#only harmony

[biggest-gaudiest-patronuses]

so important for every character to be an idiot, but each in their own unique beautiful way

[hey-hey-j]

lore dropping

(★ my Kofi)

[teabutmakeitazure]

alhaitham is clumsy at applying henna.

sure, it's cultural and a lot of women know how to apply, some men too, and even though alhaitham said, "of course I know how to apply it. why would I not?" his hands shake the minute the cone is in his hand.

the tip of the henna cone sometimes touches your skin too harshly and sometimes it simply floats above it, the paste not quite touching your skin as it should. he can't find the balance of how to apply it, and ends up going over those areas again only to make the lines thicker. if the hair clipped back and away from his face is anything to go by, he is concentrated.

despite that, despite all that concentration, his hand shakes every single time he tries to make a circle, the dots are wonky, the petals asymmetrical, and the leaves have no pointed ends. any and all curved lines are shaken up, yet you still ask him to complete his work, to let him paint your hand with his.

who cares if the entire design looks off? the colour it gives off is enough proof of the skill and love poured into it.

a/n: your non-dominant hand was painted by him and somehow it gave off a better, redder, darker colour than the hand you painted. he refuses to comment on it.

[lonisaiou]

wooooo goo read I'd Trade My Life for Yours wooo it's sooooooooo goood woooo I'm literally in love with this new trio and if anything bad happens to them I'm setting myself on fire woooo goo readdd iiiit

[jennyfromthebes]

hey guys by the way the audio recording of the show where john darnielle read out someone's divorce papers before no children is up on the internet archive collection and you should definitely go listen to it

[raviola-triggers]

Role swap AU designs (and some minor details about them) inspired by this post right here that got me brainrotting for the past five hours.

[gladosluver]

danganronpa plot twists

dr1: trigger happy havoc - junko enoshima

dr2: goodbye despair - junko enoshima (ai edition ft. izuru kamukura)

dr3: despair arc - junko enoshima

dr3: future arc - the successor to junko enoshima and victims of despair caused by junko enoshima are hiding among the future foundation

drv3: killing harmony - junko enoshima (cosplay edition)

dr ae: ultra despair girls - kids get persuaded by junko enoshima and want someone to the successor to junko enoshima

danganronpa zero - junko enoshima (short term memory loss edition)

[ryssbelle]

Introducing to this jumbled up mess of a family: Lief! Hes actually already made his debut in a comic but he was easy to miss

Hes the stand in for Jades kid from @spjs fic Lost Opportunity which is so good ah, Jade is also their oc and I love her which is why shes here. I'm not gonna spoil anything more tho hehe

Well kind of. I have to explain the guy. I'll put it in the tags for those who wanna read the fic and figure out who Lief is standing in for lol.

Lief doesnt do much in the story up until the 3rd movies storyline, hes kind of just a fun silly guy in the background until then.

He's around the same age as Poppy, so they were in school together, he hangs out a lot with JD, but when JD isn't around he'll go bug Floyd or Branch. Floyd doesnt mind entertaining him but Branch has trouble since Lief is a massive klutz, so hes afraid he'll break something or hurt himself.

[brianmaysclog]

figured I should hop onto the Richboy! Gojo trend i’ve been seeing!

warnings: blood, period. afab reader.

a/n: not proofread lol. wrote this when my phone was at 10% so a bit rushed. had this idea for a while. Richboy! Gojo drinks nothing but respect y/n juice everyday.

Richboy! Gojo who has had his eye on you for months.

Richboy Gojo! whom you can’t stand because he’s entitled and gets whatever he wants.

Richboy! Gojo who practically begs you to go out with him! just one date and he’ll stop. and to get him to shut up, you say yes. to one date.

The day of the date comes and your stomach hurts but you figured it was just nerves.

Richboy! Gojo who picks you up right on time. Not a minute early, not a minute late. He takes you to the destination. The mall. You figured it was so he can flaunt off his money, but really it’s to get to know you. What you like and don’t like. Ideas for future gifts and surprises.

Now your stomach really hurts. Really, really hurts. You excuse yourself to the restroom and rush there. To no avail, there’s blood. Enough to seep through the pants you’re wearing. great.

you have no idea how you’re going to get out of this and how you’re gonna cover this up.

You must have been there a while because eventually Richboy! Gojo comes knocking on the door. “y/n? is everything okay.”

you could tell him to screw off and leave you alone but he’s your only way out. You open up the door. “Go-“ but you don’t get many words out because Richboy! Gojo has already looked down and seen the stain on your pants.

“stay here. don’t leave. i’ll be right back.” and with that he grabs the door shut.

it’s been 30 minutes, an hour maybe when finally you hear a knock on the door. “y/n? can i come in?”

you get up and unlock the door and let him in. Richboy! Gojo walks in with multiple bags in hand.

“okay for starters I didn’t know if you used cups, pads, or tampons so I got a box of each.” he hands them to you and continues on. Then I went around to multiple stores and found you some new underwear too. Grabbed a few pairs for you too because I wasn’t sure what you preferred.” He then hands you a Victorias Secret bag. “then I stopped by another store selling leggings and got you, again a few pairs in different styles and sizes. Anything that doesn’t fit we can just return.” He hands you the last bag and gets ready to walk out, but before doing so, tunes back towards you.

“Oh yeah I got you these too, just incase you’re cranking.” He tosses you a bottle of Tylenol and leaves the bathroom. You sort through the bags and grab what you need.

Once dressed Richboy! Gojo takes the remainder of the bags (bloodied clothes tossed into a bag you had emptied). “I can take these to the car, and then we can continue on here. Or we can leave. it’s up to you.”

“I don’t care.” warming up to this Gojo. who isn’t as consisted and spoiled as you thought. “as long as it’s with you.”

[grapedemon]

Look, they’re getting along!!

They get to have their wholesome moment together in harmony for the loop!!

[lampochkaart]

Hey, guess what? I finaly finished my fanart for 13 Students Remain written by a wonderful @whattheskyknows! I've been subscribed to it for a long time, but never drew anything which is actually a crime. I'm fixing my mistake now!

This is probably my favorite fanfic ever, I highly recommend reading it (especially if you like oumota and amamatsu)! Very well written, and full of both funny and sad moments (that now live rent free in my head). It's pretty long, but it's REALLY worth it! I don't want to say more because I don't want to spoil anything. Just check it out. It's so underrated it's insane!!

Vague fic spoilers below "read more"

I wan't to point out little details I put in this.

I depicted here the main characters of each simulation loop after the main game, along with the people they became closest to (and who supported them a lot), as well as the main "antagonist" of their respective loops. In Kaede's and Kokichi's cases it is Tsumugi, but Kaito was most shaken by his memories.

Also Kaito is here providing support in each loop. And in his own everyone is there for him (just like he deserves)

Version without text

[marsneedstherapy]

have you ever read fanfic for a fandom you're not a part of and have never seen/read the source material because I have. I've been trapped in zutara rabbit hole for the past 4 days. don't come rescue me. I like it down here.

[turtleblogatlast]

I still think about how Leo’s ideal day out for the fam’s venture into the Hidden City was basically just an effort to get some rest and relaxation because boy does he never get that ever.

[rosesofenvy]

How Far We’ve Come - Music Theory Analysis

[Disclaimer: I went to university for music as a violin primary and have the most confidence with classical strings. I passed my piano proficiency courses, but that is the extent of my piano knowledge. It has been a few years since I have done an in-depth composition analysis of any piece, let alone transcribing a piece by ear and then analyzing it. Music theory has never been my strong suit! Please excuse any mistakes in notation, and any inaccuracies in my transcription or analysis. I did my best and this was purely for fun *shaky thumbs up*]

----------------------

'How Far We’ve Come' by Harlan Guthrie is a duet between Grand Piano and Cello. This piece opens with solo piano, either in a pickup measure or in a single measure of 2/4 before transitioning to 4/4 time in measure 2. Throughout its entirety there are many moments of rubato which have been notated as ritardando and a subsequent a tempo. To most accurately follow the phrasing, listening to the recording is highly recommended.

This piece begins in the key of F#M or the enharmonic spelling of GbM. Although unpleasant to look at with either 6 sharps or 6 flats, depending on which spelling is followed, this key is often used by composers to invoke emotions of a conquest story, evoking relief, triumph, victory, and clarity. As we know from our story in Malevolent so far, this meaning is not lost on us. I have chosen to keep this piece as F#M since that is how I originally began transcribing it. I have also attached the GbM version at the end of the post, however all the analysis follows F#M spelling.

The lone piano begins on the third of our I chord with a hesitant, heavily rubato 8th note pickup into measure 1. The transition from measure to measure in this first phrase gains little confidence, especially with the transition from the pickup into m. 1 as this is the only instance in the piece where the set of 8th notes in the left hand do not lend itself into the next right hand pickup (four 8th notes instead of five). Each lead-in to the downbeat is stretched, pedal held throughout the measure to allow the sound to linger. Each press of the keys is deliberate, yet maintains a mezzo dynamic as the sound fades. m.2 is introduced with a vi chord, creating a hint of unease before resolving in m.3 to a IV(add7). We end our first phrase with a half cadence to a V chord, leading into a V7 as our next phrase begins with a B. 

As we enter our second phrase it is similar to our first with  m.5 beginning with a I chord, m.6 expands our vi chord compared to its first iteration, resulting in a more confident feel as we continue into m.7 with yet another expansion to our IV(add7). M.8 ends this phrase as we reach another half cadence V chord almost V7. 

Beginning m.9 the piece has a few possible paths of analysis, we arrive on a vi chord if we are remaining in F#M, which unlike our other initial starting phrases this throws us into a melancholic mood. There is a possibility of modulation to the relative minor (D#m), however I believe it remains in F#M and utilizes inversions of our chords and will continue with this assumption for the next phrase.

Remaining in F#M, m.10 could be a vi(4/2) inversion, or a I(6/4) inversion. Because Measure 11 moves to a ii chord, I believe it makes more harmonic sense for m.10 to be a vi(4/2) inversion as moving from a I(6/4) - ii is less common than a vi(6/4) to a ii. 

M.11 into m.12 is a fascinating progression. We have a V with the (g) in m.11, then we are descending to a Dnat, A#, E# progression. The Dnat is what has thrown me off the most, as it is a minor chord of sorts but doesn’t exist within our key of F#M, or relative D#m. The E# A# progression I believe is a I(4/2) chord, as it is leading us back into the next phrase. Even spelling enharmonically as a A#, Cx, E# chord it does not naturally occur within our existing key. After many hours of checking theory textbooks, writing out possible modulations, and playthroughs of the chords, I’m choosing to leave this as a V-I(4/2) progression and accepting my loss that I do not know what chord exists in the downbeat of m.12. However, I can say that resolving to something that is not a root tonic further creates this sense of melancholy.

Bringing us to our next phrase at m.13, similar to our previous phrase a vi chord but instead of resolving to an A# it resolves to the root D#. M.14 is identical to m.10 with the exception of the lower octave A#3 before resolving in m.15 to a ii chord until the fourth beat of the measure which leads us into measure 16 - resolving to a IV-V half cadence by the end of the measure. 

Reaching m.18 we are returning to our original phrase. This is where our cello enters for the duet, in which I have some observations about musicality first. As the piano is using a significant amount of pedal to sustain the sound, the cello utilizes a wide vibrato to create a warm sound. Notably, this doesn’t occur as significantly when entering with the lower notes. The cello is confident, encouraging the piano forward and maintaining a solid momentum even with the hesitance the piano has shown. 

M.18 we begin on a I chord, supported by the cello playing a low F# as the root. In the pause between phrases, it's as if you can feel the performers breathing together before they move to m.19, our vi(add7) chord. 

Measure 20 I have quite a bit to talk about. Stacked chord analysis is not my forte (pun intended). From what I could hear, there is a B1, F#2, B2, F#3 in the cello, while the piano continues with a IV(add7) chord. B1 is impossible to play on a cello with traditional tuning, in order to achieve this note they would have to tune their lowest string - their C string - down a half step. The chord B1/F#2/B2/F#3 is also impossible to play on a single instrument. If one cello tuned their C down to a B, then they could feasibly play the bottom chord, possibly the two B’s in octaves. It is possible for a cellist to play an F#/B/F# chord, however it would be uncomfortable and not result in a good tonality with it being a triple stop - but, the second cello could split the chord and play a different combination (F#2,B2 or B2,F#) with success. Other solutions to this could be having a double bass play the pedal B, as it would be within their ability on and remain in the correct octave, or having the piano cover the pedal B. This massive chord then resolves simply to a half cadence V chord in measure 21. 

Entering our last section, m.22, we return to a phrase similar to the beginning, with a confident I chord. With each measure we go to a more traditional chord progression to a V-IV-V in measures 23, 24, and 25 respectively. In an exciting turn of events, we land on a I chord in our final measure. The first PAC in the entire piece, and yet, it doesn’t sound as if the piece is finished. Throughout its entirety, all the phrases have been a form of inauthentic cadence. We end on a Perfect Authentic Cadence, a V-I, it should sound resolved. And yet, it continues on. The notes ring, and if left on repeat (as I have done for this analysis), it makes sense for it to continue. 

In conclusion, I believe this duet is in an general AABBAA format, with A being Major key tonality and B encompassing a minor key tonality. This piece is a conversation, it’s full of emotion and hesitance and is a fantastic representation of everything we’ve seen Arthur and John go through so far in the podcast. I can’t help but think of “I’ve come so far…and I have miles to go before I sleep” with this piece as a reflection of that. This composition is saying “Look, see how far we’ve come, what we’ve done to get here. How we’ve changed and grown.” All this to say, it’s an amazing story and an amazing composition. If you made it this far, I’m glad you came along in this musical journey with me and feel free to add anything I may have missed (or possibly mistaken). 

[lightbulb-warning]

Saiouma not-week not-day five: Phantom Thief

Nothing says platonic rivalry like having a

⋆｡°✩ matching ⭒°｡⋆

conspiracy board with your nemesis so you can track their every move!

[beearcheops]

Beep beep more shitposts (this time queued!)