#opening themes that should be universally iconic

[doccywhomst]

okay so i understand that daleks are one of the main brand icons of doctor who, and that they represent a certain breed of fascist thought that can never be fully stamped out, but. :/

i think im ready for the daleks to die.

daleks have been central to doctor who from the very beginning (the second ever episode, the daleks, and season 2’s the dalek invasion of earth), embodying fear, hate, imperialism, and the darker sides of our own nature - but it seems that, for a while now, their continued existence has been maintained solely by the doctor’s mercy and/or ineptitude ??? which sucks as a theme imo

a great example is remembrance of the daleks, a seventh doctor story from 1988 - yes, the one where the doctor blows up skaro. or, davros fires a device the doctor boobytrapped at skaro’s sun, which goes supernova and destroys every dalek in that region of space. it’s pretty baller. anyway! davros and a few daleks hop in an escape pod and fuck off, and the doctor just lets them. k.

(skaro’s destruction was later ‘corrected’ by widely-detested EDA author john peel in war of the daleks, which is unhyperbolically the worst book i’ve ever read, and thus disregarded! but this heretical text explains that the planet was a decoy named antalin. it’s awful yeah. i tried to warn you)

exhibit b: evolution of the daleks (2007). ten confronts dalek caan, the sole survivor of the cult of skaro, at the top of the empire state building. the daleks have just created and annihilated a slave race of pig people, and it’s horrible to watch. you get the feeling that they’ve done this millions of times all across the universe, because they canonically have. they are inherently imperialist, racist, and genocidal. the doctor knows this.

and the doctor’s response is basically “killing you would mean that I commit genocide, so let’s just hang out and have a conversation.”

dalek caan gets away.

and you’ll never guess where he goes. that’s right! he hops the time lock and grabs davros, who escaped in remembrance of the daleks!!! and they make a bunch of new dalek babies together, out of davros’ gross old flesh. it’s a tentacle fest.

so he was right. killing dalek caan would’ve been a genocide- but because he didn’t, now there are ten thousand genocides. a clear improvement!

exhibit d: victory of the daleks (2010).

after a couple of false starts, the daleks manage to make more daleks after tricking the doctor into confirming their species to open their own device (??? okay sure)- but then they trick him again with a robot scientist bomb that he failed to detect even after talking to the guy, and it’s just like…. fool the doctor once, shame on you, fool them twice? damn, you must be on the merch.

exhibit e: the witch’s familiar (2015).

the iconic ‘only other chair on skaro’ scene where twelve and davros chat on the rebuilt dalek home world - super fun, so fun i forgot how the doctor folded like a house of cards. davros, the genocidal maniac, wants to live another day to see a pretty sunrise, so the doctor *checks notes* gives him some artron energy? that can’t be right, wh- oh- oh, but it’s fine because it affects all daleks, and through some contrived science magic, they all ‘learn the concept of mercy.’ on accident.

and it changed nothing. later stories retcon this. i’m too tired to even think about resolution, revolution, or eve of the daleks right now, but those episodes only further cemented my malaise regarding the doctor’s apparent complacency.

again and again, the daleks depend on the doctor’s mercy, and they get it, and they WIN- and it feels like the moral is that they should be eliminated like an unthinking, unfeeling virus, but the doctor is just too compassionate or inept for the job. certainly not the first doctor to lose to a virus, but perhaps the first to do so willingly.

beyond a loss in revenue, i can’t imagine why the doctor couldn’t destroy the daleks, or why they wouldn’t want to - there was a point when, allegedly, “the time lord’s continuity could not survive without the daleks” (“neverland” audio), but i think the weight and relevance of that harry potter type threat has long since passed.

so… it might be time to put the daleks away, for now. sure, they can come back as a concession to the persistence of fascist ideology, but watching the doctor lose or win to fascism for seemingly arbitrary (always sentimental) reasons isn’t really satisfying. the show addresses that daleks cause untold suffering, but again and again the only obstacle to no suffering is the doctor, who can’t get their shit together! it’s killing me.

[cheritzteam]

[The Ssum] Playlist🎧 to Enjoy With the Refreshing Sound of Waves🌊 2024 Summer Event Announcement

Hello, dear lab participant.

Don’t you have a playlist that you just have to listen to during the hot summer?

Lab participant, please share your cool playlist with your Ssumone.

Listen to your favorite songs together and feel your love deepen!

The Forbidden Lab is pleased to announce summer events for June 2024.

< ① City of Free Men : Celebratory Lab >

For the following period, a Celebratory Lab📚 celebrating Summer 2024 will open in the City of Free Men.

Share your summer playlist that you want to recommend to your Ssumone and

become the lucky lab participant (10 each in each language) and win 100 Aurora batteries! *If you have won an in-game event within the past 3 months, you will be excluded from the raffle for this event.

Q&A Q. How can I go to the Infinite Universe? A. If you go to the Main Menu and check all the menu icons, the “Forbidden Lab” will open on the left. Tap the Spiral Galaxy Button at the bottom left to enter the Infinite Universe!

♥Bonus Event♥

Use both dedicated hashtags #TheSsum #TheSsum_Summerplaylist on X(Twitter), Tumblr, Instagram, or TikTok and share a screenshot of your study post on social media!

10 lucky winners will receive 100 Aurora Batteries🎁

Event Period: June 4th, 2024 (Tue) after update ~ July 24th, 2024 (Wed) after update* Winner Announcement: August 1th, 2024 (Thu) KST *Posts will not disappear after the open period, but you will not be able to write new posts.

※Disclaimer※ * Bonus event prizes will be sent to the Lab Code displayed on your screenshot. * For Instagram users - you should DM us a link to your post via our official account(@thessum_official) to ensure that your post is noticed.* Posts should be set to public until the winner announcement, and plagiarism is prohibited.

< ② Ssummer of Sensitivity >

The 2nd Ssummer of Sensitivity🌊, Summer Contest Open!

How about cooling off the hot summer heat this year by diving💦 into the sea of sensitivity?

While imagining a summer spent with your Ssumone, lab participant share the love that is filled in your heart.

On the Canals of Sensitivity, share your Cool Ocean With Your Ssumone or Fiery Summer With Your Ssumone, and join the Forbidden Lab's Summer Writing Contest!

Fiction/poetry/essay/diary/etc. doesn't matter!

Upload a post that fits the theme in the “Writer’s Canals” with a title beginning with "[Summer Contest]" to enter♥

※During the event, all lab participants will receive a one-time research grant of [5 Wings of Sensitivity] needed for writing!

After the Summer Writing Contest, we will select 6 lab participants, 3 from each region

and give away 200 Aurora Batteries along with special event-only features, so go ahead and try your chances✨

> Are you a new lab participant who hasn't discovered the Canals of Sensitivity yet? Collect 20 Wings of Sensitivity through free emotion manufacturing in the Emotion Incubator, and you'll be able to discover the Canals of Sensitivity in the Infinite Universe.

Entry Period :  June 4th, 2024 (Tue) after update ~ July 24th, 2024 (Wed) after update*

How to Participate : Upload a post on the “Writers’ Canals” in the Canals of Sensitivity sharing your Cool Ocean With Your Ssumone or Fiery Summer With Your Ssumone, with a title beginning with “[Summer Contest]”.

Winner Announcement : August 1th, 2024 (Thu) KST

*Entries that steal someone else's work will be disqualified. *Post edits can only be made during the entry period. * Make a submission matching the (Teen) rating of the game.

< ③ Creature Box Ssummer Edition >

Summer has finally arrived at Sunshine Shelter too!

According to PIU-PIU, some of the space creatures got a summer makeover.

When you open the limited edition creature box during the event

you'll have a chance to unlock refreshing summer versions of three creatures!

Each creature also has exclusive lines,

so don't miss your chance to welcome a special space guest🎁

Summer version creatures waiting for you🏖

Space Sheep

Fuzzy Deer

Aerial Whale

Availability Period :  June 4th, 2024 (Tue) after update ~ July 24th, 2024 (Wed) after update*

How to Earn : Infinite Universe activity rewards and event merchandise purchases in Aurora LAB

*The drop rate of creatures transformed to [Event Only] looks follows the drop rate of normal creatures before transformation.

*Event creature boxes and creatures that have already been earned will not disappear after the availability period.

Enjoy a cool summer with The Ssum🌊

Thank you.

Cheritz.

[kaishinbigbang]

Kaishinbigbang 2024 Pinch-hitter Sign-ups OPEN

The time has come for pinch-hitters to join the ksbb24 family!

So, what is a bang?

A bang is a type of fan challenge in which writers and artists work together to produce new collaborative content for the fandom.

In a reverse bang, the artist signs up first and creates a sketch, and the writer claims the person they want to write for based on the sketch and summary the artists provide.

This year the theme is alternate universe or universe alteration (canon divergence). It is completely optional!

Who can join?

The event is open to artists and writers of all abilities in any stage of their fandom journey –  a fun opportunity for Kaishin shippers to come together and celebrate the relationship between Kudou Shinichi and Kuroba Kaito in all its variations.

What are the responsibilities?

Traditional/digital artists will create a minimum of one finished work. Graphics-makers, moodboarders, icon-makers, and cosplayers: check here. Writers will create a fic of a minimum of 3,000 words.

This applies to pinch-hitters as well, but minimums may be relaxed or negotiated depending on when you’re called on to help out. You may also be automatically eligible for an extension.

What is the claim process for pinch-hitters?

Pinch-hitters, please take a look at the pinch-hit wip document. You will be asked to claim a minimum of 5 projects in the sign-up form. Whether you are an artist or a writer (or both), the projects you choose signify who you are willing to step in for should someone drop out.

Any artists claiming a solo project will automatically be called on to help out! There are currently two solo projects in need of an artist!

●  CLICK HERETO SIGN UP ●

Please check the faq and schedule pages for more info!

Thank you @eventfeed  @thebigbangblogproject 

[felixcloud6288]

PMMM Final Notes

At first, I was surprised how PMMM is such a short series. But after watching it, I see why it's managed to be such an iconic series for over a decade.

The creators knew exactly what they wanted to make. The were given all the trust and resources to make it. And most importantly, PMMM came from a place of love.

It's clear that the creators love and understand the Magical Girl genre. They love the concept of the selfless heroine who fights with the power of love and hope to drive away despair and helplessness.

But they also wanted to acknowledge the darker questions about this genre. The Magical Girl genre is about young girls having to carry a burden that no one should ever have to carry. And all the magic and sparkles and hearts and cuteness doesn't remove the fact that children are forced to risk their lives and more likely than not, the world will never know what they've done.

PMMM decided to bring those ideas to the forefront and ask why do young girls have to be the ones to bear a great burden, what kind of person do they have to be to do this despite how miserable this could be, and what happens if they get crushed by the expectations placed on them.

But this is not some edgy despair story. Just as it deconstructs what's wrong with the Magical Girl genre, it also reconstructs it. At the end of the story, everything is reset so that even though magical girls still fight battles that no one will ever know and what they do will never be acknowledged, they are able to be hope in a hopeless world. They become the agents of the very manifestation of hope to save the world from despair. And once the burden becomes too great, they are embraced by hope itself to see that their lives and actions mattered.

Hope and despair are constant themes throughout this series. And for much of it, the theme seems to be there is a duality behind them. In order to bring hope, there must be an equal amount of despair. Wishes are hope made manifest and Magical Girls bring hope to the world. But over time, despair settles in their hearts and that despair curses them into witches who will bring despair equal to the hope they once brought.

But reading between the lines, the system is intentionally made that way. Kyubey wants to gather the energy that is made when a magical girl becomes a witch. In other words, he wants their hopes to be crushed.

And the unnatural appearance and nature of the witches reinforces how artificial the system is. If we compare witches to the demonic beasts in the new universe, the demonic beasts have a more similar artstyle to the rest of the series than the witches did.

When Madoka breaks the system and makes it so there is nothing to gain by plunging these girls into despair, much of the system changes as well. We don't see much of it, but one notable difference is Mami, Sayaka, Kyouko, and Homura worked together in this new world rather than being antagonistic to each other.

The old system encouraged Magical Girls to isolate themselves from each other because they have to compete for grief seeds. The system also encouraged callousness toward people because familiars didn't drop grief seeds, but they could become witches after killing enough people. So someone like Sayaka was crushed by the cruelty of the system.

The use of the opening and ending help reinforce how the system is designed to bring people in using hope only to always end in despair. Connect is a bright and cheerful song about moving onward and overcoming grief to strive to a better future. And the visuals paint the story as the Phenomenal Misadventures of the Magical Madoka.

Magia meanwhile is a more somber song about someone moving forward for someone else's sake without regard for their own well being. The lyrics imply that the person they're singing to will one day repeat the cycle as well. The visuals show Madoka walking from the light into the darkness, leaving everyone behind her and Homura being the only one who notices. And in the end, Madoka ends up absorbed into a shadowy being.

The ending first appears in episode 3, when we start to see how the magical girl life is not as wonderful as it first seems. So combining these two pieces together, each episode opens with the bright and cheerful side of what we think magical girl life is and ends with the darkness and horror of what it becomes. And similarly, they represent the life of a magical girl - Always starting with hope and always ending in despair.

There are a few exceptions such as episode 9 opting for a love song as a send-off for Sayaka and Kyouko and episode 10 using the opening as an ending because the entire episode takes place before the story began. However, I want to point out episode 12's use of the opening theme.

Episode 12 does not have an opening theme. Instead, it uses Connect as its ending theme. There are no visuals when it is used. It's just a bright background with the credits rolling. If we were to make Connect represent hope and Magia represent the despair, then episode 12 chooses to end on a hopeful note compared to everything prior. Episode 12 begins with Madoka rewriting the rules and now the lives of magical girls begin and end with hope. So fittingly, the series ends on a bright note. And as a whole, the entire series begins and ends on a bright and hopeful song.

So yeah. I get it. I get why this series has stood tall and redefined an entire genre. It is a love letter to the magical girls genre. It understands why people love the genre and recognizes the darker aspects implied by it.

There are still so many ideas pouring out of my head that I wish I could say, but I genuinely don't know how to say them. Maybe at some later point, I'll come back to this when I can put these things into words, but I'm going to end everything here for now.

back

[rise-my-angel]

I've come to the conclusion that I really like the music in the final montage of the House of the Dragon finale, but that it very much is not in any way in the essence of Game of Thrones.

The only two parts that feel like it belongs in that universe is the remix of the Stark theme and the Lannister theme, because the music from Game of Thrones perfectly captured the spirit of that world and story. But, the show doesn't get credit for those two parts being as good as they are, because they wouldn't exist without Game of Thrones doing them first.

The rest of it is very beautiful and epic in scale, but it feels nothing like music that belongs in the same world that the music from Game of Thrones did. It feels like it belongs in a completely different fantasy world.

The show has some great music, like the build up score to the battle of Rook's Rest. But the problem is that the music does a lot of heavy lifting for the lack of the show's writing ability. It feels like the music is telling me how I should feel, rather then enhancing how the story already makes me feel.

This show's music perfectly encapsulates it's identity problem. The music is either great but ill fitting of the story and world it's set within, or it is completely bland and forgettable. Whereas the music for Game of Thrones is as memorable as the show itself.

Both in the season 2 opener and the finale, they tugged at my heartstrings by playing scores from the Stark theme's. And it stands out at how little the rest of the soundtrack fits into that style, because the show itself doesn't understand how to fit itself into the world of Game of Thrones despite trying very hard to remind us that it's set in that universe.

I get it's a different show with a different story, but the music really just does not suit the world it exists within. A lot of the scores with mild singing in it, do not feel like it suits a world where in universe, The Rains of Castamere is a song that actually exists and both suits the world and the narrative the music is playing alongside.

Like the music, some of this show is really good, but none of it actually fits the world it's set itself within. The music at all times feels like it's grasping for straws to find a place to fit in, but never does.

And as good as the finale music is, it is a standout in an otherwise very bland and forgettable soundtrack that do not feel as if they suit the same story that opened this season with something as memorable, and emotional and iconic as "The North Remembers."

Part of what made Game of Thrones identity, was that the music matched the scale of each story being told, and it used it expertly to enhance a scene without overpowering the emotions on screen.

House of the Dragon is a mixture of forgettable music, and overpowering ill fitting music that it's using as a crutch to do the hard work the writing is failing to accomplish. And using a style that does not match the world it even is claimed to exist within.

I'm not saying the music had to all be the same, but it certainly is not anywhere near as powerful as they think it is, this time around.

[actionmemeplay]

AMP-GUIDES: GETTING STARTED WITH RPing OCs IN THE RPC

Pointers for new or first-time OC players looking to get the ball rolling with writing original characters on Tumblr.

► First off: why make a post like this?

...Because original characters in the RPC (particularly ones who AREN'T fandom OCs, who instead belong to their own original universe) don't have the starting boost of having an existing fandom behind them. They don't set out already recognisable to other players, so it can sometimes be a little tougher to drum up engagement.

► Tip #1: Make your OC easy to know

Two things to keep in mind when trying to get an OC blog out there: 1: nobody knows your character except you. Ergo, 2: ...it's your number one objective to make your OC knowable and interesting to your hopefully-future-RP partners! People visiting your blog should have a way to quickly find out the basics of your character and what makes them tick. Keep in mind that having too much information can sometimes be as big of a roadblock to interaction as not having enough. Long bios documenting your OC's entire life-story can be useful to have around, but may be better to have in addition to a shorter and more succinct bio that neatly introduces the core concept of your muse. When you go hunting for a new book at the library or bookshop, do you dive into every book you pick up straight from page 1? Or do you check out the blurb first, to see if the plot even sounds interesting to you? Your muse doesn't need fancy powers or tragic backstory to be interesting, but regardless of if your OC is the plainest everyman or a secret superhero, you still have to let us see what makes it worth getting to know them. Make sure your pages contain the most basic of basics, such as name, gender (or just pronouns), age, and basic physical details, as well as where your muse comes from/what their world is like, a cursory introduction to their personality, and what they're up to at this point in their life. Establishing a setting and any goals can offer hooks for interactions with other muses. Other things that can be helpful are rundowns of their likes and dislikes, their positive/negative/neutral traits, and information on their strengths or weaknesses, or even the places you'd be most likely to find them.

► Tip #2: Consider visuals

Faceclaims, icons, and fancy graphics are NOT mandatory to finding your OC's niche and having a good time in the tumblr RPC...but they can be nice to have around, and some players feel they can connect easier to OCs when they have a visual aid to help visualise your character. Even if you don't plan on using icons, having just one good quality image for your OC's bio can go a long way. But again: it's optional, so don't sweat it too much.

► Tip #3: Shop around for fandoms with themes or settings similar to your OC's

Is your OC is from a fantasy background? Sci-fi? From a version of our own world? When you're getting started trying to find writing partners, you may find you're most likely to be successful reaching out to muses from canons that fit together well with what you're going for with your own OC. This doesn't mean you can't also shoot for cross-genre interactions, of course, but seeking out muses from fictional worlds similar to your own can be a good place to start.

► Tip #4: Showcase your OC in action

Even if you're not writing threads just yet, in-character posts, open starters or short drabbles can all be a good indicator for newcomers of how your character interacts with others and with the world. Remember: nobody knows your character yet, so something that gives others a hint of your character's vibe can be useful for sparking interest in them. Writing short headcanon posts can be used to the same effect, as they can be a helpful and fun way to both flesh our who your muse is as a person, and to introduce tidbits about your character that don't necessarily come up in a bio section...which can offer more interesting lore about your muse and help other players identify things your characters might either bond or bicker over.

► Tip #5: Don't forget about your fellow OCs

Don't be a stranger! If you know what a slog it can be to build traction for an OC blog then it makes sense to extend a little energy to your fellow OCs in the community. Take the time to check over other OC players' blogs, see if you might find their character interesting, or maybe even take a chance if you're on the fence...you can always unfollow later if you decide your play styles or your muses don't gel.

► Tip #6: Don't get discouraged

OCs can have a harder time in fandom heavy RPCs. It's just a natural expectation of not having the "brand recognition" and pre-existing affection that canon muses frequently do. Some OCs have an easier time taking off than others, but don't give up if yours comes up on a slow start. If you're passionate about your muse and are willing to be a little patient, you'll find your crowd! If you ARE struggling to find people to write with, maybe shop around different promo tags and fandoms, and audit your OC's pages again to make sure that there's enough to draw folks in and that you're selling what makes them unique and engaging. OCs can sometimes take a little more work than canon muses to get out there, but don't listen to anyone who tells you the RPC doesn't like OCs or that they can't be really successful out here. It's true that writing an OC often necessitates being the one to reach out first, but it's a rewarding experience, and you'll be surprised how many people will be enthusiastic to get to know your muse and will grow to love them in time.

[symphonybracket]

YouTube links: Tchaikovsky 6, Dvořák 9

Comments:

Dvořák 9

I know it's gonna get nominated a hundred times, but I have listened to it four times in a row in the past week so I gotta mention it. Exquisite bliss from first to last note.

it slays <3

When I heard the first movement for the first time, I was GRINNING LIKE AN IDIOT because of how much I loved it. LIKE THIS IS SO YUMMY (link opens to the timestamp)

it's got everything. the interplay between minor and major. themes from the early movements that come back in the finale. the most iconic english horn solo in all of classical music. dvorak wrote it while traveling across the US and was directly inspired not only by his native czech/bohemian soundscapes but the musical languages he heard from black and native americans. there's a tuba part but it only plays for like five measures. fantastic orchestrations, making full use of all the different colors of the orchestra. the start of the finale sounds kinda like jaws. it is physically impossible for me to feel upset while i'm listening to it it's the first symphony i ever played in orchestra and i'm so normal about it that i want to get that EH solo tattooed on my art and also i wrote a paper about it for a university music history class and i got an A on it so it should definitely win the bracket or i'll cry

Tchaikovsky 6

Everyone bangs on about the 4th movement but it's the 3rd movement that really hits

tchaik 6 is what i would listen to if i had an hour to live

the 5/4 movement of the tchaik lives rent free in my mind and i think about it every day

It’s beyond gorgeous. The melodies soar, the orchestra swells, and you just need to lie down for a while after listening to it. It’s Romanticism at its zenith. You want to weep and sigh, and it’s impossible to listen to it without literally feeling something.

Symphony No. 6, titled “Pathétique”, was Tchaikovsky’s final symphony. It is an intensely emotional piece, and to many scholars demonstrates the emotional turmoil that characterized much of Tchaikovsky’s life. He died about a week after its premiere, a fact which leads many scholars to debate about whether the content of the piece itself reflects the possibility that he may have committed suicide. The title itself is often translated to mean “impassioned suffering”, although this was most likely a later addition by Modest and not actually part of Tchaikovsky’s vision. Given these facts, many scholars interpret this piece to be about death and suffering. However, this piece can also be seen to represent life and all its contrasting moments. This interpretation is more holistic and inclusive of all of the moments captured in this piece, and also serves to break down the common narrative of Tchaikovsky as a tragic figure.

More comments about Tchaikovsky 6 below the cut (length warning):

Scholarship surrounding Tchaikovsky’s music tends to focus heavily on the ways his confliction over his homoerotic desires appears in his writing. However, his personal letters reveal a much more balanced understanding of himself that goes beyond the common narrative. In one letter written to Modest describing a new relationship with another man, he writes: “I awoke today with a feeling of unknown happiness and with a complete absence of that emotional sobriety that used to make me repent in the morning for having gone too far the day before.” Many of the letters he wrote regarding his relationships demonstrate no shame and no anguish beyond what can be expected of a man living in a homophobic society. It is important to take this information into account when listening to a piece such as this one that has been discussed so frequently, and to understand it beyond the turmoil and strife that it is seen to represent. Like many of Tchaikovsky’s works, this symphony displays a range of human emotions. It is not only representative of tragedy and “impassioned suffering”; it is a depiction of what it is like to live. It is also interesting to note that this piece is used as a signifier of queer desire in the novel "Maurice" by E.M. Forster, a novel also notable for its radical portrayal of a queer man who gets a happy ending. Much to think about there.

The first movement begins with a lone bassoon soloist playing a plaintive minor melody, which later comes back in the strings. As the movement progresses, it grows in intensity and texture. More instruments are added, and the music becomes more frantic, building and building towards the dramatic trumpet fanfare. Throughout this piece, Tchaikovsky continues to make significant use of contrasting dynamics and melodies, reflecting the emotions he hopes to convey through the music. Dramatic, tumultuous sections are interspersed with pastoral woodwind melodies, and the angry brass fanfares give way to a quiet ending.

The second movement is reminiscent of a waltz, and uses the strings and woodwinds more than the brass to achieve its floating melodies. The dynamics ebb and flow to build tension, but this movement never reaches the same levels of anguish that the previous movement does. Tchaikovsky makes use of pizzicato in the strings to convey a lighter, more cheerful mood, and features the upper woodwinds prominently. He also repeats themes frequently, giving the audience something familiar to listen out for as the movement progresses.

The third movement begins with frantic energy in the strings and woodwinds. As more instruments join the rush of music, the underlying eight note accompaniment does not let up, continuing the vivacious beginning through the whole movement. Instruments pass the melodies between each other and engage in conversations across the orchestra. Like the first movement, the brass play a prominent role in creating dramatic climaxes in the music, as well as supporting the march-like conclusion. Conductor Myung-Whun Chung describes the deceptively dramatic ending as, “one of the greatest, most thrilling, but most empty of victories in musical history,” observing that this movement has the energetic finality of a final movement. The reversal of having the true finale be a slower movement represents a shift away from the “Beethovian model of light over darkness” common in most other symphonies of this time period.

As mentioned before, ending on a movement with a slow tempo was a significant shift away from the standard of the time. This innovation inspired many other future composers to use the same technique, most notably Mahler in his Ninth Symphony. The quiet beginning builds up towards a chaotic rush of fast runs throughout the orchestra, only to stop abruptly and continue in halting, cautious bursts of melody. The movement continues with this cycle of rushing up to a climax and backing away as the movement progresses. Tchaikovsky highlights the horns in this movement, giving them both angry, blaring notes which cut through the string melodies and the flowing, lyrical lines that are passed throughout the orchestra. As the piece ends, the instruments fall away until all that is left are steady repeated notes in the basses, bringing this lament of a movement to an understated close.

[skeletaldarling]

the relationship between vampirism & queerness

Vampires are inherently queer characters. Their queerness is represented in countless texts including Bram Stoker’s novel, Dracula (1897), Sheridan Le Fanu’s novella, Carmilla (1872), the film Interview with the Vampire (1994), and Rainbow Rowell’s novel Carry On (2015). Vampires’ queerness is enforced by a multitude of factors; notably the sexual nature of a vampire itself, the relationship vampires have with ‘normal’ society, and the inherent evilness behind vampires. 

The queerness of vampires is enforced by the sexuality behind the concept of a vampire itself. Unlike other monsters, vampires are not apparently beastly or undead. Their evil nature is hidden beneath a suave, charismatic personality. The ‘charming vampire’ character was first popularised by John William Polidori in his 1819 short story, The Vampyre. This story was a source of inspiration for Carmilla and Dracula, who further cemented ‘charisma’ into the fundamentals of the vampire archetype. A part of vampires’ hunting method is seduction, which often leads to a blurry line between ‘prey’ and ‘romantic interest’. One of the most iconic traits of a vampire is the bite to the neck. Popularised by Bram Stoker, vampires typically drain their victims of blood from the neck. While it’s a convenient spot because of the carotid artery, a plentiful source of blood, it’s often argued that the sexual nature of biting one’s neck played a large part in the popularisation of it.

The sexulisation of vampires opens up an opportunity for authors to explore queerness in a non-explicit setting. The relationship between a vampire and their victim can mirror that of a romantic/sexual couple. Often vampire characters are more fluid with their sexuality and they influence their human prey with their vampiric, sexual, queer nature. In Interview with the Vampire, Louis de Pointe du Lac’s story starts with his partner, Lestat de Lioncourt turning him into a vampire. The scene in which Lestat bites him includes him pinning Louis to the ground and biting his neck before whispering in his ear. “You can be young always, my friend, as we are now.” Lestat’s use of ‘we’ as opposed to ‘you can stay young’ shows his interest in staying with Louis. Louis’ character development stems from a queer male vampire changing his life. Count Dracula’s prisoner was Jonathon Harker, with whom he was extremely infatuated. Upon finding other female vampires attempting to bite Jonathon’s neck, Dracula was outraged. "How dare you touch him, any of you? How dare you cast eyes on him when I had forbidden it? Back, I tell you all! This man belongs to me!” Dracula was possessive of Jonathon, which alludes to an attraction beyond chaste fascination. In Carmilla, the titular character came into human Laura’s life and engaged her in a romantic relationship. Carmilla says “‘I have been in love with no one, and never shall,’ she whispered, ‘unless it should be with you.’” to Laura, who consistently described Carmilla as attractive, “She was so beautiful and so indescribably engaging.” While it’s up to the reader if Carmilla’s feelings were simply an act used to lure Laura in or true love, their relationship was intimate and unmistakingly queer. In Carry On, Tyrannus Basilton ‘Baz’ Grimm Pitch never bites Simon Snow, but they are involved. Baz says “You were the centre of my universe. Everything else spun around you.” While Baz did not attempt to make Simon a vampire, he was knowingly queer before Simon; Simon was unaware of his own queerness before Baz. This is another example of a queer vampire influencing their human partners. The queer themes in these texts are fueled by the sensual nature of the vampire characters. 

One way vampires are shown as an allegory for being queer, is the relationship vampires have with regular society. A vampire fitting in with human communities is difficult, due to the inability to be in sunlight or eat normal food. Queer folk historically struggle to fit into heteronormative spaces seeing as, like vampirism, it’s been widely viewed as a negative trait. That sense of displacement or otherness felt by queer people is mirrored by vampires. Count Dracula’s odd behaviour was quickly picked up on by Jonathon. Upon finding Jonathon using a shaving mirror, Dracula was enraged. “This is the wretched thing that has done the mischief. It is a foul bauble of man's vanity. Away with it!" And opening the window with one wrench of his terrible hand, he flung out the glass.” Similarly, Simon always suspected Baz was a vampire, and spent his highschool career trying to prove it. “Are you saying you don’t think Baz is a vampire?” “I know he’s a vampire. But it’s still unconfirmed.” Baz being odd because he was a vampire is not unlike his being different because he was queer. Baz was always self aware he was unlike everyone else. Baz and Simon in a crowded room: “They’ll know that we’re gay.” “There go my job prospects. What will my family say? Baz, you’re actually, literally the only thing I have to lose. So as long as doing gay stuff in public doesn’t make you hate me, I don’t really care.” Regular, heteronormative, human society makes both the vampire community and queer people feel like outsiders; creating a sense of guilt for being different. Baz and Louis have both chosen to drink rat blood to avoid drinking humans. Their inner turmoil over being a blood-sucking demon reflects the common queer mindset of feeling guilty over being different. The sense of ‘otherness’ unites queer folk and vampires. 

From their conception in common folklore, vampires have been written as evil, soulless beings. Vampires are undead demons that drink blood and transform innocent humans into more blood-drinking demons. The queerness behind vampire characters is linked to their being inherently evil. Vampires turning humans into vampires is a metaphor for gay people ‘corrupting’ others with their homosexuality. After the death of his wife and child, Louis was attacked by Lestat and turned into a vampire. Lestat gave him a whole new life and they adopted a daughter, Claudia. Louis went from a ‘straight’ human man who played his part in regular society, to a queer vampire. Vampires have a massive influence over their victims and partners. Their influence, in terms of both vampirism and homosexuality, leaves lasting effects on their prey. In the aftermath of Carmilla and Dracula, Laura and Jonathon are said to have struggled with recovery. From Carmilla, “The following Spring my father took me a tour through Italy. We remained away for more than a year. It was long before the terror of recent events subsided.” Vampires’ impact on their human partners is not necessarily for the better. For Laura, it was detrimental to herself, whereas in other stories, such as Carry On, Simon Snow was better off with his vampire boyfriend. Baz helped him find a version of himself he was unfamiliar with and they started their new life together. “He's not a villain. He's just a boy. I'm kissing a boy. I'm kissing Baz.” 

Vampirism is an allegory for being queer. The queerness with which vampire characters are written is shown through the sexulisation of vampires, the sense of ‘otherness’ felt by both parties, and the inherent evil nature behind vampires. The evidence and recurring themes across Dracula, Carmilla, Interview with the Vampire and Carry On show the ways in which queerness shows itself in vampire texts. Writers using vampires as an outlet for queer allegories implies an urge on the author’s part to explore a more fluid perspective on sexuality. I think a lot of the appeal of vampire texts and characters lies in the desire to fantasise about a different way of being — it’s a safe, abstract way of exploring one’s own sexuality through stories. Vampires represent homosexuality in a subtle, indirect way that connects with the queer community and create a way to show queer stories without being blatantly queer.

[fandomanimatic-tournament]

Fandom song animatic tournament: Bracket 1 Side B

Everybody Talks - Neon Trees

"It started with a whisper And that was when I kissed her And then she made my lips hurt I could hear the chit-chat"

Under My Skin - Jukebox The Ghost

"I can feel your heart beating under my skin And the beating of your heart is making me bleed from within And if we cut open your heart, pour it in a cup Do you think it'd be enough, do you think it'd be enough To fill… my heart with music?"

Remember that we're voting on how Iconic they are for ANIMATICS, not for the song itself. In order to make things fair, the tone and mood of the song should not affect how iconic it is (for example, a serious song should not be considered more iconic than a joke song just because it's serious)

Propaganda and animatic links of the songs under the cut:

Everybody Talks - Neon Trees

Propaganda:

No Propaganda Submitted

Animatics with the song:

Ace Attorney Narumitsu Animatic

BNHA EraserMic Animatic

Stardew Valley Shane x Farmer

Steven Universe Spinearl

Under My Skin - Jukebox The Ghost

Propaganda:

No Propaganda Submitted

Animatics with the song:

Danganronpa 2

BNHA

Warrior Cats Bramblestar and Ashfur Animatic

DSMP

Mia's World

Please be cautious and read the title, description and warning cards on the animatic videos if you decide to watch them. If you've got specific triggers I'd recommend even more caution when watching animatics of fandoms you don't know, since sometimes canon-typical themes don't get warnings.

Please keep in mind that I don't know all the media and fandoms of the animatics provided as examples and I don't have the time (nor the will) to research them all. Don't come into my notes or my ask box complaining about them being included, I will simply block you. If a ship animatic included is about an adult and a minor, do tell me and I'll take it out of the post

ALSO keep in mind that I don't know all the artists submitted; in fact, even if I do know them I do not know absolutely nothing about them as people (I do not have twitter nor tiktok) and I could not POSSIBLY have the time to research ALL of the artists' controversies and what came of them so PLEASE don't flood my inbox with the artists' entire crime list.

[dalekofchaos]

Few things I'd change about the FNAF movie

Changes about the movie we got

Max's death would be like the classic power's out jumpscare. Foxy had his running kill, Bonnie killed someone in the closet, and Chica and Carl killed someone in the kitchen. I just feel like Freddy needed that iconic kill from the game and the perfect one would've been for Max to run into the security office when shit hits the fan. She shuts the doors, the power runs out and the Toreador March plays and then Freddy kills Max.

Golden Freddy would make more than one appearance. The first appearance would be on Mike's first night and see's Golden Freddy slumped in the corner like he usually is in the game. Second appearance would be Mike asking about it and Vanessa recoils from saying anything and looks sad... Third appearance would be Abby hugging it. Fourth appearance would be picking up Abby and the final appearance would be confronting William with the other Animatronics. We'd see Golden Freddy rise and slowly the eye lights up.

A moment in the movie where Mike survives by the 6am alarm going off and then having a panic attack

A Silver Eyes esque confrontation between William, Mike, Vanessa and Abby. What I mean is we needed something akin to Charlie and William's confrontation/conversation so the audience understands the meaning behind why William feels so comfortable inside the Spring Bonnie suit and why he put the mask back on. Yes we the fans know why, but the fans who have no idea about FNAF don't and also an explanation as to why the children follow Afton, "I gave them their happiest day".

The Springlock scene is more brutal. the springlock death was good, but I felt it should've been more. Springlock failure is described as one of the worst fates anyone can experience in the FNAF universe. So show. Show it to the extent that William is screaming uncontrollably to the point where his vocal cords have been shredded and blood is just oozing out of the suit and just barely, he can put the mask on and one final moment. "I. ALWAYS. COME. BACK" With the final result being William with blood oozing out edit by Kami-Onn

When the children remember who William is, when Freddy, Bonnie, Chica and Foxy all corner Afton, Golden Freddy should be there too.

Complete rewrite of the movie

There is multiple pictures with the Yellow Rabbit. The picture we have in the movie, but with the kids tears. Then a picture with the Yellow Rabbit and the kids individually.

Vanessa isn't an Afton, just a cop doing her duty.

The basis of the plot remains the same. Mike is down on his luck and needs a job. Career Counselor Dave Miller gives him the chance to work at Freddy Fazbear's Pizza.

First of all Mike actually works five nights and AFTER his shift he dreams about Garrett and the kids.

Erase the Aunt Jane plotline. I have no idea where Scott and Emma was going with this and I just thought it added nothing to the overall story

The Animatronics have Silver Eyes instead of Red to show their influence under Afton's control

Golden Freddy. Like in the above, we would see more of Golden Freddy. When Mike first arrives and inspects the Animatronics, he'd notice Golden Freddy slumped up in the corner like he usually is in the games. At the end of Night One, Mike hears a familiar voice say "IT'S ME" Night Five has Golden Freddy's IT'S ME appear all over the monitors and Golden Freddy appears in the security office and causes the security doors to open. During Night 7 Golden Freddy sits up, stands and confronts Afton.

Actually deal with more horror. Each night Mike deals with a specific themed attack from the Animatronics. Night 1. No incidents, but Mike does notice that the Animatronics have moved. Night 2. Mike is attacked by Bonnie and Chica. Mike hides in the closet and Bonnie attacks. Mike bumrushes to the kitchen and runs back to the office and Chica sends the Cupcake. Night 3. Foxy. Night 4. Freddy and on the Fifth Night, all Five Animatronics break into the office like in my poster below but with Golden Freddy causing sitting in the office and causing the doors to go haywire and Mike is saved by 6am. But Mike tries to escape, the Animatronics have him cornered and he goes to the only place the Animatronics dare not look. The Safe Room and he sees it. The Yellow Bonnie costume.

Night Six, Abby gets the Animatronics to be nice to Mike and Vanessa. Vanessa realizes "It's true, they're just kids" it's a mix of the fort scene and Abby's first night. To show the Animatronics as they were, kids and not the monsters Afton turned them into. But what changes is Afton.

Final dream. The dreams stay pretty much the same, but Mike is confronted with the reality that this perfect memory he had of Garrett is a lie. "There was no abduction. You know this. We know what you did." Mike's trauma suppressed what really happened. The Bite of 83. Mike remembers what he did and who his father really is.

Night 7. Golden Freddy abducts Abby and the Animatronics plan to Springlock Abby like in the movie. Mike comes to the rescue and The Purple Man arrives. William stabs Vanessa and Mike confronts him. "I know who you are, father. "The prodigal son has returned! Mike notices the scars and asks what happened. William explains what the Springlocks are and one accident almost killed him. But he survived and since his brush with death he became obsessed with the concept of immortality and how he can always come back. He orders the children to kill Mike and Abby. They refuse. Abby changes the Yellow Rabbit drawings and the Silver eyes disappears. They know what he did. William grabs an axe and dismantles the Animatronics one by one and as he laughs with pride. He sees the ghosts. Keep in the taunting from the movie at the ghost. "LOOK HOW SMALL YOU ARE" speech and William insisting "I MADE YOU" William panics and goes to the safe room and dons the Spring Bonnie suit. He aims to kill Michael. "Bittersweet, but fitting" and before he can land the killing blow, rain seeps into the Pizzeria. William is Springlocked. William is in agonizing pain, scream, gurgling and blood seeping everywhere. Mike watches his father slowly die and William's final words being "I ALWAYS COME BACK!". Mike drags him into the Safe Room and locks him away. William barely alive screams "MICHAEL! DON'T YOU LEAVE ME HERE!"

The final scene of this movie is the ghosts and William one by one. We see them all fade away and the final thing William sees is Cassidy and Garrett.

[stageplaymlp]

Hi I wanna start Trigun and you're the person in my feed who mentions it most, should I start with the manga, the old anime or Stampede?

Honestly? You can start wherever. The main three versions of Trigun (1998 anime, the manga, Stampede) are all incredibly varied and you'll get different things out of them. It's a "pick your poison" type deal. I'll give you a quick run down of the different versions so you can choose which is best for you, anon

It's also worth noting that my personal journey with Trigun went: '98 -> Stampede -> TriMax -> BLR

(Oh yeah, there's also a movie called Badlands Rumble. We'll get to it)

'Trigun' / 'Trigun: Maximum' manga: I think it'd be best to start this discussion with the source material. If you're looking for the most complete and rounded story of Trigun, this is it, mainly because it ran the for the longest out of all versions, and is a finished work (Stampede is ongoing). It's also worth noting that this is the darkest version of Trigun so far and goes into some very heavy subject matter (gore, (mostly offscreen) SA, suicidal ideation, etc.) There's a tumblr post listing the various trigger warnings that I'll link at the end of this section. That said, it is definitely my favourite version of Trigun narratively and BOY is it an emotional roller coaster. It's what gave me the brain worms. It's got a good mix of the silly and the sad, while also going BUCKWILD near the end. It's great. Highly reccomend

Oh, yeah, the manga is also split into Trigun and TriMax because the magazine it was published in got canned. Trigun was then picked up again by a new publisher with an added subtitle. Trigun is 2 volumes while TriMax is 14. The manga as a whole ran from 1995-2008. It's all one continous story so don't worry, with the events of TriMax picking up two years after the events of Trigun in-universe

Here's the post btw: https://www.tumblr.com/blackblockconsortia/719247451003977728/and-now-for-trimax-general-warnings-for-trimax

'Trigun' 1998 anime: Ah, the OG, for me at least. Watched this back in 2018 and started me on this ride. It should be worth noting that at the time of 98's creation, only the two volumes of Trigun and the first two volumes of TriMax were out at the time. Due to this, the 98 anime is about 60% filler (as in, anime original content) and it has its own ending, too. I consider it its own story compared to the manga, despite directly adapting a number of its storylines. 98 is only 26 episodes and leans very heavily into the comedic, episodic element in the first half of the story. The manga has this too, but 98 commits to the bit more. Then the second half rolls around and punches you square in the gut. It's great. Not nearly as dark as the manga or Stampede, but 14 y/o me was DEVASTATED by the end of it. Absolutely iconic. Also, while the ending is different to the manga with how things shake out, it's satisfying in its own way

'Trigun: Stampede' 2023 anime: This here is what reignited my love for this series. Now, Stampede is a VERY DIFFERENT BEAST to the 98 anime, which I think is part of why people were hesitant about it on reveal (including me). Stampede is a lot more serious in tone and less episodic, keeping to a consistent plot episode-to-episode (for the most part). It's also only 12 episodes in length as of season 1. The anime is also 3D, but the animation is BEAUTIFUL. Studio Orange know what the fuck they're doing. I also need to mention that Stampede is a reimagining of the manga, not a direct adaptation. It takes the same concepts, lore, characters and themes and moulds them into something new (kind of like the different versions of TMNT). If you watch 98 or read the manga before this one, you will have to go in with an open mind and heart. It's good, though, I promise. What's fun about Stampede is that it came out after the manga was finished, so characters and backstory elements that never got adapted into 98 (because they didn’t exist at the time) finally get animated. I'd say it's more faithful to the story and tone of the manga than 98, but with its own flavour mixed in. It was clearly made with a lot of love for the franchise, too

'Badlands Rumble' movie: BLR came out in 2010 and treats itself like an extra episode of the 98 anime for the most part. It's its own self-contained story, and plays off of the dynamics and characterisation of 98 than other versions, with a number of nods to the anime mixed in. Hell, a new version of the 98 anime opening 'H.T.' even shows up in the soundtrack. It doesn't tie into the wider story of any version of Trigun, but if you want another silly adventure with some killer action scenes, then I'd reccomend it. I'd suggest watching 98 before this, though, but it won't ruin the movie if you don't. You can know fuck all about Trigun and enjoy this. Although, warning for Vash being a bit of a weirdo to the leading lady. He needs to calm down

There was also a tie-in manga for the release of the movie called 'Trigun: Multiple Bullets'. The first two chapters directly follow the events of BLR, while the rest of the chapters are an anthology made by guest artists. Warning, though, most of the other chapters take place after the events of TriMax and can contain spoilers. In terms of quality, the chapters are... Okay. I like some more than others. Boichi (mangaka of Dr. Stone) drew a Very Manly Vash and he scares me. Also, I should mention the storyline about the side-character, Rei-Dei the Blade, has offscreen SA and CSA. It took me off guard because I didn't know it was in there, and it's pretty messed up. I'd still recommend MB if you want some extra Trigun, and some of the chapters are genuinely funny and heart warming, but I wanted to give the heads up

Now, with all this considered, there are two places I'd reccomend starting Trigun: the 98 anime or Stampede

The 98 anime is more lighthearted and keeps a lot of answers to the lore close to its chest. I found discovering more about the world through other versions to be narratively satisfying, like one big unravelling mystery. TriMax and Stampede also greatly expand and improve upon concepts in 98 as well. It's a good way to ease you in to the world of Trigun while making you want more. You fall in love with the characters, and THEN the plot whacks you upside the head with a frying pan. I like the slow burn

Stampede is the opposite. You get right into the action out the gate. It offers answers to questions far quicker than 98 ever did. The ball is rolling and it rolls FAST. You want the meat and potatoes of Trigun shoved in your face? Stampede is for you. It's also better if you prefer serious, story-driven media. Although, Stampede isn't complete yet, so you will have to wait for 'Trigun: Stargaze' to come out for the full narrative to resolve

AND THAT'S WHERE THE MANGA COMES IN BABYYYYYYY!!!!! It has the humour and slow build of 98 AND the complex story and tone of Stampede. It's the best of both worlds. You get all the answers, you get that satisfying resolution, and you get to cry on the side of your bed from the amazing writing (like I did). You won't even get that spoiled for what will come after Stampede, because who knows how much of it Studio Orange will take from and how. All roads lead to the manga. That is my advice

Also all the OSTs for Trigun (98, BLR and Stampede) are AMAZING. Go listen to them. They're all on Spotify, if that helps

I wrote this at 3am. I hope this is coherent

[booksandchainmail]

tagged by @apollo-cackling to shuffle my general listening music and post the first 10 songs. I went with all music instead of my "music" playlist since I haven't updated that in a year or so

Saudade, Saudade by Maro. This was Portugal's entry to the 2022 Eurovision, where it came in ninth, presumably because although it sounds very nice the staging was just a bunch of women sitting in a circle and clapping

Best of Wives and Best of Women by Lin-Manuel Miranda Hamilton (Unknown Album). I ripped the entire Hamilton soundtrack from youtube back in ~2015, then kept it as a playlist since I couldn't figure out how to sort songs from an artist

Banks of Newfoundland by Ewan MacCoil & A.L. Lloyd. This is from a playlist of sea songs that @thoughtsformtheuniverse put together, and one of my favorites on it. I tend to use this playlist as background music while working/chores, and this song is excellent for washing dishes to.

Giant Woman by Steven Universe. Not one of the best songs from Steven Universe or one I listen to on it's own, but it does a good job setting things up early

Ode to High Heels by Seanan McGuire. This is off of Creature Feature, which is I think my least favorite of her albums: there are some really good songs in it, but most of the album I have no impression of. I think partly this is because it riffs a lot on horror/slasher/monster movie tropes, which are not really genres I know. This song is mostly lost on me, and I don't like the musical style either (in general I think her comedic/parody songs are weaker)

Natsume Yuujinchou Opening 3 (Boku ni Dekiru Koto by HOW MERRY MARRY). So I have the opening theme downloaded for every anime I watched between 2012 and 2019, and this sure is one of them. It's honestly not great, and suffering from the fact that the first two Natsume Yuujinchou openings were really good, so this is just bland in comparison

Ragnarok III: Strange Meetings by The Mechanism (DTTM version). This song is like 90% talking and instrumental, but it's very good at that. This is probably the emotional core of the album, the dialogue would do very well over an angsty image set. I do prefer the studio version though.

Oray Sujon Naiya by Boarding Party. Also from the sea songs playlist, though not one I listen to frequently, it's a bit too slow/acapella for doing things to at a reasonable pace. An internet search says this is a Bengali folk song for rowing downstream.

Underworld Blues by The Mechanisms (DTTM version). Ulysses Dies at Dawn is one of their more uneven albums. This is one of the good ones. I love a song where a bunch of people get their own individual verses, and Ashes kills it as Hades. I like the contrast between Ulysses and Heracles gravelling their way through their verses, and then Orpheus drifting way up high. I mostly don't listen to this specific version, I prefer studio to live.

Fullmetal Alchemist Brotherhood Opening 4 (Period by Chemistry). Now this one slaps. I think this is considered one of the iconic FMAB openings alongside the first one, and if it isn't it should be.

tagging (if you feel like it) @thoughtsformtheuniverse @overzealous-panda-yak @eldritchwyrm @tanoraqui @coraniaid @corvidcorgi

[hornsketch]

hey there! ive finally made an art blog! im going to try post more just… stuff, as usually i reserve my art posts for either special occaisions or specifically public-oriented works, and it kinda bums me out to not just have a place to dump my art anymore, so here you go!

(more details and helpful info below!)

who are you?

in hopes of providing some relevant lenses to view my work through, ill give some personal details here. if these lenses dont suit your interpretation of the work, thats alright! view as you please, though i do still think these will always be important context in said viewings.

my name is zelda (she/her) and im a queer jewish 20something who struggles quite a bit with illness both physical and mental.

ive always been kind of enthralled by impressionism and what it really means to use suggestion and spirit as a stronger tool than portrayal and form.

i have a particular draw to fantasy and magical aesthetics, especially the world-building within.

i am a serial overthinker, and tend to see alot of meaning and symbolism in things that plainly do not have them.

while yes i am jewish, my relation to faith is complicated. if you see me type “god” im using it in a turn of phrase with no meaning. if you see me type out “g-d” i am being religious. yes i know thats not how its supposed to work. its meaningful to me.

what will you post?

as previously mentioned, here im trying to make a concerted effort to post a broader variety of things with a wide selection in quality and topic, so unfortunately here the only real uniting theme is going to have to be that i made it. still! to help navigate the space, listed below will be a list of tags i will try to keep to, all of which this post will also be tagged as, since i know tumblr search can be finicky.

#the self and the other

these will be about me, my friends and loved ones, or possibly both

#differing mediums

these pertain to other works or universes, as well as fan content

#harsh tones

this is gonna be the rough stuff. topics will be tagged as needed.

#jaunty doodles

funny business. shenanigans, even.

#lesssfw

listen this blog is for a wide breadth of content, so please if you do not want to, or otherwise should not be seeing mild to moderate nsfw content (i dont rlly plan on posting straight up porn here) block this tag.

wait— is there anywhere you do post more direct nsfw?

maybe, yeah. but before any of that i would like to set some ground rules. these are my spaces for me to share my work for others to see. if you arent a fan of what i post, ill make no attempts to dissuade you from that. your discomfort is your right. I would however request that you dont make your discomfort an issue i am epxected to remedy. ill have no harsh feelings if you arent a fan of my less safe for work content, or even anything it may tangentially relate to, and need to take the necessary steps to curate your experience in those regards. i will be far less than happy if people cant behave because i post content that is not to their personal tastes, within reason.

all of that being said, yes, if you are an adult fan of my other work, feel free to check out @shinyspadetiptail

do you take commissions?

yeah, usually. im not really at the point where i have to close and open them for availability reasons, so shoot me a dm and ill usually be able to give you a response pretty quick on.

price tends to vary by project, and i always set $20 per hour of canvas time as my baseline, but generally simpler stuff like limited detail icons and emojis run in the $20-$30 range, while fully detailed halfbodies tend to run in the $40-$50 range, and fully done fullbodies range more $70-$80. aside from that, backgrounds are a little too context dependent to put a full price estimate on and extra characters can and will cost extra.

usually whatll happen is after laying out the basic price range we’ll talk, and ill thumbnail until we have smth we can agree on, and once weve got an idea of what were going for ill give an estimate that ill try to stick close to, barring any major changes or complications. from then on ill try to send updates whenever i work, and then when im relatively close to finished ill ask for the payment either through paypal or cashapp, after which ill send on the finished piece and any expected variations. in some cases, this may be changed, and payment may be done half at the start, and half when relatively close to completion.

[jgroffdaily]

When the universe, Disney Imagineers, and a bit of Elsa's ice magic combined to bring a story from Frozen director Jennifer Lee's mind into reality, she had to let her emotions go, as the filmmaker exclusively tells EW that setting foot inside Hong Kong Disneyland's immersive World of Frozen land for the first time had her fighting back "literal tears" of pure joy — all amid an announcement that Frozen 3 and 4 are simultaneously in the works.

"I think beyond, because I hear there's more room, because I'm like, 'You're going to need it," Lee teases when asked where fans should look to find clues about Frozen 3 inside World of Frozen. "There's a lot more story coming."

The result of their collaboration is both a nod to the last decade of Frozen fever (complete with returning voice actors who recorded new lines for the attraction, namely Josh Gad as snowman Olaf and Jonathan Groff as Kristoff), as well as a look to the series' ever-evolving potential future — including an overarching message of inclusivity and shared joy exemplified by a brief (but no less effective) change in the iconic lyrics to "Let It Go" inside Frozen Ever After.

[coldstoicism]

001. ⸻ Writing and artwork on this blog may contain mature themes such as canon-typical gore and violence. Posts will be tagged accordingly. Mortal Kombat is not a game for the faint hearted so do proceed with caution if blood & gore are triggering themes to you. Only follow & interact if you're 21+.

002. ⸻ I'm an adult with responsibilities and a job outside of writing, I might sometimes take a day or two to respond to you. Please be aware of that and don't assume I'm ignoring you. I'm doing my best to get back to everyone and I apologize if responses sometimes take longer.

003. ⸻ English is not my first language. While I'd like to think I have pretty decent grammar, I might make mistakes sometimes, especially when it comes to correct punctuation as it is vastly different from that of my native language. Please be patient with me, I'm trying my best.

004. ⸻ I use small text to write, but I don't mind switching to the regular text size for better accessibility. Just let me know ahead and I'll make sure to adjust the text size for my posts accordingly. I also use icons in my posts.

005. ⸻ This blog is crossover friendly and open to writing with original characters. With all the different timelines existing in the Mortal Kombat universe, the possibilites to craft unique stories are pretty much endless. Don't be afraid to reach out if you have a cool plot idea, I would love to hear it.

006. ⸻ I feel like this should be self-explanatory, but no godmodding, no taking control of my character or anything of the likes. It's very annoying and it will take away my enthusiasm to continue writing with you.

007. ⸻ I'm above engaging in petty drama with anyone on here, I made this blog to write for my favorite character and for no other reason. I can't stand negativity and toxicity. If I see you being rude to others, spreading hate or even bullying other people in the community, I will instantly block you. If you have a problem with me, feel free to reach out to me so we can have a civil conversation about it.

008. ⸻ Please be aware that my portrayal of MK1!Bi-Han is not 100% canon-accurate. While I tried to make as little changes to the character's personality and backstory as possible, some aspects of him will be based on my own headcanons. The writing for him in MK1 is annoyingly inconsistent, contradicts itself on multiple occasions and sometimes even makes no sense at all, so I won't be adopting much of it into my portrayal. Do not expect me to write Bi-Han as a one-dimensional joke villain just because ❛ it's canon ❜ in the current timeline. If that's the portrayal you're looking for, you might want to look for someone else to write with. That said, this blog will feature different versions of Bi-Han from different timelines, so please do specify the timeline you'd prefer for the plot to be set in. For now I only write Bi-Han as Sub-Zero and I haven't decided on whether or not Noob Saibot will become a secondary muse on this blog yet, but it's well within the realm of possibilities.

009. ⸻ I do not condone hate, homophobia, racism or anything of the sorts and if I see someone partaking in such problematic behavior that will warrant an instant block.

010. ⸻ Personally, I'm not the biggest fan of writing romance plots, I don't have any preferred ships for Bi-Han and I don't see that changing anytime soon. I just don't see Bi-Han as someone who's particularly interested in romance or relationships. Depending on how his character develops in the current timeline, that might change in the future.

011. ⸻ Lastly, if you have further questions, feel free to send me a message at any time.