquatic alien invertebrate native here. They had initially adapted for an ambush predator lifestyle, hiding amongst rocks and clutter waiting for an opportunity to strike. However, as hydrothermal vents became more common across the planet and available energy increased, they began to orient towards a more social, intelligence-based lifestyle.

They have no ears and are basically blind, instead they mostly rely on smell and vibration to get around. Almost all of their languages are forms of tactile sign spoken with the tarsal bulbs tapped against another's body in a sequential order.

Their reproduction is similar to that of ferns seen on Earth, with a sequential alternation of generations (please look this up i can't explain it here) based on how many pairs of chromosomes are present. The sporophyte generation is the one pictured above, with the gametophyte being much smaller, almost microscopic pelagic animals.

As it stands, they have now built a reasonably sophisticated society for themselves across their freezing pitch-black ocean, with technology almost entirely derived from living organisms selectively bred or genetically engineered for specific tasks. Currently they're attempting to develop and fund the means to begin drilling through their extremely thick ice layer, to take a peek at what's up there.

Not many see it being particularly viable, however. We shall see.

[adelina-shifts]

𝗵𝗼𝘄 𝘁𝗼 𝗴𝗲𝘁 𝗶𝗻𝘁𝗼 𝘁𝗵𝗲 𝘃𝗼𝗶𝗱 𝘀𝘁𝗮𝘁𝗲: 𝒶 𝓰𝓊𝒾𝒹ℯ. 🦢

a small articl based on Bob Monroes recordings

The Gateway Tapes: a series of audio recordings designed to guide listeners into altered states of consciousness using Hemi-Sync techniques1. These techniques involve the use of binaural beats and other sound patterns to induce relaxation and a trance-like state, often referred to as the "Gateway Experience". The series is organized into "Waves," each containing six guided exercises, and is designed to be used sequentially, building on the skills learned in previous "Waves"

1 a method that uses binaural beats and other auditory stimuli to promote synchronized brainwave activity between the two hemispheres of the brain

Boiling Down the Monroe Method to the Absolute Basic Essentials BlinkyRunt (r/gatewaytapes)

Here is my go at simplifying Monroes's method, and many others I have tried including many meditative practices, to the absolute most basic actions. This approach has helped me not only remove all non-essential activities, but also come up with various replacements. Once you see the approach as a bunch of simple steps, you can then easily construct new methods for each singular part of the process.

0. create a strong intent with a strong emotion behind it. charge it for some time. This is needed for step 4.

1. Silence the body: relax muscle groups from toes to skull, relax breathing -> F10

2. Silence the senses: concentrate only on one sense (breathing, light behind eyelids, etc. only one), now let go of that one sense -> F12

3. Silence the brain: throw away fears, throw away expectations, stop analysis = become observer -> you end up in F15. You are pure concioussness in the void. F15 is the doorway to the beyond.

4. Remain in this state, let your intention, or higher self, or guides, or even Robert's voice guide you beyond and into other "places".

Please let me know if you can break down the process even more. Would love to have some input and healthy discussion.

A Guide on How To Enter The Void State linglingvasprecious (r/shiftingrealities)

Hi everyone, here's a guide to enter the void state. I found (the guide above) on the Monroe Method and decided to expand upon it to better suit shifting. Please note that this guide uses terminology from The Gateway Tapes. If you're unfamiliar with what that is, please use the search function on this sub or Google it.

Subliminals aren't needed but I've had great success using Astral Projection binaural beats.

0. Find a comfortable spot to rest. You should ideally be on your back as to not fall asleep too quickly. Set your intention before you begin. This can be as simple as "I intend to enter the void state". Really lock this intention in and take a moment to breathe deeply and acknowledge this intention.

1. Silence the body. We want to be in the state of "mind awake, body asleep". Relax your muscles from your head to your toes and spend as much time as you need relaxing each muscle group. Relax your breathing. By now you should be in Focus 10.

2. Silence your senses. Concentrate on only one sense. This can be your breathing or the light behind your eyes). Let go of that one sense. You should now be in Focus 12.

3. Silence the brain. Stop analyzing your thoughts and let go of any fears and expectations that you may have. Your goal here is to become the observer. You should now be in Focus 15. You are pure consciousness in the void. Focus 15 is the doorway to the beyond. Once you find yourself in the void, revisit your intention and change it to whatever you like, such as "I intend to shift to my desired reality".

4. Remain in this state. Let your intention, higher self, or guides take you beyond to other places.

That's pretty much it! Don't stress too much and focus on relaxation and breathing deeply. With practice you should enter the void state! Have fun!

[floatingcatacombs]

The Normal Author’s Girlfriend’s List Of Bad Yuri Anime

12 Days of Aniblogging 2024, Day 11

So you’ve seen some good yuri anime: Revolutionary Girl Utena (and the movie, if you want), Bloom Into You, Puella Magi Madoka Magica (plus, of course, Rebellion, which is essential), Bocchi: The Rock!, Girls Last Tour. You know HaruMichi and Farcille and poor sweet Tomoyo Daidouji and Quanxi’s whole deal. You’ve been queerbaited by Kyoani, or maybe you got lucky and watched Dragon Maid which was actually gay; you no longer get weirded out by incest; you wanted more Utena and got The Witch from Mercury S1 (good) or Revue Starlight (bad); maybe you’ve even gone back to Oniisama e and discovered Ryoko Ikeda’s incredible butch-for-butch technologies.

You’ve seen some good yuri and that’s been great. It’s just… there isn’t that much of it. Well, you could start reading manga, or books, or talking to actual women, but you want more yuri anime specifically.

To you, dear reader, I offer up this solution:

Bad Yuri.

Floating Catacombs 2025 Presents:

A Normal Author’s Girlfriend Production

The Normal Author’s Girlfriend’s List Of Bad Yuri Anime

Before we get started, let’s define our terms. First: Bad Yuri must not be in good taste. Second, let us consider some ‘ungood’ yuri, that we might understand what we aren’t looking for:

Case 1: Liz and the Blue Bird.

Boring and forgettable. Bad Yuri must be watchable.

Case 2: Shoujo Kageki Revue Starlight.

Yeah the butchfemme was good but I spent this entire show waiting for KuroMaya and they only got half an episode. I don’t fucking care about ‘childhood friends’. Bad Yuri must be enjoyable.

Case 3: Hibike Euphonium

It has to be gay. Come on. This is like the most basic requirement.

Case 4: MagiRevo, Undead Murder Farce

Being gay is not enough. You have to have actual characters.

In sum: Bad Yuri must be in bad taste; it must be watchable on a minute-to-minute basis; it must not leave the watcher with a bad taste in her mouth; it must actually be gay; and it must have some semblance of characterization. In practice it is basically always violent and horny. We’re talking like Kill La Kill levels, although if you ever want to watch that you should just go see Promare instead. Also, I reserve the right to break any and all of these rules whenever I feel like it. Without further ado:

Cross Ange

Content Warnings: Blood, Violence, Death, Sexual Assault, Ryona, Incest, Bad Taste, Needlessly Edgy, It’s Just Porn At This Point, Incredibly Stupid Plot Twists, Pretty Much Every Fetish

Princess Ange’s traitorous older brother exiles her to an island full of lesbians, where she must pilot a mech to fight dragons in incredibly revealing clothing.

This is Code Geass if it was about a girl and also worse (sorry Roze of the Recapture). This show starts with a baby being arrested. They put the baby in a special little baby jail cage in the back of a police car. The first episode ends with lesbian rape under the justification of a strip search. The weak girls on Pussy Fight Island pull knives on each other at the slightest provocation; the stronger girls pull guns; the strongest girls just use their hands.

It’s got all the subtlety of villainess manga. It’s got girls pissing themselves. It’s got a girl named Riza, short for Lizardia, because she is secretly a DRAGON. Forget ‘Lesbian soldier hopelessly in love with her commander’ – it’s got that too but it has I kid you not a lesbian harem where the top dies in combat so one of the four harem girlies has to turn into a top like a clownfish undergoing sequential hermaphroditism and take over. And then she dies too and the next one in line has to take over and then it happens again and then when it’s down to two one of them leaves because she can tell the current top’s heart isn’t in it and defects to Akio Ohtori’s side, because at least he’s willing to fuck her (lesbian cuckold count: 1) And everybody’s ass is out at all times.

It’s also got a surprising amount of Gundam intertextuality? The comparisons to Iron-Blooded Orphans are obvious; Kira Yamato is there, for some reason; her mecha is the Zeta Gundam but if it was the Strike Freedom with the TR-6 Woundwort’s Psyco Blade Goddess Antenna from Mobile Suit Gundam: Advance of Zeta: The Flag of Titans; the girls in Ange’s squadron each map perfectly to Shaddiq Zenelli’s Grassley girls.

But that’s not what you’re here for. You’re here for the scene where Hilda confesses that she’s in love with Ange but understands that Ange can never love her back, because Ange is already in love with Kira Yamato, and also with Salamandinay, a DRAGON princess from the True Earth who arrived through a dimensional rift to free Aura, the first DRAGON and the source of all magic, before Ange grabs her and gives her a full kiss while telling her that the world she’s fighting to create will have all kinds of relationships.

God Jill is so hot.

Shlock: Maximum

Lesbian: Yes, somehow, and bisexual as well. It is a male gaze thing but that’s going to be a constant with this microgenre. The vast majority of people who like women are men statistically and sometimes thank god they produce something like this

Watchability: High, if you have covid

Quality: Awful.

The Executioner And Her Way Of Life

Content Warnings: Death, Ryona, Incest, Bad Taste, Needlessly Edgy, Incredibly Stupid Plot Twist

Menou is a priestess in Isekai World whose job is to hunt down and kill Isekai Boys before they start causing problems with their Isekai Boy Powers. But this latest Isekai Boy Target… is a Girl With Enormous Tatas who she can’t kill because she auto-rewinds time to erase any wounds.

What really does it here for me is Menou’s relationship with her mentor, Flare, who groomed trained her from a young age to cut off all her emotions in order to make her a better executioner. I’m not immune to Empty Spaces/Combat Dolls/Signalis. What if Christianity wasn’t about raising girls as lambs to the slaughter but was instead about raising girls to use knives to kill people? A seductive premise for those with my particular flavor of religious trauma. Akari is fine, although I feel like Smith (Bravern) did Homura better.

I also like Momo, although I have a weakness for lesbian cuckolds (more on that later, possibly).

Shlock: High

Lesbian: Lesbian

Watchability: Moderate

Quality: Mid

Kakegurui

Content Warnings: Bad Taste, Needlessly Edgy, Boy Protagonist before the story thankfully gets bored of him, It’s Just Porn At This Point

Yumeko Jabami transfers into Gambling Academy, where everybody gambles and failing to pay your debts means being forced into petplay slavery. Luckily for her and unluckily for everyone else she is the world’s most perfect gambler because it turns her on.

Maybe the highest exposure show on this list? It’s got gambling, and sexual gambling, and a girl who can only orgasm if she’s actively taking place in a gamble where she could die. At one point she whacks off in a bathroom playing solo Russian Roulette. It’s got a Netflix original season 2 villain who was a girl forced to dress as a boy for years in ways that drove her sexually insane. It’s got The Tower of Doors, which is the most woman game that any woman has ever played.

My favorite bit character is probably the early villain who collects fingernails from everybody she beats because that’s her fetish, or the hopelessly-devoted Student Council Secretary who wants only to lay her face on the chair where her beloved Student Council President sits (lesbian cuckold count 3; 4 if you count Midori). She asks to gamble with her life and Yumeko says that that’s boring, and that there are things she values more – and that they’ll gamble with one life vs her relationship to the Student Council President instead.

Watch the opening for this one – it’s very clear about what it is, and if it doesn’t hook you it isn’t the show for you.

Shlock: Very High

Lesbian: Surprisingly

Watchability: Very high

Quality: Fine

Akuma No Riddle

Content Warnings: Violence, Sexual Assault, Death, Ryona, Bad Taste, Needlessly Edgy, Fanservice, Various Fetishes

Bishonen girl assassin Tokaku Azuma has received her first assignment: attend the Black Class at Killing People Murder High School and kill sweet and innocent-seeming Haru Ichinose, who she immediately falls in love with. Unfortunately the other eleven members of the Black Class are also there to kill Haru.

And they’re all lesbian or bisexual. And they’re all freaks.

They’re constantly pulling guns and knives on each other. Like every conversation a weapon will come out – possibly two. There’s a lesbian serial killer who really likes using scissors on girls. Sexually. The Student Council President is sexually devoted to the school principal. There’s a twenty-year-old spoiled rich girl with a boy’s name because she was named after her mom, who was a gay man. Her dad was also a gay man. If you dare say anything homophobic about this she will kill you. Two of these girls locked eyes right as they transferred in and immediately dropped everything to engage in a 24/7 ageplay dynamic. The other spoiled rich girl is secretly a cyborg and in love with the multiple personality girl, who wants to kill her as well.

This is by the author of infamous shotacon BL manga Loveless, so I guess all that is to be expected.

Also… Akiko Morishima got really into making doujinshi for this one? Sure.

Shlock: High

Lesbian: Yeah

Watchability: Pretty decent

Quality: Sure

Yuri Kuma Arashi

Content Warnings: Sexual Assault, Bad Taste, It’s Basically Just Porn At This Point, Bears

Lesbian Bear Storm.

For my money, the best Ikuhara post-Utena work is Sarazanmai, but Yurikuma Arashi absolutely earns its spot on this list. The pieces of a story about how lesbian desire is used to titillate a male audience but never fulfilled, how desire is regulated and rendered hideous, and how girls enforce heteropatriarchy by manufacturing consensus completely independent of men are in there somewhere under the moaning naked girls licking honey off precisely-positioned lilies. I think? It’s well-directed, at least.

Shlock: Ikuni

Lesbian: Ikunirappa

Watchability: Ikunichauda

Quality: Ikunigomamonaka

(the first half of) Birdie Wing: Girls Golf Story

Content Warnings: Violence, Bad Taste, Incest but not really, Golf, The Threat of Having To Resort To Survival Sex Work Underlying This Stupid Golf Show

Birdie Wing is the story of a girl who hates golf and a girl who loves golf. Season two fails to make par because it loves golf too much; season one, with the baffling metaverse vr episode, the underground mafia roguelike golf-to-the-death course, the woman who golfs so hard her robotic arm explodes, and the inexplicable Bandai property references, is the way to go.

I hate golf in the way only an eldest daughter forced into golf lessons hates golf. When Birdie Wing hates golf – when Eve swaggers onto the course in her stupid outfits, refusing to adhere to any etiquette, uses only three clubs and slaps a ball directly into the flag to drop it straight down? I love that. When she lifts her driver and points it and says she’ll kill somebody with it? I love that.

Also like when Aoi says she’ll get her attention with this and pulls her extra long driver out and holds it like a strap. And then her beleaguered caddie talks about how Aoi pierces everyone through with an innocent smile. That was good.

The thing that stuck with me the most wasn’t actually any of the golf shenanigans – it was the way that Eve effectively shoots Aoi down when they discover that they shared a father and were therefore half-sisters. Well, it’s yuri – incest is just something you get used to. Except then it gets revealed that that was a fakeout, because Aoi’s dad was actually her dad’s best friend and her parents were in a throuple that the dad who raised her left behind to secretly raise Eve. Also her dad is Amuro Reiya and also Char Aznable is in this one? And the HG Turn A Gundam? Don’t forget to increment the Lesbian Cuckold clock up to five – Aoi herself and her poor caddy, who didn’t deserve a mysterious blonde swooping in like that.

Oh god I didn’t even mention Vipere, the slutty snake-themed bisexual underground mafia golfer (you know, for the underground golf mafia) who uses pheromones to control her opponents, gets outgolfed, and then shonen-rival style sticks around to help out whenever somebody needs a car (as the girls are too young to drive).

Shlock: Absolutely

Lesbian: Somehow

Watchability: High

Quality: Better than it had any right to be

Maria Holic

Content Warnings: Transphobia, Bad Taste, Fanservice

Kanako Miyamae is a hopeless hapless lesbian excited to attend Lily Yuri Girls Only Academy. She falls in love with a beautiful blonde girl, the queen of the school – and discovers her ideal gf is actually a boy crossdressing to attend the academy who wants nothing more than to torment her sexually.

Maria Holic works like this: Mariya wants something from Kanako, and wears a sexual little outfit/exposes his feet/blows her a kiss/strips his maid’s top off to control her through her sexuality or just because he feels like it and she falls over of anime nosebleed disorder before she remembers “oh right Mariya is a boy” and starts eating her own organs Pearl Steven Universe style. Occasionally a girl who calls herself god will say something uninteresting. Kanako has a little pervert fantasy about one of her classmates. The cast has a reference-heavy Studio Shaft Conversation. Kanako can’t get Mariya out of her head. God I had to retype every ‘him’ up there from a ‘her’ because there is no way that little bitch is anything but a girl – it just doesn’t stick in my head. They don’t make boys like that. Torturing a girl like that is a female trait.

If you don’t want to watch a lesbian get relentlessly edged by a brat this show may not be for you. In all honesty even with Studio Shaft direction I found this almost completely unwatchable but it does earn its slot here. If you want a good Studio Shaft yuri show? Go watch Madoka Magica or Hidasketch.

It does have an excellent opening though.

Shlock: High

Lesbian: Well it has at least one

Watchability: No

Quality: No

Re: Cutie Honey

Content Warnings: It’s Basically Just Porn At This Point. but god. Natsuko Aki

“Honey Flash!” yeah she sure does huh

Transforming android Honey Kisaragi fights against evil organization Panther Claw, with the reluctant help of her annoyed cop eventual bestie Na-chan. This is good, actually. Go watch it.

Seriously. The animation is so fun and vibrant! They do the super-cost-saving stills being moved thing in a very high-energy way that comes across as a reference to the original manga format and then every so often they’ll pull out absolutely incredible action sequences.

Look at this!!! Her triangular stompy steps! The super low line count on her as she slowly advances with the gun flying toward her hand! Her Go Nagai snarl!!!!! It’s a real treat for the eyes even without the naked women. There’s only so much “saving your best friend by the power of being naked and kissing” you can do before it stops being bait and starts just being They Are In Love.

Shlock: Absolutely

Lesbian: NATSUKO AKI

Watchability: High

Quality: Yeah

Akiba Maid War

Content Warnings: Genre-Typical, No Spoilers Don’t Worry About it

Go watch this right now.

Shlock: Less than you’d think

Lesbian: Yes

Watchability: Extreme

Quality: Genuine

A Very Specific Set Of Monogatari Arcs

Content Warnings: yeah that guy is sexually harassing that 11 year old and also that tiny little vampire and also both of his little sisters.

Show beloved by pretentious internet perverts.

Alright. You are going to watch Episodes 1-8 of Bakemonogatari Season 1, (skipping 3-5 depending on your tolerance for watching small girls getting sexually harassed) and then you are going to watch the five episodes of standalone arc Hanamonogatari, halfway through Season 2. If you really like Hanekawa, who is bisexual, watch 11-15, Neko Black and Neko White. If you really like animation, watch Kizu. Do not be tricked into thinking more of this show will be gay because Hanekawa and Senjougahara had sex in a shower once. If your goggles are really on tight, enjoy Nadeko Draw but you’ll have to sit through the previous Nadeko and Yotsugi arcs to get there and I can’t in good conscience recommend you do that.

Shlock: Less than you'd think

Lesbian: One

Watchability: SHAFT

Quality: Yes

[catboymoments]

i gotta admit when I saw hazbin stuff I panicked a bit its like following someone and then they become a South Park or Family Guy blog out of the blue lol but I'm picking up what you putting down so it's all good 👍🏾

HJKDFVKHJFBDJKL IM SORRY FOR THE JUMPSCARE. im takinf viviennes dumpster fire and having fun salvaging it essentially. i literally just love character design and writing and sequential storytelling so much.

[bookished]

Staying motivated and continuing to work on your story, even when you're not actively writing, can be challenging but essential for your creative process. Here are some tips to help you stay engaged with your story:

Remember Your Why: Reflect on why you started writing this story in the first place. Reconnect with your passion and purpose.

Set Clear Goals: Define specific goals and milestones for your story. Knowing where you're headed and what you want to achieve can help maintain your motivation.

Visualize Your Story: Create visual aids like character mood boards or plot diagrams. Visualizing your story can make it feel more real and inspire creativity.

Create Character Playlists: Develop playlists of songs that evoke the emotions and personalities of your characters. Listening to these playlists can immerse you in your story world.

Explore Backstories: Dive into your characters' pasts. Writing short stories or character profiles can deepen your understanding of their motivations and add depth to your narrative.

Experiment with Prompts: Use writing prompts unrelated to your story to keep your creativity flowing. You might stumble upon ideas that you can incorporate into your narrative.

Write Out of Order: Don't feel constrained to write your story sequentially. If you're excited about a particular scene or chapter, go ahead and write it. You can connect the pieces later.

Keep an Idea File: Maintain a digital or physical file where you store story ideas, quotes, and images that inspire you. Reviewing these can reignite your creativity.

Write Letters from Characters: Compose letters or journal entries from the perspective of your characters. It can help you explore their voices and viewpoints.

Reward Creativity: Treat yourself when you achieve creative breakthroughs. Acknowledging your achievements can reinforce your dedication to your story.

Remember that every writer's journey is unique, so don't be discouraged by occasional dips in motivation. Embrace these strategies and tailor them to fit your writing style and preferences. Most importantly, enjoy the process of storytelling, and your enthusiasm will naturally shine through in your work.

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[crocomum]

Lost Not Light: Chapter 2

Optimus Prime heeds Prowl's warnings about Megatron in the worst possible way; making him the tyrant's official chaperone aboard the Lost Light.

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Basically Prowl gets sent to the Lost Light for an attitude adjustment disguised as a mission and the Constructicons tag along, using the opportunity to more aggressively court their sixth now that he's essentially alone. ao3

Five Constructicons walk into a bar.

Chatter hushed to raised whispers; the bartender asked, “Any weapons?”

“Got your weapon right here,” Bonecrusher flexed. “A weapon of mass-construction.”

Awkward laughter, somebody coughed; the loud chatter and overcharged revelry recommenced. The little red and white bartender laughed the loudest, his expression of befuddled amusement. Bonecrusher grinned, real proud of himself for that one. Their entire night’s plan would fail if they couldn’t get their peds through Swerve’s door, and Bonecrusher was pretty sure he’d just earned them their ticket in with a good if hokey joke.

“Alright, alright,” the little bot nodded. “Tables are free, drinks aren’t—got any preference?”

Mixmaster took that as his cue to saddle up to the bar while the rest of them looked for the whole reason they’d decided to join in on the first night's fun.

Long Haul took point on locating their objective, using his height to scan over the crowd. Scavenger, their most curious member, turned his helm in every direction it could, not out of any enthusiasm for their objective, but to scope out all the bots who didn’t know him. Some who didn’t even know of him—the gestalt’s personal loose screw was already imagining how he could twine himself onto already established clicks; endearing himself to them in ways that had never worked among their old faction.

Bots liked chattery little try-hards. Decepticons? Scavenger never would have made it without the rest of the team, a fact they regularly reminded him of.    

Hook’s arms were crossed in front of his chassis, field held tightly around himself. The surgeon had never liked crowds—crowds meant mingling with the masses, potentially bumping armor, or even, primus forbid, talking to them. And their hoity-toity Hook was too good for that; mech thought himself too good for just about everything and everyone. Except for the gestalt. For Prowl. 

Bonecrusher only had optics for the low-quality engex, blues and bright yellows, floating in polished glasses on the bar counter, the high-grade cubes that glittered in mecha’s servos, reflecting its glowing energy off round, dirty tables, and sat unbound on shelves lined with Cybertronian liquor. All wonderful opportunities for the Bonecrusher to exhibit his virtuosity—all brilliant little bombs ready to go off with the right detonator.

Good stuff, that high-grade. Lower quality, but not cheap. Problem was, he could tell the additives it had been blended with from visuals alone; proving the blend hadn’t been mixed by a master.

The flints of minerals and metals glinted in the bar’s dim lighting, giving the cubes a glimmer that reflected off bright Autobot armor. The resulting destruction were he determined to set it off would have been pretty, bordering on beautiful, a fine example of Bonecrusher’s particular vision of art. Only there were too many variables out of his control, the timing of the sequential explosions, the specifics of minerals, and even the amount of high-grade in the bots’ tanks were unknowns that could spatter his work with imperfections. And if he couldn’t control every aspect of the demolition, it wouldn’t be perfect; if it wasn’t perfect, it wasn’t worth it.

Prowl was worth it.

There were a lot of faces surrounding the bar, hopped up on stools, even more crowded together at the tables pushed up against the wall; toward the back, there was a circle of mecha who had cleared space for their own makeshift dance floor. If their unsynchronized bouncy shuffles could even be considered dancing. Huh, looks like the old Decepticon adage that an Autobot’s back-strut was too stiff to dance was right.

Simply put, the place was stuffed fuller than a pleasure-bot on payday.

Bonecrusher grinned behind his mask at the pack of wannabe dancers, wondering if he could convince Long Haul to toss Hook into the mass, and give this party some real entertainment. A ripple of amusement passed through the bond as Long Haul picked up on his thoughts. Beside them, Hook’s armor drew in impossibly tighter even as his field lashed out in warning at his conspiratorial teammates.

Don’t you dare.

They shared a chuckle at their surgeon’s expense but left the idea as nothing more than an amusing thought. Heavy-duty frames like theirs had to tread lightly on razor-thin ice; they couldn’t afford to crack through the Autobots' scarcely gained tolerance. There was too much ground for the Constructicons to lose so early into the voyage.

Was a big night, the first night. The Lost Light had breached Cybertron’s atmosphere and in less than a breem, the sounds of partying could be heard all throughout the ship. It bounced through the halls, coming from closed doors and shared recreational spaces, but the loudest had come from the bar. Music and mechs—now femmes too—all excitedly jabbering about what the voyage held, what their part would be in the grand epic of a quest: the adventure, the mystery, the romance.

Bonecrusher snorted at his own thoughts; romance, right.

Before the first merge, back when the Autobot was just a tool slotting in with tabs b, c, d, e, and g—before they knew Prowl was Prowl—the Constructicons would have sworn there wasn’t a romantic wire in their frames and would have fought anyone who suggested otherwise. But now?

Here they were on a ship full of Autobots, their own plating smooth where a purple sigil was once engraved, and looking for the one bot that had recently skyrocketed up their ever-lengthening frag that guy list; the only other to have made the list so fast was that puny fleshling, Spike Witwickey. The human held the record. Probably always would.

And if joining this slagged up, hug-fest, hippy-dippy ship’s crew wasn’t romance; the Constructicons would beat anyone who said as much.

The demolitionist rolled his neck, huffing and cracking stiff joints—what love did to a mech…Bonecrusher shook his helm, a rueful smile hiding underneath his mask, the demolitionist unused to his own foppish musings.

Within its casing, his spark swirled and warmed with affirmation from the gestalt bond; they all felt the same deep love for their sixth and they were all unfamiliar with the amorous turn their thoughts had turned in the light of that love. Warm fuzzies all around; Scavenger even turned from scouring his future victims (potential friends) to gently touch Bonecrusher’s elbow in assurance.

He frowned and shook off his teammate’s touch, not caring how the shorter mech wilted at the rejection; little Scav had thought they were having a moment. Over Bonecrusher’s greyed out husk. Just because he loved the little weirdo the same as he loved every other Constructicon didn’t mean he would tolerate the excavator’s wimpishness. They might be one big fragged up family who loved each other, had no hang-ups admitting as much, and would offline anyone who was dumb enough to call them weak for it—but they were in love with Prowl. It was different. New. Exciting. Terrifying. Excruciating.

Agreeing rumbles all around and Bonecrusher forced himself to focus on their self-assigned mission.

With Long Haul taking his sweet aft time finding the cog sucker they’d come to cosey up to, Bonecrusher decided to turn his gaze from the glowing cubes of temptation to the bots holding them, trying to spot who his taller teammate had missed. All he saw were blue optics and red badges.

Bonecrusher sneered behind his mask; it was no wonder the Decepticons hadn’t put their faith in the Lost Light’s frivolous voyage. The Constructicons hadn’t either. That wannabe Prime, Roddy-something, could make all the grand speeches he wanted about finding Cyberutopia and the Knights of Cybertron—but who would that utopia really be for? There wasn’t a single con onboard that hadn’t given up the faction and there wasn’t a coolant drop of doubt between them that the Constructicons would have been granted permission to join the crew’s roster had they not scrubbed their armor clean of branding before registering; idly Bonecrusher brushed a servo over the center of his bare-green chassis, the phantom ache of the nanites’ removal a reminder of just what they had been willing to give up for their ultimate goal.

The Constructicons didn’t believe in some distant fable of a Cyberutopia or need the recognition that would come with being part of the crew that found it; they believed in Prowl. They needed Prowl.

The real, tangible (touchable) Prowl who had holed himself up in the storage closet of an office he’d commandeered almost immediately after the Constructicons had placed their praxian’s soft, breakable berth into his personal quarters. They’d all made up excuses their bot didn’t believe, but had been too exasperated to call them out on, as to why all five of them were needed to heft the berth into his quarters, slowly, slow enough for an experienced construction mech to scan a full schematic of the rectangular space and learn the room’s exact measurements; course that was just hypothetical. Heh.

Out of their gestaltmates' unnecessary personal quarters, Prowl had marched around the ship like he owned it—and the Constructicons would make a valiant effort if that’s what he really wanted—looking for an empty room to take as an office. Because of course, he’d have an office. Their boss bot wasn’t on some pleasure cruise, he had a very important mission to accomplish, or so he had claimed while rejecting the Constructicons’ offer to parse out a section of their larger-than-most habitation suite for the tactician to use.

Once he’d picked a room, Bonecrusher and Long Haul had helped him set it up, tossing heavy boxes of whatever out into the hall until it was sufficiently empty enough to fit their praxian’s fancy desk and chair, barely. His gestalt mates had radiated their jealousy through the bond over Long Haul and Bonecrusher being the only ones allowed in such a tight space with their sixth, but the closet the praxian had picked out was too small to fit all the construction mechs at once; two comfortably, three if they squeezed.

They’d find him a new, bigger office later once they’d gotten ahold of or built their own blueprints of the ship.

Bonecrusher and Long Haul had used the opportunity to get in close with their smallest gestaltmate at every opportunity—Long Haul going so far as to use his longer limbs to accidentally brush against a stiff doorwing, just one digit casually running along the tip as he reached over top their praxian to look at a questionable (perfectly fine) light fixture above where he stood—it had been cute the way Prowl had chased them out immediately after; practically hissing like a turbo-fox, doorwings raised like hackles.

The desk he tossed in their direction was less so.

Long Haul had apologized for the accidental touch, not meaning a word of it. Prowl knew and went back to his usual silent treatment, watching the construction mechs through narrowed optics as they reset the desk and bowed out of the makeshift office before their praxian could start contemplating a chair toss.

The touch had been worth it though and Bonecrusher had been the first to slap Long Haul on the back out of respect for a job well done once the office door was closed. They’d be reliving the sensation of the intentional brush up in the privacy of their hab-suite for the orns—or until a more prolonged contact took its place. And there would be more: longer, willing, intimate contact with their sixth.

The Constructicons never left a job half done and wooing Prowl was easily the most demandingly complex one they had ever taken on. It would also be the most rewarding once complete. Once they were complete.  

The barbed walls their sixth had built around his spark would crumble under the might of Devastator, and each time the tactician painstakingly built them back up, blocking them from his side of the bond; the Constructicons would be observing, learning the tools and materials he used for their construction. The Constructicons’ courtship of Prowl would be a controlled demolition, identifying the structural weaknesses in his barriers and strategically (heh) targeting them, breaching closer and closer until it was too late for another rebuild because they were already on the other side.

Sweet anticipation rippled through the bond.

Turning from thoughts of their sixth to what they were attempting to accomplish for him, Bonecrusher’s visor narrowed as he sought out a homely white helm and a hideously gangly frame. Even in a crowd, the tall fragger should have been easy to spot. Was hard to hide that much ugly.

If they didn’t find their first choice of Autobum to cozy up to soon then they would need to pick another while enough of the partying crew was still sober enough to remember how well-behaved and welcoming the Constructicons had been during the Lost Light’s first underway party. They only required their chosen bot to be of a popular sort, a real name onboard and not one of the rejects who had joined as some misplaced grab at notoriety. They also couldn’t know any of the Constructicons personally, at least not too well. The one exception was Clown-dome, but he didn’t really know them, only their close association with Prowl. That fight at the cliffs didn’t count; any con would have done the same.

There he is.

Bonecrusher’s helm whipped around to where Long Haul was not so subtly shoulder gesturing to, his visor brightening as he spotted their quarry. His face mask hid the predatory smile that split his faceplate and a rumble of delight at how vulnerable their prey had left himself.

Seated all alone in a booth pushed against the side of the bulkhead, hunched over the table, and surrounded by what appeared to be multiple empty high-grade cubes sat Chromedome. There was no sign of approaching partiers, the bargoers appearing to be giving the lonesome bot a wide berth—just enough for five Constructicons to squeeze through.

Without waiting for the others, Bonecrusher set out on a path directly to the booth. Scavenger and Hook were close to follow, with Long Haul making up the rear as he usually does. A few scathing glances were sent their way as they passed partying bots and even more scrutinizing looks followed the ex-cons as they made their way through the crowd and into the empty space around their chosen company’s empty booth.

As he came closer, Bonecrusher noted that just above the table there was a single, small round window giving a limited view of the space outside. An odd design choice and one the Constructicons wouldn’t have gone with had they any part in the ship’s design. It was an obvious hull vulnerability, a waste of triple reinforced plexin-glass, and even aesthetically it was pointless—there was nothing out in space worth looking at, everything worth interest was already inside the ship.

Affirmative nods reached across the bond from everyone except Scavenger (and their silent sixth), but then the excavator had always held a strange penchant for the kitschier designs.

The closer the Constructicons came to Chromedome, the more they understood why none of his fellow Autobots had been brave enough to approach.

An open, heavy wave of misery poured from the bot at the table and the Constructicons allowed it to wash over their own tightly held fields, basking in Crum-dome’s unrestrained suffering. The four empty cubes surrounding the slumped-over mech were likely the reason for the uncontrolled emotions, but the Constructicons knew its source and it tickled their sparks seeing Chromedome exactly as he always should be. Alone.

The merriment Bonecrusher allowed to peak through his own field didn’t even need to be faked.

“Hey mech, been looking for you,” Bonecrusher’s mask lowered in an audible click, revealing a sharp-if-friendly smile. “Slide on over, we got something for ya.”

The other Constructicons' mask also lowered just as the slouching bot startled, sitting up with his visor stretched wide. “What, no you’re—”

But Bonecrusher was already lowering himself to sit, his bulk easily shoving Chromedome’s lighter frame to the booth’s corner as he slid into the long, cushy seat. Across from them, Hook and Scavenger piled in, their frames only narrowly missing each other in the cramped booth, only a vent’s worth of space between them. Long Haul hadn’t even bothered, having searched around and grabbed a chair from a table, without asking, and pulled it over to the end of the booth to sit, his legs spread around its back as he faced them.

Raising his helm toward the bar, Bonecrusher spotted Mixmaster performing an impressive balancing act with multiple cubes of high-grade balance on his bent, raised arms, a cube held in each servo for good measure. Scavenger spotted him too and they waved their teammate over, calling him through the bond.

Here, this way, we got him. 

Mixmaster’s optics lit up at the urging and carefully started making his way over to their booth, dodging various passersby and narrowly avoiding the gyrating mecha who had fumbled their way from the dancefloor. 

Chromedome didn’t wait for the mixologist to arrive before questioning the ex-cons surrounding him. “Did Prowl send you? This some kind of elavrate revenge?” The pointed accusation was dulled by slurred vocals and Bonecrusher was left wondering what the mech had actually meant to say.

Elaborate, Hook supplied and the rest of the Constructicons internally shrugged it off as unimportant. Kind of like the waste of parts himself, Chromedome.

What Prowl had seen in that walking set of rusted-rebar the Constructicons would never understand; except they did understand. They’d been in Prowl’s memories and seen everything to do with this particular toxic waste dumping ground of a relationship. Had seen their lonesome little bot’s exuberance at believing he had finally found someone who understood him, and would accept him—except Tumblr hadn’t understood him, Chromedome would never accept him; the Constructicons had done both and more. They were everything Prowl had ever wanted; he just refused to acknowledge the spark-proven truth.

Their praxian would though, there was only so long a logical processor like Prowl’s could deny the obvious. Especially with the Constructicons’ using the voyage as a means to prove their usefulness to the tactician in more ways than just their unparalleled construction abilities.

They’d have him, it wasn’t a matter of if but when.

“What, Prowl? Noooo,” Bonecrusher started, the others joining in, scoffing and snorting their denial. “Boss bot doesn’t even know we’re here—he’s been locked up in that little office of his for joors now.”

“His office? Here, on the ship; Prowl has an office?” Chromedome questioned; as if it was even a question.

“It’s Prowl, of course he has an office,” Long Haul shrugged, not feeling a need to elaborate.

The bot seemed to feel the same way, accepting the answer with a nod, but his unrestrained field was a buzz with uncertainty, hostility, and buried beneath all that, fear. That have been great, warmed Bonecrusher’s spark to know that even in a congenial setting they were able to pull that kind of reaction from a bot. Unfortunately, the Constructicons had settled on a play-nice strategy for the voyage and as satisfying as the fear was, they were attempting to engineer a more…amicable response from the mnemosurgeon.

Chromedome’s attention was taken from the Constructicons seated with him to the one who had finally reached their table as Mixmaster finally joined them. Not a drop of high-grade was spilled and he started placing the drinks on the table, putting one in front of each of the seated Constructicons before finally pushing away the empty cubes that had been surrounding Chromedome and replacing them with a bright pink, larger-than-everyone-else’s-cube containing something that smelled sweet, but potent.

Mix then took a seat on the sliver of bench remaining next to Bonecrusher, precariously balancing himself by placing a servo on one of Long Haul’s spread legs. The mixer gave said leg a squeeze, servo sliding up the larger mech’s leg higher than strictly necessary in a subtle tease.

Long Haul’s engine growled low, the larger mech sending an amused threat across the bond, implying he’d get Mix back for that later—something Bonecrusher looked forward to watching, preferably while they were all bonding and reexamining that brush of doorwings from earlier. Scavenger echoed his thoughts.

Hook sighed, loudly, continuing as though he hadn’t noticed the scrawny mech’s fear or his team’s less-than-pure turn of thought. “We helped him with the furniture arrangement and when we dared to linger–he flung the desk at us.”

Alright, back to business; being visibly chummy with Chump-dome.

“Was worried we’d have to build him a new one,” Long Haul chimed in.

“Three times!” Scavenger lifted his digits to the number, and the Constructicons all shared a laugh at the exaggerated memory.

“…heh,” Chromedome finally laughed with them, it was small, more of a chuckle than a full guffaw, but it was something. It was an in.

“He does that,” the Autobot tacked on, bringing life to his visor, the mech obviously taking the Constructions’ affectionate riffing at face value; as a derisive dig at their praxian. As if they would ever, as if Crud-dome had the right.

An astro-click of outrage flashed through the Constructicons, and in an exercise of previously untapped restraint, they reigned it in; kept their furious fields, full of violent desire, held close and their smiles wide, encouraging. Long Haul even managed a laugh, expression bright as he tilted a cube in the bot’s direction. Their faces may have been exposed, but their masks were up; even Hook had one firmly in place.

Their whole half-formed plan would fall apart if Chromedome felt threatened and seriously shooed them away, potentially calling his who-could-like-this-loser friends to do it. They needed to be big friendly hydro-pups who were happy to pall around with their new crewmates, sharing drinks and good stories all around. As the Constructicons, as Devastator, they had reputations amongst the Autobots—but that was all they had. There weren’t many bots who had actually encountered them personally on the battlefield and survived to bleat their terrified sparks out to the rest of the faction about it. And any who had ever made it to Hook’s operating table either died under the surgeon’s scalpel or offlined themselves soon after to escape the memory of piercing agony he had engraved directly into their most primordial systems.  

The Autobots knew of them, feared them and rightfully so, but they didn’t know them. Dispelling those very true rumors and winning a short-tether of trust with the crew was the second phase of their grand plan to win Prowl’s spark—the first phase was always conception, and even that was vague, Scrapper had been the master architect and without him their plans had become shaky, erased and rewritten lines on blue vellum paper. The second phase was also the most well thought out part of the plan; they weren’t even completely sure what the other phases were, only that all good plans had multiple phases. All of Prowl’s had, anyway.

But their plan was one their cute-but-competent helmsmen would have never been able to put together himself, let alone pull off. It revolved around being the one thing their sixth couldn’t be—Personable.

And it was working so far: they had gotten into the bar with no major incident, sat with a popular bot who was laughing at their jokes, enjoying their company (kind of), instead of telling them to frag off. That Chromedome hadn’t yet, considering their proximity to Prowl and the mech’s protoform deep hate of him, was their luck and they knew better than to push it.

Bonecrusher still wanted to kill him.

Stick needles into the back of their helm, root around in their processor, removing memories, leaving them spread wide open for the enemy to plug in and control—commit the deepest act of violation known to Cybertronian kind—and Cybertronians had been around for longer than most recorded species; they knew a lot.

Happen to any of them and the Constructicons would be sitting with a dead mech. Soon as they’d learned of the betrayal, they’d have welded the traitor to Hook’s med-berth, or a solid refueling table, or even built him his own personal slab of insulated metal; any flat surface would have worked, really. Then they’d have taken turns breaking him apart, putting him back together, just to take him apart all over again. It’d have been different each time, too. Each Constructicon getting to put their own preference on the method.

—Bonecrusher would widen the mech’s transformation seams, just enough to slide detonation cords throughout his frame, little tetryl boosters placed over the sensor heavy sectors, where the wires clustered. He’d set off a controlled detonation and watch as the mech’s armor rattled and broke apart in sequence, from helm to ped. After the armor fell away, the same would be done to the underlying protoform, twisting the cords into wires and fuel lines, connectors that held internals together. Layer by layer, until every piece of the mech had been broken apart under his deftly crafted demolitions. Bonecrusher would have started with the visor first, though. Just plucked that right off his face and gouged out any optics beneath. Was always fun to see himself reflected in dull optical glass, fear making them pull wide so he could see more of himself, but he enjoyed the way their electro fields went crazy wherever he touched when they didn’t know where he would touch more. The perfectly measured destruction would be beautiful, even more so if Prowl was with them watching, supervising, approving.—

They’d have killed the skinny glitch over and over again, and made him grateful for when it was the last. They still would if Prowl asked. And slag, did they wish he would ask.

But he wouldn’t. Their sixth had only gone so far as to say something mean to the scrawny slagger after finding out—Prowl was soft like that. Soft like that berth the five of them had their optics set on during that first fun move to the Lost Light. (They already had plans to modify their own after it, making it more welcoming for when their sixth eventually joined them on it.)

The Constructicons were willing to play nice with Chromedome in public, they’d suffer his continued function if only because pointing servos would immediately turn toward their sixth were he to disappear. They wanted those who would point and accuse their praxian to reassess any distaste of him because the Constructicons liked him, and they liked the Constructicons. But they had a line that couldn’t be crossed and they needed the crew to want to respect that line—Prowl.

“Yeah, he does,” Bonecrusher finally managed, vocals a rough grunt—he hoped the Autobot thought it was a laugh from shared humor. “Never seen a mech hate a piece of furniture that bad before.”

“I have,” Scavenger’s visor brightened as he wiggled in his seat, radiating an inordinate amount of enthusiasm through the bond, the excavator excited to be part of a conversation, to be tolerated by anyone but his fellow gestaltmates. “They…they hated the wash racks and never went in them, ever.”

The top of Bonecrusher’s visor raised at the mention of the seekers. The story was well known among the Decepticon rank and file but had never quite made it to the Autobots as anything more than speculation. Nothing of any significance to the war, but a juicy bit of gossip that could potentially capture a bot’s attention just enough for him to forget who was telling it.

Good call.

Scavenger beamed through the bond.

“What, ya mean the seekers? They didn’t hate wash racks, they were just scared of ‘em,” Bonecrusher said as leaned back, casually laying a strong arm across the bot’s shoulders. He felt the plating beneath his own tense, but the mech didn’t pull away. Good, good.

A tug too hard, a flex too strong, and those shoulders would buckle and bend beneath his hold; the joint sockets sparking as they tore beneath the Constructicon’s pure laborious power. The mech’s dismantling would be quick, satisfyingly so. The mnemosurgeon was worth less than a klick of the Constructicons’ time outside of a torturous setting—he wasn’t worth even a nano-second of Prowl’s.

“…The seekers were scared of wash racks?” Chromedome questioned, his tone disbelieving, the overcharged mech entirely unaware of Bonecrusher’s vicious imaginings.

Scavenger fidgeted in his seat, “they um, thought everyone wanted them? Their wings I mean. They’re not so hot though, there are uh…better wings.” The last bit was mumbled and Bonecrusher’s optics rolled behind his visor; he agreed but now wasn’t the time to subtly imply how smelter hot they all found Prowl.

“He means they thought us dirty grounders would all jump ‘em if they ever used solvent,” Bonecrusher salvaged, even though that was supposed to be Scavenger’s job. “Completely flew over their helms how not everyone’s preferences ran aerial.”

“Arrogant,” Long Haul huffed.

“Delusional,” Hook supplied.

Bonecrusher and Mixmaster hummed their agreement as they let it all sink in for the Autobot.

Chromedome’s visor was pinched, his helm tilted ever so slightly in such a way that implied concentrated thought–what little the glitched mech was capable of, overcharged or sober.

“…Did they just not wash?” The bot finally asked, likely cross-referencing everything he knew about the narcissistic frame type with the new information the Constructicons had just given him; his high-grade heavy logic drives struggling to fuse the two.

“They did,” Bonecrusher answered. “Though no one ever saw them doing it.”

“Even…even if you did, no one believed you,” Scavenger commented with a pout, having been subjected to that particular disbelief and mockery more than once.

Hook patted the excavator’s leg under the table in solidarity. The other Constructicons had shared Scavenger’s memory and believed him; hadn’t stopped them from joining in on the ridicule. Or calling him (rightfully) a creepy little voyeur.

“Most believe they made deals with Starscream for the use of his personal washracks,” Hook said. “Some even claiming it was the real reason the air armada was so loyal to him—It’s not true, but who are we to get in the way of a good rumor?”

“…So they just didn’t wash?” Chomedome asked incredulously, his optics wide in disbelief.

“Oh they did, and they were cutting deals, just not with Starscream,” Bonecrusher clarified as he glanced at the high-grade Mix had gotten them. It looked weak, but then what could he expect from an Autobot ship?

“Then who?” The bot questioned, snapped really, white plates shifting impatiently beneath Bonecrusher’s servo. A miserable and snippy drunk? Chromedome really was the worst kind of everything.

“Soundwave,” Hook answered.

“Soundwave?” Chromedome repeated.

“Soundwave,” Bonecrusher confirmed with a nod.

“But why?” The bot asked, his field finally losing that last hint of fear and hostility, replaced with open curiosity. There it was. They got him. Wouldn’t matter if the scrub bucket didn’t remember their conversation come the morning, and he probably wouldn’t. What mattered was the rest of the bar watching them have it.

“For information on Starscream, of course,” Hook smiled, delighted by the duplicitous nature of the seekers toward their own commander whenever he was reminded of it. The surgeon had always loved a good betrayal—Chromedome’s own toward Prowl the sole exception.

Were the bot not wearing a mask, Bonecrusher was pretty sure Chromedome’s jaw would have dropped. “That makes too much sense, or no sense at all, I’m not really sure I—” Cutting himself off Chromedome reached up to press long fingers onto the back of his helm. “Primus my helm hurts.”

Hook, sensing an opportunity to show off, began explaining, “It’s the high-grade, it causes the fuel in your tank to burn faster, which disrupts communication between the circuitry in your processor and your filtration system. Your processor is over-firing due to the increased demand and overcompensates for the delayed response, causing a helm-ache. Nothing a little coolant and med-grade won’t fix.”

Finishing his explanation, Hook’s derma curled into a conspiring grin. “Or if you’re looking for an immediate relief, more high-grade helps.” The medic gestured to the untouched cube of high-grade they’d bought for the Autobot.

If anything, Chromedome looked more pained by the explanation and had brought both servos up to grip his helm, squeezing and messaging it in a way the Constructicons knew wouldn’t work.

Bonecrusher used the lull in conversation to peek around the room, grinning at all the bots that had turned to openly stare at the construction mechs. He tilted his helm toward Chromedome and if not for his visor, he’d have winked. The stares were a good turn, they wanted as many optics on them as possible.

Misery had begun to seep back into Chromedome’s field, causing Bonecrusher’s grin to widen. They’d been seen, possibly accepted, which meant they were done with the scrawny bot. Best if they moved on, and found a few others to mingle with before retiring to their shared quarters. Maybe even make a few passes at Prowl if they spotted him on the way.

“Why are you here?” Chromedome questioned, breaking the table’s silence and sounding depressingly sober. Though finding no hostility directed to ward them, the Constructicons decided they had been technically successful with their mission.

The mournful mech’s misery turning toward the Constructicons was their final sign to bow out and move on, but their tolerance for Chromedome was at its lowest and the five of them sensed an opportunity. They’d continue to play nice a little longer, just enough to grab the knife of grief digging into Chromedome’s spark and twist it. All while maintaining the friendly façade of comradery.

“Course we’re here—we’re crew!” Bonecrusher crowed with a smile, acting oblivious as to the real reason the bot would be asking them that.

“No, I mean why are you here with me?” Chromedome emphasized, then through a narrowed visor. “I know Prowl hates me.”

“Hate you?” Hook frowned as if the thought had never occurred to him.

“Prowl doesn’t hate you,” Mixmaster assured.

Unfortunately.

“We are not the most…approachable mecha onboard. An inevitable consequence due to our previous loyalties,” Hook tactfully remarked. “We are attempting to change that image through repeated positive contact with the crew.” The surgeon supplied, fully confident Chromedome wouldn’t remember complete details of their conversation come morning.

“Prowl had good memories of ya, figured you’d be as good a start as any,” Bonecrusher added, hating how true the former part of his statement was.

“…He did? That’s not…,” Chromedome shook his helm only to wince, clearly not sober, but wary enough to realize maybe he should be. “Why are you really here—what do you want?”

“Why, to share a drink with a fellow crewmate—and to thank you, of course,” was Hook’s honeyed response.

“Thank me?” Chromedome puzzled.

“Course, bot like Prowl never woulda bonded with us willingly; big bad cons like us? He’d sooner offline,” Bonecrusher responded, keeping the amusement he felt at watching the bot’s frame begin to slump in response to the bulldozer’s words locked in tight around himself.

Chromedome did no such thing, the now anguish bleeding from his frame. Bonecrusher greedily soaked it in, relishing the Autobot’s torment over their cheerfully delivered thanks.

“But you gave him to us,” Scavenger whispered, red visor shining with reverence.

“Wrapped him up all pretty like an energon goodie and dropped him off at our door like an early creation day gift,” Bonecrusher complimented with a soft, appreciative rumble.

Slump. Slump. Slump.

“Best present we ever got,” Mixmaster affirmed.

They all nodded and Bonecrusher even gave the bot a good little jovial shake of appreciation.

“And Constructicons have been called a lot of things over the years, but ungrateful ain’t one of them,” Bonecrusher went on; more nodding and murmurs of agreement.

“We always pay back our dues,” he promised, visor burning a dark red.

Bonecrusher’s smile, more a nasty grin, stretched wide as he pushed a high-grade cube into one of the Autobot’s now limp servos, taking it underneath his own and squeezing to make sure the grip stuck. He felt the delicate white plating crunch, satisfyingly, underneath his hold; he didn’t let go. Instead raising the servo-held cube of high-grade up. His fellow Constructicons raised theirs in answer, smiles all around.

Bonecrusher leaned in close to the lump of limp guilt—was it guilt? His derma dangerously close to touching one of the smaller mech’s audials as he growled low, hot air venting across thin armor.

“This one’s for you, Tumblr.”

Cheers.

[cosmicrescendo]

i was just thinking the other day in regards to the Next Steps of this franchise, and what do you know, double whammy! we've got news for both the future of songs and voicedramas.

in regards to the Songs, a full album will be released on Aug 6th. This includes pretty much every song that's been released, Myunna and Pikero's image songs that have not released yet, and special group-only versions of Bouquet of Wishes. It's a little sad to hear that the leaders won't be getting image songs of their own, honestly. It *is* labeled as 1st Album, so I assume songs will continue to be released for the group. In regards to after May (when Pikero's song releases), but before August, what they'll do for song content......?

In regards to the Voice Drama, we now know that Red, Blue, and Noir's plotines are to be finished by Episode 6, essentially finishing up in Fall 2025. And what's more interesting........That Apparently, We're Breaking the Schedule?

It appears that for the back half of the voice dramas will be released Sequentially! That means after R04, we'll get R05 + R06 afterwards instead of going to B04. And Noir has been pushed up to 2nd in the rotation, releasing in summer, with Blue finishing us up around autumn. Honestly, this graph looks A Little Odd, I'm not sure if they're sticking with the monthly schedule (so R04+5+6 would be April, May and June, or are they trying to shove both 5+6 into May, or is it R06 + N04 in June), but like. wow!!!!!!

Personally, I always liked the rotation schedule, I think fragmem's story and themes specifically Wants You to watch all of them in that rotation as the story builds as there's some interesting parallels to be found, but like. It's kinda an undeniable fact that getting an interesting piece of story and be forced to wait 5 months for any kind of follow up is kinda...Bad from a "business trying to bulid up a fanbase" perspective and could be detrimental to the storytelling in these later chapters. And depsite being a Blue fan, I really get why they're saving it for last, it's very obvious. So overall, fine with this change! I'm excited to see what happens to make them decide this is the best way to experience the back half of the "main story"! (It's just also a really good "onboarding" for any newcomers who might be coming in through the various events happening in-person (NakayoshiFes, the musical, probably something else LMAO).

The news break also states that post everyone's ep 6, the story will continue into a new chapter! Which I assume, will continue to be voice dramas? I assume ep 6 essentially establishes the status quo within a group that we can occasionally see in other fragmem content (Knight Link, 4koma, etc), and that hopefully. Hopefully. The New Chapter will focus on cross-group content! I obviously don't think capital-e Everything will be resolved by 6 (because what's the fun in that) but it'll be interesting to see what does get wrapped up....

I've always critiqued management for being sluggish and vague....so being startlingly Upfront and Direct was a surprise! refreshing, too!

[wheelsgoroundincircles]

1969 Shelby Mustang GT500 Fastback

1969 was, effectively, the final year for the Shelby Mustang. By now assembly had shifted in Michigan from California where it was contracted out to A.O. Smith Corporation. Smith, an established Motor City contractor, had brought a level of serious manufacturing skill, supplier management, procedure and standards never seen at Shelby’s facility where LAX met the vibrant (and sometimes extreme) subculture of Venice, California.

Now largely designed and specified by Ford staffers, the 1969 Shelby Mustang was drastically different visually from the standard Mustangs, with a completely different nose and grille, a wide rectangular opening with blacked out grille flanked by 7” headlights and with Shelby’s characteristic driving lights now smaller rectangular pieces below the attractive, but largely ineffective, bumper. The special Shelby hood had five ducts, three NACA-style surface ducts replaced the complicated but entertaining shaker hoods of years gone by to supply cold air directly to the engine air intake and two extractors at the back of the hood relieving underhood pressure and exhausting heated air in front of the windshield.

A surface duct behind the headlights and a scoop behind the door and in front of the rear wheel arch that was ducted to the rear brakes continued the performance theme. The rear panel was completely different from the Mustang, housing a set of 1965 Thunderbird sequential taillights with the rear license plate placed between them and including a small ducktail spoiler. The area under the bumper where standard Mustangs carried their license plate contained two rectangular outlets for the Shelby’s dual exhaust system. Standard wheels were unique 5-spoke Mag Stars with alloy centers and chrome steel rims.

Under the hood lay the 428 Cobra Jet which had powered the ’68 Shelby GT500KR. Both Ford and Shelby recognized the superiority of the high performance CJ and made it the standard engine for 1969’s Shelby Mustangs. 

At the end of the 1969 model year 789 Shelby Mustangs were in-process at A.O. Smith. They were visually updated with black hood stripes and a chin spoiler and given new VINs. Otherwise the 1970s were exactly the same as the ‘69s making these two years essentially identical examples of the end of the Shelby Mustang series which had begun only a scant six years before.

Avidly sought by collectors and obsessively documented by the Shelby American Automobile Club, most Shelby Mustangs are well known and have well known histories. Occasionally, however, a example appears which has been out of sight for years. Even more rarely it turns out to have been little used and continuously maintained by a thoughtful and caring single owner for nearly forty years.

The Black Jade 1969 Shelby Mustang GT500 Sportsroof fastback offered here is one of those rare and highly desirable cars. It was delivered new to Ford’s dealer in Yokohama, Japan, Marubeni Motors K.K., and was sold thereafter to its first, and only, owner in Japan. It has been repainted in the original color once but is otherwise completely original, as delivered and has only 84,941km on its metric-calibrated export speedometer (52,779 miles.) Its sympathetic maintenance and care shows throughout in its clean, straight, rust-free condition.

Power of course comes from the 428 cubic inch Cobra Jet Ram Air V-8 engine which Ford and Shelby conservatively rated at 335 horsepower at 5,200rpm and a gut-wrenching 440 lb-ft torque at 3,400rpm. It puts the power through Ford’s highly regarded C-6 automatic transmission and Traction-Lok differential with high speed 3.00:1 gearing that takes full advantage of the CJ engine’s torque. In addition to the highly desirable drivetrain specification it is loaded with options including the Visibility Group, Goodyear white letter tires, Sport Deck folding rear seat, power front disc brakes, power steering, tilt steering column, Selectaire air conditioning, AM/8-track stereo radio, tinted glass, deluxe belts, tachometer and trip odometer.

It is finished in one of the Shelby Mustang’s most attractive colors, Black Jade. The interior and high back buckets seats are upholstered in black Clarion Knit/Corinthian vinyl that complements with Black Jade exterior.

It returned to the U.S. in 2006 but has never been titled by its current owner so it remains a one-owner car. Its absolutely clear history, one-owner provenance, highly original condition with known mileage and extensive options list are attributes shared by few Shelby Mustangs of this age. This is a rare opportunity for an astute collector to acquire a particularly significant, unmolested Shelby Mustang from the last, and most highly developed, series.

1969 Shelby Mustang GT500 Fastback

Powered by a 428ci V8 engine mated to a C6 automatic transmission, this beauty includes the original #Shelby owner card, a copy of the Shelby work order and Window Sticker.

1969 Shelby Mustang GT500 Fastback

1969 Shelby Mustang GT500 Fastback

[wherebettertoescape]

Thoughts on The Outsiders Album

Okay, as I said yesterday, I have a LOT of thoughts on the album and I decided to revive this page so I stop bothering everyone IRL with my thoughts about it 😂 I figure there must be a good amount of people on tumblr who are down to listen to my rants about the album, so here goes.

I'll put it under a cut so there aren't any spoilers for anyone who hasn't listened yet, and I know there's one or two things which I've heard about the prouction via other posts and such. But I will stress that I haven't actually seen it, I've only listened to the album and obsessed over it 😂

It's also below the cut because it's fucking LOOOOONG

Please reply to this or send in your own thoughts - I have so much I want to talk about to do with this album and I'm like... shaking with the need to talk about it with people who actually want to listen 😂

(sad times living in the UK 🥲)

I'm gonna go through the album sequentially, like track by track, because that feels like the thing to do, even though I will say right off that I definitely have more thoughts about some tracks than others. And I will also give my favourite line from each song. But for a just, like, general overview to begin with - I love the album so much?

I will fully admit that I was kinda preparing myself for it to be bad - it's a book that I love and I wasn't the biggest fan of the movie adaptation for a few key reasons, but I was so pleasantly surprised by the musical soundtrack.

I'm in love with the style of music, I love the entire cast (all of them have such different singing voices and styles and I think that they merge together so beautifully), and it has most of the things that I love in a musical - for me, it's got the right balance of the talking sections included with the singing, as well, which I know some people aren't huge fans of, but I might be biased because Soda is and always has been my favourite character and most of the talking is by him 😂 (I love Jason Schmidt, but we'll talk about that later), and as well as that the style of music and singing like gives me a good picture of what the actual choreography might look like, which I'm obsessed with, since I probably won't get to see it unless it somehow gets to the West End (🤞🏻)

Tulsa '67

Okay so this song is just like ✨exposition ✨ but it's done in a fun way, and I've decided it's worth it just for the finale reprise

I was also like stupidly emotional the first time I heard it and it opened with the opening line of the book

I was wary because of the immediate characterisation of Sodapop as being the brother "with a broken heart" (side note - does this mean Sandy broke his heart before the show rather than after it? I've goes QUESTIONS) - I'll go into it again when we get into Grease Got a Hold for obvious reasons, but I was worried that Soda was gonna be reduced into just being a womaniser again, which is something that bothered me about the movie adaptation

Favourite line: "all the girls are pretty there, and all the guys are mean"

Grease Got a Hold

right so it has no right to be as much of a bop as it is, it's been stuck in my head for the past week since it came out and I can't even be mad about it 😂

It's essentially just a typical "gang" song to introduce and characterise all the different members

Dally always saying "Little brother" got me so emotional like immediately

And I know I just said that I was upset with Soda's characterisation as a womaniser, but considering later songs, I will say I do find it really funny that he basically just goes "yeah I'm a greaser bc I love women 😊"

I LOVE TWO-BIT MATTHEWS - I would die for Daryl Tofa, just something soooooo good about the line he gives after Soda's verse

I have to admit, I was a little worried that they were gonna be pushing some anti-Darry propaganda, but I had no cause to worry, as he's an actual angel. Also it's so funny how fucking Done he is the moment he starts speaking

Something really funny about Steve not getting a verse, but something really sad about Johnny not getting one, but I don't have fully fleshed out thoughts yet so I'm gonna leave that there

But also there's just something about all of them trying to act tough, but all of them just have the voices of angels

Favourite line: "I'm a latch-key kid but they keep changing the locks" and also "you wanna be a fighter? then know just what you're fighting for"

Runs in the Family

I'm upset because this song has been such an ear-worm for me, but it's actually just so sad? There are a couple of these, but this is one of the main ones for me

It immediately makes Darry just such a sympathetic character - it's well documented that Ponyboy doesn't feel like he's enough of a greaser, but I don't think we talk enough about Darry is a reluctant greaser

Side note: but I'm really glad that they included Darry having dropped out of school to look after Soda and Pony, because that was kinda glossed over in the movie, which I felt did Darry a disservice

I just want to hug Brent Comer and tell Darry that he's doing a good job and everything will be okay 🥲

Favourite line: "I don't know what them boys would ever do without me - and what would I do on my own?"

Great Expectations

honestly this song deserves a post all of it's own, and maybe one day I'll do a full analysis of it

but in the meantime, it's fucking GORGEOUS, like Brody Grant has NO RIGHT to sound like this I'm so mad

THE FUCKING HARMONIES I WANNA SCREAM THEY'RE SO GOOD

One of the things I've loved about the soundtrack in general is how Pony in particular draws parallels and comparrisons between Johnny and the other greasers - here it's between Darry and Johnny, and I love it because Pony references in the book that he feels like he and Johnny are the outsiders in the greasers, he feels like neither of them really belong there, and they convey that so well in the musical with these constant comparisons in the songs and music

The continual return back to this idea of a self-fulfilling prophechy - trying to prove that they're not all the same just because they're greasers (like with the different verses in Grease Got a Hold), and this striving for individuality despite the overarching label they've been given

Favourite line: "It's hard to write this story, when this story's writing me"

Friday at the Drive-in

they all just sound so young - that's my main take-away from this song

I love songs in musicals like this where you're forced to be reminded how young the characters are and you have to humanise them a bit more - a bit like with "Drink with Me" in Les Mis

Also anytime that a soundtrack includes the dance-break it makes me so happy 🥲

Favourite Line: "Got no more stress, nothing to worry me - no more teacher's pet or trigonometry"

I Could Talk to You All Night

I need to say that I love this song, but the opening from Cherry is so fucking savage - like fucking hell there's no need to do that to Pony 😂

Again obsessed with Pony not feeling like enough of a Greaser

I'm a sucker for two people who feel lost in their own worlds finding each other and bonding because they can be themselves in a way that they can never be around their other friends

It's just such a pretty duet, and I want more of Brody Grant and Emma Pittman singing - we could have a million songs of the two of them and it wouldn't be enough

Favourite line: "I'd rather read then fight a rumble, but Greasers have to go along"

Runs in the Family (Reprise)

Dude it's such a serious song, and I'm obsessed that despite that there's just Soda being a little shit in the background

"I'll fold your laundry - I'LL FOLD ALL OF IT"

I love that even in this song it's like you can tell he's just so worried about Pony but it's coming out so angry and frustrated

So full of grief for the life he almost had

He's just so angry at Pony for still being able to dream, and it's like he feels like he needs to prepare Pony for real life, because he feels like he can't dream or wish for things anymore

And then just the screeching violin at the end of the song followed by DEAD FUCKING SILENCE, and then it switches to the next song where Pony starts singing acapella it's just herugighadlsiughukdhjsak, y'know?

Favourite line: "Whats the use in dreaming, about a life I'll never know? That ship sailed long ago"

Far Away from Tulsa

okay so I've already said that I'm obsessed with it beginning with Brody Grant acapella, and I know that the songs probably don't flow straight from one to the other in the actual production, but for the sake of the cast recording the effect is incredible

But also, there was absolutely no need to make this song so gay 😂 - Ponyboy, the bisexual icon we all need

It's very reminiscent of Santa Fe, with just kids dreaming for a life that they could have outside of their big city. Especially with the line "this place is real, it's not just in my head", which is VERY similar to "just be real is all I'm asking, not some painting in my head", but I'm okay with it because Brody Grant is incredible

But that line, as well as the one "'Ponyboy you're just a dreamer', that's what both my brothers say" are also really great links back to the previous song with the references of him being a dreamer, and that being what sets him apart from the other Greasers

I also just wanna say that I think it's criminal that there weren't more Pony/Johnny duets. Sky Lakota-Lynch and Brody Grant own my soul

Also catch me being emotional over Johnny's dream being wanting a family - he doesn't realise that he's already got one in the gang 🥺 (I could write an essay about this and Dally's continued use of 'little brother')

OKAY ALSO OBSESSED WITH THE CIRCLE BACK TO GREAT EXPECTATIONS, AND WE NEED TO TALK ABOUT HOW THE LYRICS CHANGE FROM

"Torn between what is and what could be. It's hard to write this story when this story's writing me"

TO

"It's all becoming clear, there's no way we're gonna find that here"

GOTTA ESCAPE TULSA TO ESCAPE THEIR FATE, SOMETHING AGAIN ABOUT SELF-FULFILLING PROPHECIES, I JUST CAN'T

Favourite line: "I'm tired of blindly watching as we're inching towards the ground"

Run Run Brother

There's so much to say about this song, but I literally can't formulate the words, so it's probably gonna be one that I come back to and properly analyse later. so in the meantime, here are my key take-aways

right from the beginning, it gives just an "oh-shit" feeling, just so much urgency and desperation

All three of them have such different singing voices and styles and the combination of the three just makes me so happy and I don't even know how to like express what I'm feeling

Back to the thing about Dally always calling Johnny (and Pony, but we're emotional about Johnny here) "brother"

the music is just so fitting - I feel like I need to be up and moving every time I hear it, like if I ran ever this would be on the playlist 😂

And I'm going insane over the echoes of what has been previously been said - the "grease isn't given it's something you earn", and "let's leave this behind, let's just get up and go" like you're FORCED to face that they are being given what they want but in a really terrible way

Favourite line: "I hate to make you go, but there ain't no other way"

Justice for Tulsa

okay so I know that this is a really important song and everything, but I will admit this is the one I tend to skip most

I will say I think this song would hit harder if they kept with the themes of police brutality that there are in the novel and movie with regards to Dally's death (going off what I've heard about the script changes from people who have seen it, I can't verify myself)

The song feels very claustrophobic, with everyone just trying to blame everyone else, which I think is really well done. Especially with the multiple voices coming in with "you know just what you did"

And it does show the bias of the world trying to blame the Greasers just by reputation alone, which is thematically nice

and also just the kinda mob mentality of the whole thing, especially at the end, with a declaration of war

Favourite line: "or we could send them back a message, take an eye for an eye"

Death's at My Door

I think I've seen somewhere that this is the opening song for the second act and I just - fucking hell, what an opener 😂 they really just wanna destroy all of us, huh?

EDIT: I've been corrected, and it's Justice for Tulsa that starts act 2 - my bad guys, I don't know where I saw otherwise. JfT starting act 2 makes soo much more sense 😂

I wanted to like reach through my headphones somehow and hug Brody Grant, like holy shit

The first time I heard it all I could think about was how much he's going to blame himself when Johnny (and Dally) do die - especially with Johnny having comforted Pony about it

And I'm just emotional about the exploration of Pony thinking of himself as a burden on everyone he loves, especially going back to what Darry says to him in Runs in the Family reprise, just confirming everything that Pony already worries about himself

Favourite line: "I don't believe in the death that you're bringing - the reason I'm living is you"

Throwing in the Towel

I just love brothers okay? This song made me want to like message all my siblings and tell them I love them

I loved that we see Pony's inner thoughts and fears about being a burden on his brothers, immediately followed by seeing Darry's own thoughts and feelings - the two of them being so similar in how they blame themselves for everything

All three of the Curtis brothers being terrified of losing anyone else

AND THIS IS THE SODA CHARACTER REDEPTION I NEEDED - he becomes more than just the womaniser, you can see him having like actual thought and feelings, and the amount of emotion in Jason Schmidt's voice as he's trying to reassure Darry, like this song and Soda's letter gets across everything that makes Soda my favourite character

And there's something to be said about how they're finally like communicating their emotions 😂

Favourite line: "I know your head is full of doubt, but brother that's what love is all about"

Soda's Letter

Musical letters my beloved ❤️

I love songs like these - they're always just so vulnerable

It links to Tulsa '67 Reprise with the reference to how Soda kinda keeps the family all together. This song you can like see the strain that it has on him, trying to keep the brothers who he loves so much together, by trying to tell Pony that Darry does love him even though he shows it in a very different way

also anyone who has seen it and made it this far in the post can you tell me whether they keep in the bit about Pony reading this really heartfelt letter only to go "Soda's so dumb he can't fucking spell" because it's all I could think about when I listened to it for the first time

Favourite line: "Your brother needs you just as much as you need him, and brother we ain't doing to good alone"

Hoods Turned Heroes

The triumphant return of my beloved Two-Bit, and he's doing some king shit

I love him, okay?

This is another song where I know it's really important, but I actually don't have much to say about it, other than I do really enjoy it

Favourite line: "It's time to celebrate Greasers, take pride in the Greaser name"

Hopeless War

I love that it's just Cherry begging Pony not to change, and hoping that he's still an outsider of the Greasers like she is for the Socs, a hope that the two of them are still kindred spirits even after everything that happened

She knows that the rumble is gonna be where Pony loses that last bit of dreamer in him because he's holding just so much anger at the world - I dunno, there's something there I'm sure 😂

it's such a smooth transition into "Trouble" and I wanna SCREAM it's so good

Favourite line: "even if you win, it doesn't change a thing"

Trouble

It feels like a war chant or something

The music is just so agitated

It's like Run Run Brother where I feel the need to be up and moving

Favourite line: "Do it for Johnny, even the scores, time to rally the crew"

Little Brother

I get chills every time I listen to it

Something about Joshua Boone's voice guys, I don't even know like how someone goes about beginning to talk about it, but whoever takes over as Dally has got some big shoes to fill

It's a lament to Johnny, and I feel like I listen to it and I feel the same anger and indignation that Dally feels

It's a song where I listen to it and I know, even without having seen the production, how I'd stage it and that always makes me excited

The longer the song goes on, the more uneasy you feel listening to it

It links him and Darry together again, with how he blames himself for everything that happened to his little brother, he feels like he should have been able to protect Johnny, the way that Darry always tries to protect Ponyboy

The final tempo increase and the discordant violin at the end, and it feels like even just listening to it you're watching him fall into a grief-led madness, and his certainty that there's only one way that his story can end

Favourite line: "They can't take anymore from me - if I ain't got you, then I ain't got nothing else"

Stay Gold

It feels somehow criminal to put these songs next to each other, but I mean obviously they have to be - that's how they want you to feel, but it doesn't mean that I'm not mad about it

I've listened to it like a million times and it still brings me to tears every now and then

There's something about having the hopelessness of "Little Brother", with Dally bring so apologetic at having failed Johny, followed by Johnny asking Pony to tell him that there's still good in the world

Just how much everyone in this story needs each other and they don't realise that the others need them too, yknow?

Johnny being Dally's "gold" - a lot to say about that but yknow, this is already long as fuck

The simplicity of the music itself (same as with Soda's letter - makes them thematically the same blah blah blah with them both being letters and all that), but it makes the song much more vulnerable than some of the others - nothing for Sky Lakota-Lynch to hide behind

Also that line: "I have looked into a thankful father's eyes, telling me I've saved his daughters life", and how that links to what Johnny says in the book about the little girl's life being worth more than his - I dunno, it just got me emotional, okay?

Favourite line: "I hold on to the good 'cause I've made my peace with all the bad" and also "It's easy to forget when you're trying just to make it through"

Tulsa '67 Reprise

WE MADE IT BOYS (seriously though, for real, if you made it this far, thanks for reading through my descent into madness 😂 and please send your own thoughts and such, bc I'm desperate to hear other people's thoughts)

I said it at the beginning, but I think the reprise of this song makes the exposition at the beginning worth it

At the beginning we hear Ponyboy as a dreamer, and at the end he still has that, but rather than idolising and making everything spectacular, he sees beauty in the mundane - he sees it in his brothers, his friends, all of that

The call backs to the original song as well, which allow us to go back to the theme of looking at individuality - the Greasers wanting to be seen as more than just characatures, and by the end they are like fully-fleshed out people rather than just the basic stock figures we initially get them introduced as in Grease Got a Hold

The clearest examples are, of course, Darry and Soda

Darry goes from being "could have been a football star, people say he had a ticket out" to instead being "the toughest guy I've ever known"

Soda goes from "suffers from a broken heart" to "this family's life and soul"

and then it goes from "got no parents, we fend for ourselves" to "can you imagine how proud mum and dad would be"

just something so beautiful about that, I dunno

There's more I could say about the themes of brotherhood and individuality ("grease as their disguise", for example), but I'll spare it for now

Favourite line: "Just too damn good for growing old, and in his memory I stay gold"

(finally - if you've stuck around to the end, I've also recently set up an instagram account, just for me, so please also check that out if you wanna hear more about my thoughts about random musicals and stuff!)

Freddie 🐸 (Instagram)

[galina]

do you have thoughts on the rabbits dialogue being 'rearranged' and having a 'correct' order? i'm so interested in how at some point there was meaning to it before it was jumbled, and the question of whether reverse-engineering a process can actually tell you about the finished work, or if it's just the end result that matters.

when I first saw rabbits I was obsessed with the answer— what does it mean, can it be unlocked, can it be rearranged to become something that makes sense— I didn’t yet understand that it was the question that was the thing to engage with.

I think it was still a couple of years before the summer I spent reading ulysses which is when I started to get really into the idea that being comfortable with the not-knowing is essential to engaging with this kind of work.

now it’s not that I don’t bother looking for meaning, its more that the feelings that rise in me when I see rabbits I try to feel my pure response to the work and follow my thoughts wherever they go knowing I will never get the answer, the question is the gift.

so no I don’t really buy into the idea it can simply be rearranged so the lines correspond, I think they’re quite intentionally non-sequential but I think whatever arc you feel you’re following is also present. that said I wish I could know more about how rabbits came about / was written because I’m sure that would be insightful. what do you think? 💌

[rad-roche]

Comic Books

Comic book roundup! that is to say, books about making comics. Though I'm always taking recs for actual comic books. So far this year, I've chewed through -

Framed Ink - Marcos Mateu-Mestre (my favourite!)

Understanding Comics - Scot McCloud

Making Comics - Scot McCloud

Theory of Comics and Sequential Art - Will Eisner

Framed Perspective - Marcos Mateu-Mestre (still working through this and will be until the sun explodes)

Essential Guide to Comic Book Lettering - Nate Piekos

And not directly comic related but useful enough that I'm counting it

Anatomy for Artists- Tom Fox (highly recommend)

Morpho Life Drawing books, but especially Fat & Skin Folds

This has paid off in my sequential art! 2023 -> 2024

But I feel like I'm butting up against my limits again. I've become pretty good at discerning if this is a mindset problem, or a skill gap, and this one feels like a skill gap. I don't have as strong a grasp of composition as I'd like, in that my successes feel like flukes and are inconsistent. My anatomy needs tuning up also, but i can kind of fuzz that with solid comp, and I can only do one thing at a time. With that in mind, to read and do:

How to Draw Noir Comics: The Art and Technique of Visual Storytelling - Shawn Martinbrough

Framed Ink 2 - Marcos Mateu-Mestre

Expressive Anatomy for Comics and Narrative - Will Eisner

Picking stills from movies I like and doing thumbnails

Watching more movies/reading comic books, and getting into the habit of breaking down pages in an art program

All in all, pretty happy! And I have an excuse to read comic books. Win win

[chaos0pikachu]

Film Making? In My BL? - The Sign ep01 Edition

So, if we're doing this we're doing this, so buckle in baby.

I'm gonna focus how the opening scene below, uses two narrative devices and one film technique to build out the scene as a whole: in media res, misdirection, and the long take.

Okay so to begin, we have to start at the beginning, or well, the middle lmao

In Media Res

I saw a post in the tag that said something to the effect of how The Sign starting with no context and providing no information at the beginning was strange, with the implication it was bad writing. I disagree, fundamentally, because The Sign is using a very common literary device called 'In Media Res'. And in my opinion, uses this device very well.

If you're familiar with basic storytelling terms I ain't telling you anything new, but for folks who may not know, in media res is a latin term that means "in the midst of things" and lots of stories - both prose, comics, and film - use this device.

The most famous is The Iliad by Homer, which if you've ever read - and you should it's glorious also it'll give some context to Song of Achilles - you know it drops you full-on no context into the middle of things. The beginning will differ in verbiage depending on the translation you pick up, this free version starts with:

THE CONTENTION OF ACHILLES AND AGAMEMNON. In the war of Troy, the Greeks having sacked some of the neighboring towns, and taken from thence two beautiful captives, Chryseis and Briseis, allotted the first to Agamemnon, and the last to Achilles.

Right off the bat the story drops four character names and the setting with no real context. Who are all these people? Why is there a war? Well, keep reading to find out! It also starts the story with an action aka an argument - nay A CONTENTION!! Achilles and Agamemnon are such bratty bitches lol

Other (more mainstream) examples include:

The Dark Knight

Lost

28 Days Later

Mission Impossible (pick one)

Fight Club

Full Metal Alchemist (both)

MDZS

Inception

And, The Sign.

"In contrast to linear storytelling, which starts at the beginning and moves sequentially, in medias res is a nonlinear approach that can make stories more dynamic and immersive.

It's a technique that challenges the audience to make sense of the narrative puzzle, often revealing essential information about the characters and their motivations gradually." (source)

What's described above is exactly how The Sign, starts it's story, in the middle of things, specifically to create a puzzle for the audience to figure out gradually. If you watch the above scene, what's happening?

We get a (well done) overshot of an island (establishing setting), we see a group of soldiers (establishing the characters we'll be following) we see them doing military things (okay these are their skills, and they're on some sort of mission), their drone spots a group of people inside and a character says the dialogue "Listen up, you only have 15 minutes" (this establishes stakes, okay there's a time limit to this mission) "Team A will rescue the hostage" (okay now we know what the mission is and informs these characters are on a rescue mission).

Who is speaking here? We don't know yet, but a safe assertion would be this character, since they are the first character who speaks on screen, will be important.

And we'd be right because it's Phaya speaking, one of our main protagonists as well soon find out.

All this happens within the first minute; the show provides an interesting set-up. It deals out information in tidbits - setting, characters we'll be following, situation set-up, stakes - but not enough information for the audience not to ask questions.

I want to iterate that at this point, the goal isn't to "care" about the characters yet, so much as create an intriguing set-up based in action that will showcase various information about the tone, setting, and skills of the piece that will engage the audience. To make the audience ask questions, to engage with them.

When you open up on MDZS the protagonist, Wei Wuxian is dead and we have no context for this. Everyone is just in the middle of celebrating his death and we, the readers, do not care that he's dead or why he died. The story could have started in a more linear way, with him arriving at Cloud Recesses arguably the beginning of his journey, but would that have been as interesting? As engaging?

I like how this article breaks down the why of starting your story in media res is a powerful and often used device:

This is what The Sign is doing in this opening part. Starting the action of the series off with action and creating that immediate engagement. The scene also ends with a plot twist which connects to that final point about information control.

This isn't a technique I've seen often used in BL because BL is a sub-genre of romance and most romances are told in chronological order, rather than non-linearly - there are, of course non-linear romances, but most mainstream romances, and by extension most BL aren't told in this way - BL shows don't often have actual physical action. A majority, especially in Thailand, are grounded, closer to slice-of-life, coming-of-age, and comedy dramas - though we are starting to see a change in that trend.

So starting in the middle of things, like chepa the middle of what? Two dudes walking~ to Engineering class?

The goal of this opening scene is to pull in the audience, make them wonder and ask questions: "who are these characters? will they rescue the hostages? who are the bad guys? who is this character who's having visions?" and so on and so forth. It's a way to engage in the audience without having to slow down the narrative with a ton of exposition, or build up stakes slowly, rather it grabs the audience immediately and sets them in the middle of the tension asking them to engage with what's happening.

The Long Take

You've probably heard about "the long take" but to break it down, a long take is one continuous take without any edits/cuts. The film 1917 was famously filmed to "look" like one long take. One of the most cited and well known long takes is from Children of Men by Alfonso Cuarón:

Now if you watch this movie you can tell why there isn't a lot of BL long takes because, god damn, they built a new type of car just to get that one scene. [read here for more on long takes]

So, The Sign. It's long take starts at about 2:08, following Phaya - again, we the audience don't know this is Phaya BUT since the camera is spending specific time with him we assume he is An Important Character and he is! Set up and payoff! Funny how that works - and ends at around 4:27.

[Sidenote I love that the take ends, not with a cut but a transition. Which I'll cover in another post but in the land of Thai BLs which favor cuts so damn much transitions were so refreshing to see]

During this long take, we establish that these characters are competent at what they do. We understand that they're military trained, in both hand-to-hand combat and firearms. We also get these two mid-close ups, which signifies these will be Important Characters:

And they are, the first shot is of Phaya, Khem and Thongthai and the second is Tharn and Yai.

This also sets-up the character dynamics; Yai and Tharn are already close and know each other so they are drawn to each other while on the mission, while Khem and Thongthai have a pre-established relationship but are still supporting behind Phaya.

This type of shot also allows for the audience to better see and follow the fighting that's happening on screen. Filming fight scenes are their own beast, and while there's no one school of thought on how a film scene "should" be filmed, there are techniques that that place some fight scenes above others.

The first video showcases some techniques on how to film a fight scene, while the second one at the 8min mark talks about the long take in John Woo's classic action film Hard Boiled.

This long take in Hard Boiled really showcases why long takes are so powerful in filming a fight scene specifically. They pull the audience further into the action and create a palpable energy that just works better than a scene with lots of quick cuts.

There's a reason one of the biggest criticisms of Mortal Kombat (2021) was that all the fights were edited to pieces while John Wick (2014) was a refreshing jolt to the industry.

The Sign takes a page out of John Woo's book, and places the characters, and the physicality of the scene front and center, pulling the audience along with the camera in one long shot.

Long takes are hard, I can't really emphasize this enough, if you watched that video on Children of Men you can see all the intricate work that went into scenes that amounted to maybe 5mins of actual film time. Likewise this long take in The Sign is only about 2mins of actual time in the show BUT it's effective, it's engaging, its ambitious.

Which is why, I gotta give The Sign it's roses because of that ambition. Long takes are a lot of hard work, time, effort, blocking, rehearsals, on top of incorporating the fight chorography that's a lot and it looks good.

Now is this the best~~~ long take I've ever seen? lol no god but it's well done and ambitious especially for the sub-genre of BL.

Misdirection

Misdirection has more in common with in media res than the long take as it's a literary device and not a filming technique.

From Gotham Writers:

"In fiction misdirection can be either external or internal. That is, the author can be using the story as a frame to misdirect the reader, or a character in the story may be misdirecting one or more of the other characters. Or, of course, both." (source)

Misdirection is often used in thrillers or mystery narratives, Hitchcock used misdirection a lot in his films.

In Psycho the audience is lured to believe that Marion, the character the film opens with, builds up, and essentially sets up as our protagonist, is in fact our protagonist. She's not, she's murdered and her sister, Lila, is the actual protagonist of the movie. Sorry if this is a spoiler for an almost 70 year old film lmao

Misdirection is often used to set-up plot twists down the line. A good misdirection will leave clues for the audience when they watch back and go, "oh! I can't believe I missed that!"

In film The Sixth Sense is a good example of this, where the plot twist at the end doesn't weaken the film once you know it but rather, it enhances the film itself on a rewatch. Another good example of misdirection in film are both Knives Out and Glass Onion, where Rian Johnson will set up a non-linear story and then slowly unravel the information for the audience.

Take the scene where Marta, in Knives Out, finds Fran's body and hears Fran say "it was you" at least to audience ears. Then stands up looming above Fran's body. The scene cuts, and the audience is led to believe Marta has let Fran die to protect herself (since we the audience also have been led to believe Fran is dead) only to find out later that Marta didn't let Fran die, she is alive, and she knew Ransom was the killer.

The Sign uses misdirection in a much more simple way. It sets up an expectation: Phaya is going to die, upping the stakes from "must save hostages" to "must save a comrade" aka the character we, the audience, have been following for the last 11 minutes. It sets two characters, Chart and Phaya, as opposing against each other, for reasons we don't know - is Chart one of the villains? Why is he trying to kill Phaya? etc - and the audience is led to believe this is a life or death situation.

Then, plot twist. The reveal happens that this was all a training exercise, and there was never any "real" danger whilst also keeping the audience on their toes. And like in The Iliad, now we have context for the mission, and then the story is able to step back and explain.

It's not like, the best~~~ use of misdirection but there was a purpose to it. It sets up an expectation, and subverts that expectation of the audience - but in a good way not a Game of Thrones way. While also pulling the audience into the show by starting in the middle of the action rather than slowing down the story with exposition or giving their hand away to much that this was a training exercise.

If you knew it was a training exercise, suddenly the stakes feel less intense because none of the characters are in any real danger, but not knowing that, withholding that information until it's relevant, ups the stakes of the scene.

The opening scene of The Sign imparts a lot of information without using a lot of dialogue and I find that impressive. We learn which characters will be relevant to the story - Phaya, Tharn, Yai, Khem, Thongthai and now we know, Chart is also important - that they are skilled combat fighters, knowledgeable in firearms, there's a fantasy element to the story via Tharn's visions, they're on an island which the setting for right now, and the tone and aesthetic of the show itself.

It's actually a fun scene to rewatch again with more context because I appreciated it even more. Which is just good film making.

I didn't talk much about the camera work - needless to say it's notable and fun - but maybe I'll save that for the next post. What other shows or scenes would be fun to breakdown? Drop me a line but heads up I don't actually watch a ton of shows so idk if I've seen xyz show lmao

Later chepies ✌️✌️

Other posts in the series:

Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI

[like these posts? drop me a couple pennies on ko-fi]

[hasturswig]

If anyone trying to work out the numerous mysteries in Good Omens Season 2 is interested in the kind of puzzles John Finnemore puts in his writing, they should listen to series 9 of his radio programme ‘Souvenir Programme’. This is a drama told non sequentially about what is essentially a family mystery. It doesn’t seem like that to start with, and it’s a little confusing initially, but stick with it and you will be rewarded. It is a beautiful story, with lots of wonderful representation of queer and neurodiverse people. The characters are so lovely and lovable. And you will see how things that you notice early on become more emotionally charged once you have more information to go on as the story progresses.

It’s available on Sounds, which is free to access for everyone.

[lord-squiggletits]

So what's up with Megatron's sensory panels, anyways?

I know that miner Megatron taking off his helmet to reveal his sunflower petals is kind of a meme, whether it's people going "aww adorable" or just making headcanons about what the purpose of the panels are (usually something sensory related), but I think that's actually put in there as a symbolic moment.

Throughout Megatron: Origin thus far Megatron has killed people either in righteous anger or self-defense, but he clearly is afraid of violence/doesn't see himself as a killer.

The context of that scene of Megatron taking off his helmet is that he's in the arena fighting his first(?) opponent and wavering when it comes to the killing blow. There's like, a solid two pages dedicated to Megatron being unwilling to kill the other gladiator, and another two dedicated to Megatron's reaction after doing so, so it's clearly a pivotal moment. Hell, the panels of Megatron hesitating literally show him having trauma-type flashbacks to his first kills. His face is in shadow as he looks around at the announcer and the crowd, showing his emotional closed-off-ness.

Throughout this is interspersed so many panels of the crowd, the proctor, everyone screaming for Megatron to kill the other gladiator, and then screaming and cheering even more once he finally goes through with it, which is when Megatron takes off his helmet and shows the sensory panels.

This might be stupidly obvious and not really worth pointing out, but I want to offer some praise and interpretation of the way these pages were laid out to both 1. symbolize Megatron's emotional state and 2. be static, unmoving images that represent what would be a pan or zoom shot if M:O were a movie.

During these three panels, there's a ray of light shining on Megatron that gets brighter and brighter as he fully removes his helmet. Symbolically, light is associated with clarity of mind and discovery (there's literally a word called "enlightenment"), implying that at this moment Megatron is coming to some sort of realization or shift in thinking. He's simultaneously taking off his helmet in this moment as well-- a piece of armor for humans, but a literal part of his body for a Cybertronian-- which presents a form of vulnerability. It also invokes the image of a warrior taking off their helmet after a battle in order to see the aftermath better, which again fits with this visual symbolism of light as mental/emotional clarity.

Additionally, light has an association with moral goodness and purity, which in this scene acts as a form of irony: Megatron just killed another person for the entertainment of an apathetic crowd, while feeling sick and hesitating over the act of violence, and yet a beam of light shines on him. A contrast of evil versus innocence-- or, perhaps, a reversal of the symbolic meaning of light, since this marks the moment that Megatron begins his descent into violent ideology and tyrannical, a view which Megatron believes makes him heroic and right and thus on the side of "light" (as in good).

The last page of this moment is a full page vertical spread in which images of the cheering crowd dominates the top and sides. If this were a movie, the camera would essentially be at the top of the arena stands and sweeping all the way down to the bottom, giving us an all-encompassing view. We are seeing the entire arena, and what is the entire arena doing?

Cheering. Cheering for violence. Praising Megatron for the act of killing another person for entertainment, glory, and personal gain. Not only is this what we're seeing as viewers, it's also what Megatron would be seeing as he stood in the center of the arena.

In the midst of this celebration, Megatron is expressionless, with his eyes shadowed, and he's looking downwards, at the corpse of the person he just killed.

In comics/sequential art, the larger a panel is on the page, or alternatively, the more panels a single sequence of action takes, this is meant to represent a slow and lingering camera shot. Essentially, this was drawn as a 5 panel sequence of a very slow zoom in on Megatron's face because we're meant to linger on this image. Because it's demonstrating a pivotal change in Megatron's mental/emotional state and how he views the world.

Although there's not as much focus on lighting during this sequence as there was with the rays of light shining on Megatron as he took his helmet off, we can see the background around Megatron darkening slightly, and as the panel zooms in, Megatron becomes more and more claustrophobic and boxed in. Finally the sequence ends in darkness lit by nothing but Megatron's blazing eyes.

So we began this sequence with Megatron taking off his helmet with light shining upon him (symbolizing vulnerability, enlightenment, clarity, revelation), and end it with Megatron putting his helmet back on as darkness boxes him in and leaves nothing but the glare of his eyes into the darkness-- a literal descent into darkness to go along with the moral descent, alongside Megatron putting his armor back on which shows him raising his defenses both physically and mentally.

So what are those panels underneath Megatron's helmet for, anyways?

Pretty much to add to the visual symbolism of this moment that represents Megatron's face-heel turn and descent into villainy, honestly. 😂

Though for me personally, I like to imagine that those panels under his helmet are indeed sensory panels, and by taking off his helmet, Megatron was able to hear the entire arena more clearly. And in my headcanon, the reason he was trying so hard to hear the entire arena is because he was searching for anyone at all who was appalled by the violence on display... and he heard no one.

Maybe things would've gone differently if Megatron had listened to the audience and found even one voice condemning it, or expressing the same emotion Megatron felt in the moments before and after killing someone: what have I done? What's wrong with me? Why is everyone cheering on this senseless death?