#I don't own the concept of vampires | Explore Tumblr Posts and Blogs

arijackz · 1 month

Text

PICK A CARD: Who You'll Be In 10 Years

☣︎ "“The only limit to our realization of tomorrow will be our doubts of today.” – Franklin D. Roosevelt

Disclaimer: This is a general reading, take what resonates. This is a gender-neutral reading, change any pronouns to apply to you. Also, the tense changes from past to present to future, I hope this doesn't make the reading difficult.

Also! Thank you so much to everyone who put in a paid reading request, when my life stabilizes, those will be on the top of my priority list. <3

p1 → p2 ↙︎ p3 → p4

⚠︎ Pile One ⚠︎ (5oS rev., 5oP, 8oS)

You a decade from now (or less 👀) is not afraid to walk away from a motherfucker. Kudos to you!!! POP A BOTTLE. REJOICE! 🍾🍾

You have mastered prioritizing yourself and letting go of connections that violate your boundaries.

I’m getting cat energy. Your self-concept is resolute, so you don’t care about others' perception of you. You’re willing to be seen as the “bitch” or selfish in situations because you refuse to become someone you’re not, to please another.

Your young self would consider this a nightmare. Your upbringing has groomed you to put the interests and needs of others before your own. Disharmony and people disliking you cause you so much inner turmoil (I want to throw up channeling this energy, I’m getting it makes you physically ill) that you try to avoid those dark emotions by suppressing your own needs and desires to keep the group happy.

Being subservient and sacrificing parts of you became a survival tactic. It was so deeply ingrained in your self-concept; you desperately wanted to detach from it but feared hurting anyone or being seen as selfish in the process.

This hesitancy to step on a few toes, which is an inherent requirement for elevating your own voice, gives you an illusion of being trapped and powerless against the will of others.

But baby… you ten years from now don't have time for the bullshit.

The energy here is refined; a quiet strength forged in darkness. This was not always your energy, you have some battle scars due to people-pleasing and learning the hard way that you can never satiate hunger in people who can never be full.

This pile has seen their fair share of energy demons. I meant to write “vampires” but demons came out, this could be about energetic attacks (commonly manifesting as anxious thoughts and mental blocks that did not occur before you met them) and jealous energies around you that benefitted from you thinking less of yourself.

It took you some time to find the power in your “No” and staunchly protect it. There have been times when people have disrespected your no and remained in your energy for longer than they deserved to. That’s okay, forgive yourself. I promise it’s all a part of a greater journey for you to reclaim your power.

The energy you call home ten years from now is a force to be reckoned with. The first card flip gave me chills, I was intimidated at first.

You are becoming someone whom the world makes space for. By walking away from people who want to continuously fight and provoke you or drain your resources and energy, you are telling life, “I won’t put up with people who are trying to convince me to be the backseat passenger of my own life.”

You won’t feel like a suffering supporting character anymore, you’ll be the main character people are in awe of.

Aries Northnode, Saturn, Pluto, Chiron 1st house, Mars or moon 7th house, Libra risings, Libra Mars, Libra Moon, Cancer Saturn, Cancer Mars, 6th house placements.

Your dominant colors will be black, white, and grey. For my colorful folk, you’ll stay bright and eccentric but have stark contrasts of black either with your accessories, hair, or makeup (if you do it). Regardless of your height, you’ll appear taller with perfect posture. Your collarbone/shoulder area is accentuated and eye-catching. Your head is held high and your neck acts as your lion’s mane.

Your words reverberate in the consciousness of others, you are unforgettable and your impact changes the course of the lives you interact with. You speak clearly (and at times bluntly), making your boundaries and identity unequivocal. Your voice deepens and honies with time, you are like a violin luring people to your cause. People will most compliment you on your aura and intimidating, yet magnetic presence.

I really want to emphasize the dark appearance here, it’s the classic dark feminine aesthetic with a mystical-witchy flair. I even see big hats, high boots, and round or oval glasses for some.

The strength you cultivate is admirable and is your magnum opus. Keep creating your dream you, my love! MUAH 💋

A Vixen Born in the Shadows

⚠︎ Pile Two ⚠︎ (The Hermit, 4oW, Ace of Cups)

Ex-Factor by Ms. Lauryn Hill came on, the Angels aren’t playing. Sit down, I’m about to talk your ear off (lovingly <3)

Baby, you’ve been put through the emotional wringer. Mostly in your interpersonal connections and romantic relationships.

You’ve had a cycle of emotionally immature karmic partners that were meant to reflect the insecurities within you that blocked healthy unions from forming. You subconsciously did not feel worthy of a loving partner so you settled for people who were unable to love you more than their own self-interests. Most of your old connections were made through trauma bonds and fear of abandonment.

(For some, I’m getting that your partners threatened to harm themselves or you threatened to harm yourself in case of a breakup)

Most people can’t relate to your depth. You crave a raw, soul-merging connection that can withstand you at your lowest, most difficult energy. There were moments when you either glorified or begrudgingly allowed “struggle love” because you believed that fighting, heartbreak, and being misunderstood were all a part of the “ride or die” package.

I’m giving a lil forehead kiss to my Scorpios and 8th Housers. And a winky wink to the Rohini and Jyeshta natives in the back.

However, I’m getting a tinge of envy here. You believed that “kinks” (emotional abuse) in the relationship were natural and happened in every relationship, but when you saw couples online or in your environment, they seemed a lot healthier than yours.

You weren’t in a clear headspace, so instead of realizing that your partner dynamic is unhealthy and harming you mentally and emotionally, you internalized it and bore the fault on your shoulders. Oh, those people have healthy relationships because they’re better than me and more attractive, I need to be better.

Listen to me when I say this, your love and devotion are worth more than struggle love, and toxic cycles. The best thing you could have done for yourself is exit these relationships stage left, IMMEDIATELY.

And guess what Pile 2 in 10 years is doing??? EXITING THE MF STAGE AND ENTERING RELATIONSHIPS THAT SERVE THEM! YURR!

If you are currently in this cycle and fear that you aren’t capable of change and healthier connections, trust me you boss up and tell those doubts to shut the fuck up.

Love, you complete all the hard healing. You go through long periods of solitude, introspection, therapy, forgiveness (of yourself), and learning to be your own soul partner and it pays off!!! YOU turn into the one giving self-love and healthy relationship advice.

You’ve been through the ugly and the beautiful and know the trials of the self-hate to forgiveness journey like no other. You could have significant Jupiter placements, you got the guru card. The young grasshopper turns into the wise crane.

If you have dark circles under your eyes, your body language is sluggish, and you just look like life is whooping your ass, a decade from now you will look like… do you know those pictures of those really gorgeous cows?

Like??? Please tell me you get where I’m coming from. You’ll look well-nourished, taken care of, plump (explained briefly), and sitting pretty in your energy of known worth and inner fulfillment.

In Vedic astrology (I’m explaining this very plainly), Rohini natives represent the people whose life path is to obtain inner security and believe everything they desire can be birthed from the resources that come from them (plump). Their opposite, Jyestha represents inner emptiness and insecurity and the insatiable desire to fill that hole (hollow).

Your hole is filled (pause) and you have turned your insecurities into strengths (which is very Jyesthan). This is confidence that can’t be faked or imitated and it’s beyond your wildest dreams. It’s well deserved! You birthed your ideal self-concept all by yourself, and that is no easy feat.

Maybe you have been jaded and swore off marriage, but “bad” news babe you’re marrying someone who adores, respects, and treats you like the soft, yet powerful force you are.

You are very fucking happy, I’ve been cheesing and cracking jokes this entire reading. You are going to live a joyous, easygoing life full of reciprocal love and admiration.

Physically, I’m not getting anything specific besides the clear image that you will look visibly abundant. A bright smile from ear to ear, cheek creases from happiness, clear skin, watery eyes, and you’ll smell like a rich bitch (that was a random message but it felt important).

I’ll close off with a tweet that I have been thinking about since the first card flip,

MUAH 💋

Her Heart is a Blossom of Flowers

⚠︎ Pile Three ⚠︎ (The Tower, 6oP, 10oC)

Staring at the blank page before you

Open up the dirty window

Let the sun illuminate the words that you could not find

Reaching for something in the distance

So close you can almost taste it

Release your inhibitions

FEEELLL THE RAAAINNN ON YOOOUURRR SKIIINNNNNN\!!!

Babe, you escaped from somewhere. Ran like the wind to your freedom. Similar to Pile One and a bit of Pile Two, you were enslaved to energies that were draining you. However, this energy is more restrictive. Some people had their autonomy stripped away and others had to sacrifice their desires for another’s sake.

I’m sensing a wound in how you perceive yourself, your skills, and your capabilities. The way you express yourself through your passions, your style, and how you speak feels restricted out of fear and overly controlled. A buried piece of you yearns for expression and attention, which you are well deserving of and more than capable of gaining fame for. Fear and anxiety had deluded you into thinking they were more powerful than you.

Yea, that shit is dead 10 years from now. LMAO.

If you have big traveling plans or wish to permanently pack up and move to your dream location, it's happening. Have no doubt, you will not be stuck where you are forever.

You were experiencing a debilitating mental feedback loop of wanting to live your life the way you desire and then halting those desires to help others. Buuuutttt, at some point from when you’re reading this to ten years from now, deception will be revealed to you and you’ll realize the people you are sacrificing your dreams for are undeserving of it.

This will wake you up, breaking the loop and invigorating you to take the reigns of your own life because you’ll know that you can’t stop your motion so others don’t feel left behind.

You’ll reclaim your power over self-doubt and anxiety by choosing faith over fear. Faith in your ability to improve the skills you love and to strive for your dreams even if it scares you. With every fear you face, you’ll realize just how strong you are and get a rush from proving your old self wrong. All the things you believed you couldn’t do, you’re now breezing through and showing the public how its done.

Capricorns, Sagittarius, 2nd and 3rd housers (chiron counts), are getting a special shoutout here.

You will be recognized and adored. You are a star, through and through. Whatever empire you build will be so abundant that you will still be able to help people, but not at the expense of your own success.

Your biggest lesson is learning that you cannot help yourself or anyone for that matter if you are inhibitious and your own biggest naysayer. What do you gain from believing you can’t do something? Not a damn thing. Just frustration and regret. Start affirming that you can become everything you want to be until that self-concept replaces your thought patterns. You are a magnificent being capable of change and there is nothing between you and the life you want to live but your beliefs.

You feel so complete and whole ten years from now. You literally got the ten of cups AND the completion-360 oracle. It must be emphasized that the life behind the veil of fear is one of prosperity, abundance, and unwavering joy. Just go for it, my love! You cannot lose. You only lose if you stay where you are (which you won’t).

Puff your chest out with pride and tell those bitchass fears and doubts to go play with gnats their own size. They don’t want to fight a big dawg like you, pookie 😩😩.

In ten years, I’m getting an office-vixen aesthetic or business chic. Women will always have heels on and men will always find an occasion to wear dress shoes that boost their height a bit. Tight pencil skirts. Suits. Blazers. Capes. Watches. Trench Coats. All that jazz.

MUAH💋

Fear Crumbles at The Feet of A Bad Bitch

⚠︎ Pile Four ⚠︎ (Ace of Wands, The Hermit, 5oW)

Initial Impression: In ten years, you are not afraid to whoop somebody’s ass. I Bet U Won’t by LeVel and Mouse on da track started playing.

I’m sensing tense home energy here. You did not have to do much to be blamed or antagonized for something. You were treated like a black sheep, scapegoated, abused, and expected to take it. If you lashed out in defense, your attackers would take that as an opportunity to paint you as aggressive, a difficult child, or “unsafe”. This could’ve been with friendships too.

My heart is racing right now, in the middle of channeling, a helicopter flew over the neighborhood and told everyone to lock all their entrances and stay inside. I feel like you have spent a huge chunk of your life on edge? Your environment prevented you from safely regulating your nerves and you were never able to feel comfortable anywhere. If your home was not explicitly violent, there was mental warfare that prevented your home from ever feeling like home.

Half the people in this pile experienced the opposite. Everyone else in the house was constantly fighting and belligerent and you stayed meek, quiet, and in your room to create some sense of safety.

For some, it's a mix of both.

Any power that could have been used to stand up or protect yourself was diffused by parental figures or fake friends. The global lockdown was especially difficult for you and trapped you within the tension of the house. For others, I see that this hermit phase lasted beyond the pandemic and maybe even prior.

This is the only pile where I know the transition is happening before the 10-year mark. With all of this fire and solar plexus energy, one day (soon) you will be sparked with the bravery to become your own hero.

You’re removing yourself from a toxic environment and you’re going out SWINGING. Windmilling, even!

That’s not to say that this is all on a whim and impulsive. Oh no no no. You are calculated and pushing forward with careful preparation and a solid plan. If you want to move out, you’ll have the place planned out, your transportation, your food for the next 6 months, and a job lined up.

If this is simply about pursuing your dreams in an environment that wants to squash them, you’re moving in silence and getting all of your ducks in a row so when the time comes, you can chuck the deuces up and never see those people again.

(if you feel guilty about wanting to cut off family members, don't. You must feel confident in the decision to prioritize your health and safety.)

YOU’RE ‘BOUT BIG MF BUSINESS.

In a world where you have never known peace, you will be creating a life of harmony and ease for yourself, and you have every right to be proud of that. That is a generational weight that you let go of, your spirit team and ancestors celebrate your strength and vitality.

You got some crazy repetition with my Oracle deck. You got “Golden Gift”, “Golden Retriever”, the cards fell in a white-orange color pattern, and you have all this wand (fire) energy. You are a firing supernova, the flame within is what will pioneer you to victory.

This is another tale for the ages—your story will be told far and wide, inspiring boys and girls who dream of a savior to become their own saving grace.

You’ll definitely have a long-lasting red hair phase or you’ll have an affinity for the colors red and gold in ten years.

You’ll be healthily competitive. You will have an established workout regimen and do at least one recreational active hobby (soccer, hiking, MMA and swimming were of note). You’ll even be competitive at karaoke night.

There are some bodybuilders in this collective. If you’re a woman and want to lift but fear looking “bulky”, you’ll overcome it and fall in love with your muscular physique. There is an accentuation of your butt, shoulders, back, and abs. You’ll look physically imposing and command respect and attention, but welcoming to all. I see children running to your side for safety.

Go and be great my lil firecracker!! MUAH 💋

God's Golden Gift is a Brave Woman

#arijackz #pick a card #tarot reading #pick a pile #tarot #pac #astrology observations #divination #pac tarot #muah #tarotblr #tarot cards #tarotcommunity

759 notes · View notes

danlous · 4 months

Text

The thing about Daniel is that like many cynics he's secretly a romantic. He has always been endlessly fascinated by people and their stories, the full scale of human experience and its beauty and horror. There was such tenderness in how he talked about his interviewees when Armand was destroying his tapes and he clearly remembered every detail. When he was young he romanticized decadence and suffering, including his own. Having sex in a coffin was an excitingly macabre idea to him, and after he got over the shock he was completely enamored with Louis being a vampire, the whole concept of vampirism. He quickly decides he wants to become a vampire himself and doesn't think logically all that it would entail, he's in love with the idea, the fantasy of vampirism. He asserts that he should become Louis' companion and has already built a story in his mind how everything should go. He proposed his wife in Paris, the City of Love, and got married again despite that the first marriage didn't work out. And so on.

50 years later when Louis contacts him he simply has to meet him and finish the story even though he knows he might die. I think Daniel is intrigued and moved when Louis shows vulnerability and compassion for the same reasons the viewers are; he's a monster who's strikingly human, who cares and feels and loves even though the preconceived horror traditions say that he shouldn't. Realizing that you've built a genuine connection with a monster, that you and the monster care about each other, that the monster is actually beautiful and kind and suffering and you could help him is an incredibly powerful romantic idea, and i think Daniel can't help being drawn to it. Daniel isn't stupid and he hasn't forgotten that his friend is a vampire who has killed thousands of people, but i think there's a part of him who now sees Louis as like. I don't know. A cursed princess imprisoned in a tower guarded by a dragon. And he needs to slay the dragon and save the princess and then the curse will somehow be lifted. But what happens when it turns out that the princess doesn't want to be saved. What then

#this post has been on my drafts since sunday but i saw a post earlier today about louis being rapunzel #that was in the same vein but funnier need to reblog it again #iwtv #iwtvposting #danlou

503 notes · View notes

lassieposting · 8 months

Text

Concept:

You are Bhaal, god of murder, and someone is praying to you.

And that's not necessarily unusual. Lots of people pray to you, usually for the untimely death of a rival, an ex-spouse, an overseer. The prayer itself is a small and broken thing, bloody and raw, whispered by a man whose vision is dulled by agony and the dark spectre of approaching death. The pathetic not-quite-survivor of some rather brutal torture, wishing murder upon his captor. You take a moment to enjoy the fear, the pain, the suffering - and then you tune him out. There are millions like him, and your favour is for those willing to do their killing themselves. Besides, that wretch will be nothing but a corpse all too soon.

Except...he doesn't die. You never feel that timid little spark of existence stutter and go out. Far beyond the breaking point of a mortal body, this one lingers on, clinging to being with fingers all but stripped back to bare bone.

It's intriguing enough to warrant a second look and - interesting. The prayer comes from a vampire, a pretty little corpse becoming an even prettier corpse under the skilled hand of a cruel master.

It is not in your nature to intervene. You favour the strong, not the weak. The master, not the slave. Your first instinct is to leave the wretched little thing to his fate.

But the thing is. Your child - your favourite child, shaped from your own flesh, coldest and most brutal of your progeny - has gone and got a boyfriend.

And you don't like him.

You don't like the effect he's having on your chosen, the way they're becoming distracted, attached, less devoted to their true purpose. And right now, your nature takes a back seat to your desire to get rid of that smug, arrogant little Baanite whelp, Enver Gortash. Your granddaughter's spiteful machinations have given you an opening, but you know they're bound to run into one another eventually, and it will all start over.

The vampire is beautiful. Well-trained. Accustomed to brutality. Already purged of sympathy and compassion, eaten up inside by hatred and bitterness and harm. And immortal; able to survive the worst of your son's inclinations. At this point, he'll do.

So you redirect a nautiloid. It's not that you're showing the creature any favour - it's just pragmatism, really. He is simply a tiny piece of a very large puzzle.

And then you watch.

You watch the vampire take the spectacular murder of a young bard in stride.

You watch him identify your memory-addled, sanity-challenged offspring as the most dangerous one in their sad little group of unwashed tragedies - the strongest protector, the solution to his fear of being discarded or returned to his master.

You watch him expertly lure your progeny into a pit trap of sex and lies and manipulation, dressed up with honeyed words and an exaggerated performance of desire.

Your child comes face to face with Enver Gortash and remembers nothing - feels nothing. They only have eyes for Astarion, and you are filled with satisfaction. The vampire is pathetic and fearful now, but already he plans to take over his master's ritual, and then he will be perfectly placed to feed your child's very worst impulses, to bring out the sharpest edge of the darkness inside.

You watch the vampire say, "I want us to be real."

You watch your child happily become a glorified comfort blanket, your masterwork living weapon reduced to little more than a prey animal, a do-gooder, a sacrifice.

Watch them vow, "I will be the person you see in me."

Watch them talk the blasted creature out of going through with the ritual at all.

Watch them start fighting their own nature for the pantomime love of someone else's broken toy.

Watch them turn on you.

And you decide, with the benefit of hindsight, that Enver Gortash was not that bad, actually.

#bg3 #durge #astarion ancunin #durgestarion #bhaal #i just think it would be really funny if bhaal played himself trying to get rid of gortash by setting durge up with astarion #and completely underestimating the power of falling deeply in love and astarion's sad wet cat eyes

649 notes · View notes

astarionancuntnin · 1 month

Text

request for: @ladycroft5245

Public Display of Attention

summary: his consort - his beautiful, too kind for her own good - forever young lover. she was his, and his only, and he believed it was long overdue to make that statement clear among the rest of their group. after tonight, the only name spiling from her luscious lips would be his.

pairing: ascended astarion x reader!tav

rating: E

word count: 4.6k

cw: 18+. astarion POV, late act 3 setting (so potential spoilers), smut, big angst, depiction of racing thoughts due to low self-esteem/jealousy, very possessive behaviour and sex, public sex/exhibisionism/slight voyeurism, oral (f!receiving), hold the moan, mentions of pregnancy, breeding kink, mating press, p in v, blood/vampire bites, creampie.

a/n: songs inspo for this one were taste and who were you with last night by ari abdul, if you wanna get an idea of the vibe as i was writing this up

read on ao3

or keep reading down below~

It was in the little things that he noticed it the most. How she was always willing to give a helping hand to anyone who asked — and even those who didn’t, quite honestly. Gods, how it aggravated him in the worst ways. Her kindness was her most admirable trait, yet also her biggest weakness.

Then again, that's how he truly fell for her in the first place.

How she was simply too pure for her own good, and it was most infuriating at times; constantly giving people the benefit of the doubt, believing everyone was inherently good, desiring to befriend everyone and truly believing everyone had a good reason to act the way they did. As if she refused to see the corruption of this world and its people, of him, of all people.

Maybe that's also why she opened her heart to him in the first place. Maybe it had nothing to do with his charms, and although he believed he had successfully and very easily seduced her for his own protection, he kept thinking she would slip away from his grasp at any moment.

The doubts kept growing as one night he spied on her as she indulged Wyll for a dance. Well, not as much spying as they did it right next to the campfire, anyone could see them. Then again, that might be what bothered him so much.

How carefree they were to dance the night away, visible to all and with no shame whatsoever. How he avoided being publicly seen with her, reserving their time together in the privacy of his tent. How the voice in his head screamed, “You're wasting her time. She deserves happiness with someone whole, someone who can make her as happy as she is with Wyll. You could only bring her misery. You don't deserve her.”

And how hard he had tried time and time again to push those thoughts away, to convince himself that she did choose him, that he deserved her love, no matter how novel the concept was to him.

But when he witnessed Wyll leaning in closer, his lips reaching for hers, Astarion turned away, closing the flap of his tent. He couldn't bear to stare much longer, as his heart shattered at the thought that the moments he spent with her were but ephemeral. Gone in an instant, a bittersweet memory, and how foolish of him to believe he could have had a chance at love when he was but the shell of a man. His fear of losing her turned to resentment against not only himself, but also against their companion for experiencing what he could only dream of.

Of course, he thought, how could I be such a fool to believe what we had could ever last?

But that night, before he could enter his reverie, she joined him in his bed. Without a single word, she snuggled up close to him and fell asleep in his arms, bringing cosiness to his bedroll with her hot skin warmed up by the alcohol flowing through her veins, and the soft beating of her heart calming his thoughts as he listened along.

In the morning, he listened in on her discussion with Wyll to learn she had turned him down in favour of Astarion.

He couldn't begin to comprehend what had happened.

She had the opportunity to be with someone better, and yet she chose him, over and over again.

Many weeks later, when she spent her entire evening gallivanting at Gale’s side of the room at the Elfsong as he showed her tricks of the weave, standing close to her — too close — and she smiled, and laughed, and held his shoulder, and her eyes sparkled with amazement at the magic before her, it's as if everything she had ever done to prove her love became meaningless.

He could practically hear what she was saying: Gale, you’re so talented, please, can you show me more? Can I spend more time with you? Oh Gale, how I love when you teach me the magic of the weave, when you touch me, Gods Gale, what I wouldn’t do to feel you inside me, fuck me, oh Gale—

The mere thought of someone else laying their hands on her in any way imaginable sent him down a spiral of dark thoughts. Since defeating Cazador, he only became more selfish, perhaps he would be the most selfish man she would ever know, but he was the only man she should want. After two hundred years of torment, of pure shit, he deserved better. Everything and anything he wanted, he would have.

In the past he couldn’t find it within him to keep her to himself, but now, now that he was all powerful, now that the world was his to claim, it wasn't something he would allow anymore.

No.

This time, he wouldn’t sit by idly, waiting to rot and let those thoughts get the best of him.

He approached them, trying to appear nonchalant despite the seething fury boiling within him.

“My treasure,” he purred in her ear, interrupting Gale through yet another rambling of his. “May I have a word?” She turned her head around, caught off by his sudden presence behind her, with one hand on her waist, and the other on her shoulder, gripping firmly. When he noticed the uncertainty on her face, he answered her unspoken question. “I'm afraid this is of the utmost importance; it really cannot wait.”

He gave a quick glance at Gale to let the wizard know there was no stopping him from stealing away the woman between them.

“Go on,” Gale said, when their leader remained silent. “We can pick up where we left off once our mighty Vampire Ascendant is done indulging in your presence, whether that be tonight or tomorrow.”

She gave him a sad smile and he nodded with a smile of his own, as she tried to apologise for cutting their time short, and it only added onto Astarion's irritation, who pulled her out of their shared room, and away from prying ears.

“What’s wrong?” The worry in those soft, brand new crimson eyes of hers.

Well, truth be told, he didn’t have an answer. He didn’t plan this far ahead, he just wanted to get her away from Gale as fast as possible.

“Oh, how bothersome,” he clicked his tongue. “It seems to have slipped my mind completely.”

“Didn’t you say it was of the utmost importance?” she sighed, pouting.

“I truly apologise for cutting your time short with the wizard, but now that I have you here with me, I might as well keep you close. You do need to feed, don’t you, little love?”

Her eyes wandered; this form was still new to her, she didn’t know yet when or even how to tell if she needed to feed. It was no bother though, he would teach her everything there was to know about it. He would be there for her, be the master he couldn’t have when he was in the same situation centuries ago.

She turned her head aside towards their room, probably thinking about Gale and how she left him hanging. Ugh, why did she have to care so much about the others?

“Ugh,” he sighed desperately. “The wizard will still be there when we're done, dear.”

When she turned back to him, she noticed his sneer in Gale’s direction and that’s all she needed to connect the dots.

“Astarion…” She took a hold of his hand and laid it upon her chest, right over her undead, unbeating heart. His doing. “I promise you there is nothing between Gale and I, or anyone else in our group for that matter. Even Halsin made advances, and — although I am extremely flattered — I’m really not interested. You’re the only one for me.”

Her softness caught him off guard and his face softened temporarily before taking back its haughty state, rolling his eyes.

“Obviously, I know that.” He lifted her chin with his free hand, the other laying over her waist, pulling her closer as he whispered over her, “You’ll be mine forever, after all.”

“Until the end of times,” she whispered back.

There it was, that smile she kept for him only, with her features softened, and yet, he knew that if she still had a pulse, it would be beating out of her chest.

He loved the way her eyes almost closed when he drew her in for a kiss, lips colliding in a passionate embrace. She let herself get lost in it, giving him control over this dance he knew all too well, but a dance he now took pleasure in, with her only.

His most beloved spawn.

His precious consort.

It was the first time in two hundred years he had something for himself, someone to claim as his, and he wanted to show her just how loved she would be with him, to prove to her she didn’t need to seek anyone else’s attention when she had him all to herself. She needed but to ask; anything she desired, he would give her.

But tonight, he would make that decision for her, and he would keep her all to himself.

Pulling back only slightly, leaving her wanting more, he murmured against her lips, “Now, can I interest you in joining me in bed?”

“But I’m not tired,” she sulked. “And Gale was going to show me more tricks with the weave, and—”

“How about I show you what tricks I can do, hm?” He cut her off softly, bringing her attention back to him. He swore, if she mentions the damned wizard once more—

“What kind of tricks are we talking about exactly? Because I wouldn’t call pickpocketing the local bard a trick.”

He smiled at the memory, “I’m afraid you’ll have to trust me on this one, pet. But I can assure you, you will be exhausted by the time I’m done with you.”

It was so easy to reel her in with just but a few words. By now, he knew the telltale signs that he had caught her interest; a few quick looks as she was processing the possibilities of what this would entail, those same eyes shining as they fluttered shut, and the biting of her lip followed by her playful smile.

“Fine.”

She simply couldn’t resist his offers.

She lifted her chin with eagerness to meet his salacious look, and he got the impression she did so to appear taller, mightier than she really was.

“As long as it doesn’t involve getting people hurt.”

Again, with the others’ interest at heart before her own. He wanted to roll his eyes at her request, but the only thought crossing his mind as he looked at the soft frown she was forcing along with her crossed arms was how utterly adorable she was, and how delicious the sight of her would be with that frown upside down as she panted underneath him, begging for mercy, with his name spilling from her mouth like a prayer.

The thought alone made his trousers feel much, much tighter.

Before the thoughts could overpower him, he answered her request, raising his hand. “I promise only pure, carnal pleasure for the parties involved.”

She gave him a side look with her eyes squinted, and he just took her hand, raising it to his lips before kissing it with a smirk as a response.

“Just follow me, little love, and I’ll show you exactly what I mean.”

And she did just as she was told, as she followed him back inside the room shared amongst the rest of their friends, to his bed. Most of their companions were already fast asleep, with some others quietly preparing for bed. Gale was among the latter, and to Astarion's demise, his bed was right next to his, with barely a partition separating their respective side of the room.

The faint light cast from Gale’s side depicted his shadow, and when Astarion noticed him reading in bed, he thought that maybe he could take advantage of their bed placement, if only for tonight.

He drew his own partition, hiding them from the rest of the room, before walking back to his consort.

“Now,” he purrs. “For this little trick of mine, I will need your full cooperation. Can I trust you to follow my every command?”

She nodded eagerly, her eyes fixated on his.

“Whatever I do, you must remain silent. Understood?”

Another nod.

His good, little, obedient pet. How he loved that about her.

He walked behind her, leaning his head in the crook of her neck, whispering. “Good girl.”

Slowly, he reached for the lace in her back, untying her dress until it came loose. Her chest rose with anticipation, as he drew his fingers up at her front, lightly brushing his fingers against the light fabric covering her breasts. Hooking his fingers into the crown of her dress, he pulled her top down, releasing her breasts to the crispy air of their room. A warm, deep breath he released against her neck sent shivers down her spine, and she just closed her eyes as she let her head fall back onto his shoulder with a sigh, letting him work her like putty in his hands.

Gods, how he adored that she didn't bother wearing a bra out of combat. It made everything so much easier when it came to indulging his deepest desires: a light brush against the fabric here and there, just to see her nipples harden under his touch, a daring squeeze, sometimes, to feel the fullness of her chest, but his favourite was this dress of hers, and how easy it was to pull down to indulge in a quick nibble.

Maybe that’s also why he was reluctant to her being so damned touchy with the rest of their group, how close she allowed them to be to her precious body. His possession.

It’s okay, he thought to himself, no one will question my ownership after tonight.

Her dress carelessly fell to the floor when he pushed the sleeves down to reveal her everlastingly beautiful body. He pressed his body against her back, rubbing his growing bulge against her ass as he massaged her breast with one hand, while the other roamed south of her navel. A light pinch of her nipple while he reached her clit had her whimper once, potentially loud enough to already give the wizard next door an idea of what they were up to.

“Nuh uh, what did I say? Not a sound, darling.”

“S– sorry…” Her breathing was already heavy with lust.

She could try to keep quiet, but he would do anything in his power to make her crumble beneath his fingers, those same fingers that didn’t waste a second more dipping between her folds, earning another soft moan out of her.

“Already so wet for me, pet.”

He left a trail of wet kisses from her shoulder to her neck, where he licked all the way up to her ear, breathing hot air against her cool skin, while his hands kept working her up.

“Astarion…”

“My sweet, sweet thing, what did we say about keeping quiet, hm?” He dipped two fingers inside of her, and her hand flew to her mouth as she yelped in surprise. “Unless that’s what you really want? To let everyone know who owns you, body and soul? Or maybe you just want poor Gale to know what he’s missing out on?”

She only moaned louder, her palm serving no purpose as her noises escaped it, while he increased the pace of his fingers in and out of her. The lewd wet noises coming from her pussy were loud enough to be heard by their neighbour, he thought, as the shadow before them had put its book aside.

“My, my, what a depraved little thing you are, wanting to put on a show for our friends.” He pushed another finger into her and a soft cry escaped her. “You drive a hard bargain; it would be fun, wouldn’t it?” She kept whimpering and Astarion chuckled softly behind her. "We shouldn't keep them waiting in that case, should we?”

In a swift move, Astarion removed her panties, the only piece of clothing she had left, before picking her up to lay her on his bed and climbing on top of her.

Before them, Gale’s shade was seemingly depicting a far more pleasing activity than reading, with one hand visibly stroking himself and his arm resting under his head.

“Well, well, would you look at that?” He tilted her head aside to make her watch his shadow through the partition. “Seems like our friendly wizard is having some fun of his own, wouldn’t you agree?”

Before she could answer, he left a trail of kisses down her belly, all the way to her delicious cunt that laid before him like a meal, ready for him to devour. He finally tasted her nectar with one languid stroke of his tongue from her entrance up to her clit. Her head fell back into the soft pillow, lifting the side of it to bite down as she held back a moan.

“Astarion…” She breathed heavily, “Gale is right there—”

“And? Look at him.” She turned her head aside, panting as she observed the silhouette dancing. “Clearly the man is enjoying himself, I'm sure it would torture him if we stopped now, and I did promise only pleasure for all the parties involved.” He licked his lips with a salacious smile. “I am nothing but a man of my word.” With one last look up at his lover, he dived back in, his tongue entering her at long last.

She tasted like the sun after centuries of darkness; like a springtime breeze that carried the promise of rebirth; like life, the one thing he had taken from her. Just as his heart beat anew, hers had stopped for eternity, and he liked to think that his heart would beat for them both from the moment he had made her his. Forever grateful for giving him everything.

Among the feverish moans of his beloved consort beneath him, a deep moan from across the room had Astarion lifting his head and turning it aside, where he noticed Gale’s shade now covering his own mouth in a poor attempt to hush his whimpers. Pathetic, he thought. Reduced to pleasuring himself from the pleasure of others.

But he didn’t mind it tonight. No, everything was going according to his plan, and he would seize every chance to state his claim over her, that she belonged to him and him alone, and that the only reason Gale had the opportunity to even hear her is because Astarion allowed it. No one else.

By now, his face was covered in her juices, and he would gladly drown between her legs if it meant making her scream from the top of her lungs and letting Gale know how good she’s getting fucked, and how this poor excuse of a wizard would never even come close to experience this. Astarion’s cock only got harder to the idea of showing off his beloved — his greatest possession — with mere sounds; making her scream with the knowledge that someone was listening in, and someone got off to the sounds he was getting out of her.

His attention moved away from her entrance and over the side of her thighs, where he kissed her before biting down on her soft flesh.

Her hands flew to her mouth once again, trying to suppress her cries as they grew louder, but Astarion would have none of that.

He paused his feast to reach for her wrists, pulling them down near her waist and pinning them to her sides, “Don’t be shy now, my treasure. Let him hear what he can only dream of having.”

With her blood now covering his lips, he moved back to her most sensitive area, where his tongue teased relentlessly and when he felt her squirming under her, he knew she was already close. He just had to push her in the right direction.

Pressing his tongue flat against her clit and swiping up and down, rubbing his taste buds over and over again where he knew she loved the most was all she needed. When she came, he plunged back inside her to drink in everything she had to offer, as her body convulsed from the waves of her orgasm. She couldn’t hold back the screams as Astarion continued to stimulate her, almost crying as the sensation became too much, but he knew her body now, better than anyone else, and he knew how to play with it to make the pleasure last.

He pulled back to admire the sight before him, as she laid eyes fluttering, dazed from the pleasure, trying to catch back her breath — one that she didn’t even need anymore.

Little did she know he was far from done, as he did a quick glance towards Gale’s shadow to notice how his back now arched, lost to the feeling of his own hand as he sped up his pace. Surely the wizard could indulge them a bit longer.

He removed all his clothes, leaving no barriers between his lover and himself anymore, finally freeing the throbbing erection that begged for release in his trousers before he towered over her.

He hooked her legs with his, locking her in place as he positioned himself against her entrance, pausing with the head of his cock poking just against her pussy.

Their eyes met, half-lidded and full of lust. “You’ve been so good to me, little love. I believe you deserve a little treat, don’t you think?”

Her eyes flickered open, and she nodded with her mouth kept open as she breathed hard.

“Come on, you know the magic words,” he taunted.

“P– Please.”

“Please who?” He purred in her ear.

“Astarion! Please, Astarion, please.”

Always so good, so compliant for him. He would give her everything he didn’t have, he would make her his Lady, she could have the world if she only asked him, but for now, a few sips of his ascended blood to quench her thirst would suffice.

He offered his arm to her, and she held it carefully, breathing hard over the visible veins popping out before biting down to taste his delectable crimson.

As his consort, any amount of blood from him wouldn’t break their bond — she would forever be his until he decided otherwise — but he needed to be at the top of his game for this. She drank just enough to get her strength back before he pulled away, leaving her wanting for more.

The sight of her pupils dilated, her tiny fangs glistening from his blood dripping down her chin, it awakened something primal in him. He needed to fuck her, to taste her, now.

With a growl, he thrust his hips into her in one swing, and at the same time, his fangs dived right into her neck, where they had been a few nights ago when she joined him in eternity. He sipped, and gulped, tasting her blood as it was now mixed with his. How exquisite she was, how he would never tire of this, of her, of their lifeblood forever linked.

His ownership over her was clear now, and he felt oh so foolish for believing that Gale of all people stood a chance with her. No — she was completely and utterly his, mind, body, and soul.

His hips swung with languid strokes as he picked his rhythm, feeling her walls tighten around his length with each thrust. Her hands flew to his back, scratching near his scars — but not for long. Before she could do any real damage, he grabbed her wrists, pinning her down in place to focus on the real task at hand: making everyone know who she belonged to.

His fangs left her neck to find her lips, their blood mixing as their tongues entered each other's mouth, and a particularly well placed swing of his hips had her breaking the kiss, as she cried out his name.

“Gods, my name sounds divine coming from your lips, my love. Say it again.”

And she obeyed.

“Louder,” he growled, pouding deeper into her.

Again.

“You’re mine.”

And again.

“Mine. Mine.”

“Yours,” she panted. “Only yours, forever yours.”

“That's right, forever and ever after. If our lives end in this timeline, I will find you in the next one and make you mine all. over. again.” He plunged roughly into her with each of his last words, his hips slapping loudly against her with the sound of their mixed fluids. “Now, be a good girl and come around my cock, darling. Come as hard and as loud as you can, understand?”

He fastened his pace, ramming restlessly into her as his fangs dived into the other side of her neck. He bit without even drinking, biting her everywhere he hadn’t before, leaving his trace on her in ways others could never.

The bed was a bloody mess; to anyone else she might’ve looked like a butchered corpse, but to the vampire ascendant, she was the most breathtaking sight he had ever seen.

When she came, it was with an otherworldly scream; one that could most certainly wake the dead. Her mind must’ve shattered as she convulsed beneath Astarion, completely losing control of herself.

She was so warm now that she had drank from him, his blood running into her veins, his seed inside her womb. As her walls tightened against him and Astarion neared his own collapse, he only imagined how delightful she would look, belly swollen with his child after shooting loads after loads into her. What better way to tell the whole world he was the one to share her bed than to make her pregnant with his seed? As a spawn, this could’ve never been possible even in his wildest dreams, but as the Vampire Ascendant, it was a door that was potentially open to him once again. He just had to dare to believe.

With those thoughts racing, Astarion came roaring, stilling inside of her as he unloaded himself, a part of him hoping he could spy over a small bump over her belly by the time they were done with their quest against the absolute. He came, and came, until she was so full of him that his come was spilling out of her onto the bed sheets, and yet, he remained inside of her. If he could, he would keep her chained to his bed and spend his days breeding her relentlessly until she was carrying his offspring. The thought alone made his cock twitch in anticipation.

With silence reigning once again over their shared room, Astarion looked back to Gale’s shadow to see a hint of his chest heaving. Whether he came or not, he couldn’t care less, this little demonstration was over.

“I hope you enjoyed yourself, wizard,” He shouted. “This was the first and last time you would hear my lover's cries of pleasure. Better have made that count.”

Not a word from the partition, but the shadow clumsily hid under its bed sheets before blowing away the light of the candle that betrayed him.

A devilish smirk now appeared on Astarions lips, as he turned his attention back to his consort, bloody, exhausted, and utterly ruined. Beautiful.

Mine.

Thank you for reading! Comments, reblogs, and likes are very much appreciated <3

tag list (comment or message me if you want to be added!): @grimistheangerinmystares @silverfangmarks @roguishcat @nyx-knox @anacdoce @jwera @annnagennnie @angeldarkness95 @marlowethebard @hellethil @frankie-mercury @ariajc79 @ladycroft5245 @lets-just-daydream

requests are OPEN!

#my posts #my writing #writing request #astarion x female tav #astarion x you #astarion x reader #astarion x tav #astarion ancunin #astarion #astarion bg3 #astarion romance #astarion smut #writers on tumblr #ascended astarion

298 notes · View notes

robespapier · 26 days

Text

🎃🦇 French Revolution Community Halloween event 🦇🎃

This is an idea @frevandrest and I had and I hope y'all agree this could be pretty cool !

All kind of art are allowed: fanfiction, traditional art, digital art, cosplay, music, sculpture, etc...

Art must be linked to the French Revolution or a character from the French Revolution

All kind of creature and horror folklore are allowed, you can even make up your own lore as long as it fits into the Halloween vibes 🎃

It doesn't have to be horror, all genre are welcomed: comedy, romance, etc

Vampire!Robespierre is very much allowed and appreciated but we hope the event will bring some diversity, have fun !

If you have a idea but don't have time to create something/don't know what to do with your concept feel free to submit it as a prompt for others to use

It would be cool if the event was in part collaborative, like if someone writes a fic and someone else illustrates it and vice versa: for that purpose don't wait until 31 October to post your work if possible

Event will take place between 1st and 31 October: Please do your best to post your work during that timeframe

Tumblr tag: frev halloween event 2024

We should create a collection on Ao3, idk how to do that but I'll figure it out soon

We're hoping the event will be successful and we'll all have lots of fun ! 🎃 Reblog to spread the word if you think it's a good idea !!! 🦇🦇🦇

#frev halloween event 2024 #french revolution #frev

188 notes · View notes

bg3-stole-my-soul · 4 months

Text

Honestly I feel the need to say this here and now—

I do not hate Ascended Astarion as a story. It is a powerful way of showing the cycle of abuse and how your actions (or in the case of ascending him inaction) can lead a victim into repeating it.

I do not mind Ascended Astarion as a character- yes he creeps me the flying fuck out, but that was the P O I N T

He is meant to be tragic, sad, anger inducing, creepy— because he is the culmination of you helping Astarion become that— the very STEREOTYPE of the hypersexual noble vampire. Neil did absolutely AMAZING voicing him, and the way he describes him as being Astarion going “mask off” is in regards to the fact that Ascended Astarion is now POWERFUL enough to not have to bother appeasing others— not that Spawn Astarion is constantly acting or lying because that would undermine Astarion’s very IMPORTANT story— because that notion betrays the writing of both Spawn and Ascended Astarion. Ascended Astarion is a character now RULED by his fear and trauma, while Spawn is someone who grew past it.

I do not mind people liking Ascended Astarion, or writing for him. We all love to bang a fictional villain from time to time— I know I do. However what I do NOT like is when those fans say that he is BETTER OFF this way, or that he is the "true" Astarion. Because if it hasn't been made clear already, he isn't. Is Ascending Astarion a valid way to play the game? Yes. Everyone's choices are their own— but please don't try to justify why you did it. Just stay in your lane.

I am greatly saddened because I used to like the concept of playing with alternate universes where Astarion ascended— but after seeing his rabid fanbase and their wild “explanations” I am just sick of the guy—

#bg3 #baldur's gate 3 #astarion #bg3 astarion #astarion ancunin #baldurs gate 3 #astarion bg3 #astarion romance #baldur's gate iii #astarion x tav #astarion discourse #ascended astarion isn’t healthy or truly happy and they need to accept that

227 notes · View notes

neversetyoufree · 5 months

Text

I've been thinking lately about Vanitas and Noé's first "what is salvation" fight at the bal masqué and what it means about their individual definitions of the concept, and I've realized something about Vanitas.

Noé's definition of salvation is the obvious one. It feels natural. To save someone is to keep them from dying. But in a way, his understanding of salvation is also almost selfish. Noé's foundational trauma is the constant loss of his loved ones. He is the eternal sole survivor. So of course he wants to keep people alive—he wants to "save" the people he cares about in the way that keeps them by his side this time.

It's not wrong to want that, of course. I don't mean "selfish" as a condemnation. It's just that the definition of salvation that Noé starts the series with is inarguably the one that best serves his own happiness.

And it's the same with Vanitas.

When Vanitas kills the little girl Catherine by restoring her true name, he tells Noé he doesn't know what salvation is. He might be lying there, or he might be telling the truth in that he's never put his definition of salvation into words or acknowledged it on a conscious level. Either way, though, I do think he has a definition of salvation somewhere in his mind, and it's a very personal one.

Vanitas sees salvation as the preservation or restoration of one's true self. You're saved so long as you can preserve your essential self, uncorrupted by outside forces. Even if the price of that selfness is death.

While Noé's foundational trauma that informs his worldview is the loss of his loved ones, one of Vanitas's foundational traumas is the loss of his bodily autonomy. Through Moreau's experiments and Luna's mark/bite, he has been transformed into something no longer fully human, and he hates it. From the moment Luna told him he was dying, he said he wanted to die as himself rather than live as their kin, and he has been denied that opportunity.

Nothing is more important for Vanitas than being able to dictate the destiny of his own body, and malnomen are the ultimate corruption of bodily autonomy and selfness. Altering one's true name warps not only their physical body, but their very being on a metaphysical level. The curse takes everything a vampire is and changes it, and doing that to an unwilling victim is the ultimate horror for Vanitas.

Given that context, of course Vanitas thinks that killing a child to restore her true name counts as saving her. He's restoring her essential self and un-corrupting her body and being, and even if her self is only returned for an instant before she dies, it's preferable to living on as something warped by an outside force.

Vanitas absolutely starts the series with a definition of salvation, and like Noé, it's the one that best serves his own happiness. He wants to be saved. He wants to be returned to his human self, and failing that (since he knows it's impossible), he wants to wipe out all traces of the force that changed him and then die without going any further down the path of inhumanity.

Vanitas might not be able to admit that definition out loud (or even to himself directly), but it's there, and it guides him early in the series as much as Noé's own definition of salvation guides him in turn.

#and perhaps noé will learn to see death as a form of salvation when life is corruption #and perhaps vanitas will learn to see the value of preserving (his own) life #and perhaps they'll both find a definition of salvation that is neither of these things 👀#but that's not the point of this post #anyway this is one of those concepts that I've been orbiting around and maybe gestured toward before #but I don't think I ever quite put it in words or thought about this connection so directly #so here we are #vnc #vanitas no carte #the case study of vanitas #vanitas #vanitas my beloved #english major hours

247 notes · View notes

deconstructthesoup · 10 months

Text

I think the reason that Dimension 20 really scratches all those itches in my brain is that it really shows what you can do with D&D---and TTRPGs as a whole.

Fantasy High, by itself, is an incredibly compelling concept. What would D&D look like in a semi-modern setting? What would a high school that's all about teaching teens how to be adventurers look like? And the way it's done is beyond inventive, especially if you look at all the encounters in the first season---we've got a literal food fight, a high-speed road chase with tiefling greasers, a nightclub brawl with zombies, vampires, and werewolves, a skating match with a bunch of dwarven middle schoolers and a concrete golem, a high-stakes game of football (ish) with undead jocks that give off major teen slasher vibes, a fight done in an arcade where characters can get trapped in the consoles, and the final battle is done at prom. PROM! How cool is that?

And then we get to the Unsleeping City, which takes the urban fantasy elements that Fantasy High already had and elevates it. The way the D&D lore and magic is interpreted in a modern New York setting is excellent, as is the whole take on the "American Dream," magic literally coming from dreams, ideas, and the imagination. I know that I need to actually finish the UC saga, but from what I've seen and experienced, it is truly fantastic.

And the same energy carries through to the other seasons---my personal favorite outside of Fantasy High being A Court of Fey and Flowers, just because I'm a sucker for any Fey Realm content and I've been raised on Jane Austen---where the genre mashups shine through in the best way possible. I'll admit, I haven't seen A Crown of Candy, purely because I know how heartbreaking and devastating it is and I don't think I can physically handle it, but the concept of Candyland Game of Thrones is so beautifully bizarre that I totally get why people love it so much. Escape from the Bloodkeep hitting that workplace comedy vibe that we love to see in villains. Misfits & Magic being a love letter to the "magical boarding school" genre while also calling out all the weird contradictions inherent in it. A Starstruck Odyssey literally being an homage to Brennan's mom and exactly the kind of madcap and unhinged energy I need from my sci-fi. Neverafter perfectly encapsulating the true horror of fairy tales. Mentopolis hitting my noir-loving heart and personifying hyperfixation in the best way possible.

I'm not even kidding when I say that, if it weren't for Dimension 20... I probably wouldn't have even started my own campaign. I'd had snippets and ideas ever since officially getting into D&D and joining a game with some old friends (and getting back in touch with them in the process), but after I saw the Mentopolis trailer, I realized just how much variety TTRGPs had to offer. I could do a time-blending, history-meets-future campaign. I could go out-of-the-box. I could have endless amounts of options available to my friends and still tell the story that I wanted to tell. And when I sat down and watched Fantasy High---and when I got that Dropout subscription so I could consume whatever I wanted---it felt like the show was actually giving me advice. It's fantastic.

Also it helps that the episodes are usually only roughly a couple hours instead of being, like, an entire afternoon long. And that each season is 20 episodes, tops. No offense to Critical Role, but the sheer amount of content literally makes it impossible for me to get into it.

#dimension 20 #dropout tv #fantasy high #the unsleeping city #a court of fey and flowers #a crown of candy #a starstruck odyssey #neverafter #mentopolis #i just love this show so much you guys

510 notes · View notes

808airsoftbros · 7 days

Text

Protective Scale of Vampire IVE

Author: Some Vampire concepts I came up with and if you want to check out more of my Vampire content check out my Masterlist

Rating on scale of 100...

An Yujin (Alpha)

Score: 100/100

Why?: Yujin, the Alpha of the IVE sister clan, oversees everything that goes on, protects you with her life, and will sacrifice herself if necessary. She wouldn't even allow you to go outside the world as she knows well how fucked society has become over the years and doesn't trust anyone but her Vampire sisters. She'd kill and threaten anyone that dare gets too close or even make eye contact and have strict rules you must follow without question because well... Yujin knows best.

Kim Gaeul (Enforcer)

Score: 100/100

Why?: Gaeul is just about the same as Yujin though a bit older by a shy 100 years, her parenting style is quite controlling than your typical human parenting, Gaeul always wants to know where you are at all times otherwise she will get worried, she is quite the mother of the clan and you are her most prized possession and doesn't want anyone snatching you away from her and she'd never forgive herself for losing you.

Jang Wonyoung

Score: 60/100

Why?: Wonyoung is quite laid back compared to the rest of her sisters, though that doesn't mean you can just go out and party with random strangers at night. Nope, Wonyoung does have her limits on your free time, she'd prefer going out with you more and loves to spend quality time with you, Wonyoung always tends to crave your attention and love as she'd given you ever since you were an infant. Wonyoung always wants to keep you company no matter where you go to ensure your protection and no evil human tries to kidnap you.

Naoi Rei

Score: 90/100

Why?: Being a Japanese Vampire, in her own culture of origin, she takes pride in her parenting duties, and keeping you safe is one of them... Even if she is seen as overprotective and overbearing but she doesn't care one bit about what others think. Who are they to talk about how she raises you as she sees fit? They don't know the sacrifices and hardships she had to go through to ensure your happiness and well-being.

Kim Jiwon (Liz)

Score: 85/100

Why?: Liz though is quite protective of you, she wants you to learn to solve problems on your own though she will step in if she sees that it's too much for you to handle alone. However, she'd never allow clubbing, drinking, or anything that can get you seriously hurt, not to mention that people will take advantage of you as she was a victim of it once and she doesn't want the same happening to you. Liz would follow you around wherever you go and would be cautious of whoever you interact with making sure they don't have sinister intentions.

Lee Hyunseo (Leeseo)

Score: 95/100

Why?: Leeseo may be the youngest of the clan but that doesn't mean she's naive and inexperienced enough not to take her duties seriously, Leeseo always puts your safety and well-being first before her own. Leeseo always checks on you often making sure you are safe and not doing anything foolish that can get you hurt as she cannot bear the thought of you getting injured. She wouldn't hesitate to discipline you as she sees fit to ensure you don't do break her rules again.

92 notes · View notes

d20-lesbian · 4 months

Text

AFTER AN OVERWHELMING WAVE OF SUPPORT AND ENCOURAGEMENT, I'VE DECIDED TO POST THE WILL WOOD ESSAY!!!! it's below the break !!!!

I would like to really quickly state though that this essay is my property, I put a lot of time and effort into this, so please don't claim it as your own !!!! thank you <33

I will be analysing Will Wood’s song ‘Suburbia Overture / Greetings from Marybell Township! / (Vampire) Culture / Love Me, Normally’. which, for simplicity, most fans refer to as simply ‘Suburbia Overture’. This song is the first on his first solo album entitled ‘The Normal Album’, which came out in July 2020.

This song, in the most general possible terms, is a criticism of modern suburban life, how it is advertised as “the perfect life”, and how this advertising is incredibly false unless you fit the picture perfect standard that these facets of society seem to require.

The song itself is split up into 3 distinct sections, "Greetings from The Marybell Township!", “(Vampire) Culture” and “Love Me, Normally”. I'll be tackling each section one at a time in order to properly break down what each means, what different analogies they use, how they all relate to each other and the intended end result of the song and the message it intends to convey.

Let's begin with 'Greetings from The Marybell Township!'.

This section of the song uses a lot of analogies that compare suburban life to a warzone, the first line of this section being “white picket fences, barbed wire and trenches”. This section also focuses heavily on the concept of the nuclear family, and it often literalises the term and uses analogies based around radiation and nuclear warfare. Such analogies can be found in lines such as “the snap crackle pop of the Geiger, camouflage billboards for lead lined Brookes Brothers”. Now there's a couple of terms that require definitions in this line. The first of course being “the Geiger”. A Geiger counter, which is what this lyric is referring to, is a tool used to measure levels of harmful radiation. This, paired with the concept of billboards advertising “lead-lined Brookes Brothers” when lead is a material used to deflect radiation, and the knowledge that ‘Brookes Brothers’ is an American vintage style clothing brand, this line really paints a picture of a seemingly post apocalyptic/post nuclear war but still consumerist and capitalistic suburban society. The last line in that verse is “buy now or die”, which ties back to the concept of safety equipment being advertised on billboards, while residents of this town have no choice but to buy the products. This all relates back to the hyperconsumerism that plagues our society, and runs particularly rampant in middle to upper middle class neighbourhoods. The very same neighbourhoods that are often referred to as “suburban”

In the second verse of this section there are a lot of hard hitting lyrics that to me really show that this perfect idealised life is far from perfect or even good, so we will work through them one by one because I feel that they all deserve proper analysis.

The first line that i want to point out from that verse is the line “takes a village to fake a whole culture” which is clearly a rip off of the phrase “it takes a village [to raise a child]” but it also references the fact that usually suburban towns are incredibly monotonous in both residents and architecture, and so it takes the collective effort of the entire population of the town to pretend that there is an actual culture to it.

The next few lines I'll speak on all come in quick succession of one another, essentially blending them into one line.

“Your ear to the playground, your eye on the ball, your head in the gutter, your brains on the wall.”

So let's break these down. This line is easily split into 4 distinct phrases, and all of these phrases have a few things in common, which I will point out later.

“Your ear to the playground” is a play on the phrase “ear to the ground” which essentially means that the person with their ‘ear to the ground’ is attempting to carefully gather intel about something. Someone having their ear to the playground simply reinforces the idea of this suburban “paradise” being. Not as paradise-y as one would hope, seeing as the people who use playgrounds most of all are children, so this line is demonstrating that the picture perfect life that this suburban town offers is actually corrupting children so young that they are still on the playground.

The next phrase is “your eye on the ball” isn't a play on anything and is in fact in itself a common phrase. To have your eye on the ball means to be entirely focused in and paying attention to something, and not allowing anything to divert your attention. Given the last line this line very well could be another reference to the corruption of the youth and the idea that their every day play has already been tainted with the hostilities of modern life usually reserved for adults.

Following this is another well known saying “your head in the gutter” which, as most know, someone whos head is ‘in the gutter’ is someone who will see some sort of innuendo or otherwise vulgar/inappropriate meaning in something that was intended to be entirely innocent, leading to others in the interaction telling the perpetrator to ‘get [their] mind out of the gutter’

And finally, in my opinion the most hard hitting phrase in this set, “your brains on the wall” which is clearly in reference to the notion of ending your own life with a shot to the head, which would lead to, well, brains being on the wall. These last 2 phrases come in stark contrast to the seemingly picture perfect life that suburban towns offer and advertise, the concepts of suicide and perversion are not concepts one expects to see or hear when imagining this idealised form of life.

There is one main similarity in each of the 4 phrases, that being that each phrase has some body part being on something else, your ear to the playground, your eye on the ball, your head in the gutter, your brains on the wall. This similarity almost offers a body horror aspect to the song, which when paired with the concept that this is written about a seemingly post nuclear apocalyptic town presents an interesting idea of possible mutation, but i'll be the first to admit that may be a little far fetched. However that's not the only similarity that these 4 phrases share, another is the fact that they are all directly, or only slightly modified versions of already well known phrases, a similarity that is found in many lines over this entire song, through all 3 sections.

I want to analyse a few more lines before we move on to the second section of the song.

This next line comes directly after the previously analysed line, and it goes “home is where the heart is, you ain't homeless, but you’re heartless”

Sticking with the theme of using already existing and commonly used phrases, “home is where the heart is'' is once again a phrase that you could likely find as a cross stitch hung up on the wall of any of the homogenous houses you could likely find in this idealised suburbia. But what Wood is saying in this line is that home is where the heart is, and that while people in this town may not be homeless, they are certainly heartless, meaning that they in fact don't have homes. They have houses. Rows upon rows of houses that all look the exact same in the horrifying monotony that is suburban living.

Following this line is the lyric “it's the safest on the market, but you still gotta watch where you park it”. These lines seem to be in reference to buying a car. The car being the "safest on the market" is likely in reference to the fact that it may have a lot of safety features. But this is immediately negated by the fact that you “still gotta watch where you park it” meaning that the safety features could be a reason that the car gets stolen, rendering all the safety that those features offered useless because in the end it made the car and the owner less safe.

In the third verse of this section, you immediately hear the line “so give me your half-life crisis” which partially is a play on the term ‘mid life crisis’ wherein which one realises that they may have wasted their life up till that point and they're already halfway through, but the use of the term “half-life” instead of ‘mid-life’ is very intentional, as the term “half-life” can also be used to refer to the half-life of an isotope, which is the amount of time that isotope takes to lose half of its radiation, which ties back into the theme of radiation that we see mentioned a lot in this section.

Later in the same verse is the line “if it's true that a snowflake only matters in a blizzard”, which is interesting in a few ways, first, it brings up the idea of a singular individual means nothing on their own and that they only matter when they’re part of something larger or a larger group, but i also think that the use of the terms “snowflake” and “blizzard” instead of something like ‘raindrop’ and ‘storm’ is very intentional in the fact that snowflakes are known for being individual, none are alike, every single one is different. So saying that a snowflake doesn't matter unless it's in a blizzard is yet another hit at individuality, essentially implying that in this town individuality means nothing and is essentially rendered useless.

The final line in this verse is “everybody's all up in my-” repeated thrice, and on the third time the sentence is finished to say “everybody’s all up in my business” and before the word “business” can be finished its overlapped with the beginning of the chorus, the first word of which is a very loud “SUBURBIAAAA!”. I believe this is reminiscent of the fact that in towns like this, everyone cares so much about what everyone else is doing, they’re all so interested in everyone else's business, and i think that sentiment being stated and cut off by the word “Suburbia” is essentially saying that ‘this is the norm, this is just Suburbia, this is how it works around here.’

After the final chorus of this section, in the final verse, you'll find the line “chameleon peacocks are talk of the town” which particularly interests me because if you know anything about chameleons or peacocks you’d find that they seem incredibly different as animals. Chameleons blend into their environment in order to stay safe, whereas peacocks are known for parading around bright colours to make themselves look better, but if you think about it the term “chameleon peacock” actually makes a lot of sense, a person who blends into their surroundings in order to make themselves look good. This sentiment seems to perfectly describe the homogeneity of the people that live in these perfect towns, they're all the same, they blend in with one another in order to make themselves look good, or perfect.

Another line heard shortly afterwards is the phrase “he cums radiation”, rather vulgar, I grant you, but it's important because it is yet another literalisation of the phrase ‘nuclear family’. It could also be a reference to the general toxicity of this societal norm.

The final line in this section of the song is “the dog bites the postman, as basement eyes dream of a night at the drive-in, with an AR-15”. Which is another use of juxtaposition, intended to cause a kind of whiplash in the listener and reinforce the idea that while in this place there is scenarios that would happen in a hollywood movie esque picture perfect neighbourhood, like the dog biting the postman, there's also horrors that lurk below the surface. (although clearly not TOO far below.)

Now let’s move on to the second part, ‘(Vampire) Culture’.

If you listen to the song, you’ll immediately be able to recognise where 'Greetings from The Marybell Township!' ends and ‘(Vampire) Culture’ begins, due to the insane juxtaposition between the two. Where 'Greetings from The Marybell Township!' is soft and sort of reminiscent of the 1950’s, ‘(Vampire) Culture’ is loud, jarring and grotesque, complemented with much raspier and strained sounding vocals compared to 'Greetings from The Marybell Township!' ’s soft and melodic ones. The tone for this section of the song is immediately set with much more graphic lyrics, the very first line of this section (after the opening scream) is “i dropped my eyeballs in the bonfire, we fucked on a bed of nails” which absolutely sets the scene for how different this section will be to the previous.

This song immediately jumps into using cannibalism as a metaphor, with the first line after the jump start opener being “I caught kuru from your sister, and I'm laughing in jail”. While this line is written to sound like the concept of catching an STD from an act of adultery, Kuru is actually a disease only found in human brain tissue, meaning that you can only contract this disease by eating a human brain, and what's one of the symptoms for this disease? Uncontrollable laughter.

This use of cannibalism as a metaphor is used again immediately after in the line “smell those screaming teenage sweetbreads on that 4th of July grill”, ‘sweetbread’ is the term used to refer to the pancreas and thymus gland of an animal, usually a lamb, but in this particular case it is in reference to the human teenagers that supposedly lived in The Marybell Township, or a least they did before they were dissected, cooked and served at a neighbourhood 4th of July barbeque hosted by the same people that were once referred to as their neighbours.

This line adds an interesting level of patriotism to the song and criticism of how America utilises patriotism and their love for their country as means to justify harming the youth, however a 4th of July neighbourhood barbeque is also commonly associated with white picket fence gated community America, which ties us back to the base criticism of that style of life and how it is seen as the “proper” and “perfect” way to live.

These cannibalistic sentiments are followed up with the line “smile and wave boys, kiss the cook, live laugh and love, please pass the pills.” which brings us back to the repeated use of commonly known sayings being taken directly or modified only slightly to remind the listener of the setting were in, that being a seemingly 1950’s era tight knit neighbourhood.

Phrases like “live laugh [and] love” or “kiss the cook” are both phrases that could easily be seen in a setting like this, especially “kiss the cook”, as this is a phrase commonly associated with aprons worn by grillmasters at neighbourhood barbeques, not unlike the cannibalistic 4th of July barbeque that this particular neighbourhood seems to be hosting.

These phrases being immediately followed up with a sentiment such as “please pass the pills” serves to entirely undermine the pleasantries that, until a moment ago, seemed to be plastered all over the faces of the people living in this fictional town that Wood has created. I think that final phrase brings the listener back to the realisation that not all is right here, quite the opposite in fact, and drags them from their momentary paradise.

Circling back very quickly to the phrase “smile and wave”. I felt the need to point out that this phrase has been used for centuries as a way to say “stop talking and act normal” which once again reinforces that these people are pretending to be something they’re not in order to fit in.

We enter the next verse with the repeated phrase “it's only culture”, after that line is repeated three times we hear “sulfur, smoke and soot”, which could either be a reference to how dirty and disgusting the ‘culture’ is, or it could be a different way of saying that this culture and the people participating are going to hell, as per the common phrase ‘fire and brimstone’ and the fact that sulfur is another way of saying brimstone, and smoke and soot are both byproducts of fire.

The last line of this verse and the first line of the chorus blend into each other, so I’ll speak on them both.

First, the last line of the verse. It goes “you cocked and sucked your lack of empathy, pulled the trigger with your foot to prove you've got-”

Putting aside the clear innuendo, this line refers to the idea of ending one's own life with a long shotgun. According to the media, by the time the gun is cocked and the barrel is in your mouth, you're not able to pull the trigger with your hands due to the length of the barrel. This line instead presents the solution of pulling the trigger with your foot to end your life.

So this person “cocked and sucked” the gun (cocked the gun and put the barrel in their mouth) before pulling the trigger with their foot to prove they’ve got-

And here's where the verse blends into the chorus.

Because the first line only consists of one word.

“Blood”.

The person who was shooting themselves with a shotgun only to prove that they bleed. Which is where the title of this section comes in. “(Vampire) Culture”. This section seeks to portray either the people in this culture or, the more likely option, the culture itself, as metaphorical vampires, who aim to destroy those around them. This knowledge makes the next line “didn't they want your blood, so why apologise for being blue and cold” make a lot more sense. After all, if these culture vampires have drained you of your blood, is it not their fault that you’re now “blue and cold”, as bodies tend to be if they lack blood flow. However, if you look at synonyms for the words “blue” and “cold”, you could also interpret this phrase as meaning “sad and apathetic”.

A sad and apathetic person doesn't seem to be the kind of person this ‘culture’ seeks to enlist however, and so one who is “blue and cold” is shunned as an outsider.

What Wood is getting at is that if this culture is the one who made you sad and apathetic, then you should not apologise to it for being so.

The next verse is short, and like the previous one, also blends into the chorus in the same way, by having the last line of the verse cut off right where the chorus would finish the sentence with the word “blood”. However in this verse, there's an interesting line. “It's only culture and it's more afraid of you than you are of it”, which is a sentiment usually used by adults to attempt to subdue a child's fear of something, usually insects. However it's interesting in the fact that it brings up the idea that this culture that has caused so much damage and harm is actually incredibly fragile, and would, in theory be very afraid of the concept of the individual, because if this ‘culture’ is only being held together by the silent agreeance that everyone will simply pretend, then the idea that there is people who refuse throws the whole idea into jeopardy.

This line is followed up however, by the line that blends it into the chorus. “Go on drink that-”, clearly intended to be finished by the first line of the chorus, making the full line, “go on drink that blood”.

This line is in reference to the phrase “drink the kool-aid” which essentially means to pledge your undying loyalty to something, a concept, a person, a god, etc. and it derives from an infamous mass cult suicide where over 900 people drank poisoned Kool-Aid and subsequently died for the cult. It is not a far cry to believe that this event and this phrase is what the line is referring to, as it's something that Wood has referenced in other songs, so it only makes sense to believe that this is what he means here.

After that chorus we move on to the bridge, which begins by listing 3 pairs of names, all famous or semi famous, and each pair being similar in one right but opposite in another, the line goes as follows; “were you Nabokov to a Sallinger, were you Jung to Freud or Dass to a Leary”, so let's break down these pairs one by one.

First “Nabokov to a Sallinger”, these names belong to Vladimir Nabokov and J.D. Sallinger, both authors who wrote famous books that both surround the theme of innocence, but in very different ways. Nabokov’s book “Lolita” is a story told from the perspective of a grown man about his sexual obsession and attraction to a little girl, and his desire to ruin her innocence, exploring the theme of innocence in a grotesque and frankly horrifying way, which is in stark contrast to Sallinger’s book “The Catcher in the Rye”, which explores the topic of innocence through the main characters desire to preserve their little sisters innocence, and in that desire displays hesitancy at the idea of sex themself. Both books explore the topic of innocence, however while one seeks to preserve it, the other seeks to destroy it, two sides of the same coin.

The next pairing is “Jung to Freud”, meaning Carl Gustav Jung and his mentor Sigmund Freud, who once again are similar in one right, but opposite in another. Jung and Freud both had theories on the nature of the human mind, but where Jungs was all about the concept of spirituality and how that ties into the collective unconscious, Freud's approach was much more focused on the individual unconscious and the concept of sexuality.

The final pairing is “Dass to a Leary”. both psychologists, both at the forefront of the ‘Harvard Psilocybin Project’ (before they both got dismissed from harvard entirely following controversies around the project) Richard Alpert and Timothy Leary were both psychologists and eventually authors who studied the effects of psychedelic drugs on the human mind, and while they were co workers they ended up with pretty conflicting views. Dr. Richard Alpert, who apparently ‘died’ and was ‘reborn’ as spiritual guide Ram Dass, centred his teachings heavily around the concept of living in the moment, (in fact his best selling book, written in 1971 was titled ‘Be Here Now’) and he believed that psychedelic drugs were not needed and that a permanent version of the same effects could be achieved through meditation. Whereas Dr. Timothy Leary advocated heavily for the use of psychedelics, believing that LSD specifically had great potential for therapeutic psychiatric use.

All of these pairings and examples utilise the concept of duality and speak on how every coin has two sides, which can easily be tied back to the idea that the picture perfect suburban life is just one side of the coin. This idea is then reinforced by the next line, “were you mother, daughter, subject and author?”, The use of the word ‘and’ here shows that it's possible to be two sides of the same coin at once, just like how this town, which is perfect on one side of the coin, is still terrible on the other side of the coin. The line is stating that it's possible to be both at once.

The very last line in this section is; “you don't make the rules, you just write them down and do it by the book you throw around”. This line combines a few relatively well known phrases. The first being of course ‘i don’t make the rules’, which can have two distinct meanings. The first is to express a kind of sympathy for someone being punished, and the second is to absolve yourself of the blame for that person being punished, a sort of ‘don't shoot the messenger’ situation.

The ‘rules’ that are likely being referred to here are the societal norms and expectations forced upon people who reside in these towns, the standard for ‘perfection’.

However, following this sentiment up with the phrase “you just write them down” is essentially saying that while it's not the fault of the people in these towns, they didn't create the norms, they still enforce them. They expect everything to be in line and perfect at all times, they follow these ‘rules’ to a T, and they shun and punish anyone who doesn't fit the standard and/or refuses to follow these ‘rules’, which is where the line “do it by the book you throw around” comes in, doing something ‘by the book’ means to follow rules strictly and to the letter, nothing out of line, and to throw the book at someone means to punish them as severely as possible, usually used in the legal sense to mean punishing someone for their crime as severely as the law will allow. So in all, the lyric “you don't make the rules, you just write them down and do it by the book you throw around” ends up meaning ‘you didn't create these norms but you still enforce them by following them to an absolute T and punishing anyone who doesn't.’

With that we enter the third and final section of the song, entitled ‘Love Me, Normally’, a title it shares with another song on the album, but of course this song is partially meant to serve as an overture for the whole album, meaning it shares some similar lyrics with lyrics from other songs on the album, so sharing a title isn't all that surprising.

The first lyric in this section is “do you know the difference between blazing trails and slash and burn?” which is another instance of duality in this song. Trailblazing or being a trailblazer means doing something no one has done before, paving the way for other people to follow in your footsteps, it comes from the literal act of creating a trail in the woods for people to follow, usually by creating notches in trees or setting small fires, hence ‘blazer’, as blaze is another word for a fire. However “slash and burn” is a method of deforestation that involves cutting down and burning a section of forest to create a field. Both examples include using fire to change something, but where one is seen as progress and positive, the other is negative, and seen as a means of destruction. Once again, two sides of the same coin, innovation and destruction.

This is followed up with the line “going against the grain and catching splinters”, which is a line i particularly like because while it is something that literally can happen, if you run your hand along wood in the opposite direction to the grain, you're more likely to get a splinter because you're essentially pushing your hand against the chips of wood, but it also is another metaphor for the dangers of not being the same. Going against the grain in this instance means daring to be different, not going the same way everyone else is going but instead the opposite of that, and in this example splinters are the consequences one would face for being different, especially in a setting like this perfect town, where everyone is the exact same as everyone else.

A little bit later you hear the line “well Lot he had his lot in life, Job his job and i guess you’ll too, and die”.

Lot and Job are both figures found in the Bible, whose names both share spelling with common English words, but are pronounced slightly differently.

Job, from the Book of Job, was a man that was tested by God, made to suffer to test his loyalty, his ‘job’ was to believe unendingly in God and see Him as always correct no matter what.

Lot, from the Book of Genesis, was a man who went through a lot, and the phrase ‘my lot in life’ is a phrase commonly used by people to write off/explain why they don't have it as good as others, they say it's simply their ‘lot in life’.

The end of this line “i guess you’ll too, and die” i believe refers to the fact that everyone will have their own job and their own lot in life, and then everyone in the end will die.

This theory is solidified by the fact that the next line is “The Lord looked down and said ‘hey, you're only mortal’” which is a play off of the phrase ‘you're only human’. Wood himself said that the phrase ‘you're only human’ has always felt weird to him, he says, “cause like, of course I am, aren’t we all? How is that fact supposed to help? I still feel bad. What does being human mean to you?”. He follows this up by saying that the idea of God saying "hey, you're only mortal" offers the same kind of sentiment, but in a “cosmically condescending” sort of way.

The following line reads “giveth and taketh away, till things come out a certain way, leave you wondering when they might go back to normal… leave you wondering why they can't have just been normal”.

This line presents a sort of hopelessness in the realisation that things are constantly changing, nothing is any more ‘normal’ than anything else, there's no such thing as ‘normal’, which is an overarching theme found throughout the album. Once again bringing back the fact that for all intents and purposes this song is an overture for the rest of the album.

To conclude, ‘Suburbia Overture’ is, in my opinion, one of the greatest criticisms of suburban, middle class, gated community, nuclear family life i've ever seen, it highlights the problems in that life and showcases how this kind of lifestyle in its incredibly rigid and restrictive standards is incredibly harmful to the very concept of individuality, because the expectations and unspoken rules set in communities like this and the widespread idea of forced normality seeks to crush any individuality before it even has a chance to blossom.

The use of metaphors and phrases that are well known and are likely to be seen in settings such as this gated community suburban town that Wood has created really paint a subconscious picture of what this community looks like, the use of duality, how every story has another side, and how nothing that is seemingly perfect from the outside is actually perfect on the inside.

Will Wood is an incredible lyricist and the fact that he was able to cram so much symbolism and such a powerful message into a song just over 6 minutes long is genuinely incredible.

Thank you for listening to my/reading my autistic hyper fixated rambling, i hope i didn't melt your brain too badly <3

173 notes · View notes