#Main theme: fire

[vgmthatmademe]

Mega Man 2 Dr. Wily Stages 1 and 2 Takashi Tateishi Capcom 1988

[elverrie]

and when the first slayer told buffy that her love was brighter than the fire and that`s why she pulled away from it and when spike gained his spark back and when he said you glow and when and when effulgent and when vampires burn under the sun and when the fire coated buffy and spike`s hands and when-

[azurityarts]

LET ME HEAR SOME B R A S S

I am once again praising the 3D PMD games for blessing my ears with sweet strings, woodwinds, and brass

[ribbononline]

I love how much culture is built from your design motifs for Pokémon fusions. I feel like every Diancie fusion live in the same country. It would be a fun challenge to world build with your designs~

Ahh, thank you! Im glad you think so :] When designing fusions I tend to use the body as- well, the body (and sometimes personality), and then the head for the 'aesthetics'. For Diancie heads, that's really leaning into it's royalty theming- be it by leaning into the classic regal pretty princess elements, the cute wedding ones, or even a more armored knight look using it's golden parts. That way, even when they're not necessarily designed to resemble one another they all still look properly like they came from the same 'family'.

Same way I tend to really lean Ho-oh into a very 'elegant' theme, colorful, but something commanding respect too- even stuff like a Carbink body should still look like it has something legendary in there, even if its just a silly baby!

I dont necessarily have lore for most of my fusions, but I always do make an attempt to make them look at least somewhat grounded and connected to both the established Pokémon world and eachother, so I'm super happy to hear they're working in that way.

[front-facing-pokemon]

[clumsypuppy]

i feel like im not making any sense but does anyone else feel like there are stories that let u run with them and ones that spell everything out for you

[wavesoutbeingtossed]

One day I’m going to finish that essay or whatever it was in my drafts that’s about the themes of womanhood/relationships/thirtysomething stuff and TTPD but since part of this discussion has been revived on the dash but also it’s Saturday so this won’t ruffle as many feathers, I think one thing that sometimes gets lost in the shuffle in the conversation about the muses and stories in the lyrics is just why the recurring theme of the broken dreams pops up all over the album, and why they permeate the discussion of both muses, if not *all* the muses in the album.

Not to project things on Taylor, but it feels pretty clear to me* that the dreams she’s talking about specifically are about having a family, and that is the through line in the album, and why the successive blows devastated her. (*I don’t want to presume that anyone else feels this way and this is just my interpretation etc.)

The suburban gothic allegory in Fortnight depicting a miserable, lonely marriage. The ring on the ring finger in TTPD making her explode with joy because it was a shorthand for lifelong commitment. “He saw forever so he smashed it up” in My Boy. “I’m pissed off you let me give you all that youth for free” and dying on the sacrificial altar in So Long London. Marrying her wild boy in But Daddy. “Get the matches, toss the ashes off the ledge” in Fresh Out the Slammer (as in, she burned her life down). “You shit-talked me under the table talking rings and talking cradles” in loml. “The deflation of our dreaming leaving me bereft and reeling” in How Did It End. “Promises ocean deep and never to keep” in Peter. The allusion in The Manuscript that the man in question made her think he was in it for the potential of a serious commitment only for her to feel used when he moved on. And there are probably more examples I’m not thinking of off the top of my head here.

But what I’m trying to get at delicately is that from what she’s put down in TTPD, as well as what she’s put down in previous albums (“give you my wild, give you my child,” Paper Rings, Lover, renegade, YLM, etc.) building a life and a family with this person (Joe) was not only something she wanted, but seemingly deliberately planning and working towards. So in the death throes of the relationship, her grief was not just about things like losing someone she once loved, the breakdown of this relationship that was once comforting to her, what she gave up to make their life work, etc. but about this important thing she had dreamed of and what she seemed to feel was on the horizon. What I think I’m trying to say is that it had likely shifted at some point (even just based on the album pipeline) from a hypothetical “one day we’ll have ten kids and teach them how to dream” thing you wonder about with a partner to something that felt a lot more… tangible. (Again trying to be sensitive in my word choice/not project or assume things etc.)

I don’t want to make any accusations or assumptions on main, but I think those kind of life plans feeling within reach not only makes it understandable as to why someone would stay in a relationship whose cracks were turning into fault lines, but on the flip side why giving up on something that felt like it was on their doorstep would be so wholly devastating.

But it’s also why what happened in the two successive relationships *was* so devastating in the songs on the album, and why the Matty thing specifically was so twisted. He’d reentered her life and he’d insinuated himself back into her circle and gained her confidence which in turn led her to confide things in him (the “hostile takeovers” of it all, the whole bridge of The Smallest Man with its honey pot spy mission imagery in which like a mark he sweet talked her into sharing her most vulnerable, compromising “secrets” only to then turn it around to use her and ghost her like a trained operative). And given the way the family thing appears in both presumed storylines, it’s again because Muse #2 used the info gleaned about the life with Muse #1 to sell her a con about an alternate path to what she was mourning so deeply. (And why it’s such an unconscionable act because it’s manipulation, at least going by her own words about her experience of it. It’s as cavalier as the organ donor line in The Manuscript, with the same effect.)

The shittalking about rings and cradles is both of them (if not all of them) because in all cases, they ended up raising her hopes only to not plan on following through. One because he maybe couldn’t commit, one because maybe he was never serious about it. (And the one who did it first who was both 🥴.)

If I had to guess (because I am not Taylor so I will obviously never know any of this for sure besides picking up context clues), the dream was like a carrot dangling in her mind, feeling like this is what the “agony” to quote another one of her songs was for — like, things may be hard, but life is hard, and at least they were building towards *something* she felt they both wanted. And as that dream slipped through her fingers, it created a cascading series of events that crippled her emotionally for a time. So when she mourns that life in her songs, it’s almost like it’s the same dream, just in shifting contexts. The conman selling her dream back to her is comforting at first, but hits doubly hard and leaves her broke when it disappears.

The story throughout the muses on the album isn’t “she jumps to the person who promises her these things,” it’s that it’s a whole life she’s built that crumbles under the weight of reality knocking at the door and a foundation that shifts until it disintegrates. And losing that foundation and the dreams built upon it leaves her searching for answers in the wreckage — and looking elsewhere for clarity for a time. And it’s why it’s so hard to remove one muse from the other (or again, all of them), because that central driving force is used by each of them in different ways to build her up and take her down. And why working through the pain of one situation bleeds into that of another.

It’s hard to delve into this more without crossing boundaries or whatever, but it’s just such a palpable open wound in the album, but also why working through the pain in different contexts on TTPD brings to light all these different kinds of hurt but also the emotions that go along with them.

Anyway. That other essay will write itself at some point idk.

[vgtrackbracket]

Video Game Track Bracket Round 5

Main Theme from Super Smash Bros. Brawl

vs.

The Edge of Dawn (Seasons of Warfare) from Fire Emblem: Three Houses

Propaganda under the cut. If you want your propaganda reblogged and added to future polls, please tag it as propaganda or otherwise indicate this!

Note: The propaganda contains spoilers for Fire Emblem: Three Houses.

Main Theme [Super Smash Bros. Brawl]:

Composed by Nobuo Uematsu with lyrics written by Masahiro Sakurai. Translated lyrics (from latin) are as follows; I've heard legends of that person How he plunged into enemy territory How he saved his homeland I've heard legends of that person How he traveled the breadth of the land, reducing all he touched to rubble I've heard legends of that person I've heard legends of that person Revered by many--I too, revere him Feared by many--I too, fear him Now, that person Stands at my side Now that person stands at my side Now my friends are with me Some of them were once heroes Some, my mortal enemies And as we face each other in battle, locked in combat We shine ever brighter

#[...] the theme of Smash Bros Brawl is bombastic. Absolutely glorious.

The Edge of Dawn (Seasons of Warfare):

The main theme of the game, centered around a character who is significant across all routes. Is it a villain song? Is it a map to the future? Your choices dictate as much. Every route is reflected through the lyrics as well.

this song makes me so emotional every time. the vocals are beautiful and the lyrics are so good. it's about feeling alone even when you're surrounded by people. knowing any happiness is just fleeting. about loving someone even though you're going to leave them. (spoilers for fe3h) to get specific, it just makes me so sad the way edelgard distances herself from others because she knows she'll have to betray or leave them eventually but she longs desperately for connection especially toward byleth, whom she admires and loves greatly, even when they're not on her side. the lyrics "open the door, and walk away / never give in to the call of yesterday" make me want to sob because she's determined to create her own justice and her vision of an equal world, but that doesn't mean she can't be emo about it. she loved byleth, the black eagles, she loved the empire, that's why she wanted to see it better. fuck all the haters edelgard there's a reason the theme song of this game is yours! and it's good as hell too!

[elverrie]

buffy having a water theme in the first seasons, being drawn to it, even having dreams situated on the beach, when the water was the one to kill her first, when the water makes her golden hues turn blue, when the water is the one to swallow any kind of light. for her to then discover that she`s actually lost herself, lost her spark along the way to try and submerge into that water, trying to be one with the something that is not her element, and all she needs is actually blazing fire because she is the one herself. and to start that fire she needed somebody who uses the lighter himself, cause sometimes, despite how strong and persistent you are, upkeeping the fire is not a job for one person, especially when all is left just barely burning embers.

[lenasai]

when you picked team present because you actually answered the question and living in the present is genuinely what's most important to you but everyone else thinks you picked it because of the idols, because of the ship involving said idols, or because you don't want anything about the next game to fundamentally change

ID: Kermit the Frog on fire. End ID.

[gaylactic-fire]

As is the general consensus, my expectations for the Zelda movie are in the earth's crust and I'm not hoping for much. But one thing I think will genuinely devastate me is if they take a Mario Movie route with the soundtrack. As in, we are going to give you orchestrated Zelda music, but half of the movie will be original compositions.

And like I understand why they did this for Mario. Bc the franchise is known for its upbeat, happy-scene-suited music far more than songs for big dramatic moments (of which the movie had plenty). But iconic Zelda music can range from "Lalalala I'm having a fun time in the woods" to "Fighting Satan". If they can our beloved tunes for generic Marvel sounding crap I'll kill someone fr

[kentuckycaverats]

custom st dice set for my nola chronicle by bandit.bones.dice ! chasing my tail / chewing through drywall / tearing around my enclosure stoked to run this game with dice made by one of my players

[candy-pants]

Dove Cameron talks Descendants 2

[mayvaava]

I saw Wicked yesterday and it was pretty cute, I’d have liked it more if I were normal about The Wizard of Oz, but I am not. So, it was cute.

I like the strange little poly thing they have goin on, tho it feels close enough to the ol love triangle trope that I was a little irritated, but it was fine

It was very well produced, and as far as modern major Hollywood movies go, it was very good

[oktaviaslabyrinth]

Main Theme (Festival) // Fire Emblem Awakening - Scramble Pack (2012)

[drakonovisny]

listening to dai ost, thinking about what we have lost </3