#the title is also a reference you'll probably get

[targarrus]

hi gongeous @gasstationpopcorn happy valentines and have a nice day :)

[tearlessrain]

please help me- i used to be pretty smart but i’m having so much trouble grasping the concept of diegetic vs non-diegetic bdsm!

gfkjldghfd okay first of all I'm sorry for the confusion, if you're not finding anything on the phrase it's because I made it up and absolutely nobody but me ever uses it, but I haven't found a better way to express what I'm trying to say so I keep using it. but now you've given me an excuse to ramble on about some shit that is only relevant to me and my deeply inefficient way of talking and by god I'm going to take it.

SO. the way diegetic and non-diegetic are normally used is to talk about music and sound design in movies/tv shows. in case you aren't familiar with that concept, here's a rundown:

diegetic sound is sound that happens within the world of the movie/show and can be acknowledged by the characters, like a song playing on the stereo during a driving scene, or sung on stage in Phantom of the Opera. it's also most other sounds that happen in a movie, like the sounds of traffic in a city scene, or a thunderclap, or a marching band passing by. or one of the three stock horse sounds they use in every movie with a horse in it even though horses don't really vocalize much in real life, but that's beside the point, the horse is supposed to be actually making that noise within the movie's world and the characters can hear it whinnying.

non-diegetic sound is any sound that doesn't exist in the world of the movie/show and can't be perceived by the characters. this includes things like laugh tracks and most soundtrack music. when Duel of Fates plays in Star Wars during the lightsaber fight for dramatic effect, that's non-diegetic. it exists to the audience, but the characters don't know their fight is being backed by sick ass music and, sadly, can't hear it.

the lines can get blurry between the two, you've probably seen the film trope where the clearly non-diegetic music in the title sequence fades out to the same music, now diegetic and playing from the character's car stereo. and then there are things like Phantom of the Opera as mentioned above, where the soundtrack is also part of the plot, but Phantom of the Opera does also have segments of non-diegetic music: the Phantom probably does not have an entire orchestra and some guy with an electric guitar hiding down in his sewer just waiting for someone to break into song, but both of those show up in the songs they sing down there.

now, on to how I apply this to bdsm in fiction.

if I'm referring to diegetic bdsm what I mean is that the bdsm is acknowledged for what it is in-world. the characters themselves are roleplaying whatever scenarios their scenes involve and are operating with knowledge of real life rules/safety practices. if there's cnc depicted, it will be apparent at some point, usually right away, that both characters actually are fully consenting and it's all just a planned scene, and you'll often see on-screen negotiation and aftercare, and elements of the story may involve the kink community wherever the characters are. Love and Leashes is a great example of this, 50 Shades and Bonding are terrible examples of this, but they all feature characters that know they're doing bdsm and are intentional about it.

if I'm talking about non-diegetic bdsm, I'm referring to a story that portrays certain kinks without the direct acknowledgement that the characters are doing bdsm. this would be something like Captive Prince, or Phantom of the Opera again, or the vast majority of bodice ripper type stories where an innocent woman is kidnapped by a pirate king or something and totally doesn't want to be ravished but then it turns out he's so cool and sexy and good at ravishing that she decides she's into it and becomes his pirate consort or whatever it is that happens at the end of those books. the characters don't know they're playing out a cnc or D/s fantasy, and in-universe it's often straight up noncon or dubcon rather than cnc at all. the thing about entirely non-diegetic bdsm is that it's almost always Problematic™ in some way if you're not willing to meet the story where it's at, but as long as you're not judging it by the standards of diegetic bdsm, it's just providing the reader the same thing that a partner in a scene would: the illusion of whatever risk or taboo floats your boat, sometimes to extremes that can't be replicated in real life due to safety, practicality, physics, the law, vampires not being real, etc. it's consensual by default because it's already pretend; the characters are vehicles for the story and not actually people who can be hurt, and the reader chose to pick up the book and is aware that nothing in it is real, so it's all good.

this difference is where people tend to get hung up in the discourse, from what I've observed. which is why I started using this phrasing, because I think it's very crucial to be able to differentiate which one you're talking about if you try to have a conversation with someone about the portrayal of bdsm in media. it would also, frankly, be useful for tagging, because sometimes when you're in the mood for non-diegetic bodice ripper shit you'd call the police over in real life, it can get really annoying to read paragraphs of negotiation and check-ins that break the illusion of the scene and so on, and the opposite can be jarring too.

it's very possible to blur these together the same way Phantom of the Opera blurs its diegetic and non-diegetic music as well. this leaves you even more open to being misunderstood by people reading in bad faith, but it can also be really fun to play with. @not-poignant writes fantastic fanfic, novels, and original serials on ao3 that pull this off really well, if you're okay with some dark shit in your fiction I would highly recommend their work. some of it does get really fucking dark in places though, just like. be advised. read the tags and all that.

but yeah, spontaneous writer plug aside, that's what I mean.

[insertdisc5]

game development question, howd you get the music for your games done/find musicians to work with? what was the process like and how hard was it?

id love to make a game of my own some day, but the scariest part of that to me is the music because i can learn to code and i can already draw, but music just seems. a bit too hard

thank you in advance ^^ sorry if you already answered this somewhere

this is perfectly timed because we're almost done with our search for a composer for project ts!

tldr: just get someone to do it for you. you don't have to do everything.

for isat, i was already in contact with Lindar from my first game Serre! I think I was just saying on twitter that music was hard, and Lindar DM'd me with some samples, so she was hired on the spot lol

as for project ts, Amazing Producer Dora put a few posts out on social media (twitter and linkedin iirc?) asking if people would be interested, and we got a good chunk of answers.

looking for musicians yourself and asking for their availability would work too!

as for what you'll need imo, your budget is the most important to figure out imo. How much can you spend on this? Songs are usually X$/song, or X$/minute of song. Look for rates online! Or ask them for a quote! Or just tell them "i have this amount of money what can i get for this"!!! Also you need to know when you'll need this by. Give them a deadline! Even if the deadline is something you work on together later!

After that, how many songs do you need from them? It doesnt need to be COMPLETELY set in stone, but try and keep to it. Give them moods-- you probably would need a title song, a happy song, a sad song, a tense song, a "walking around" song, and go from there.

And then, the Mood. You don't need to know EXACTLY what you want, but just something to get them started! Or at the very least, have a primer with the story/look of it, and a couple of mood words, and let them do what they're good at. Don't stress too much about not knowing music words, so far I've worked with musicians who don't mind me just going "this needs more oomph" lol, but every musician is different!

for reference, this is the sheet i gave Lindar for ISAT's soundtrack:

those are my thoughts as a person who hires composers, i'd be curious to know what composers think!

[theresattrpgforthat]

How To Find Cool Games: On Itch.io!

As I drift into a reduced posting schedule, I figured I’d give everyone a peek behind the screen for how I cultivate ttrpgs for recommendations! Some of these tips might even help you find your next favourite game.

This is a long read so let's put most of this beast under a read-more. Keep in mind that many of these strategies work best when you're checking itch.io a little bit every week, and when you're engaging with the platform as more than just a store page. There's a lot of features that you can choose to engage with if you want to find the game for you!

browsing physical game recent releases. This helps me see what’s new and happening, and it helps with a number of things. First of all, I get to see new games pretty much every time I browse recent releases. Secondly, I get a good sense of what’s currently popular in the design space. Thanks to my weekly browsing, I recognize Cy_Borg, Shadowdark and Mausritter as games whose content shows up rather regularly - if you see a lot of products attached to one game at once, that’s a good sign that there’s a related game jam going on (in this case, Shadowdark), or that a game is really resonating with its player base.

sorting games into collections. I personally organize by genre, system, player configuration and (in Games That Intrigue Me) games that I’m personally really hyped about. This works for me because of the nature of my work, but a few collections sorted according to level of interest or game style might work better for you.

Depending on the need, I might have a collection that works specifically for the request - Neon Lights & Cyber Nights is perfect for cyberpunk games, but I might also reference this folder for combat, inventory mechanics, resistance themes, or interesting tech rules. LUMEN is great for folks who want fast-paced games, folks who are looking for certain kinds of video games, or folks who want to feel powerful. If you follow other people on Itch, you'll probably also be able to see their collections, which is a great place to browse.

searching game tags. I don’t typically use the regular search feature, although recently the website did update the toggles to restrict your results to physical games, video games, etc. Instead what I usually do is type what I’m looking for into the url: so in this case, [deck-building]. I might use a couple different wordings, such as [deck-builder] and [deckbuilding] (no spaces). You’re not going to find everything that includes the thing you’re looking for, but you’ll definitely find places to start.

Game Jams! I find these either by looking at the “Jams” tab (although you'll have to wade through video games here) or by noticing that a number of games being published recently have the “for the _” jam in the description. Alternatively, I might be reading the page for a game and see the little “Submission” badge in interaction buttons. There’s game jams for specific systems, game jams for various themes, game jams with special restrictions, and game jams that are titled things like “finish your damn game jam.”

Bundles. I typically buy big-ass bundles and then sort through the games in my downtime. These games are sorted into collections for future reference, and if a game really pops out - into the Intrigue Me folder it goes! And the best part is that I already own it, so if I want to learn more, I can just download it and start reading.

following game designers that I like. This way I’ll get notifications if they release a new game, update an old game, rate someone else’s game, or sort games into their own collections. I also get to see what other folks in the space are excited about - on the day I was browsing, Plasmodics by Will Jobst was really hot.

If you follow me on Itch, you’ll get a notification every time I add a game to one of my non-private folders! Also - you can interact with designers on Itch by liking their updates, and even commenting on their posts, which is a great way to get involved in the design community - and also just make a designer’s day!

[vaadazen-codes]

How To Get Started Making Visual Novels

Wanna make a visual novel? Or maybe you've seen games like Our Life, Blooming Panic, Doki Doki Literature Club, etc. and wanna make something like that? Good news, here's a very basic beginners guide on how to get started in renpy and what you need to know going in! Before you start, I highly recommend looking at my last post about writing a script for renpy just to make it easier on you!

LONG POST AHEAD

Obviously, our first step is downloading it from their website

thankfully, its right on the home page of their site. Follow basica program installation steps and run the program. I highly recommend pinning it to your task bar to make it easier to access.

From there, you're met with the renpy app, it's a little daunting at first but let's talk about what all these buttons are for.

Projects

This part is simple, it just lists the current projects in the chosen directory. You probably won't have any in there of your own. You should still see Tutorial and The Question!

Both of those default projects are super helpful in their own ways, i highly recommend testing out the tutorial and playing around with it just to get comfortable with some of the basics.

Create New Project

The first step to actually making your game into a game!

You'll be met with a prompt letting you know that the project is being made in English and that you can change it. You can click Continue.

From here, you'll be asked to input a project name! Put in your games title, or even a placeholder title since this Information can be changed later! (this is also the title the folder will be in your file browser, be sure to name it something you won't overlook)

Now we get to choose our resolution!

If you have no idea what to choose, go for 1920x1080! This is the standard size for most computer monitors and laptops, but it will still display with moderately decent quality on 4k monitors too!

You can choose 3840x2160 as well. This is 2x the measurements of the default, with the same ration. These dimensions are considered 4k. Keep in mind, your image files will be bigger and can cause the game to have a larger size to download.

Now we get to choose our color scheme!

Renpy has some simple default options with the 'light mode' colors being the bottom two rows, and the 'dark mode' colors being the toop two rows.

You can pick anything here, but I like to choose something that matches my projects vibes/colors better. Mostly because depending on how in depth you go with the ui, it minimizes the amount of changes I need to make later.

Click continue and give it a minute. Note: If it says "not responding" wait a moment without clicking anything. It can sometimes freeze briefly during the process.

Now we should be back at our home screen, with our new project showing. Let's talk about allll that stuff on the right now.

Open Directory

This just opens that particular folder in your local file explorer!

game - is all the game files, so your folders for images, audio, saves, and your game files like your script, screens, and more.

base - this is the folder that the game folder is inside of. You can also find the errors and log txt files in here.

images - takes you to your main images folder. This is where you wanna put all of your NON gui images, like your sprites, backgrounds, and CGs. You can create folders inside of this and still call them in the script later. EX: a folder for backgrounds , a folder for sprites for character a, a seperate folder for spirtes for character b, etc.

audio - Takes you to the default audio folder. This is empty, but you can put all your music and sound effects here!

gui - brings up the folder containing all of the default renpy gui. It's a good place to start/ reference for sizes if you want to hand draw your UI pieces like your text box!

Edit File

Simple enough, this is just where you can open your code files in whatever text/code editor you have installed.

Script.rpy - where all of your story and characters live. This is the file you'll spend most of your time in at first

Options.rpy - Contains mostly simple information, like project name and version. There aren't a ton of things in here you need to look at. There is also some lines of code that help 'archive' certain files by file type so that they can't be seen by players digging in code however. Fun if you want to hide some images in there for later or if you just dont want someone seeing how messy your files are. We've all been there

Gui.rpy - where all of the easy customization happens. Here you can change font colors, hover colors, fonts, font sizes, and then the alignment and placement of all of your text! Like your dialogue and names, the height of text buttons, etc. It more or less sets the defaults for a lot of these unless you choose to change them later.

Screens.rpy - undeniably my favorite, this is where all of the UI is laid out for the different screens in your game, like the main menu, game menu, quick menu, choice menu, etc. You can add custom screens too if you want, but I always make my own seperate file for these.

Open Project - this just opens all of those files at once in the code editor. Super handy if you make extra files like I do for certain things.

Actions

last but not least, our actions.

Navigate Script - This feature is underrated in my honest opinion, it's super handy for help debugging! In renpy you can comment with # before a line. However, if you do #TODO and type something after it, it saves it as a note! You can view these TODO's here as well as easily navigate to when certain screens are called, where different labels are (super great if your game is long, and more. It saves some scrolling.

Check Script (Lint) - also super duper handy for debugging some basic things. It also tells you your word count! But its handy for letting you know about some errors that might throw up. I like using it to look for sprites I may or may not have mispelled, because they show up in there too.

Change/Update GUI - Nifty, though once you start customizing GUI on your own, it isn't as useful. You can reset the project at any point and regenerate the image files here. This updates all those defaults we talked about earlier.

Delete Persistent - this just helps you delete any persistent data between play throughs on your end. I like to use it when making a lot of changes while testing the game, so that I can reboot the game fresh.

Force Recompile - Full disclosure, as many games as I've made and as long as I've been using Renpy, i have never used this feature. I searched to see what it does and this is the general consesus: Normally renpy tries to be smart about compiling code (creating .rpyc files) and only compiles .rpy files with changes. This is to speed up the process since compiling takes time. Sometimes you can make changes that renpy don't pick up on and therefore won't recompile. In these cases you can run force recompile to force it. Another solution (if you know what file is affected) is to delete that specific. rpyc file.

The rest of your options on this right hand side are how you make executable builds for your game that people can download to extract and play later!

Sorry gang! that was a whole lot of text obviously the last button "Launch Project" launches an uncompiled version of the project for you to play and test as you go! Hang in tight because my next post is about how to utilize github for renpy, so you can collaborate easier!

[vizslasaber]

FRIENDLY FIRE ──── ii.

SUMMARY | The mission continues, and with it, your growing suspicion of Krell’s authoritarian methods. But the troopers relying on you—including Rex—lead you in the right direction: one of unyielding kindness, even when it’s hard.

PAIRING | Captain Rex x female Jedi!reader

WORD COUNT | 3.7k

WARNINGS | Combat/action, mentions of injury & death, Krell being a bitch as usual, gender neutral use of the term “sir,” gratuitous use of Mando’a, and one (1) curse word. Also, a Shakespeare reference because I’m a historian & couldn’t help myself.

A/N | Yay, chapter 2! As you'll probably notice, I changed the reader's story a little bit, and I like it better now as it adds more tension to the plot. Enjoy!

< PREVIOUS CHAPTER

SERIES MASTERLIST | TAGLIST | NAVIGATION | AO3

For once, you’re glad to have woken up early. It gives you time to get in a pep talk you know will motivate the men rather than bring their morale down, as you know Krell’s speech—which he gave upon arrival—would have done.

“Alright, men,” you call briskly, brushing a loose strand of hair from your face as you pace back and forth in front of the battalion. “You would all do well to remember that it’s not just the safety of the Republic relying on our success—the other battalions have placed their trust in us. Generals Kenobi and Tiin will stop approximately two kilometers outside the capital city, waiting for us to get close enough to begin our initial assault.”

You glance at Rex, who’s standing beside you, and nod for him to continue.

The Captain steps forward. “We’re about elevens klick behind them right now, and fifteen klicks from the capital,” he says. “We’ve got to make good time—and it’s going to be hard, what with the enemies we’re sure to meet along the way. The native population doesn’t play around, and neither do their weapons capabilities. Is that understood?”

“Sir, yes, sir!” comes a unanimous shout from the rest of the troopers. They start to disperse, packing up camp faster than your eyes can follow, and you nod to yourself in satisfaction.

“Rex,” you start, then hesitate as he turns to you with a raised eyebrow. “Is it… are you alright with forgoing titles? I always seem to forget to use them.”

Rex looks almost torn—likely between protocol and what you’re asking—but eventually nods. “Of course, sir,” he says, then blanches. “I mean…”

“It’s okay,” you assure him. “I just don’t want to feel bad if I slip up.” He smiles slightly, one corner of his mouth quirked upwards. “As I was saying—do you have a chief medical officer that I can talk to?”

“Yeah, that would be Kix,” Rex tells you, then frowns. “Is… everything alright?”

“Yes, don’t worry.” You adjust one vambrace, looking out at the men, then at General Krell on the far side of camp, who’s been surveying the battalion tempestuously since you began to speak. “I just… wanted to ask him something. About battlefield medicine.”

“Are you a medic?” Rex asks, shifting his helmet to one hand.

You grimace at the clinical, militaristic term. “Something like that.”

Rex looks doubtful, but motions to a trooper with an intricately buzzed haircut who's putting supplies into a pack. "Kix—get over here!" he calls, before nodding to you and leaving as he puts on his helmet.

"General," the trooper greets with a crisp salute, and you notice that his pauldrons have the universal sign for medic painted on them in a bright, obvious red. "How can I help you?"

"Actually," you say with what you hope is a courteous smile, "I was hoping to ask you the same question. You're the battalion's CMO right?"

Kix tilts his head. "Yeah..." he says. "I'm not the only medic, though. Got a whole team of 'em. We specialize in what we do, sir, train for it our whole lives, so I don't want to be rude, but—"

"Don't worry about that," you cut in, shaking your head. "I'm not a medic—I haven't been trained in combative tactics—but I am a healer."

"So, like," Kix pauses, searching for the right word as he does so, "a Jedi doctor?"

You snort. "That's... one term for it, yes." You watch as Kix moves the weight of his medpack from one shoulder to the other. "Force healing is an ability that a Jedi is born with. Not every Jedi can become a healer—using the Force to reverse the effects of an injury is not something that can be learned."

There's a pause as Kix nods slowly. "Reversing the effects," he echoes, fascinated. "Even bacta can't do that—it just speeds up the healing process. Sounds like we could use your help."

"Yes," you say. "That's why I wanted to speak with you." You let out a sigh, remembering one of the first things your master told you as a Padawan. "But it's not all-powerful. Just like bacta can only heal what is able to be healed, Force healing cannot create a life force where there isn't one. If someone is near-death, trying to bring them back would render me unable to defend myself from exhaustion."

"Right," Kix replies. "So no resurrection."

"No resurrection," you affirm, smiling. "But I can help. And I know triage."

"Oh, that's even better!" Kix exclaims, then holds out his wrist comm. "Here—we've got a medic frequency—" he waits for you to scan his comm to yours, and when the happy little chime sounds, he pulls away. "Thank you, General."

"Of course," you say as he turns to leave. "And thank you, Kix."

The battalion falls silent and prepares to move out—but just as you’re double checking your armour, a cold, sharp presence casts a shadow over you. Turning around, you make eye contact with General Krell, who's now standing just a short ways from where you and Kix were talking—like he was listening.

“Conspiring with the soldiers, General?” Krell sneers, putting a mocking emphasis on the last word. You raise an irritated eyebrow.

“Conspiring?” you repeat, glancing at the hastily assembling troopers. “They're hardly the enemy, Master Krell. I only want us to win this campaign as quickly and smoothly as possible." Before you can reign in your impulse control, you add, "And continuing to let the troopers rest will get us there faster."

“Rest is a luxury we cannot afford!” Krell snaps, and you jump in surprise at his excessive volume. He leans forward, acrid breath forcing you to resist the urge to cough. “The other battalions are far ahead of us, and you think we have time.”

“We do,” you reply calmly, despite your quickening heartbeat. “The men are keeping a good pace, especially with this difficult terrain. Fifteen clicks isn't far, especially with the supplies we have.” You purse your lips. “Now, I suggest we set off. Talking will slow us down as well, Master—and as you so wisely pointed out, luxuries are not something we can ask for.”

You walk away, then, and feel a rush of satisfaction enveloped in a Force signature that you’re almost positive belongs to Rex. Resisting a pleased smile, you let your hands drift to where your lightsabers are clipped to your belt before moving to walk beside Rex.

“Captain,” you greet, taking notice of the way Rex’s shoulders tense just slightly. “Shall we?”

“Yes, General,” Rex replies, voice clipped. He motions for the battalion to follow, and soon the two of you, along with a still angry General Krell, are leading the troopers through the unwelcoming terrain of Umbara.

The journey is precarious and—as much as you hate to admit it—tiring. Hours pass, and soon you’re almost to the checkpoint Rex had pointed out on the map, situated just outside the city’s heavily fortified border.

You stop for a moment, leaning against the glowing trunk of a colossal tree, and fidget anxiously with the tabards of your tunic.

“Sir,” Rex says, and you turn around. “We’re ready to bring our forward platoons in. What do you suggest?”

“We should continue with Anakin’s original plan,” you say quietly. “A surgical strike on the outer defenses—we must take great care not to needlessly damage any of the city’s buildings. I'd prefer minimal collateral damage when we’re done.”

It is a plan you’ve been turning over in your head since you’d landed on the Umbaran surface. Hopefully—and assuming there were no hindrances—it would succeed. Despite being overly idealistic, and sometimes a little too impulsive, Anakin is nothing if not a strategist—when he wants to be.

“If I may,” sneers Krell from behind you, and you set your jaw. “I do not think that General Skywalker’s futile plan will be necessary.”

In spite of yourself, you clench your fists at your sides. “And why not?” you grit out, not bothering to turn around as Krell comes to stand at your side, towering over your figure.

“Captain Rex and his insolent men have already brought it up with me, and I explained this to them as well. I hold the authority here, and I am ordering all platoons to execute a full-frontal assault,” Krell continues, seemingly unfazed by your irritated expression. “We will travel along the main route to the city and force them to yield.”

“Force them to—” you cut yourself off and draw in a deep, calming breath. There is no emotion, you remind yourself vehemently. There is only peace. “Master Krell. With all due respect, we can't just storm in there with no plan. Casualties will rocket if we try something that impulsive. I just don't think—”

“Need I remind you, General Neridian,” Krell interrupts scathingly, “that you are only one week into Knighthood? We may be of equal military rank, but I am a Master, and therefore hold precedence over your commands.”

“This isn’t about me or you,” you hiss, swiveling to face Krell as your patience is finally pulled taut. Ignoring the shocked stares you know the troopers have fixed on you, you cross your arms. “It’s about this campaign. It's about our mission, and it's bigger than us. So I suggest we agree to disagree, and carry on with General Skywalker’s plan—”

Krell clicks his tongue. “Losing your temper already?" He asks, and you could swear he's taunting you, waiting to see when you'll do something mortifying like raise your voice (but then again, he's done it several times already and it's only been a day). "How unfortunate. Perhaps the Council should not have been so adamant that you face the Trials so early."

You blink and take a step back. He's right, and you know it. You're one of the youngest Padawans to face the Trials in generations, as are all your peers, thrust into a rushed end to your training at the beginning of the war. So many of your friends—Darra, Galene, Ferus, and of course, Anakin, the most tenacious of them all—seem to have risen to this unique challenge with their heads held high. But all you can seem to do is flinch away from the ugly parts, the parts that remind you of just how unprepared you are for these new and daunting responsibilities.

Unclenching your fists, you swallow the bile in your throat and try to stop your hands from trembling. “The Council,” you say, voice tight, "made their choice. And so must I make mine." You turn to Rex, who's standing just behind you and gripping his helmet with both hands. “Captain—prepare the troops. We’re going with General Skywalker’s plan.”

“I…” Rex’s knuckles have gone white with how hard he’s clutching his helmet, and he looks strangely helpless. “I’m sorry, General, but—the regs state that General Krell outranks you due to his status as a Jedi Master.” He presses his lips together and averts his gaze from yours, cheeks red with what you know is anger. “I’m afraid that General Krell’s orders do indeed… take precedence over yours.”

Beside you, Krell looks more satisfied than you’ve ever seen him. The Besalisk turns to the battalion and crosses his upper set of arms over his chest.

“Troopers!” he barks, and the soldiers stand at attention simultaneously. “Prepare to move out!” He presses a button on his wrist comm, and a holomap flickers to life. “You will take the main road straight to the capital. You will not stop and you will not turn back, regardless of the resistance you meet. We will attack them with all our troops—not some sneak attack with a few men.”

You close your eyes and clasp your hands behind your back. There is no emotion, there is peace.

It feels less like a mantra and more like a meaningless, empty chant. Peace, you think despairingly, looks to be farther than ever.

"Sir." Rex clears his throat, making you look up to see him watching Krell like one might survey a blown fuse at risk of setting fire to a building. "Sir, General Neridian is right. This is practically a suicide mission. I don't think—"

“What you think, Captain, is irrelevent. You have my orders, and you will follow them explicitly,” Krell growls, then leans forward, turning to the Captain. “Do I make myself clear, CT-7567?”

Your eyes widen in shock and you glare at Krell, crossing your own arms over your chest to mimic Krell’s stance. “It’s Rex, General,” you snap. “Captain Rex. That’s how he introduced himself, if you've forgotten?”

Many troopers turn to you, and you can tell—even under their helmets—that they’re clearly surprised at your derisive tone. You ignore them, turn on your heel, and storm away, but not before you hear Rex mutter, “Crystal, General Krell.”

The path is lit with some form of concentrated bioluminescent light, making it easier for you to see where you’re going. The clones have the advantage of night vision built into their visors, which makes it hard not to envy them. That alone, that feeling so unbecoming of a Jedi is enough to make you feel a sting of shame, not unlike the feeling that so often came with a scolding from Master Venn when you were still a Padawan.

You wonder for the millionth time if you’ve been forced into Knighthood too soon. Of course, there is nothing to do about that now—every war needs warrior, after all—just like there was nothing you could do when Master Venn told you the news just one week years ago.

She was grim when she told you, and your stomach goes cold with the memory of how she delivered the news, like she was handing you your own death sentence. Now, you know why.

And some have greatness thrust upon them, you think bitterly, remembering how often Master Venn made you read ancient poetry as a Padawan, the kind so old it's still stored on dusty books instead of firmware.

“General.”

You turn to find that Rex has fallen into step with you and smile. “Captain,” you acknowledge. “Forgive me. I was just…” you clear your throat. “Lost in thought.”

Rex—now wearing his helmet—nods and turns his gaze to the path ahead. “Thinking about the plan?”

“No,” you admit sheepishly. “Just about—” you gesture vaguely to your surroundings “—all of this. This war, this strife.” Shaking your head, you fidget with the one of the lightsaber hooks on your belt, clasping and unclasping it. “How fast I've been thrown in, and whether or not it’s necessary.”

“Hm.” You can hear the frown in Rex’s voice. “If it’s any consolation, we clones have mixed feelings about the war, too.”

You raise an eyebrow and turn to look at him. “How so?”

He gives a one-shouldered shrug and turns his head away. “Just that… well, I’d rather do without all the lives lost, but... without it, we wouldn’t exist, would we?”

Frowning, you consider this. “I suppose you’re right,” you concede. “But it is the will of the Force that you came to be. And,” you add, shooting Rex a sly smile, “the galaxy would be very different if you hadn’t, hm?”

There’s a moment of silence, during which you get the feeling that the troopers behind you are listening to your conversation. Rex seems lost for words, until he clears his throat. “Me specifically, sir?” You nod, and Rex adjusts his helmet. “I—I don’t know. I’m just one man, aren’t I?”

“That may be so, Captain, but you’ve made more of a difference than you think,” you inform him. “I think I’m correct in assuming that you’ve saved General Skywalker’s arse more times than he alone can count.”

Behind you, someone lets out a surprised laugh, then tries to cover it up as a cough. You smile at Rex and continue.

“And even without that, you’re responsible for many of the Republic’s victories in this war.” You shake your head. “The smallest insect feeding off of a single flower’s nectar has an impact on the entire garden. In the Force, we are all an entire world, a whole galaxy. Never assume that you do not make a difference.”

You feel a ripple of shock, gratitude, and something else—something you can’t quite place—flow through the Force. It’s a refreshing change from the tension and stress of the mission, and you’re just about to open your mouth to thank Rex when—

A white-hot warning flashes in the Force, and there’s a split-second warning as you scan your surroundings for the threat. Then—

“Get back!” you shout, and the troopers in your immediate vicinity immediately scramble off of the path.

They’re just in time—the sheer force of the explosion is enough to knock you off your feet and send you flying backwards. You land on something hard and feel all of the air get knocked out of you.

“Mines!” someone shouts. “Nobody on the path move!”

You freeze as you realize that the surface you landed on is, in fact, Rex—specifically, his armour. Your back is pressed to his chest plate, and you can feel his nervousness as though it is your own, but neither of you move for fear of setting off another mine.

Your cheeks burn when Rex finally leans forward, void of his helmet—it must have been knocked off it the blast. He's close enough to your ear to whisper, “Left. Slowly.”

It sends chills down your spine, but you shake them off. Drawing in a deep breath, you oblige, easing left and onto your knees, so you’re kneeling beside a disoriented-looking Rex. He looks shaken, but quickly gathers himself and cautiously stands up as he scans the area for his helmet.

“Oz is down,” you hear one of the medics say grimly. “So is Ringo.”

Rex spares you one last glance before swooping down to pick up his helmet, brushing the dirt off the visor. He moves to inspect the dead troopers. “Can you sweep ‘em?”

For a long moment, there’s silence as the medics gently move the bodies aside—you respectfully avert your eyes, feeling the sting of grief from the other troopers—and set them down on the side of the path. You hear Kix declare happily that there are no injured despite the two casualties and smile to yourself.

There’s no time to bury the dead troopers, so you settle for approaching Rex and placing a hand on his tense shoulder, over his pauldron with fading and scratched blue paint. “Nu kyr'adyc,” you murmur. “Shi taab'echaaj'la."

Not gone, merely marching far away.

Rex turns his head, and this close, you can see his wide eyes through the visor of his helmet. He takes a deep, shuddering breath, then raises his hand and places it over yours. It lasts for a split-second; the next thing you know, he’s pulling away, talking quietly to Fives and Kix.

“Come on, men,” you call to the rest of the battalion. “We need to—”

Chills fly up your spine and you stiffen, just as a loud, shrieking sound engulfs the path and—BOOM! More troopers go flying into the air. There are shouts of Basic, Mando’a, and Umbaran, and the firefight begins, during which you realize—

An ambush. You draw one lightsaber to deflect an oncoming barrage of blasterfire, but it's not enough, and there's no cover afforded to the terrain.

“Shit," you mutter under your breath as you switch on your shoto saber, calling on your knowledge of Jar'Kai to deflect the bolts with both blades. You raise your voice and call over your shoulder. "We’re fully exposed! Retreat to the forest!”

“We can’t, General!” shouts a voice, and you turn to see a blue-painted helmet accented with a small red arrow: Fives. “They’re coming from all directions—” he grunts and fires another blast “—we don’t have any cover!”

You feel your blood run cold. There’s no way for you to retreat—and it’s all Krell’s fault.

“We need them to follow us!” Rex answers, standing with his back to yours as he fires his blasters rapidly. “If we can draw them out, we can see them—and if we can see them, we can hit them!”

“Good idea,” you breathe, even though you know it’s too loud for Rex to hear you. Raising your voice, you lift one lightsaber so the other troopers can see the path. “All squads, pull back now!” You close your eyes for a moment to call on the Force, then propel yourself upwards and leap through the air so you’re at the back of the group. “I’ll take the rear! Cover me—sword and shield maneuver!”

The troopers obey, and soon you find yourself at the center of a tight semicircle formed by clones, all firing mercilessly on the Umbaran soldiers. You bite your lip and shift to Soresu to parallel the blasterfire more easily, deflecting the barrage as quickly and efficiently as you possibly can.

Just behind you is an AT-RT walker, defending your flank. Beside you is a trooper with intricately painted markings on his helmet, firing a rotary cannon and shouting, “Ha-ha! Where you goin’? Get back here, you wimps!”

You grin at his sheer audacity. “Careful there, trooper,” you admonish playfully, deflecting another blaster shot.

“They’re falling back!” Fives shouts, then, and you can hear the smile in his voice. The troopers all holster their blasters while you hook your lightsaber onto your belt.

“CT-7567, do you have a malfunction in your design?” You turn around and raise your eyebrows as Krell approaches Rex, looking furious. “You’ve pulled your forces back from taking the capital city. The enemy now has control of this route. This entire operation has been compromised because of your failure!”

You feel your hands start to shake. “Master Krell,” you say, trying your best to remain calm, “I gave the order to pull back, not Rex. We were completely surrounded and couldn’t risk losing any more men.”

Krell, looking furious at worst and disgruntled at best, saying nothng. Seizing the opportunity to walk away, you turn on your heel and breathe through the anger, urging yourself to keep going, trying to find a quiet place to rest and meditate for just a few minutes.

And you do. Closing your eyes, you lean against the firm trunk of a glowing tree, wiping sweat from your brow. It’s quiet, and you can hear the steady chirping of crickets (or something else) in the phosphorescent grass.

“General Krell,” says a trooper’s voice. It’s more firmthan Rex’s—Fives, you're pretty sure. “In case you haven’t noticed, Captain Rex just saved this platoon. Surely you won’t fail to recognize that.”

Blinking in surprise, you start to return to the group, wondering if this is an argument you’ll be able to break up—but the hum of a lightsaber being drawn makes you stop in your tracks.

“ARC-5555,” Krell growls. “Stand down.”

You feel your mouth go dry and approach the other troopers. Krell is standing with his back to you, but you can clearly see the green blade of his lightsaber from where you stand, hovering next to Fives's neck. If only Esya could see this, you think, horrified.

Don’t make any sudden moves, your Master’s teachings remind you. He could strike, and then you’d be responsible for the death of yet another man.

Just after the tense conversation between Fives and Krell, the Umbarans returned, sparking yet another firefight—this one with more casualties than the last. You were forced to retreat with the platoons, exhausted and spent.

Now, you sit on the ground, leaning against a fallen tree trunk in a brief moment of rest while the troopers drive away a small squad of Umbarans. In your hand is a pocket holotransmitter, refracting a cluster of blue light in the form of Esya Venn.

“I feel your discomfort from here, young one,” the older Theelin Master is saying, one eyebrow raised skeptically.

“Impossible,” you scoff. “You’re all the way on Coruscant, there’s no way.” There’s a moment of silence, during which the hologram flickers. You add, “And I’m not so young anymore, you know.”

Esya smiles wanly—you notice the shadows under her normally bright eyes with a pang of sadness—and shakes her head, her long colorful hair swishing lightly.

“You're still young to me,” she says softly, gently. "And you're avoiding the subject."

“I’m fine, Master,” you sigh. “Really.”

"You must not know me as well as I thought," Esya replies primly, a hint of a smile showing through her stern expression, "if you think you can lie to me like that."

You sigh again, frowning down at the flickering hologram. "It's just..." you shake your head, staring off into the foggy distance. "I'm concerned about Master Krell's tactics. They're aggressive, nothing like what you taught me of strategy, and they don't take into account the fact that we need to strive for as little casualties as possible—on both sides."

"Hm." Esya crosses her arms. "I have heard of Master Krell's... unconventional style. Is there anything else that concerns you about him?"

"I mean—everything, really," you admit, lowering your voice. "He has a blatant disregard for life that I haven't seen in a Jedi in, well... ever. He refers to the clones by their birth numbers, not their names, and he sees the native fauna as just—objects. Nuisances." You place the holotransmitter on the ground in front of you and shift your sitting position. "I fear that, to him, no life is sacred."

"If that were the case, I do not think the Council would have granted him the rank of Master," Esya says, but she looks thoughtful, like there's something she isn't saying. "Who is the commanding officer?"

"His name is Captain Rex," you say. "He's Anakin's first-in-command. I think he's just as worried by Master Krell as I am, and..." you trail off, unsure how to voice your next thought.

"What is it?" Esya prompts, light eyebrows raised.

"There's something about him—about Rex," you say finally, reluctant. "It's like the Force is trying to tell me something. That—that he's important. But I can't figure out why." You huff, fighting back a frustrated scowl. "I wish the Force would just tell me. But the answer is so—so elusive."

"As is everything since the start of this war," Esya replies, shaking her thorned head. She fixes you with a fond expression. "But, Padawan... you must remember that the Force is not your enemy, but your ally. If you open your eyes, it will show you the way."

"Yes," you murmur, tucking a lock of hair behind your ear. The sounds of talking from the group's position behind you make you frown. "I have to go. May the Force be with you, Master."

“And with you. Always,” Esya replies before cutting off the connection seconds later.

You stand, tucking the transmitter into your pocket, then make for the rest of the group and move to stand beside Captain Rex. He's observing General Krell talk to General Kenobi via comlink.

“The capital city’s too fortified,” General Kenobi is saying grimly. “We still need your battalion to help us take it.”

“Resistance from the Umbarans has been greater than anticipated,” Krell replies. “We’re holding our ground at the moment.”

You swallow, averting your gaze to your boots. Holding our ground… what does Krell think is happening? Surely he hasn’t failed to notice the heavy casualties your battalion is sustaining.

“We’ve gathered intel on an airbase to the west,” General Kenobi replies. “It is resupplying the capital’s defenses.”

Taking a step forward, you cross your arms over your chest. “Should we attempt to take control of the airbase, then?”

Turning to you, General Kenobi nods. “Yes,” he answers. “Doing so will sever the capital’s supply lines, allowing the rest of our forces to move in.”

“I’ll see to it that the airbase is placed under our control,” Krell says decisively. It sends a wave of nausea through your stomach.

“Remember, Master Krell; Knight Neridian,” Kenobi says, mouth pulling into a tight frown, “The entire invasion depends on your battalion.”

Krell nods and severs the connection, then turns to you. “Neridian, have those coordinates mapped when you’re finished here, and make sure all troops are ready to move out immediately.” He walks away, leaving you alone with Captain Rex.

You watch Krell retreat with a feeling of incessant dread. “Right, then,” you say to Rex. “What do you say the odds are that we finish this thing his way?”

“Good question, General,” Rex says, and you can hear the smile in his voice as he watches the Umbaran sky darken with more eerie purple clouds. "I guess there's only one way to find out."

NEXT CHAPTER >

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[twomiddlefingersforthehaters]

@klaribel Hi! 😊

『あ〜い!こっちこっちイ!! 』 大好きな人と待ち合わせ｡笑顔の先は友達? 彼女? 一体、だあれ?

“a〜i ! kotchi kotchii !!” daisukina hito to machiawase. egao no saki wa tomodachi ? kanojo ? itai, daare?

“He〜y, Over here!!” (He) meets with his favorite/special person. Is he smiling at a friend? or a girlfriend? Who could that (person) be?

❉ こっちこっち (Kotchi kotchi) - means over here; come on

❉ 待ち合わせ (machiawase) - means meet up with~

❉ 大好きな (daisukina) - (something), which (someone) likes very much/loves. 大好きな is used to emphasis, how much you like it. You can say "大好きな", when you want to describe something as your favorite in Japanese.

e.g:

大好きな本 (Daisukina hon) : very favorite book

大好きな歌 (daisukina uta): favorite song

私の(大)好きな俳優 watashi no (dai) sukina haiyū : My favorite actor

大好きなんだ〜 (daisukina nda 〜) : I'm lovin’ (you / it / him /her etc)

(大)好きな猫は？[ (dai)sukina neko wa?] : What’s your favorite cat? / What kind of cat do you like?

❉ 大好きな人 (daisukina hito) : a person whom someone likes very much". "like very much" can also be expressed as "love".

❉ 笑顔の先 (egao no Saki)- "beyond the smile", In here it refers to the outcome of a meeting or what happens after that.

❉ 彼女 (kanojo) - she/her/woman Or girlfriend

In a conversation, when you are talking about a woman and refer to her as 彼女 、you mean she.

If you say something like, ``Next time I'll introduce you to my 彼女", you're referring to your girlfriend.

Whether the word means She, her, or girlfriend depends on the context.

e. g:

1. 彼女の目を見たら、彼女の本心がわかった。

kanojo no me wo mitara, kanojo no honshin ga wakatta.

When I looked into her eyes, I understood her true feelings.

2. 彼女 / 彼氏 とデートする。

kanojo/ kareshi to de-tosuru.

Going on a date with my girlfriend/boyfriend.

3. 次回、彼女に会った時は彼女の笑顔が見られますように。

Jikai, kanojo ni atta toki wa kanojo no egao ga miraremasu yōni

Next time when I meet her, I hope I can see her smile.

4. 彼女います。

kanojo imasu.

I have a girlfriend.

4. 彼女は私が本当に会いたかった人です。だから彼女と知り合えて本当に幸せです

kanojo wa watashi ga hontōni aitakatta hito desu. da kara kanojo to shiriaete hontōni shiawase desu.

She’s the person I really wanted to meet. That’s why I’m really happy to get to know her.

5. 彼女はいますか

kanojo wa imasu ka?

Do you have a girlfriend?

But actually, in everyday conversation, Japanese people do not use pronouns [ 「彼」 (he) or 「彼女��� (she)] very often. This is because people often call other people by their real names, nicknames, or job titles.

Before Meiji era (1868-1912), 彼 was unisex and Japanese people used it for both male and female.

彼女(girlfriend) and デート(dating) are usually associated even in Japanese narratives.

❉ 大好きな人と待ち合わせ (daisukina hito to machiawase) - This literally refers to making an appointment to meet someone you really like.

This expression has the following meanings:

1) 大好きな人 refers to someone you have romantic feelings for.

2) "Michiawase" refers to waiting to meet at a predetermined place or time.

3) When meeting someone, you feel so happy to have met them that you want to run over to them with a smile on your face and say hi to them.

Overall this expression expresses that the state of looking forward to meeting someone you love alone. As your meeting time approaches, you'll probably feel excited, nervous and thrilled to meet that person.

If you just look at the smile, you won't know if it's a friend or a lover, but because of the smile, it seems like he's meeting up with his lover. There is nothing that cannot be interpreted.

[randomyuu]

the way it follows you home, the stories i never told

My guy Vox once again graced us with lovely Goyuu fanfics, and the way it follows you home, the stories i never told, made me go FERAL.

Time travel? Two Gojou Satorus? Double affection for our sunshine Yuuji? Yuuji sandwich? What feels like possible continuation of (you'll whisper, serpent tongue) what you fear you have become???

FUCK.

I need to stop indulging my imagination too much. I should’ve been content with writing long-ass comments but noooooo, my brain goes “you gotta draw it”. DAMMIT VOX, YOU AND YOUR DELICIOUS WRITINGS HHHHHH

So… usually I should’ve picked a favourite scene that is within my drawing capability, but I just… love all three chapters??? So I made a questionable time investment? I can’t stop??? Help???

This is probably the most ambitious fanart project I’ve ever done so far. Fair enough, considering I might combust if I keep these welled-up emotions inside from reading Vox’s Goyuu fics. Fuck.

Fic info:

Title: the way it follows you home, the stories i never told

Author: @voxofthevoid

Pairing: YuuGoGo. Future!Yuuji, Future!Gojou, Teen!Gojou

(idk why I laugh writing YuuGoGo. I’m beyond help)

Currently, it is 3 chapters out of 8. And it’s gonna be NSFW chapter 4 onwards, so don’t forget to read the tags first, folks!

The drawings are under Read More, because I have lots of thoughts surrounding each chapter and drawings. It’ll be hella long if I didn’t hide it here. It was a mess down there. A combination of hours before, during, and after I read said fic. I’d say good luck finding the art among the sea of jumbled words but… you’ll find them easily. Don’t worry about it haha

SPOILERS FOR ALL 3 CHAPTERS! I highly recommend reading those first before diving into these drawings!

Also for the comics, read from right to left please!

From here on, I will be referring to the Future!Gojou as Gojou and the teenage one as Satoru.

Overall, drawing all these is fun! Really fun! This project pushed me quite hard, forcing me to test my limit (because I rarely draw this much back to back). Since this is a combination of drawings and comics, the coloring style will not be consistent. In a way, I want to try some brushes I never get to use, as well as try out my new graphic tablet. Drawing these got me giggling because I was finally able to let loose during line art. It's much easier to do so, and sometimes I just get to reread the fic and giggle to myself for the nth time.

CHAPTER 1:

Whooo. Whooooooooo—

Ok, ok, the premise is just that good. It intrigued me, fascinated me, and I just… oomph. I cannot refuse a Time Travel Yuuji Sandwich. Sign me up.

Honestly, there are two scenes that are just… a bit too clear in my mind when reading this chapter. That would be the one I drew above, and the other is when Yaga called Gojou to come outside of the class. I love, loooove how Vox wrote Satoru’s POV. And when Yuuji fucking giggles?

I lost it.

Can you imagine, drawing Yuuji grins, with shiny stuff, maybe some sunlight, just purely happy and indulging Gojou?

Help me, for I am drowning in my love and adoration for Yuuji.

Page 2 is an experiment on using harsh black as shading (kind of?). I really enjoyed colouring Yuuji, and drawing those buffalo skulls! I wish I can grasp the concept of contrast a bit better tho :v

CHAPTER 2:

This is probably the only chapter where I picture still images instead of comic panels. A bit like those cool chapter covers in mangas. The one I really, really want to draw is the scene with Satoru on the table. Can’t pass the opportunity to highlight Satoru being a brat, albeit a really cool brat.

Cool idea drawing always proves to be a challenge, because of course my artistic skill just so happens to be below the requirement. Thank you, Sketchfab, for the chair and desk’s perspective otherwise I’m screwed lmao

The second scene that I want to draw the most is this:

Gojou is one step away from climbing Yuuji. Also, I have a bit of a problem picturing a man pouting that makes him look crazy instead, so please have Gojou pouting adorably instead. Because, as Yuuji said (with love), Gojou is (also) a brat.

This is possibly my favorite art in this project, after Yuuji's in Chapter 1 page 2. It's clean because I don't have to draw background, and I was having a fun time drawing Yuuji. And Gojou's squishy cheek as well.

Oh, actually, there is a “manga” scene in this chapter. It’s when Yuuji said, “I love Satoru.”

I just—

AAAAAHHHHH YUUJIIIIIII YOU AND VOX ARE GONNA BE THE DEATH OF ME. That secure relationship between Yuuji and Gojou? Satoru’s description of how Yuuji’s smile could blot out the sun??? Not me screaming 💀 I also see bits of hints of possible co-dependency, though I could be reading those wrong, but either way I’m good. Secure and possessive relationships are fun to consume hhhhhh

But yeah. There are too many wholesome Yuuji smiles in this fic, and I… I am not confident enough to draw genuine happiness. It’s too much for me ∠( ᐛ 」∠)＿

For this chapter, another reason why I chose these two scenes is just because I want to try and draw cover-worthy pictures of Yuuji and Satoru, and Yuuji and Gojou (cough)

CHAPTER 3:

We start the chapter with Nanamin. Ah, Nanamin. I forgot what his teen self looked like and was surprised to see his design again lmao

I want to draw Yuuji and Nanami scene because… I just want to, I guess. I have never drawn him before (Yaga as well) so that's an interesting challenge. I got two ideas on how I want to draw it. One is a bit painting-esque, and the other one is like another chapter cover. In the end, I chose the cover one because I want to emphasise the difference between teen!Nanami and the Nanami from Yuuji’s original timeline, and how the watch feels like a connection between the same (yet not) person. It’s a bittersweet feeling? In a way?

I’m not really good at explaining my intention ∠( ᐛ 」∠)＿

I love Yuuji’s answer to Nanami's question.

AND FINALLY.

A Yuuji SandwichTM scene.

And oh B O I do I love it. Have I told you I like every chapter? I probably have. But this one? Satoru’s curiosity, Yuuji’s on-brand self-deprecation, and Gojou come strolling down to show more of Yuuji to his mini-self. I want to draw this whole scene, from Gojou finding them, feeding Yuuji snacks, bitch-slapping Satoru into the backroom, to Yuuji growling. Them trying to hide a boner from Yuuji’s growl got me cackling so hard I LOVE IT 😭

I love it all. Please love Yuuji in my stead, Satoru and Satonyan :3

Oh! Also! 40-finger Yuuji sounds really, really cool! I’ll be happy with whatever Vox will give us in future chapters, but 40-finger Yuuji… possible scene with this timeline’s Sukuna… my god. The action! The drama! The bloodshed! One can only hope.

However, as much as I love that whole scene, it’s still too much for me :”) I’m still not yet confident in delivering the humour and action. Also my already-long drawing plan had my brain groaning in protest so I can’t push my luck :'D

When Gojou said "He looks sweet, but he's a bit of a beast", I kept picturing Yuuji staring innocently, but there was an edge to his look. As if the moment Satoru looks away, he will pounce. But in the end I just stick with innocent-looking Yuuji because I accidentally drew his eyes that way and I want to keep it in lol

Since Satoru points out how soft and cuddly Yuuji is, I also want to draw soft Yuuji :v

And the last one… is the last scene. For some reason, I read that both Gojou and Satoru share Yuuji’s lap and was having a frustrating yet fun time figuring out how it’s… physically possible, without having their butts on the ground because they both are not small at all. As I lined the art, I reread it again and… perhaps I read it wrong? Satoru is beside Yuuji, and not on his lap? So yeah, this one might be the least accurate, but hey, at least you can view it as a crack drawing or something :v

AAAANNNDDD I HAVE EXCEEDED TODAY’S BRAIN CAPACITY OF FORMING WORDS

Have I told you I love this fic?

…I probably have.

Have an amazing week (❁´▽`❁)*✲ﾟ*

[grenade-maid]

there's a lot of reasons more people aren't into yuri that are troubling to consider, but equally, I genuinely think it cannot be understated how much of it comes down to most yuri being boring as hell. Like truly. I've been reading the front page of Dynasty Scans like it was the newspaper for 15 years I am not exaggerating I can show you the download file data 15 years.

You know what the complaint about yuri by yuri readers was back in 2009?

"wow that really was just 5 volumes of them blushing at each other and then they don't even kiss"

You know what the complaint about yuri by yuri readers is today in 2023?

"wow that really was just 5 volumes of them blushing at each other and then they don't even kiss"

Don't get me wrong, Yuri has grown a LOT in that time, to the point that most people today wouldn't even understand a Maria-sama reference if it were dropped in front of them (thank God). It's expanded and evolved to encompass more stories about adult women, wider varieties of scenarios, a greater acknowledgement of real life lesbianism, and is more comfortable showing girls kissing with tongue and having sex.

Yuri Manga is maybe the best is it's ever been, and it's also getting the widest readership it's ever had in the English speaking world. The titles we carry at work are always on back order with long queues, and, when I've asked them, most weebs of all gender or sexualities report keeping up with at least a few Yuri series.

At large though? Most of it is still really boring. That's not a bad thing necessarily. I like it because it goes down easy. For the most part any series you pick is gonna be pretty chill. Even shit from Sal Jiang which is PRETTY EDGY for yuri is a pretty breezy read. More serious ones like How Do We Relationship? cover some pretty real subjects about how intimacy is actually quite difficult even when both of you love each other, but it's not like... Exciting. Yuri isn't where you go to pump your fist or get perched on the edge of your seat.

So when the comparison is made to yaoi, well, I mean, have you READ any yaoi? Even in some of the more restrained titles those boys are likely to be sucking and fucking balls and all within the first volume or two. There's gonna be drama, intrigue, shit is gonna get messy, passions are gonna get heated, clothes are gonna be ripped off, people are gonna get sold to One Direction, it's stuff you can sit down with a bowl of popcorn with you know? Stuff you can message your friend and gush Hey Can You BELIEVE? A lot of it is pretty trashy, but that's the appeal. The generic state of yaoi is torrid and exciting and sexy. Ultimately, as a species many of us like to see pretty people fuck. In yaoi you'll get that. In yuri you won't. Nothing wrong with that, but it is gonna be a major contributing factor to their relative popularity.

It's also worth making the comparison to hetero romance manga, which has undergone a renaissance of it's own in recent years. There's now a whole meta around crafting a handful of mean shitty grouchy dysfunctional bully women and flinging them at the protagonist of the day who, unlike in years past, may actually have a face and personality. Most of these are also very trashy and truly scrape the bottom of the bucket in terms of writing.

AND YET?

I would bet money on the fact that you'll have heard of these women and probably even have a good idea what they're like without ever having touched a page of their manga.

I'm sorry but the straights are whipping donuts around the yuri girls in terms of delivering a wide variety of weird compelling fucked up women. How many yuri leading ladies by comparison can you point to as standout recognizable characters even divorced from their story? There's definitely a few, but not many. I'm not talking quality or depth of writing, I'm talking straight up pure recognizability. There are many beautifully written women in yuri, now more than ever. I can't think of many who'd like, get a figure made or have their face splashed on merch, though.

I don't really have a conclusion here. I love Yuri a lot, but at the end of the day this is just kinda the state of things right now.

[thesoftboiledegg]

"Auto Erotic Assimilation" from season two is one of my least favorite episodes because it takes one of the queerest concepts in the series and makes it aggressively heterosexual. Aside from a blink-and-you'll-miss-it scene with one male alien and a joke about Rick possibly contracting STDs from coal miners, most of the episode is a straight male power fantasy.

"Look at all the hot women with big boobs throwing themselves at Rick! He's the man! Unity's avatar is another alien lady with big boobs! Don't worry, folks--even if Rick talks to a man, he's really talking to HER! Don't you wish you were him, straight male viewer? Sexy alien orgies everywhere!"

The episode does have poignant moments and famously culminates with Rick's suicide attempt after reading Unity's final message, but a third of the plot is just a goofy teenage boy's fantasy. I watch it when I rewatch the entire series, but that's the only time I expose myself to that one.

When I saw screenshots from this episode that featured Unity, I thought "Oh God, not this again." Just let it stay in season two!

Admittedly, "Air Force Wong" handled Unity with more maturity. If this episode aired in season two or three, a bunch of sexy women probably would've mobbed Rick as soon as he stepped foot in Virginia. Here, the writers focused solely on the characters' relationships--not just Rick and Unity but Rick, President Curtis and Dr. Wong and their web of interactions.

I liked how Rick referred to Unity as "them," although he starts using "she" pronouns when she disconnects from the hivemind. This highlights one of my issues from the original episode: Unity is a hivemind, but she's also a hot, sexy alien babe who controls everybody, which are two opposing concepts. This seems like a backdoor way to make Rick's interactions Certified Hetero (which is probably what it was, to be honest.)

I also thought the resolution was unsatisfying. Unity's note at the end of "Auto Erotic Assimilation" makes it clear that she and Rick just make each other worse, but "Air Force Wong" implies that they should have stayed in touch. I was hoping Rick would get closure by ending it for good, but it seems like they're maintaining their distant but toxic connection.

I did like how the end of "Air Force Wong" parallels "Auto Erotic Assimilation." Rick heads back to the garage to drink, but instead of attempting suicide again, he decides to visit the president and put aside some of their differences. Like Dr. Wong says: it's a slow process, but he's changing!

Aside from that, I loved this episode. President Curtis was hilarious ("Civil war, baby!" is already one of my favorite season seven lines), and he's as petty as ever. In fact, he's so petty that he was willing to enslave the entire Earth just for a 100% approval rating. He makes Rick look calm and responsible!

As usual, Dr. Wong was the voice of reason. She could've been just a crowd-pleasing cameo, but she guided Rick through his interactions and helped him remain stable in the face of emotional turmoil. While she flirted with the president, she didn't lose herself in some unprofessional whirlwind romance.

After watching "Pickle Rick" in 2017, who would have thought that Rick would not only willingly see Dr. Wong every week but try to punch the president to protect her honor? I wondered if he had a crush on her, but nothing he said implied romantic feelings, so I think he just feels protective over her because he distrusts the president.

Likewise, we're getting glimpses of how Rick treats his family: apologizing to Summer, sticking up for Morty when President Curtis insults him (I half-expected Rick to ruin that by giving Morty shit, but he didn't.) Morty sticking up for himself was nice, although man, the writers are underusing him. I think the president had more lines in "Air Force Wong" than Morty's had in these entire three episodes. And Morty's name is in the title!

Otherwise, setting up Prime's return was great. We're probably going to have a slow drip as season seven builds to their next confrontation. It seems like most of the trailer scenes are from the first four episodes and maybe "Wet Kuat Amortican Summer," so who knows what's in store for the other five.

And I mean--the Unity scenes weren't bad. Most of my issues are holdovers from 2015, which the writers can't change now. I'd prefer not to revisit it again, though. That's like taking another trip to Gazorpazorp.

Then again, later seasons have been correcting earlier issues (Summer saying "Sorry, Rick, but your opinion means very little to me" is one of my favorites), so revisiting "Raising Gazorpazorp" with a feminist lens could be another middle finger to the dudebros who are crying for Roiland's return and howling as Ian Cardoni outpaces him.

[citizensun]

Queerness and the House of Usher (spoilers!)

See I just added these Thoughts to the tags in @quecksilvereyes 's post but now I have Feelings too

TFotHoU (or HoU, as I will refer to it here), as expected from a Mike Flannagan show, has a bunch of Queer Rep™ to talk about. HoU is, also, about remarkably evil people - amoral capitalists who'll step over anyone if it means they'll get something from it. And look! Some of them are queer! Kinky too!

That's bad queer representation... right?

The show isn't that clear when stablishing sexualities, but we see that at least three of the Usher kids - Napoleon, Camille and Victorine - have same sex SOs/assistants with curious job descriptions. Prospero's taste for orgies probably implies queerness too, but honestly I don't remember if he gets it going with any guys in the story. I honestly have no idea about Tamerlane's voyerism thingie and Frederick is the only one with a "traditional family" going on.

Unrelated, but: Leo is definitely cheating on his bf Julius. Completely dismissing about his worries for him too. And for his cat. That's objectively evil, clearly. Vic literally killed her fiancée Alessandra, though she didn't stuff her under the floorboard, which is an L when compared to Poe's original. Cam doesn't believe in true love. Perry blackmailed his sister in law. Mean. He's also got a surprisingly high kill count for the family's disappointment, but since unlike Roderick he only killed rich people, we stan. I don't belong in Kinky spaces so I haven't got a big take on Tammie, only that - well, she's completely dismissing of her husband and sees him as a prop, just like the sex worker she hires.

Huh.

See, the nature of a story called "the fall of X family" is that X family is going to be the main character. The title kinda implies that they're falling for a reason, ergo, they're despicable fucking people. And they're queer! They're very queer. Many flavors of gay. They're the main characters, and they're monsters, and they're gay.

No, that's not bad rep.

Queerness as a movement, a community and a theory is very focused on scaping a cisheteronormative society's binaries (ie man/woman, husband/wife, public/private) and creating living conditions to those who fall outside of these categories - mlms and wlws, the trans, the nbs, the aros and aces... we are all queer, strange and estranged from this weird and limited worldview. And so we create a community for ourselves. It's very focused on care and anti-stablishment. Since a cisheteronormative society tends to be very white, rich and western, it's also focuses on anti-racism, anti-capitalism, anti-imperialism. Y'all know that, this is Tumblr and we love leftist Discourse.

I also know many, many gay people irl who are not like that at all. Libertarians, anarcho-capitalists, terfs, completely apolitical people and the like. Sexuality at it's core is personal, not political, so there are gay people out there who are perfectly comfortable with their sexuality on an individual level but do not see the point of getting involved in the broader context. They're queer, but are they...?

Well—

Not to mention there's lots of asshole gays out there! Don't you have a shitty ex? Have you never been almost run over by a drunken butch who blew cigar smoke into your face? I have! Life experiences are just like that. Maybe you should touch more grass. You'll probably find a lucky gift from your neighbour's dog, who is an astrology-obsessed bisexual and also really hot but stopped making out with you at a party once she found out you're a pisces (the neighbour, not the dog).

(Granted, none of this is as bad as implanting an experimental heart contraption into the fiancée you just killed because she dared to have ethical principles and then being so consumed with grief you stab yourself in front you'd your dad but you know how it goes. We're not the 1%.)

My point is, queer people are people. We are complex. We fuck up, and sometimes there's still times to fix things and sometimes... there isn't. We're consumed by jealousy and regret and sometimes we're so locked into our own head we stop believing the rest of the world is real too. Just like any other people, because unfortunately, queerness isn't a sign of morality.

And even if queerness does mean community, kindness and acceptance, tell me... Where the hell would the Usher kids get those from? The people around them are not really peers – they're ass-istants, blowjob-giving apartments, orgy mates, heart surgery providers, hired fitness moneybags, perfect housewives. Even if the partners are all shown to care for the Ushers, there's still a distance, a power gap, that makes the relationships fundamentally wrong.

And the partners? Arguably they're the good queer rep in the show, but look – even when Julius and Alessandra are shown to be good people (or at least people with an ethical boundary), they're not the good gays, they're simply the good SO's to a family of psychos. Exactly like Bill and Morrie, who afawk are straight people.

Which leads us to HoU's parameter of morality - Auguste Dupin. He refuses to drink the Amontillado, symbol of all the Usher opulence over the years. He got screwed over by the Usher twins and by the Raven herself, but he refused to cave in (except for the informant part, admittedly). He's not a good gay guy; he is gay and he is a good man.

The fundamental difference between our show's main tragic yaoi couple isn't that Auggie is a happily out gay man (and therefore is good) while Roderick is a sad divorced hetero (and therefore is bad). Auggie is the richer man because he is a good man; he has a spouse and children and grandchildren he loves with all his heart. He has a family and a community and he has found a sort of happiness no money can buy. Roderick owns the world – but what does he really have? What do his children even have? How could they ever build communities for themselves if they were never in one? Their father made them compete for his love. He never nurtured their bonds, he just showered them with money and excess until it was too much for them to handle. Juno herself pointed out - they were never a family. The House of Usher was only that. A house. It is empty and soulless.

What is queerness without a community? How could the people who represent the relentless corporate normativity and cutthroat capitalism ever be good queer rep? How can they even be queer?

Hear me out: on the most individual, simple level, being queer is still about not fitting in. These kids are bastards. They are are PoC and women in a predominantly male and white dominated space. They're on top of the world, but they're still outsiders to their own House. How could they not be queer?

And yes, I know this discussion takes a different turn when it comes to representation in media, but it's not like Flannagan fell into a Hays Code-era flamboyant villain trope. Queerness is just there. Just like Victorine and August are both black people in (arguably) the opposite ends of the morality spectrum, there are queer characters of many kinds here. The story just happens to be about the fucked up ones.

HoU is a poignant critique of capitalism and a surprisingly funny adaptation of Poe. We'll judge it by that. It happens to be queer – more things should be.

[isa-ghost]

INLTBH Crumbs & Phil Headcanons!

For anyone confused, INLTBH stands for I Never Left The Birdhouse, it's the new angst fic I'm working on! :D Here's the premise, but it's been developed even more now.

I'm trying to keep a handful of things secret for the moment, because my goal is for people to have fun theorizing and pointing out hints that Phil is a ghost, since I'll be sprinkling many of them in the chapters. Eventually, I'll post somewhere all of the hints I included.

I'm really wishing the inspiration for the fic didn't START with the idea of Phil being dead because that would've been a bomb ass reveal, but unfortunately the concept of "what if he died in there" is what started this whole thing, so I'm compensating by keeping the signs he's a ghost, and HOW he died a secret instead. And other stuff.

But here's what I feel confident sharing about Phil!

I'm very autistic about the paranormal and ghost hunting, so I'll be using my knowledge about it to characterize Phil and his behavior! :D Unfortunately a lot of that pertains to the signs he's a ghost that I said I was keeping secret soooo you'll have to wait for that infodumping later!

I'll give a freebie ghost hint: Sometimes you can detect the presence of a spirit or demon because there will be a strong smell in the air. Common ones include roses and sulfur. I've given Phil the scent of roses & smoke, as a nod to wither roses, given that he's the Angel of Death!

He doesn't know what happened to him, all he remembers is the canon lore, aka the initial luring to the Birdhouse and then being trapped inside & abandoned by Cucurucho.

I'm taking the derealization we didn't get a ton of elaboration on and fucking RUNNING. Unrested spirits WOOOOO.

Missa doesn't realize he's dead at first because he can still touch and interact with Phil as usual. Reapers can physically interact with the dead, whereas the living cannot. :')

As for INLTBH in general, here's what I will share:

Missa, Fit, Pac, and Foolish are DEFINITELY involved. BBH will probably have a cameo.

I have 5 chapters planned so far, hopefully it won't be more than 10 when the whole thing is done.

Some CWs include: major character death (bc, yknow, Phil's dead), descriptions of a corpse/death, vomit, and derealization.

The Federation is conducting... business as usual. (derogatory)

ALSO, multiple people have already asked me for songs I'm going to reference or muse to while working on the fic, so here's what I've got so far:

OBVIOUSLY I'm using WYOYL, it's THE Birdhouse song.

Echo is very fitting for the ghost/derealization themes, and some lyrics will be chapter titles!

Floating Dream & An Ordinary Day are also canon Phil lore songs that are related to Phil's derealization (and EK/Rose but that's irrelevant here)

Circles & Secret Garden's lyrics are pure Ghostza pain. :)

Carousel's chorus is primarily what's doing it for me here, but even if it isn't a perfect fit, it's a fucking BANGER and this is a good excuse to share it.

Metronome's lyrics are INLTBH Deathduo :')

[annimoose]

Okay, okay, okay, now that I had time to properly digest everything from part 44. I can finally give out some real thoughts on it. Real and disjointed thoughts but thoughts anyway.

Part 44 spoilers

First of all, i am still just so giddy about John being referred to as John in the description now and not as "The Entity". This is, SO MUCH to me.

The title, the fucking title. The Deliverance being a "rebirth" not of just John finally understanding who he is and wants to be, but for both Arthur and John's relationship going forward (hopefully continuing to communicate better with one another at least until Kayne decides to file out divorce papers again), and of course Arthur coming back from the dead "being reborn again." Can I call it that? Plus they did come out of the "hags womb" (over explaining here but fuck it we ball.)

The Waylay is limbo? Right? Or Arthur's personal limbo? Seems like limbo for everyone due to the blood and sand already waiting for him there ("alive" Parker reveal, maybe? Lets go?) I got so many questions about the Waylay. Also if John and Arthur both die and get separated, I will cry for at least a week. They deserve to be happy together bro I cant. 😭

John being a lot more caring now bruvs, its jover. Its so fucking jover for me. Also, John being a lot more active with using his hand now right? Right???

As much as I absolutely adore Yorik, I feel like he will turn heel once Kayne appears again. He stated himself that he does whatever benefits him the most and with Kayne being as powerful as he is, it shouldn't be a question. But if he does choose to stay with Jarthur I will be surprised. (I will still love Yorik no matter what, he just a little silly guy.) I hope he goes around and kills people hitman style with that hand.

Arthur needing to see Faroe again. That shit ate me up, GUH, This hit me in the feelies pretty well ngl. I hope Faroe is in the Waylay. But, what if somehow she was in the darkworld though? I know it's "immortal hell" but, memories can "immortalize" a person. What if John met her and that's what got him to realize his bedrock?

I have never been unnerved by this podcast until John described the fucking witch. Discovering a dead body, underwater? Hell Nawww.

Arthur held his breath for how long exactly? He only took three days after being fucking stabbed multiple times to death? I mean, honestly that sounds like an Arthur thing to me, but still. That's odd. Brings me back to my amulet theory. Is he still wearing it? The amulet still allows you to feel pain but keeps you alive no matter the damage.

Arthur, Arthur, please just read the goddamn letter. YOU'RE KILLING ME. I wonder if Oscar's letter is going to be used as a tool to bring Arthur back if he does almost lose himself again. (Plus I just really want to know what's in the fucking letter, FUCK.)

Day of wrath ey? You'll see soon? Hmmm. Something is going to happen at the castle. Isn't it? They're going to get really pissed, John is going to project himself or something more?? People at the castle probably already know Arthur ain't the prince, but is someone they expect. (like the cultist.) THEY'RE GOING TO MEET THE KNIGHTS HERE, RIGHT???

"Owls don't eat People boys." (Ajejjr fucking loved this line.) but im with John and Yorik with this one, I do not trust Owlexander. I JUST DON'T GREAT HORNED OWLS DO NOT COME OUT AT DAY UNLESS ITS FOOD/WEATHER RELATED. WHY IS THE OWL ATTRACTED TO ARTHUR? MAYBE OWLEXANDER DOES THINK HE IS FOOD. I DONT KNOW. BUT THE BIRD IS SUS TO ME.

Okay thats all I can vomit right now. If you read this, thank you and im sorry for the brainrot.

Okay bye.

[mirroredmemoriez]

Werewolves designs and other shit

Got bored- Remembered I have free choice to make posts on anything I want... So here I am with opinions no one asked for. As the title suggests, it's about werewolves. Starting off, I don't believe I need to explain what a werewolf is. However, I'll put it out there that in most descriptions and depictions it's meant to be a humanoid wolf. I say this because you'll find that in some movies or books it's just a person turning into a giant wolf with no human features or movement such as standing on two legs. (Or like a minotaur situation where the body is a human, but the head is a wolf.)

Here I've collected just human references and anatomy- This is so I can make comparisons and such. Humans vary heavily in the way that we look, due to things such as lifestyle and genetics. At base level, of course we're HUMAN. However, things like our body types, hair texture, eye colour or shape and yada yada all can change the way we look and create differences between us and somebody else.

This is the same for wolves, though maybe not as noticeable compared to humans? Mostly things like their size, coat colour or thickness and etc is what separates them from one another. Looking at their head shapes also can show what species they may be. Generally, they're a pretty lean animal seeing as wolves are known for their running endurance to hunt prey. Being too big would slow them down... I mention this because some depictions of werewolves people make them too muscular in my opinion? It's like they're hairy body builders. Speaking of werewolves- Let me try draw this post back to where I started it! First I wanna look at almost shifted werewolves, so not fully transformed.

(Also I will be using depictions and characters which aren't labelled necessarily as a ''werewolf'' but share many features or similarities. For example, Bigby from The Wolf Among Us.) The common things we usually see is an increase in hairiness, canine growth and eyes becoming highlighted- Usually yellow, though sometimes the werewolf maintains their natural eye colour. We also have ears becoming pointed and the area around the eyebrows and forehead starting to protrude more. All of these things when done right I enjoy in a werewolf design! Though, it's a given that some do it better than others... One of my favourite werewolf designs and transformations has to go to the movie An American Werewolf In London.

This to me is one of the PEAKS of werewolves in media. I could probably make a full post on just this movie... It's one of the most iconic designs and for good reason. Not to mention, I love practical effects, especially in horror. One of my dreams is to make a movie with them. Enough gushing though. What do I like? Well, it's grotesque nature really. A transformation shouldn't just be BAM you're a ball of fur in my eyes. The amount of change is crazy and so glossed over.

The transformation literally has bones extending along with all the muscles and tissues alongside. Don't even get me started on what the organs may have to be doing? A human heart could not support a werewolf body, it just wouldn't be big enough... That muscle would literally have to increase in size to be able to deal with the power behind the body of a wolf. Yes, I'm aware they're supernatural and I shouldn't try heavily to apply science to them... However, I don't care? A TRANSFORMATION WOULD BE HORRFIC AND PAINFUL, SO IT SHOULD BE SHOWN AS SUCH! It's also why I headcanon that turned werewolves have the chance of just dying straight up with their first transformation, compared to ones just born as a werewolf because of how extreme the change is. Anyway! Some more designs.

I think what some suffer from, is leaning either too close to a human and or leaning too close to a wolf? They can't find a balance and at times it's like a worse rendition of the Cats movie.

Like here, the werewolves from The Quarry almost lean into some classic vampire depictions. The teeth I like! But the lack of hair and flatter snout just means it's not really screaming WEREWOLF at me.. More so a general mutant. (QUICK ADD! A flatter snout doesn't always break a design. It's just when other features such as hair are also lacking that it starts becoming less wolf in nature to me.) We've also got a more recent werewolf to look at... Which is Enid from the Wednesday show. Because fucking hell, that was a disappointment? She ended up looking like a mix between the Ice Age baby and Diego the saber tooth tiger.

They did her so fucking dirty... And it would actually be very simple to fix! This could be salvaged- It just wasn't. Somebody saw that design and green lit it and whoever you are, why? I think I'll end this here now because I've reached the image limit... If anyone has any questions about certain things I've mentioned, feel free. I also want to state that this is pure opinion and by no means supposed to spread hate towards anything? It's your world, if you wanna draw your werewolves like the Sims 4, who am I to stop you? THIS IS MAL OUT! AND IF YOU'VE READ ALL OF THIS YOU'RE SOMEHOW MORE UNHINGED THAN I AM CURRENTLY. (I MAY MAKE A PT 2 AS I DO HAVE MORE THOUGHTS AND MENTIONS TO MAKE.)

[myvirtuesuncounted]

my full review of ttpd (a month late, shhh)

tw opinions. if you like a song that i don't or vice versa or you don't agree with a comment i made, good for you! get it off your chest, get it off my desk!

fortnight

One of Taylor’s weaker openers, it’s a nice song, not much going on though

the production is boppy, not much going on once again

Interesting how Taylor sees her muse as living a good life without her and a nice domestic scene with his wife watering flowers but for her, her husband is cheating on her, implying she thinks she will never be happy, maybe because of how this relationship went or her general perception of relationships and her experiences with them. That is my interpretation of the song.

The outro with post and taylor's harmonies SLAPS

Like I said, this song feels a bit lacking of substance both thematically and technically, it doesn't do it for me, i don't hate listening to it, i just don't love it.

i think it might be a song that grows on me over time but it won't ever be a fave for me.

i also think in light of the music video, it's lost some of its spark for me, as that music video made no sense to me. i don't think it deserved to be a single.

the tortured poets department

“You left your typerwriter at my apartment, straight from the tortured poets department” implying that this thing of which she is now part had been introduced to her by the muse

The muse has probably compared them to poets like Dylan Thomas and Patti Smith and probably romanticised their relationship into the work of a tortured poet, but that’s not real life.

Taylor brings back to reality that now because of his self sabotage that brought both of them down in this relationship, he has lost the one who will decode him, hold him, know him

the above are just little analyses i like making as i listen to the song, they have nothing to do about whether i like the song or not, it's just me trying to make sense of it. you'll see that a lot.

i do not like the charlie puth line. at all. why is it there?

also don't like the tattooed golden retriever line, the image of a tattooed golden retriever is terrifying.

i was so off-guard about the namedropping in this song, sorry i had no idea who dylan thomas or patti smith were.

this song is trying too hard to be poetic, i think (which one could argue is the whole point of this song), but it doesn't stand out much to me. the themes are interesting though.

this is a pretty weak title track, personally. i feel like it doesn't encapsulate the essence of the album (which i am confused about tbh, ttpd has a lot of aesthetics going on for itself). it has nothing on little fearless and evermore.

my boy only breaks his favourite toys

so we all thought this song would be pretty petty, but i honestly don't think it is extremely so. there's a sort of pity for the muse, that the breaking of his 'favourite toys' is a form of self sabotage and that they could've had it all.

i love how it starts so defeated, "oh here we go again", which i think is in reference to the muse's self sabotage ruining her life

it also feels a bit reflective and nostalgic of the fact that it wasn't all bad, which i quite liked. i liked the contrast of feelings.

"once i fix me, he's gonna miss me" is a devastating line btw

so is "he saw forever so he smashed it up"

song is a bop, i like the lyricism, overall i enjoy this song :)

down bad

i enjoy the cunty synth here ahaha. for all the jokes the fandom makes about jack fucking around with the synth while taylor sings the most soulcrushing lyrics, it is so real especially for this song.

taylor has never sounded so good while swearing. "fuck it if i can't have us" is such an earworm.

i feel like this is the most petty song in the album, mainly because of the "teenage petulance" in the lyrics

the callback to new romantics in the bridge is so insane, i noticed it immediately.

the production is so mystical and giving space alien vibes, i enjoy it.

so long, london

the intro is giving big ben bells and/or wedding bells

the fast beat vs the slow melodies is such an interesting juxtaposition (to my lit teacher, i hope i used this word right XD). i think it really highlights the conflicting feelings this song explores ("i'm just mad as hell 'cause i loved this place") and also how taylor isn't able to keep up with how quickly the relationship is dying (the production) and she's still sifting through her feelings to find acceptance (the melody)

"how much sad did you think i had" something something "how long can we be a sad song" something something "don't want no other shade of blue but you"

the bridge is just the most devastating strike to my heart

"you sacrificed us to the gods of your bluest days" is one of my favourite lyrics on this album

track 5 is track 5ing

this song is a masterpiece, i genuinely love it so much

but daddy i love him

get this song out of my face, i hate it so much. blocked on spotify.

why did taylor have to waste good lyricism and production on such an awful premise and "fuck you" to her fans dishing valid criticism of her association with matty?

the baby line is hilarious though, because i did indeed fall for it the first time

like you can talk about taylor's agency all you want but everyone knows what the implications of this song are and i feel hurt and offended that this is the attitude both taylor and some swifties are taking.

"the most judgemental creeps" um, is this fucking play about us?

fresh out the slammer

her voice sounds beautiful in this

love the country twang in the production

it's giving getaway car thematically

i think it's interesting to see this song so soon after so long, london, where she says she was "going down with [the ship]" but she was literally dreaming about running into the arms of another man and was "[doing her] time". like ok girl!

vibey song but not for me. i don't have much to say on this.

florida!!!

IMMEDIATE FAVE, i had claimed this since day 1 and i was so right

cunty production, i can tell florence had a lot of influence. no more synths! bring out the drums!

at first, i had no idea what was happening in this song, but when taylor talked about it being about reinventing yourself, it made a lot more sense to me and i love that interpretation, it rings so true.

can i be honest and say that i thought it said "arms" not "home", like that doesn't even make sense 😭

florence's verse fucking slays, my only gripe is that her voice in the verse is kinda quiet compared to the instrumental. could've used some better mixing here.

"me and my ghosts had a hell of a time" is a banger of a line

the bridge is immaculate, has been in my head since i first listened to it.

this song is amazing, there is nothing like it, pure perfection. top song on the album.

guilty as sin?

obsessed with the beat

hedge maze = labyrinth = the mind, idk i just loved that connection

we have reached the ovulation song lmao

did you know it took me so long to realise the chorus was talking about masturbation? like i knew the song was horny, but i didn't realise it was THAT horny.

i think i called this a mature, sadder false god in my notes. that uncertain, sensual, desiring tone is probably what motivated that connection in my head.

WHAT IF HE'S WRITTEN MINE ON MY UPPER THIGH ONLY IN MY MIIIIIND

the bridge is so beautiful, i am a sucker for religious imagery.

overall i'm obsessed, beat good, lyricism good, i love it

who's afraid of little old me?

now i know this is the fan favourite, and i understand why. it gives an eery, angry vibe, and i also enjoy it. to some extent.

namely, the part i enjoy most is the circus imagery, i liked how she leaned into the circus animal metaphor to depict her struggles in fame and her relationships. it's like a badly behaved circus animal about to be put down absolutely losing it and raging about its plight, which i enjoy as a means of storytelling and expressing emotion. i also enjoy it as a callback to mirrorball and what happens when the mirrorball finally has had enough of shattering in a million pieces and performing for a largely uncaring crowd.

... which is why i don't like the asylum lyric. to me, it doesn't add in anything significant thematically when the rest of the song hardly has similar strains of discussion. not to mention the ableist overtones and trivialisation of the asylum experience but i just don't like this lyric. it weakens the premise of the song.

the production is also off in some places, it feels muted and underwhelming compared to the premise of the song.

it's an okay song, i 100% like the acoustic demo better that she came out with recently. some changes in production and the omission of that asylum lyric would put it higher up for me.

i can fix him (no really i can)

good thing this song is short because she couldn't fix him at all and i don't like this song.

"the jokes that he told across the bar were revolting and far too loud" euphemism for bigoted, taylor?

production is boring, the melody is also pretty boring. the lyrics are good, but not enough to save the song, in my humble opinion (it is after all my review here)

"good boy, that's right" taylor GET UP

the 'woah maybe i can't' is funny though, i'll give her that

loml

slayed, devoured, left no crumbs, left me emotionally devastated

the lyricism is absolutely beautiful, the sadness is tangible

the first time i listened to this, i was on the train, and i was so emotional, it was the perfect music to stare out the window to.

the impressionist painting line is also absolutely brilliant, took me out when i heard it. one of the best lyrics on the album.

the bridge and outro are the reasons i need therapy, destroyed me

loss of my life theorists won but at what cost.

i think some of taylor's simplest songs melodically have some of the most beautiful prose and emotional connection, i think she needs to tap into that more.

10/10 no notes.

i can do it with a broken heart

extreme whiplash hearing this after loml. similar whiplash to what taylor felt, i think, going on tour after such a heartbreak

someone pointed out that the almost metronomic beat and the faint counting in the background is like what taylor hears in her in-ear monitor on tour and i think that's really cool.

obsessed with this song so much

it has been stuck in my head since i first heard it

i never expected this to be the cuntiest song on the album but i am not disappointed at all.

"i cry a lot but i am so productive" is so mecore if i was actually productive

the ad libs at the end are also perfect

is it just me or can i hear crowd noises in the background?? am i imagining this??

i'm afraid the fandom is gravely misunderstanding this song. some are saying that taylor hates us because we were "shouting 'more!' " when she was feeling like this. some are saying that she doesn't resent us at all and that this song absolves us completely. those are both two extremes and my interpretation lies somewhere in the middle. this is not a callout to fans but also some factions of the fandom were (or are) being assholes demanding reputation tv and double albums all the time. acknowledge the nuance.

10/10 obsessed, fave song after florida!!!

the smallest man who ever lived

this song is good.

bridge of all time, indeed, she went OFF

the verses feel a bit meh to me but i love the chorus.

"you didn't measure up in any measure of a man" HAHA TAYLOR IT TOOK ME A SECOND TO GET THE DOUBLE ENTENDRE

this song is indeed petty, but it also feels defeated to me? like taylor just sounds tired of it all and quite hurt, that's what i got from it.

i also love the performance of this song on the eras tour. she is marching with an army and they keep taking hits throughout the song, until she eventually falls at the end. something something "the great war" something something "fighting with only your army, frontlines, don't you ignore me", etc.

the alchemy

i feel a little let down by this song? because from the name, i assumed this song would be using the concept of alchemy being a medieval science of turning things into gold or finding a universal cure as a metaphor for a broken/dying relationship.

also i don't understand how this is meant to be a love song, sounds really sad to me? like almost defeatist in terms of how the relationship.

why am i being bombarded by football metaphors?

i mean, it sort of plays on the idea of alchemy being a sort of magical transformation, but to me, it just feels like a synonym for chemistry.

" 'cause the sign on your heart says it's still reserved for me" is a cute lyric though.

it's quite formulaic as a song and there's not much going on for me. anyway.

clara bow

i really enjoy the concept of this song being the torch of fame being passed onto different women, from clara bow to stevie nicks to taylor swift to whoever's next.

once again, it's quite simple melodically, but this is where she shines! the typewriter while she was writing this must have been on fire!!

i also love how it plays on the concept of being put onto a pedestal as a famous woman and how you're only appealing until people decide you're not

"it's hell on earth to be heavenly" is such a perfect lyric.

the namedrop of herself GAGGED me on first listen, i was amazed.

it's a perfect closer to the first half, putting everything into the perspective of her fame and passing the torch onto something else because society has decided out with old, in with the new.

the black dog

the thing about the location settings makes me so ill, he didn't even think to turn it off for her. they probably shared locations to make sure they could check up on each other, and it was still on. it is such a tiny thing but so devastating.

the buildup on "old habits die screaming" ohhhhh this is amazing

the best laid plans... hoax...

"i still miss the smoke" people are making parallels to daylight but my first thought was lavender haze, like missing the lavender haze, you know?

the priest lyric is so devastating if you think about the fact that taylor thought she'd be meeting a priest about this relationship for a different, happier reason...

obsessed with this song, it's so beautiful.

the quietness of the verses and the loudness of the chorus, i am genuinely entranced, it is cinema.

imgonnagetyouback

do not ask me to compare this song with olivia rodrigo's "get him back", they're both on different levels thematically and tonally even though they use the same double entendre.

what narcotics did she put in this bridge XD

so boppy, and sensual, i adore it

i remember going on a long search for the literary device that is present in "i hear the whispers in your eyes", decided it was antithesis with the help of my followers. not at all relevant, but wanted to add it.

the albatross

i can make a lot of parallels to peace with this song.

it's so eery and mythical, i love it, treats taylor like a fable, an urban legend.

aaron dessner is a fucking legend, i am loving the production on the anthology

my folkmore girlie self is loving the anthology for real

i love the bait and switch to "fake news", exposing these rumours for simply that, and saying that she's not the dangerous one, the "jackals rais[ing] their hackles" are.

i am always a sucker for when taylor changes from third person to first person narration, it's so important to me. bait-and-switch, you are everything to me.

10/10 no notes.

chloe or sam or sophia or marcus

heartbreakingly beautiful. just a general melancholy around the breaking down of a relationship and is so so perfect.

the hologram lyric is not about cheating at all. the relationship is long gone, this is taylor envisioning her muse in a new relationship but she isn't there, hence the hologram. i've seen some people say it was about cheating, that interpretation doesn't make sense to me.

"you turned me into an idea of sorts" -> "the idea you had of me, who was she?"

random thought, but the lyricism on the anthology is so much better and natural as compared to the first half. i enjoy the bops on the first half but it also suffers from trying too much to be poetic (i think i said this about the title track especially). there are so many overloaded lyrical runs and random references that leave me confused and overwhelmed. the anthology however feels so much more quintessentially taylor.

don't have much to say on the song itself, i quite like it.

how did it end?

the intro literally makes me ascend!!

i really love how this song investigates and criticises the inherent curiosity people have around big news like a breakup, constantly probing for details.

once again, the simpler songs contain the best lyricism and melodies!!

this song both explains and expresses confusion about the end of the relationship, so i love the paradoxical nature of that.

"we learn the right steps to different dances" is such a devastating line and i think sums up the end of many relationships so succinctly.

the second chorus is giving right where you left me: "did you ever hear about the girl who got frozen?" etc.

THE BRIDGE, TAYLOR HOW DO YOU DO IT

the d-y-i-n-g part is just so devastating. taylor uses the themes of death and haunting so well on this album.

i know i've said this like 10 times, but this is just so so beautiful.

so high school

the guitar in the background is giving hits different, it hits different when it's you!!

despite the happy tone and lyrics, i do feel the sad, anxious undertone, the key example being the marry, kiss, or kill me part (the echoed "kill me", "it's just a game but really")

the aristotle and grand theft auto line has been used countlessly to shit on taylor's songwriting, and personally, i don't like this line. just doesn't hit right for me. however, i think it's unfair to pick cringe lyrics and ignore all the beautiful, meaningful ones to shit on taylor.

i do love the imagery with high school games like truth or dare and spin the bottle, really cements the "so high school" of it all.

this song is okay to me, it feels too american for me to enjoy it more lmao.

i hate it here

i love the poet and finance guy line at the beginning, it expresses a sort of desperation to get to know this person, to uncover their insecurities, deepest secrets, and love them anyway. it may also be introspective of taylor herself, idk.

calling comfort a construct is so quietly sad. convincing yourself since you've never had it, it can't be real because it's better than being cursed or doomed to never have it (see the prophecy)

this song is so escapist, but also so cynical about the escapism, it clearly isn't a preferred option, like it's not just escaping into childhood and nostalgia for the sake of it, it's because the real world fucking sucks.

the chorus slays, and is quite relatable.

the use of the word "precocious" is so interesting to me. she used it also in "but daddy i love him" if i remember correctly. like she resonates a lot with the feeling of being stunted in childhood or having seemed to never grow up -> "i have this thing where i get older but just never wiser" -> "i never grew up, it's getting so old" -> "i hit my peak at seven", idk i find it an interesting recurring theme in taylor's discography.

the 1830s line, and just that entire first half of the verse. i know why it's there, i know what it's doing, i know it's not meant to be taken seriously. still i don't like it. it also feels weird that she is calling out racism as a staple of the 1830s or whatever when she has shown us she is perfectly fine with dating a racist. you can say i'm being overdramatic. you can say i don't get it. idc. i try to ignore this part because this is a very good song and i love its themes and production.

"nostalgia is a mind's trick" i really love this because the entire song is so nostalgic for childhood and escapism but then she's like "actually nostalgia sucks" or it's not what it seems. no, the past would not have been better.

production feels like seven. themes quite different however (thematically, it would be robin, i think.)

the bridge combats the cynicism of the second verse which is so interesting to me. i love how opposing views on nostalgia and escapism are presented, the nuance is there.

the bridge is so mecore, i feel it in my bones.

thanK you aIMee

i really enjoy the small town as a microcosm for the giant music industry and reducing kim to a bully in this analogy.

this song is so cathartic for me, i really enjoy it in the lens of a friendship breakup.

she's so funny in this song "and so i changed your name and any real defining clues" while clearly spelling out her name in the song title.

the bridge fucking slays, likely thing for taylor to do.

it's such a breath of fresh air to have such a cathartic moment in an album that's largely dealing with huge emotions in huge ways, it's so interesting here as an addition to the anthology.

i look in people's windows

it's such a beautiful song and it's criminal how short it is

her voice sounds heavenly, i love how breathy it is.

it's giving "the outside" which is why i love it so much, i think

i think this not only works as a song grieving the end of a relationship but expressing the feeling of being left out in a current one; i definitely relate to it in that sense.

"does it feel alright not to know me?" is so so heartwrenching, i cannot do this

the prophecy

i am a sucker for mythology references so i'm already drawn in with the title.

once again, the song itself sounds so beautiful.

"i got cursed like eve got bitten" except she didn't get bitten?? the curse came after she ate the forbidden fruit?? i'm a bit confused here

WAIT NVM IT'S THE FACT THAT SHE DIDN'T GET BITTEN THAT'S THE WHOLE POINT OF THE SIMILE, HEAR ME OUT

saying something so factually incorrect and comparing it to her own experience implies that the latter is ALSO incorrect. she didn't "get cursed", she cursed herself!! which also defies the notion of "the prophecy", ohhhhhh i find this so interesting.

i think the notion of "a greater woman" or "a lesser woman" speaks to the expectations placed around women in relationships, they mustn't appear too desperate for love because that's undesirable but if they are nonchalant, they are also undesirable, it is worth exploring in terms of this song.

this song is so so sad and sadly so so relatable, i definitely find some comfort and resonance in this and it makes me really sad :(

i love the references to mythology and folklore made here, "the pricked hand" very obviously referencing sleeping beauty.

i always love it when taylor repeats the first verse at the end of a song, i think it speaks to the cyclical, circular nature of this specific feeling, that no matter how much she begs and pleads, "the prophecy" will never change.

cassandra

another mythology reference!!!

this being after "the prophecy" is so so deliberate, godssss

the piano is giving "mad woman", which i think is so fitting

"so they killed cassandra first 'cause she feared the worst" that's not actually why cassandra was killed in mythology but go off queen

"they say what doesn't kill you makes you aware" is an unreal run

that being said, i love it when taylor takes common sayings and aphorisms and gives them a twist. she does it a lot in this album, one of my favourite examples being "old habits die screaming" as a twist on "old habits die hard"

"blood's thick but nothin' like a payroll" i am hooked completely oml

10/10 no notes

peter

more folklore references, let's go!!!!

this song is so hauntingly beautiful, the lyricism is so poetic and flows perfectly, genuinely this is what i love about taylor

as a folklore girlie, i am WINNING with the anthology

i can't get over the "jet stream" line here vs "jet stream" in "call it what you want" 🫠

once again, a bridge that fucking slays, how does she keep doing it

it's so interesting how taylor grapples with the concept of childhood and precociousness in this album with so many mentions and callbacks to childhood and feeling stunted as a child and now, it really is an ode to "you're stuck at the age you became famous" (which is sad in many aspects but also problematic in others)

the chorus is also just so perfect, everything about this song is perfect.

the bolter

obsessed does not even cover it

what a banger start to a song

the chorus reminds me a lot of "illicit affairs", i think, interesting connections can be made there

"as she was leaving, it felt like breathing" as in a sigh of relief that it's over, but also she does it so often it is quite literally as quotidian and simple as "breathing"

i love taylor's tendencies to make songs in the third person narrative voice, i think her best storytelling comes out like this.

"there's escape in escaping"- i think this is sort of a commentary on how the identity of "the bolter" is like a coping/defense mechanism to ensure that she doesn't get hurt in a relationship, in that there is an escape from her insecurities, her worries, and the eminent pain she will face in the relationship by quite literally escaping.

but there's also often the bait and switch ("then it was bought by me", "i'm the albatross, i swept in at the rescue") but i find it so interesting that this song does not do that, if only i can make a meaningful analysis there, but my running theory is that she deliberately chooses to distance herself from the identity of "the bolter", bc while she does dote on this character and is rather affectionate in how she tells the story, she doesn't feel like attaching herself to it, in that maybe it's an identity she no longer wants to hold or that, like she frequently says, she doesn't believe these songs or stories are about her anymore and that they take on new meaning..

anyway i am loving this song, 10/10

robin

WHY IS NO ONE TALKING ABOUT THIS SONG, IT'S SO BEAUTIFUL

it's so sweet how she is consoling the child, ensuring them that they should enjoy this time they have now, and that they will be kept safe from their future.

but it's so sad in that regard, like, "we don't wanna hurt you so we're not telling you how this will pan out to protect your childhood innocence".

this once again cements my preoccupation with taylor's discussions around childhood and youth, she mentions frequently how that was taken away from her too soon and how she has felt "precocious" because of it. it's so important to understand and this song should NOT be overlooked.

i really like it.

the manuscript

this song is so heartbreaking, i want to punch the wall

i never thought about the fact how doing the atw short film would have rekindled these old memories and feelings, and this song is surely a direct result of that. not surprising, in hindsight, but it still compelled me when i first heard it.

once again, youth being taken too soon!! precociousness!!

someone needs to take the word "precocious" away from me

"but the story isn't mine anymore" HHHHHHHHH THIS IS THE WHOLE POINT

very nice song, beautiful closer to the anthology and the entire album as a whole, "these stories used to be about me but now they're about you".

overall thoughts

i hate to say it, but i think this album is in a desperate need of editing; there's so much going on, most of which is compelling and worth exploring, but everything is disjunct with each other and i know this work is meant to feel messy, don't start with me there, but it shouldn't be messy to the point where it's confusing and overwhelming. there are so many concepts and metaphors that are so intriguing and clearly important in taylor's music but the final products of those become half-baked in mediocre production or mixing. this album feels rushed and is soaked with questionable decisions. for example, i think "i can do it with a broken heart" should have been a single and title track because i think it's such a central part of her experiences recently and clearly something permeating the rest of this collection, and how she learns to move on and cope in light of heartbreak. there are several moments where the lyricism of the album feels overwhelming and overcompensating, as in trying too hard to contain meaning. the best lyrical moments on this album are seamless and subtle, and very prosodic as well. taylor tried to deviate from that formula quite a bit and it didn't always work out for the best in this album. she is not as adept at throwing in conversational lyrics as her peers, her strength is in prose and storytelling. the production is also getting a bit old, it's very sonically cohesive, almost to the point of it being boring, and i think taylor needs to get a bit more experimental sonically, and also ensure that the melody and production work together in more different ways, and that maybe the melody is not relying on the production but vice versa. the album is certainly not all lows, but the lows are particularly lower than in other instances of her discography.

that being said, the highs on this album are absolutely breathtaking. the majority of the anthology and quite a few songs on this album captured me instantly. this album is quite mellow, and could have benefitted from another bop or two, but the ones we received were astounding!! this album also had some really strong lyricism, especially in the anthology, and it was so intriguing seeing the many metaphors and situations she used to express her feelings. her storytelling in particular really shone in this album in songs like "the albatross", "the bolter", "clara bow", "cassandra", "the manuscript" among others. i love the themes and ideas that taylor explored in this album, and overall the premises really compelled me.

in terms of rankings, i've separated the two halves. the first half (ttpd) is second-last and the second half (the anthology) is 8th out of 12 (not 11 because ttpd is split in two).

if you've read this far, congratulations, have a treat of your choice. please be mindful and respect my opinion, thanks!

[divine-crows]

A Short Witchy Gift Guide for Non-Witches

Hello! I'm a witch. I also have a partner who's... not a witch? Lol. Anyways, I was thinking about how awesome it would be if people who are supportive of their witchy partners had a guide to help them with buying gifts (and it may help some witches fill out their wishlist)!

The following information is subjective and it's going to take your knowledge of the other person's likes and dislikes to ultimately pick what they like!

Now, books can be hit or miss. You'll want to be careful because a lot of books will have the same regurgitated basic information, and it might have content the gift-receiver doesn't really care to have or might already know. For book gifts it's probably best to just ask them if they have any books they've wanted for a while, but I have some ideas on how to look for good books regardless.

1. Books

LOOK FOR. . .

- Books with exercises (even if they can't use the content they can at least use that!)

- Books that are about a topic you know they are interested in but may not have a robust knowledge in.

- "Encyclopedia" books can be really good reference guides!

- I often get books that're published by Llewellyn because I've rarely read a book published by them that I didn't like; however, it's not a die-hard rule and you can definitely look elsewhere!

AVOID. . .

- Books with reviews calling them too simple

- Reviews that point out any gaps in the material the author is speaking of

- If they're not a beginner-- books marketed towards beginners (it'll have beginner in the title, or even will have it in text on the front cover)

2. Tarot Cards / Oracle Cards

Trust me, if you're big on divination, you can never have enough cards. The nice thing about buying cards is there's a wide variety of designs, themes, and styles so you're bound to find something. I'd recommend checking out Etsy, they have some amazing creators on there that make beautiful cards.

- cards with styles your gift-receiver will like

LOOK FOR. . .

-cards based on themes they may appreciate (for example: maybe you find a self care oracle deck for them after they talk about wanting to do more self care)

- Reviews praising the quality of the cards, and the ease of understanding the cards

- sometimes you can find mini decks which are great gag-gifts or can be perfect for divination on-the-go!

AVOID. . .

- cards with a lot of reviews complaining about the cards being made with low quality materials, fuzzy images, or complaining about them being hard to read/understand

- cards that have any themes they may not like (for example: if they're uncomfortable with nudity, you might be better off looking for a deck that doesn't have it!)

- Unless they've specifically stated wanting it-- avoid getting a Raider-Waite deck... it's the 'classic' design, which can be charming, but a lot of people already have it and a lot of people would prefer a more specialized design over it.

3. Make them a Mini Altar Kit

Perfect for travel, and is easy to find ideas for on pinterest. This one is good because you can buy a lot of "applicable to all" resources and it's all easily compacted in an altoid tin. Pinterest is a great place to go for ideas!

You can buy them witchy herbs, plants they have an affinity for... so many possibilities!

4. If they have a green thumb-- Buy them plants!

AVOID. . .

- any plants that may be dangerous to pets if they have any

- if they plan on planting in the soil-- avoid invasive plants such as mint.

While not an outright witchy gift, there's something beautiful about how the glass bulbs create rainbows when in the sunlight.

4. Sun Catchers!

From the research I did, I couldn't find anything on their origins (aside from an article that didn't have any sources), and nothing suggested a connection to closed practices (if you have sources that say otherwise please correct me!), so from what I'm aware they're just a pretty decorative piece.

LOOK FOR. . .

- reviews with pictures showing the product works as intended

- I suggest checking out small creators on etsy, there's a lot of beautiful glasswork creations!

AVOID. . .

- creations with a lot of reviews talking about them coming broken

- buying similarly named dream catchers (unless supporting a native creator)

5. Crystals, Pendulums, Scrying orbs, Etc.

Trust me, you cannot go wrong with beautiful, shiny rocks!

- crystals from reputable sources

LOOK FOR. . .

- crystals you know your gift-receiver will like

- honestly if they're pretty and shiny you're probably good

- make sure you find a guide on some tells for fake crystals!

- sources known for selling fake crystals

AVOID. . .

- dyed crystals (they're all most likely quartz or dyed glass)

- if ordering online, make sure there aren't a lot of reviews talking about them coming broken/chipped/etc.

6. Witchy Candles and/or Wax melts

Etsy has a plethora of dressed candles, and I've even found wax melts! You can even diy some as a gift!

Note: please practice fire safety and watch your candles, especially if they're dressed with herbs which can easily spread fire!

LOOK FOR. . .

- colors, scents, themes they'll like

- if you're unsure about color, black and white are typically neutral colors

AVOID . . .

- getting them a candle if they're not allowed to light them

- buying them a wax melt if they don't have something to melt them with

So that's all for now, Also I'm 99% sure this isn't a new theme of post, if anyone knows a similarly done post, please reblog with it linked so people can access more ideas! Likewise, please reblog with your own ideas for gifts!