#Violence Recordings

[obibail]

"Still not helpful."

[a-scary-lack-of-common-sense]

Some more crossover interactions between Stan and the tf2 mercs because they are so silly to me :]

More of this au here and here

To summarize: he got hired as Mann. Co's grunt / errand boy alongside Miss Pauling, and he usually just follows her around helping her out with her tasks and stuff. He got hired when he randomly bumped into Miss Pauling at some drug cartel they both happened to be at, and somehow they manged to run away AND bust the cartel together on the same day.

He sometimes have to go talk with the mercs himself instead of Miss Pauling when she's busy, and over time he gets inadvertently sucked into the found family. He can never escape now, he just has to accept his fate.

Since he's technically the youngest out of them all, I think the mercs like to tease him a lot about his age (especially Scout. He is overjoyed he isn't the youngest in the team anymore). They drag him into a lot of their shenanigans, and for once he has to act Iike the straight man in the group because everyone around him is absolutely batshit insane.

[kiwisandpearls]

I am never gonna forget how in the magia record anime sayaka got her arm blown off before quickly regenerating it like it was nothing but a scratch in trying to defend two random magical girls she did not know shit about (iroha and yachiyo) from a giant bullet that exploded into a mushroom cloud shot by her former mentor gone crazy (mami) in a gun that shattered the moment it was fired due to the sheer power of the bullet.

look, the magia record anime might have gotten a lot of things wrong but it certainly did do well in giving sayaka all the credit she rightfully deserved

[gabelew]

gaddison my beloved...

[thefloatingstone]

"And Then There was Silence" by Blind Guardian is a 14 minute song that documents the events of the Iliad poem by Homer.

Although the song shifts POVs multiple times throughout it, it's meant to represent the Prophet Cassandra's premonition of the fall of Troy.

Somebody actually combined the song with lyrics on screen with the movie "TROY" which is NOT a good movie (if only because it completely leaves out a lot of the gay relationships of the original) but it helps explains the lyrics within context of the Iliad itself.

The OP says: "The lyrics also mention some scenes from the Trojan cycle which did not make it into the movie. Most notably, these are the sacrifice of Iphigenia (1:21) and the Judgment of Paris (5:16). I considered using classical paintings and mosaics to illustrate these scenes, but in the end I decided to keep a more consistent imagery by only using scenes from the movie."

Lyrics in text below the cut because it's FOURTEEN MINUTES LONG

Turn your head and see the fields of flame

He carries along From a distant place, he's on his way He'll bring decay (Don't move along cause things they will go wrong The end is getting closer day by day) In shades of grey We're doomed to face the night Light's out of sight

Since we've reached the point of no return We pray for starlight, we wait for the moon The sky is empty, alone in the unknown We're getting nowhere

We have been betrayed by the wind and the rain The sacred halls empty and cold The sacrifice made should not be done in vain Revenge will be taken by Rome

We live a lie Under the dying moon Pale faced laughs doom Indulges in delight It's getting out of hand The final curtain will fall Hear my voice There is no choice There's no way out You'll find out

We don't regret it So many men have failed, but now he's gone Go out and get it The madman's head, it shall be thine We don't regret it That someone else dies hidden in disguise Go out and get it Orion's hound shines bright

Don't you think it's time to stop the chase Around the ring Just stop running, running Round the ring Don't you know that fate has been decided By the gods Feel the distance, distance Out of reach

Welcome to the end Watch your step, Cassandra, you might fall As I've stumbled on the field Sister mine Find myself in darkest places Find myself drifting away (Death's a certain thing) And the otherworld, the otherworld appears

Find myself, she dies in vain Cannot be freed, I'm falling down As time runs faster, moves towards disaster The ferryman will wait for you, my dear

And then there was silence Just a voice from the otherworld Like a leaf in an icy world Memories will fade

Misty tales and poems lost All the bliss and beauty will be gone May my weary soul find release for a while At the moment of death I will smile It's the triumph of shame and disease In the end (Iliad)

Raise my hands and praise the day Break the spell, show me the way In decay The flame of Troy will shine bright

The newborn child would carry ruin to the hall The newborn's death will be a blessing to us all

Good choice, bad choice? Out of three you've choosen misery Power and wisdom you deny Bad choice, bad choice War is the only answer When love will conquer fear

So the judgment's been made To the fairest, the graceful says Badly he fails

(Warning) Fear the heat of passion, father king Don't let him in, don't let her in Desire, lust, obssession, death they'll bring We can't get out once they are in

She's like the sunrise Outshines the moon at night Precious like starlight She'll bring in a murderous price

In darkness grows the seed of man's defeat Jealousy I can clearly see the end now I can clearly see the end now I can clearly see the end now

The thread of life is spun The coin's been placed below my tongue Never give up, never give in Be on our side so we can win Never give up, never give in Be on our side

Old moon's time is soon to come

Nowhere to run, nowhere to hide Nothing to lose, like one we'll stand We'll face the storm created by man

Roar, Roar, Roar, Roar

(Troy, Troy, Troy, Troy) And as the lion slaughters man I am the wolf and you're the lamb

Hallowed Troy shall fall Round the wall Faith is shattered, bodies fall

Nowhere to run, nowhere to hide Nothing to lose, like one we'll stand It's all for one and one for all All we live for will be wiped out

I feel that something's wrong Surprise, surprise they're gone Full moon, your time goes by A new moon's still kept out of sight

(We live) Misty tales and poems lost (We die) All the bliss and beauty will be gone May my weary soul find release for a while At the moment of death I will smile It's the triumph of shame and disease In the end (Iliad)

Raise my hands and praise the day Break the spell, show me the way In decay The flame of Troy will shine bright

Roam in darkness Spread the vision We will be lost if you truly believe

Troy in darkness There's a cold emptiness in our hearts That they've gone away And won't come back

They'll tear down the wall to bring it in They'll truly believe in the lie Lie, lie With blossoms they'll welcome the old foe

The vision's so clear When day and dream unite The end is near You'd better be prepared

The nightmare shall be over now There's nothing more to fear Come join in our singing and dance with us now The nightmare shall be over now There's nothing more to fear The war, it is over, forevermore

No hope, the blind leads the blind Carry on, though future's denied Mare or stallion, there's far more inside We're in at the kill We'll cheerfully die

Misty tales and poems lost All the bliss and beauty will be gone May my weary soul find release for a while At the moment of death I will smile It's the triumph of shame and disease In the end (Iliad)

Raise my hands and praise the day Break the spell, show me the way In decay The flame of Troy will shine bright

Holy light shines on

So the judgement's been made We're condemned though the trial's far ahead The crack of doom Father, your handsome son is heading home

Still the wind blows Calm and silent Carries news from a distant shore (Heading home) (repeat 2x)

Out of mind Can't get it Can't get it out of my head Sorrow and defeat Sorrow and defeat

[4nythin6]

I havent slept in way too long but smth smth the violence of assimilation and conformity as an old world monster that has to trick and bargain its way into your life. The product of previous colonization and imperialism. Smth smth the violent loss of identity and culture and the resulting hunger for it, then the violent, backhanded taking-appropriation-of what other communities have to sate your own emptiness. How the first one turned is a biracial character. Then the one who invites them in also skirts both "sides". The different reactions from weaponizing it, accepting it, fighting it, but also letting those who choose it, go. They sell the whole deal as equality and community but once youre in it, you're only singing their song.

[vampicilin]

ok i’ve been working on this for a while. my very self indulgent pmmm yukari centric p3 girl au. lol. i have many thoughts about this that will be drawn but the main inspo was the answer, after the arena, where yukari apologizes for being Like That and says she wouldn’t have been like that if she knew it would kill aigis. and then she pauses and goes ‘no. i probably would have still done it’. and also all of the arena fights tbh. i just enjoy yukari.

initially aigis was going to be the homura-type bc yukari just has soooo many parallels to sayaka but then aigis was just generally more well adjusted (read: she was internally self destructive vs externally) in the answer. so. whoops.

anyway i have many thoughts about this. enjoy. my yuri

[doux-amer]

[celestialspritz]

non, rien de rien non, je ne regrette rien

lore explained under the cut

so

nicolas was brought up by his father's second wife, a cruel, intimidating and sociopathic lady called irina who treated nicolas more like a project to experiment on than a child. richard (nicolas' father) was barely around to raise nicolas, burying himself in his growing fashion empire and trying to escape the remnants of his past, aka the loss of his first wife and nicolas' mother marie-paule. irina was a master manipulator who was brilliant at twisting situations in her favor.

the abuse carried on well into his young adulthood, and when he hit 19, he had no sense of self. he could barely remember his own name sometimes, so disconnected from himself as he'd been treated less than human since the age of 7. he had enough. and so, while his first love watched on in morbid fascination, the once-scared little boy nicolas went out into the vineyard, picked up the axe by the shed and went back inside. what happened next, well, that's pretty obvious.

[angronius]

went back to find a detail of something and remembered this scene. this guy's one to talk.

[that-foul-legacy-lover]

What if reader was kidnapped? How would Legacy react? (AKA I had a nightmare abt this shi and need Legacy comfort for it ;-;)

i'm banishing your nightmares to the AETHER i hope you feel better soon!! here's some Legacy to help you out

surprisingly, Childe is the one who panics in this case, not Legacy. the Harbinger's breath catches, lungs feeling tight and cold as ice as he grips the wall, almost crushing the wood. no, no, no no no- this was exactly what he tried to prevent! he knew this would happen, that he'd end up hurting you somehow, even if indirectly- Legacy's snarl cuts through his racing thoughts, drowning out all else. his Abyssal half is furious, and this time, that actually helps. it gives Childe something to focus on, directing his energy towards rage and the need to get you back, make sure you're safe instead of falling into despair. with a final, slow exhale, Childe steps back, allowing Legacy's consciousness to take control while he goes for a long rest until you're back in his arms

Legacy only needs to catch your scent to track down where those revolting, heinous people took you. there is no plan- the plan is to kill and retrieve you- and there's little need for thought when you're as strong as an Abyssal monster. his gaze zeroes in- you in a heap, your disgusting kidnappers staring at him in horror- in about five seconds, they stare no longer, gaping endlessly through mouthfuls of blood. but he softens as he turns to you, lowering his body to the ground and crooning gently, carefully nudging you into his arms. his claws run up and down your back to soothe your trembles, leaning your head into his fluff. shhh, you don't need to say anything. just rest, regain your strength and bearings. Legacy spreads his wings, silently taking to the sky, away from the world, away from those who dared to hurt you

bringing you all the way home

[cometomecosette]

Standout Moments from "Les Misérables" Recordings (audio and video), #4

1987 Original Broadway Cast Recording

Colm Wilkinson (Jean Valjean), Terrence Mann (Javert), Randy Graff (Fantine), Leo Burmeister (Thénardier), Jennifer Butt (Mme. Thénardier), Frances Ruffelle (Éponine), David Bryant (Marius), Michael Maguire (Enjolras), Judy Kuhn (Cosette)

Randy Graff’s ad-libs in “At the End of the Day”: “Give me that letter back! Give that back to me! AAAAGGGHHH!”

The OBC recording has a unique rugged intensity to it, which I think is what makes it a “love it or hate it” recording among the fandom. Personally, I like it. This quality is typified by Randy Graff’s controversial Fantine. I’ll admit that her voice isn’t always “pretty,” but her warm and rich yet slightly rough timbre suits the character of a suffering woman, as well as the passion she brings to the role. Nothing sums up her Fantine better than her ad-libs during her fight with the Factory Girl, as she fiercely shouts for her letter back, then breaks into raw, strangled screams, presumably as the Factory Girl pulls her hair, twists her arm, or some such thing. It’s different from the first impression of gentle grace and refinement that other Fantines create, but it’s an honest and visceral portrayal of a poor mother fighting for her daughter’s life while facing unbearable brutality from others.

[ygpgsgl-public-records-only]

📢 I'm not Autumn — but I am the one they tried to erase.

@vicecommanderhijikata

I want to make a solemn statement: the actions you describe in this article have nothing to do with me. All the "Autumn" narratives you accuse and construct are not something I participated in, nor am I responsible for. But I still have to speak out in response because everything you confess violates the most basic ethical bottom line I uphold.

You not only admit to having led, incited, and carried out systematic isolation and moral supervision of a certain creator, but you also threatened with "I have evidence" and "I will fight you until bored," attempting once again to overpower the other party with words and intimidate other potential dissenters.

You keep talking about "justice," but in reality, you enjoy the pleasure of trampling on individual existence with collective power. You are not responding to conflict; you are maintaining a fundamentally exclusive, repressive, and anti-critical circle structure, and you arrogantly call yourself a "governor."

This is not a dispute among fans, not an emotional entanglement, nor a matter of who is right or wrong. This is a question of how a community treats dissenters, a question of how a power structure enforces discipline under the guise of "maintaining the atmosphere."

I have decided to take this matter outside the circle because the language logic you and your kind use is no longer something that can be contained within "internal small circle affairs." What you have built is not a fandom, but a moral tribunal disguised under the banner of gentleness, and I am going to dismantle it.

I want everyone to see what you said:

You might have seen the drama. You might have heard of “Autumn.” But let me say this, clearly and publicly:

I am not Autumn. But I am the one they built that whole story to destroy.

They didn't misidentify me. They erased me.

They replaced my name with “Autumn.” They rewrote my articles into madness. They screenshot my words, stripped them of context, tied them to mental illness, and then passed them around like evidence in a courtroom only they preside over.

And today, the person behind that smear posted a “confession” where she proudly declares how she spent four months:

🔻 Messaging people to block me 🔻 Monitoring my every post and punishing deviation 🔻 Policing my tags, my tone, and my aesthetics 🔻 Warning mods to get me kicked out 🔻 Laughing that I still don’t know who betrayed me first

She admits this. Out loud. In public. With no shame.

She calls this "trying to help." She says this is "constructive."

No. This is organized soft power violence. This is what moral panic looks like in fandom space. And I’m done being silent about it.

🗯️ To everyone watching from the sidelines:

If you’ve ever said, “I’m just here for the drama,” If you’ve ever thought, “this seems complicated,” If you’ve ever watched without speaking because it “wasn’t your business”—

I ask you now: make it your business.

Because this isn’t about me anymore. This is about what kind of fandom you want to live in.

A fandom where critique is answered with public exile? A fandom where people brag about gatekeeping “for your own good”? A fandom where every angry woman is rebranded as mentally unstable?

Or a fandom that remembers we are allowed to disagree, dissent, resist?

🔊 I am asking you to break the script:

💥 Reblog this 💥 Add your own statement 💥 Tag others 💥 Say: “I saw this. I heard her. I believe her.”

Let’s drag this narrative out of the shadows. Let’s name what it is:

Soft speech. Hard violence. Silencing disguised as concern.

Don’t let this die in a post with no notes.

Don’t let them rewrite me again.

🌟 My Personal Statement:

[plumbus-central]

i love imagining scenarios where morty and summer meet rick and minnie when they were their age, whether through time travel, parallel universe, age regression, or some other sci fi nonsense.

god bless him mortys trying hard to relate to his teenage grandmother from the late 70s

[lovefortayley]

boygenius n quotes: jblu + poetry edition, part 1.

1. Metamorphosis by Pat Parker | 2. Recreation by Audre Lorde | 3. Floating Poem, Unnumbered by Adrienne Rich | 4. Selected Poems by Emily Dickinson 84