#rebel red carnation

[thekadster]

cliquetober day 10: decay (a twenty one pilots drabble)

Fandom: Twenty One Pilots

Word Count: 488

Trigger Warnings: None!

Author’s Notes: Wrote something from Jenna’s POV :0

❝ Jenna always thought of the red carnation in Tyler's pocket.

She knew there was something about DEMA that he couldn’t let go of.❞

also read it on ao3!

Jenna always thought of the red carnation in Tyler's pocket.

She didn’t know why he always carried it around. She thought he didn’t like the color anymore, all too reminiscent of the Bishops’ robes. He brought it from DEMA when he was last rescued, finding it in the dead grass. She didn’t think flowers could even grow in the city.

Whenever people would ask, he’d always say it was something he “picked up along the way”, that he found it “somewhere”. He kept it around because it looked pretty – and to be fair, it did – but that’s all he’d say. She always wondered why he didn't talk about it much.

What he lacked in conversation, he made up for in attention. He’d sometimes sit and stare at it, admiring its hue and the folds in its petals. There was a certain look in his eyes, wonder mixed with something deeper and distant. She lost track of the times he’d done it, whether by the campfire or standing alone on a cliff.

Today was one such time. It had now been over a year since Tyler found the carnation. The petals were dried and torn, some having even fallen off. The stem had grown decayed and crooked from all the times he'd shoved it into his coat.

But still, he twirled it around in his fingers and traced its darkened reds. It was like time had never passed.

Jenna sat down beside him over the cliff. “Are you ever going to get tired of it?”

Tyler paused. The flower looked like it would fall apart at any moment. “I don’t know.”

“It’s been a year, Tyler,” she said. She tilted her head. “I never thought you liked red so much.”

“I don’t.”

“Then why keep it around?”

He stared at the flower, his mind searching for something that was almost there. He tried finding reason in missing the life in a city he hated. “...I don’t know.”

She frowned, noticing his distant eyes. She knew there was something about DEMA he couldn’t let go of. It happened to many Banditos like them. They hated the city and wouldn’t ever go back, but for a long time, it was all they knew. It was hard letting go of that kind of familiarity, even for her.

Jenna put a hand on his shoulder. “Hey, we’re almost at Slowtown. There are lots of flowers there, you can pick new ones.”

Tyler looked at her. “You’ve been to Slowtown?”

“No.” She shook her head. “But I’ve heard.”

They sat in silence for a while. Tyler thought about the flowers. It had been years since he’d been to Slowtown, and he wondered if she was right. Their journey had become so long at times that he doubted if the town was even real.

But if it was anything unlike DEMA, maybe he’d see more than carnations. Maybe he’d learn to let this one go.

[sunsetbridge555]

fall out of formation, i plan my escape from walls they confined

rebel red carnation, grows while i decay

[blurryeef]

TORCHBEARER

neon in lead tubes, slosh against the grain hemmed closure of no escape

door frame tucked into corners, threatening oxygen crumbling inside his lungs

gray air, carnations against smudged glass. resists against the nine. he couldn't think past concrete, concluded bodies in lead tubes.

wouldn't it be easier? to melt into concrete, go against the carnations, rebel against the red.

black, under skin and festering low. black stomach, black blood, black veins. smudged windows from finger paint, maybe today is the day we escape.

he's gathered around, around the nine. construction of conclusion, unmarked, concrete licked by neon flames. if i die to my hands, would my skin remain black; or would the body revert to which it came.

sunlight and fire, through tunnels of lead. he shakes my hand and the paint doesn't spread.

hes inside the ground, intruding gray air. I follows his light, a light bulb in darkness, LED yellow.

grass sprinkled with carnations: a hopeful resolution, lined between carnage and conciliation

he passes the flame, from left hand to my right

"for war is evident, ignite a new. i welcome you Tyler, a world to pursue. creation is precious, light painted on skin, in trench we discard the darkness, self-condemnation is sin."

neon in lead tubes, against the grain, a hemmed closure of no escape- now 200 feet behind, tucked against finger paint. as trench welcomes resistance the sun rises once more, longing for change rallying against deaths door.

[poptivist]

metaphorical deaths across trench

the day trench was released, kerrang published an article which contained the following quote: “neon gravestones, tyler explains, is the heart of trench.”

and i just didn’t get it. we’d had jumpsuit, natn, levitate and my blood for months; all in-world, all not having very much detail about death other than showing the literal gravestones lit with neon.

in early 2019 i ran a small poll on twitter asking “do you think this is related to the narrative” for each song on trench, and of 132 voters, only 67% said yes, neon gravestones seemed related. i didn’t then – and still don’t now – know what exactly neon gravestones as a song has to do with every other part of trench the album.

here are some things we do know: ending your life is the goal of vialism. in the third verse of neon gravestones tyler lists reasons that someone might end their life (as a form of legacy, as a form of lashing out) and says as a counterpoint that our culture should glorify old age instead of an early death. in leave the city, the record’s last song, tyler says “in time i will leave the city; for now i will stay alive.” and we know it’s the goal of the vulture/bandito to turn death into life (be a vulture who feeds on pain).

with the “heart of trench” thing in mind, i’m looking for ways that neon gravestones relates to each other song on the album – because before there were articles, interviews, or music videos, these songs existed first on their own, together. i’m starting from here:

the first verse of neon gravestones gives us this:

what's my problem?

what’s his problem? he’s about to explain. excellent.

well, i want you to follow me down to the bottom underneath the insane asylum keep your wits about you while you got 'em 'cause your wits are first to go while you're problem-solving and my problem? we glorify those, even more, when they

(“lost ‘em,” presumably.)

so based on tyler’s description of song structure i’m looking for problem-solving as a point of conflict (specifically, losing wits) and death as a topic.

this is what i’ve scraped together -- i've categorized each song as wits kept, wits lost, and incorporating death into living.

jumpsuit. jumpsuit ends with tyler in a pose that definitely screams dead.

though “attempted escape should be honored,” considering tyler tried (with zero endgame) to run on foot from a bishop on horseback, i would place this firmly in the category of wits lost.

02. levitate “i am a vulture who feeds on pain”. vultures feed on carrion, so there’s some relationship between pain & death. in a sense he’s incorporating death into living.

03. morph. tyler can’t stop thinking about life after death, even though nico is always trying to stop him.

he takes this song to methodically reason out his thoughts about death. for that reason, i would categorize this as wits kept.

04. my blood says “if you find yourself in the lion’s den, i’ll jump right in and pull my pin.” taking the grenade with you is a one-way trip 💀 so i would categorize this as wits lost.

i noticed a bunch of these songs have high emotion in them, like for example jumpsuit's “i can’t believe how much i hate…” if there’s high emotion in this one, i would call it loyalty (but past the point of self-preservation).

05. chlorine. chlorine says "rebel red carnation grows while i decay." decay suggests a death occurring. “i’ll be back when it’s all complete” and “the moment is medical” says this leaving-of-the-city is temporary and necessary; it’s incorporating a death into living.

06. smithereens. “for you i would get beat to smithereens”. smithereens literally means small pieces, which is generally considered pretty dead. if there's high emotion here i would call it most likely rage. you could maybe say what he wants to save he'll kill: in jumpsuit, himself, in my blood, his brother, in smithereens, his relationship. i would call this one wits lost.

07. neon gravestones: is the song we’re talking about.

08. the hype. the hype music video shows tyler and josh getting shot up by invisible bullets, which according to the director symbolized the metaphorical death that took place before the band redefined themselves for trench. this is incorporating a death into living.

09. nico and the niners. this one does say we will win but not everyone will get out. that doesn’t necessarily mean death, but the whole rap verse is a half-assed plan at best. (still better than jumpsuit, which was a zero-assed plan)

10. cut my lip. the cut my lip visuals show the arms of the statues pictured in natn sticking up out of the ground as though drowning. so maybe wits lost? being buried in the ground/drowning is dying, and in the song he says explicitly this isn't what he wants.

(the cement people periodically turn yellow like the vulture)

11. bandito. in jumpsuit tyler’s death is preceded by a fall; in bandito the lyrics say “we know you don’t know to fall”. they also say “i created this world to feel some control; destroy it if i want”. wholesale destruction does seem death-adjacent. i would call both of these things incorporating death into living.

12. pet cheetah. no deaths here. tyler says “no, i move slow, i’ll sit here til i find the problem.” the squealing tires tell us there is an urge to move hastily, but tyler makes a decision to be patient with his problem. i would call this wits kept.

13. legend. during the live show tyler would say during legend “if i my grandfather taught me one thing it’s that it’s worth it to keep on fighting all the way to the bitter end.” he also says “you’re a legend in my own mind” and notably, dema maps have a compass rose, but no legend, so maybe his grandfather is an example for him? either way, “keep fighting to the bitter end” is a clear plan, so i would call this wits kept.

14. leave the city. “it’s only time before they show me why no one ever comes back with details from beyond.” this suggests he’s talking about a final death, a final leaving-of-the-city, the point of no return (assuming people aren’t coming back with anything else either, like cashews or scratch tickets or whatever). this isn’t incorporating death into living then, but it’s a plan to live. i would call this wits kept.

so that's my attempt to see neon gravestones as central to trench beyond what is explicitly said in the third verse. i'm basically full of question marks and this is the best i could come up with. any ideas? what am i missing?

[sashayed]

Vivas To Those Who Have Failed: The Paterson Silk Strike, 1913

Vivas to those who have fail'd! And to those whose war-vessels sank in the sea! And to those themselves who sank in the sea! And to all generals that lost engagements, and all overcome heroes! And the numberless unknown heroes equal to the greatest heroes known! —Walt Whitman

I. The Red Flag

The newspapers said the strikers would hoist the red flag of anarchy over the silk mills of Paterson. At the strike meeting, a dyers' helper from Naples rose as if from the steam of his labor, lifted up  his hand and said here is the red flag: brightly stained with dye for the silk of bow ties and scarves, the skin and fingernails boiled away for six dollars a week in the dye house.

He sat down without another word, sank back into the fumes, name and face rubbed off by oblivion's thumb like a Roman coin from the earth of his birthplace dug up after a thousand years, as the strikers shouted the only praise he would ever hear. 

II. The River Floods the Avenue

He was the other Valentino, not the romantic sheik and bullfighter of silent movie palaces who died too young, but the Valentino standing on his stoop to watch detectives hired by the company bully strikebreakers onto a trolley and a chorus of strikers bellowing the banned word scab. He was not a striker or a scab, but the bullet fired to scatter the crowd pulled the cork in the wine barrel of Valentino's back. His body, pale as the wings of a moth, lay beside his big-bellied wife.

Two white-veiled horses pulled the carriage to the cemetery. Twenty thousand strikers walked behind the hearse, flooding the avenue like the river that lit up the mills, surging around the tombstones. Blood for blood, cried Tresca: at this signal, thousands of hands dropped red carnations and ribbons into the grave, till the coffin evaporated in a red sea.

III. The Insects in the Soup

Reed was a Harvard man. He wrote for the New York magazines. Big Bill, the organizer, fixed his good eye on Reed and told him of the strike. He stood on a tenement porch across from the mill to escape the rain and listen to the weavers. The bluecoats told him to move on. The Harvard man asked for a name to go with the number on the badge, and the cops tried to unscrew his arms from their sockets. When the judge asked his business, Reed said: Poet. The judge said: Twenty days in the county jail.

Reed was a Harvard man. He taught the strikers Harvard songs, the tunes to sing with rebel words at the gates of the mill. The strikers taught him how to spot the insects in the soup, speaking in tongues the gospel of One Big Union and the eight-hour day, cramming the jail till the weary jailers had to unlock the doors. Reed would write: There's war in Paterson. After it was over, he rode with Pancho Villa.

IV. The Little Agitator

The cops on horseback charged into the picket line. The weavers raised their hands across their faces, hands that knew the loom as their fathers' hands knew the loom, and the billy clubs broke their fingers. Hannah was seventeen, the captain of the picket line, the Joan of Arc of the Silk Strike. The prosecutor called her a little agitator. Shame, said the judge; if she picketed again, he would ship her to the State Home for Girls in Trenton.

Hannah left the courthouse to picket the mill. She chased a strikebreaker down the street, yelling in Yidish the word for shame. Back in court, she hissed at the judge's sentence of another striker. Hannah got twenty days in jail for hissing. She sang all the way to jail. After the strike came the blacklist, the counter at her husband's candy store, the words for shame.

V. Vivas to Those Who Have Failed

Strikers without shoes lose strikes. Twenty years after the weavers and dyers' helpers returned hollow-eyed to the loom and the steam, Mazziotti led the other silk mill workers marching down the avenue in Paterson, singing the old union songs for five cents more an hour. Once again the nightsticks cracked cheekbones like teacups. Mazziotti pressed both hands to his head, squeezing red ribbons from his scalp. There would be no buffalo nickel for an hour's work at the mill, for the silk of bow ties and scarves. Skull remembered wood.

The brain thrown against the wall of the skull remembered too: the Sons of Italy, the Workmen's Circle, Local 152, Industrial Workers of the World, one-eyed Big Bill and Flynn the Rebel Girl speaking in tongues to thousands the prophecy of an eight-hour day. Mazziotti's son would become a doctor, his daughter a poet. Vivas to those who have failed: for they become the river.

Martín Espada from Vivas to Those Who Have Failed, 2015

[nicoandthepoets]

guys?? I should be studying chemistry rn but I also decided to listen to trench and just realized smth or idk, what i'm gonna say might be stupid

BUT

In chlorine, there's a lyric that says "rebel red carnation grows while I decay" and the new era is red

so someone died or is dying? maybe clancy?

and i'm also thinking, in one of the dmaorg letters, clancy writes that he was asked how to name "it". "It" might be redecorate, but also scaled and icy itself, right? Which means clancy came up with the whole "clancy is dead" himself?

I do think there's more than one clancy, but this would mean one of them is definitely dead i guess?? It would also explain the woman in the end of the overcompensate mv. What if she's also a clancy? Maybe the original ("Can't you see, I am Clancy")? It would definitely explain the pronouns in redecorate changing from he to she and back to he. Also the female voice in the beginning of the overcompensate mv

AND AND AND

There's also this lyric in redecorate that goes: "Blankets over mirrors, she tends to like it". I read somewhere people put blankets over mirrors when someone passed away.

Soo did clancy really die? maybe scaled and icy was propaganda, but not the title? or am i just going crazy help

idk idk idk others have probably said all this before and i'm just rambling

[if-you-fan-a-fire]

“Among present-day political parties, the Socialists, and notably the German Social Democratic Party, especially in its early years and around the end of the last century, made extensive use of symbols as a means of recruitment and of encouragement to active membership. The Red Flag, the carnation in the buttonhole, and the term ‘‘comrade” are symbols that have played an important part in the history of the Socialist movement. It is true that as time passed the Social Democratic Party, and especially its leaders, became more and more respectable; it grew ashamed of its earlier sentimental explosions, and considered symbolism a game for children; its leaders no longer let themselves go except in the accumulation of evidence and statistics and in economic theory and history and the like. If ever they returned for a moment to their old emotional propaganda, once used with such skill, they made such tame and ineffective use of it that it was robbed of its appeal. 

The new style was in conformity with the new theory: it was believed that the whole mechanism of the world was simply a series of economic operations, and that men were simply the pieces in a game of chess, identical automata, furnished with digestive apparatus and not much else that mattered, and reacting only to economic agents. It was said that everything followed a natural and inevitable course: the whole world was becoming industrialized; overproduction and unemployment, the inevitable consequences of the capitalist chaos, produced a crisis; the “fuel” for the “automata” ran short; the automata “rebelled”; and every four years, when a button was pressed that sent them to the ballot-box, they voted in increasing numbers for the advanced parties. At last the end so patiently awaited, the 51 per cent, of the total vote, would be attained, the era of Socialism would begin, and then the jugglers with statistics, having completed the necessary democratic formalities, would proceed to give the automata a happy existence.

The practical conclusion to be drawn from this theory was : “Discipline! Keep cool! We shall reply to our opponents with our votes, ten days after they have slapped our faces!” This was the classic reply given by the leaders of the German Social Democratic Party in Berlin on July 20, 1932, the fatal day on which that party signed its own death sentence by tamely submitting to von Papen’s bluff. On that day von Papen, Chancellor of a "national Government” about to go to the polls, forcibly removed the Socialist Government of Prussia.

For this ignorance of modem physiological data concerning the science of life and of man, this habit of considering man as an automaton, reacting only to the agency of economic factors, this persistent failure to take account of the realities of human nature and its nervous mechanisms, this stubborn fidelity to manifestly inadequate dogmas, a bitter price has had to be paid. In spite of all the prophecies concerning the securing of the famous 51 per cent, of the votes, prophecies which were not so far from fulfillment, the Socialist parties of the whole world, in spite of the important trump cards in their hands, have suffered defeat after defeat. Their Fascist opponents, the last descendants of capitalism in its death throes, men without human ideals and without any well-defined economic programme, found means of setting the masses in motion and of administering shocks to the great democracies, frequently even wresting power from them.

How has this sort of thing become possible? The reply is plain: the opponents of the democratic governments were not wedded to mistaken dogmas; they had an intuitive comprehension of the true nature of man, and acted upon it in politics. It is true that their political aims are absurd and actually anti-human; but they met with success because the Socialists were incapable of making use of the only weapon that was of any real use at the time, that of propaganda; or, if they made any use of it, did so unwillingly and half-heartedly.”

- Serge Chakotin, The Rape of the Masses: The Psychology of Totalitarian Political Propaganda. London: George Routledge & Sons, 1940. p. 94-96.

[prodigaldaughteralice]

Current status of my pin bag! 

The two NaNoWriMo pins are from fundraising stuff, the skeleton-and-bunny is The Birthday Massacre merch, the carnation is Hadestown merch, the Lewis head is Mystery Skulls Animated merch, and the Delta Rune is Undertale merch— those all come from the official shops of their respective creators

The Wolf and Red hands cameo is by The Creeping Museum

Bismuth Casual and Rebel Gem are by @gracekraft

The rabbit skull, death’s head moth, and two-headed raven are all by @pangur-and-grim

The Sappho quote is by @rosefinchie

There Are Always Storms is by @starsalts

The BATT mask is from themysteryshack.com

The Owlbert is by BusinessBirdsStudios on etsy

The Tulip and Atticus pin is by potinsgoodsfactory on etsy

The Poison: Max Strength bottle is from LunaPatchesPins on etsy

One Flesh, One End (bitch!) is from PendragonsShop on etsy

The Infinity Train door is by pocketspellshop on etsy

Ohtori Academy Girl Gang and Stab the Patriarchy are by @foxflightstudios

The Selkie Conservancy was from the Creature Conservancy kickstarter

Let Me Be Perfectly Queer I think is from donnellycolt.com though I don’t see it on their page now

I cannot remember who I got the beheaded Alice from, it was an artist at FanimeCon a couple years ago, if anyone recognizes it please let me know!!!

The bee is NYT merch and was a gift from my mum, Santa Cruz Mountains was also a gift from her and idk where it comes from, Persist/Resist was also a gift from her but I think it’s from jubly-umph

Both vampire mouths were gifts from my sib @melloproductions so I do not know their provenance either lol

The Drink Me bottle… I don’t remember where I got it I’m sorry

[whateverlania]

Rebel red carnation

[pilotstreets]

(imagine this is a poll)

which wax stamp should i (try) decorate the outside of my clancy notebook with

yellow sunflower

red flower (pretending its a rebel red carnation)

both

[mossandteeth]

Twenty One Pilots: Colour Theory

Colour has been a prominent part of twenty one pilots pretty much since the beginning. During the vessel era, there were some hints at how significant colour would become - especially with the guns for hands music video and the vessel era logo.

From Blurryface onwards, the colours being used became very intentional and a significant amount of meaning was put behind them. This was seen all throughout the branding, music videos, performance outfits, live show visuals, etc.

Here is what I've been able to gather / theorise about the colours twenty one pilots uses and what they represent:

Red

The main colour for the Blurryface album and era. This was seen everywhere: the album cover, Tyler's beanie and tape on his fingers, every part of branding. The deep voice in songs is blurryface's voice, and Tyler has red eyes in the music videos, representing BF (his voice / control). The bishops wear red as they embody blurryface. Red represents what blurryface represents. It's theorised that the two red circles (ride + stressed out) on the album cover were those songs because they are the two most popular and controlled songs, blurryface had the most "control" over those songs being released (leaking, etc.). Red is mentioned in songs throughout albums, e.g. "rebel red carnation", "that shade has turned to red". The original logo had a red "/", same as the BF era logo.

Orange

The colour appeared in the heathens music video, where orange is a bridge between red and yellow before the Trench era after Blurryface. Orange hasn't been a prominent colour in an era, but it has been lurking around. Tyler has an orange beanie that he wears, there's a photo of Tyler and Josh next to an orange part of a phone booth (that they intentionally edited, as irl it is red), there's little bits of orange in the SAI branding sometimes, etc. Orange could represent a transitional colour in general, but it was likely a one off for BF -> Trench.

Yellow

#FCE300 is the hexcode of a yellow shade that the bishops cannot see. The colour represents banditos, yellow is a code for freedom from the bishops / blurryface. The banditos wear yellow tape on their clothes as a symbol to other banditos. The colour also appears in the eyes of whoever or whatever is experiencing a psychokinetic link (moving with the mind). A ritual in The Outside's music video and in a DMAORG post shows how this link can happen, and how one person can control another. This doesn't necessarily mean yellow means control - since red already has that role. While being a code for freedom, yellow may signify influence, which would line up with it being one of the three main colours in SAI. Trash's yellow flames could be the reason the banditos wear yellow, since Trash has been influential in the Trench world and has helped the Tyler (Saturday MV, whether it was his own control or not).

Interestingly, this kind of yellow is very similar to pure chlorine. "Straight chlorine" would presumably be shown this colour, but in the Chlorine MV, it's shown as a blue colour. There are some interesting theories out there about why this might be, but I won't go into them here.

Green

Green hasn't had much of a symbolic role yet, but it has been one of the main colours of the Trench era. Green is worn by banditos, as a kind of uniform. The textured green camo print was the banditos theme, emphasising on them hiding out in Trench, with yellow highlighting their cause.

Blue

Blurryface tweeted back in 2016 that blue is a sign of defeat, and to wear it on stage is a sign. Whether it's still a sign or it was just for that one time - the meaning remains. In Scaled And Icy, blue is one of the three main colours of the era. Part of SAI indicates a defeat, likely hinting to the anagram Clancy is dead - whether this is real or propaganda is another theory though...

Circling back to Chlorine - pure chlorine is yellowy, and when chlorine made for pools is put into water, it dyes the water a light blue. In the Chlorine music video, the liquid is shown to be blue rather than yellow.

Pink

Pink is a diluted, whitened red. Josh's powers shown before the livestream started show him turning three objects pink, before beginning to transform a Trash model, but ending up turning Tyler's hair pink by mistake. A theory I have is that pink represents control. Tyler's hair being pink this era shows he is under Dema's control, and that the twenty one pilots experiences (livestream, cinema, the album + songs themselves) are all products of Dema, which has been explicitly stated "controlled by DMAORG". Josh turning Tyler's hair pink would connect to other theories about who this version of Josh is, which I might make another post about. Red being close to pink would show blurryface's / the bishop's control "behind the curtain" (like red being diffused through something). Pink (control) and blue (defeat) have been the two main SAI era colours.

Black

Black on Tyler's hands / neck has represented his insecurity around creating with his voice and hands. It's a physical manifestation of blurryface. Black has also been seen painted on skin in the livestream, where Sally and Dan have black painted on the lower half of their faces around their mouths, like a mask. The theories around why this is would be a separate post, but the representation of the way black is a manifestation of restriction and control is clear. Tyler is smeared in the Jumpsuit MV with black on his neck, heavily referencing black neck / hand paint from the BF era and what it represents.

[houseoflennoxx]

Do your OCs have a favorite flower?

Hiii, love! thank you for this question, i love it! i think i can tell you the favourite ones for my main female OCs, not on a sexism way, but on a way that I know them better than the male characters, maybe with the exception of Elliot.

Avalon's fav if definitely a white hydrangea. I like to think that it was her wedding flower and it symbols gratitude, grace and beauty, that are elements that I think match Avalon pretty well.

Prudence on her side is more of a traditional woman, more closed and reserved than her sisters-in-law, mainly because of her parents, that we will met on the next chapters. That make me associate her to lillies, as they are associated with purity.

On her side, Kate is just the opposite, she goes against the rules constantly and she was known for being a bit of a rebel before her parents death. That being said, she loves tulips because of their youthful vibe, but she prefers yellow ones, that represent desperate love, the way she feels about Celia.

By allusions, Celia's favorite flower is the red carnation. She comes from a Hispanic culture, and in my country, red carnations are used in several important festivities. Likewise, those of this color are related to love, pride and admiration. In addition, they are used both in happy and sad moments, I love that duality.

I also want to talk about Marianne, my favorite character (you will soon fall in love with her too). She is a very sweet girl, who loves pink and purity, so for me, Annie identifies with pink peonies. In Western culture, due to their connection to Greek myths, they are associated with shyness and shame, but also with beauty. Also, in the Eastern world, they are connected with honor, natural beauty, and good fortune. They are literally Annie.

Finally, I want to mention Elliot, who, now-a-days, is a 15-year-old heir to the kingdom, but he is also a very sweet and sensitive boy, who appreciates small and beautiful things. His favorite flower is the astilbe, which is not particularly well known; but it means hope, which is his mantra. Since Elliot is a blue character, I imagine his favorite color is blue as well, so there will always be blue astilbes in his vases.

[mitchestern]

Hey, welcome to my abode! All my poems are posted on Threads, mitchestern. I might post some poems here as well. Here's the masterlist for easy navigation. Thanks for stopping by!

january:

-- first set --

coastline | electric string | turning back time | nicotine candle | mango puree | restroom relief | figure of you in the realm of my dream | somewhere | we had sex last night | coffee and pomegranate

-- second set --

constellations on my face | hadal confession | wineglass | a guy to be my home | screw it, i miss you

—————

february:

-- first set --

us together, temporarily | glimpses of a poet’s soul | closed blinds 'til morning | for keith | red in motion | the gardener | morning walk | guess i should’ve | warm asphalt | ode to my good man

-- second set --

the unattainable and pretty | straight and/or taken | father (i send my pity) | mother (i grieve) | yellow carnations | valentine interlude | some valentine note | atlantis, the poet | deep within the dark | well-dressed

-- third set --

miseries hung in frames | century kiss | life of the party | guys i can't have

—————

march:

-- first set --

familiar man | rebel of the night | strawberry vape | a dream we lived in | unconditional | silence is a sound | citrus | intoxication | i wore dark blue | apologies

-- second set --

i sit and pen the words | maiden of peace | by the pool at morning

—————

april:

-- first set --

for the first time in a while | scarlet milk | sweetheart | eclipse | perilous movement | i hope it ain't love if | a room forlorn | confession of touches | freed with the cost of her | screw it, write it; i have to

-- second set --

the sullen sail | one-night stand | it could be you | ice cream tears | i believe i should be angry by now, but i can't | open up | speck of chance |

[rebel-red-wildflower]

Welcome one and all to Rebel Red Wildflower {Rebel Red and Rebel Red Carnation were both taken :') }, a blog to help document the progress of an upcoming comic of mine called Rebel Red. I am Spirit {@rose-grimm-spirit-does-dumb-shit}, I'm mostly gonna run this place by taking in asks for both the world and it's inhabitants, showing off lore and other such tidbits and of course logging when new pages are up {once I've gotten to that at least}. I'm sure this Intro will expand later on, but for now. Have our Comic Fury Link, I hope you'll stick around!

[audiophiliacfan]

(So where are you? It's been a little while…)

Sippin' on straight chlorine, let the vibe slide over me This beat is a chemical, beat is a chemical When I leave don't save my seat, I'll be back when it's all complete The moment is medical, moment is medical Sippin' on straight chlorine

Lovin' what I'm tastin' Venom on my tongue Dependent at times Poisonous vibrations Help my body run

I'm runnin' for my li-i-i-i-i-i-fe Runnin' for my li-i-i-i-i-i-fe

Sippin' on straight chlorine, let the vibe slide over me This beat is a chemical, beat is a chemical When I leave don't save my seat, I'll be back when it's all complete The moment is medical, moment is medical Sippin' on straight chlorine

Fall out of formation I plan my escape from walls they confined Rebel red carnation Grows while I decay

I'm runnin' for my li-i-i-i-i-i-fe Runnin' for my li-i-i-i-i-i-fe Yeah, I'm runnin' for my li-i-i-i-i-i-fe Runnin' for my li-i-i-i-i-i-fe

Hide you in my coat pocket, where I kept my rebel red I felt I was invincible, you wrapped around my head Now different lives I lead, my body lives on lead The last two lines may read incorrect until said The lead is terrible in flavor But now you double as a papermaker I despise you sometimes I love to hate the fight and you in my life is like

Sippin' on straight chlorine, let the vibe slide over me This beat is a chemical, beat is a chemical When I leave don't save my seat, I'll be back when it's all complete The moment is medical, moment is medical Sippin' on straight chlorine

(Let the vibe, let the vibe) (Let the vibe, let the vibe) Beat is a chemical, yeah (Let the vibe, let the vibe) (Let the vibe, let the vibe) Moment is medical, yeah Sippin' on straight chlorine (Let the vibe, let the vibe) (Let the vibe, let the vibe) Beat is a chemical, yeah (Let the vibe, let the vibe) (Let the vibe, let the vibe) Moment is medical, yeah

I'm so sorry, I forgot you Let me catch you up to speed I've been tested like the ends of A weathered flag that's by the sea

Can you build my house with pieces? I'm just a chemical Can you build my house with pieces? I'm just a chemical Can you build my house with pieces? I'm just a chemical Can you build my house with pieces? I'm just a chemical

[nathan-moth]

Rebel Red Carnation