#writing with music is necessary

[damnation-if]

hey!! can i ask for a color palatte description for the ro's? like what their hair/eye colors are?

hope you're having a good week 💙💙💙

Hi!

I spent a long time putting together a graphic for this before I realised that you asked for just a description haha... oops. well. here is the graphic anyway XD

If you're looking for a link to the page with more general descriptions, there are some on the RO's page.

Very sorry for the delay in replying! My life is. hectic. smdnfgbsfgf

[kingofthewilderwest]

So if I took up private music lessons again (budget pending), which would you vote for?

Banjo: The original private lessons plan. Bluegrass and its history have become a deep soul-fulfilling passion for me since I got into it in 2019. I've run into technique issues (ex: hand adjustments) that I don't know how to correct and are bottlenecking progress. If the teacher here is good, lessons would un-bottleneck me so I could work up tunes full speed and participate informally in local jam groups, which, if they're sorta good, would be stimulating and allow me to live my passion for a moment.

Cons: bluegrass lessons risk not being as bang-for-buck, with more casual and less intensive information and progress. There are many free resources I could tap into - and while they don't replace in-person feedback, might get me just as far in other respects. Many bluegrass greats didn't learn through lessons, and my prior musical training means I have a good sense of what I should be fixing. I also live in an area where there's rather limited bluegrass.

Level: late beginner Progress stakes: low Rewards: casual Local opportunities: casual

Flute: The instrument I've invested the most into already (besides piano). At my musical "height" in 2011, I was good enough on flute to be first chair all-state orchestra but not polished enough to audition into a good music school's spots. I'm craving returning to classical music and there is no thrill as extraordinary as performing flute like a diva in orchestra. This is when I feel at my best. Truly polishing flute would be working up my first, most driven, and cared-about investment, and could light a deep fire in me like nothing else.

However, I live in a small area with few resources and few ensembles - even fewer good ones. Most interesting ensembles I'm locked out of because I'm not a college student. The other interesting ensembles I'd had difficulties doing because flute is omnipresent and competitive. I'm already in one of the only bands I can access (it's "meh" and doesn't 100% fill my itch). I'm good enough to do the chamber groups at a classically-oriented church. There is a "semi-professional" orchestra and a local chamber group here, but the likelihood of there being a flute opening in the next five years is slim. I'm trained enough I can polish and grow myself. It would be an honor to study under a master flautist, but what is the chance that in this small area, there's someone advanced enough to push me to a new level? (the level I would need to get into the orchestra if an opening did happen)

Level: early advanced Progress stakes: high and ambition-oriented Rewards: best, but rare and high risk Local opportunities: rare for what I want

Viola: The instrument I've historically used to get into ensembles I shouldn't've. I had a grand one year of viola lessons with a high school classmate I was dating in 2011. I've used the viola to get into lower non-auditioning collegiate orchestras and church special events. There is a non-auditioning orchestra here I could participate in. There are always open viola spots in the "semi-pro" orchestra and they're far less competitive to get into than flute. The orchestra will accept advanced high school students, so I only have to be as good as an advanced high school student to squeak in. I suck at viola now, but I'm not starting from scratch. I think that a year or two of viola with a good teacher will get me good enough to be a participating fish in this small pond. I would not be able to work up my viola skills to get into the orchestra without a teacher. There are good string teachers here and I've received a recommendation for a viola teacher. Getting into orchestra would get me into the ensemble I've been most passionate about. This could also unlock me playing string trios at a local church. This is a very strategic choice.

Level: late beginner Progress stakes: medium Rewards: medium Local opportunities: multiple

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

I've been thinking I should switch my plan of doing banjo to viola. I could pound out the hardest two years of viola in my life, then switch to banjo lessons. In an ideal world, I'd take multiple instrument lessons at a time (would be nice to find a good piano teacher, too....), but I'm frugal, want to save for housing and retirement, don't have high-paying jobs, and have medical payment obligations that rein me in. So. If I allocate carefully, I can squeak in one instrument at a time properly. (Improperly, I could do two instruments at a time where lessons are every-other-week - ergo cycling lessons between the two instruments.)

[only-lonely-www]

Joining the war on vampires on the side of the vampires

[sendmyresignation]

Favorite Albums of 2023 ^_^

To celebrate the coming of a new year, I wanted to spend this first week looking back a bit at the things I enjoyed both old and new. So I put together a little list of albums I spent a lot of time with this year, for a bit of personal posterity, a little of getting into the groove with music writing on a very conversational but nonetheless sincere level, and also just because I enjoy, on a base level, the exchange of music. So hopefully one person will give a new album a try, or somebody will tell me their favorite thing they listened to in 2023. That's all you can ever hope for <3

Here's the albums I loved that came out in 2023 itself:

100 gecs 10,000 gecs: If I’m honest with myself- my album of the year, both in what I spent the most time with and the tracks I’d hold up the most fondly by the end of the year. the high-octane blast of creativity in these short, sweet, never dull, and always inventive bursts made listening a very joyful experience. Hollywood Baby and Dumbest Girl Alive bangers of the year though one million dollars just oooozes and chirps sounds in the most satisfying way.

 Paramore This is Why: very much preaching to the choir with this one. undeniable groove through everything– the whole thing brims with contained energy- like trapping a storm cloud in a bottle and displaying it like it's no big deal and then, every once in a while, electricity arcs through the room. The only issue is it ends on a bit of a weak note, with back-to-back ballads I don’t revisit often. but it's a minor quibble, they’re both distinct enough to stand on their own and neither is insufferably long. forgivable transgression.

Kesha Gag Order: This is self-explanatory, to me. Kesha was the first artist I ever truly fell in love with and everything she makes is like watching a flower bloom over and over again as I grow and change and wither and regrow right alongside. But on top of that, the record itself is so. powerful. Not in the cheap, congratulatory “you’re so brave way” but in the energy it radiates, in the way it stands its ground over and over. the way it grasps its own story by the throat and still lets you peak into all the messy pieces sliding out over the knuckles. Happy is one of those truly great album closers, but the whole album is so solid. 

Vastum Inward to Gethsemane: Absolutely crushing in just about every way, This is like, the platonic ideal of death metal for me. Dense and malevolent as fuck, but there’s still room for these nasty riffs buried deep in all the disgusting muck. That opening guitar on Priapic Chasm is the sickest 8 seconds of the year. 

The Gauntlet Dark Steel and Fire: At first glance, this seems like a textbook Bathory clone. And even if it was just that it’d still be amazing, I love that sound. But there’s space! and dynamic growth! And a growling echoing personality that every other standard in this space just never attempts. Even the hints of black ‘n’ roll and thrash are expanding a series of very narrow spaces– there are these mid-tempo stadium rippers scattered throughout the album that give the whole project gravitas which loops around and gives the faster stuff more swagger and aggression. really cool record.

McKinley Dixon Beloved! Paradise! Jazz?: I checked this out because McKinley Dixon has a great featured verse on Soul Glo’s Spiritual Level of Gang Shit. To make matters worse (or better, in terms of Shit I Am Interested In), the record’s named after Toni Morrison novels. To make it even crazier Hanif Abdurraqib opens the record (he reads this really beautiful passage of Jazz that's sampled later). An album so supremely up my alley I was almost scared the pieces wouldn’t fall together– they did! It's incredible! it's short but each second is purposeful and lush in a way that speaks to measure and care. the jazz isn’t just beautiful, it's a full embracing of the album’s central conceits (not just the Morrison, but the typography of cities, the people in them and the lives they live) and Dixon just oozes poetic ingenuity. Repetition is one of the best devices in his toolkit and nowhere is that more apparent than Tyler Forever which. man.... really really good project.  

Tresspasser Αποκάλυψισ: catchy-as-fuck. not what you’d expect from an album which is very explicitly about debt strikes and anarchy. usually RABM (red and anarchist black metal) leaves me a little cold, a lot of bands in this loose conglomerate aren’t musically inventive. rabm isn't just a stand-in for anti-fascist bands, the projects associated with the label are usually politically lyrically explicit (sometimes in ways that are overtly shocking or simply following a trend). which is nice! and necessary in black metal. but it doesn't automatically make it… good. trespasser have always stood out within that paradigm. clearly grounded in what actually works in black metal (the drumming across their albums is crazy kick ass in particular) and i find myself humming some of these tracks which is such a hard skill to pull off in melodic black metal without being dull or predictable.  

MEURTRIERES Ronde de Nuit: very surprisingly, a lot of this list ended up including black metal, which is uncharacteristic of me. but thankfully, MEURTRIERES is much more aligned with my tastes– epic old-school heavy metal with that galloping Maiden-esque bass and fiery, straining vocals that sit so expertly in the groove and then just push and push and push against it. simple, enjoyable, energetic.

Home Is Where the whaler: At its most basic level this is like. what emo can pull off when it wants to sound incredible. The swirling layers, the inclusion of shit like horns, the abrasive but catchy screams, crashes in and out of earshot, the rhythms!!! this is a very 2023 album, thematically and that's important and immediately apparent, but it's going to last much longer just with how the sound works and works and works until you find yourself continuously coming back, listening to it out of the blue.

Thantifaxath Hive Mind Narcosis: quote-unquote dissonant metal is so hit or miss for me. dissonance is oft a cover for boring, or unoriginal material that hangs its lapels on being disorienting or impenetrable. but when the tone is just right it swallows you up. Thantifaxath got the tone right; I was listening to this a lot while reading or writing during the latter half of the year because it just becomes a part of your world in such a wonderful, subsuming way. I really love these vocals too, they’re vaguely inhuman in a way that pairs so exactly with the balance of spacey and gross earthy magic, outside the world and grounded in flesh simultaneously. 

Crotaline The Hemipenes Demo: This is my friends’ band. They are cool and talented and I love first-wave black metal. They are also people whose projects I listen to in a fundamentally different way; when they pull something off it's a little bit life-changing because you know that person, you’ve seen them do human things! And then they are capable of great art. It's weird and disorienting and one of the best parts of being alive. But I do also think their demo is good without quantifiers, it's exactly what they wanted, it's got riffs that sound gnarly on tape, and it's dedicated to salamanders. like what else could you need in life?

Dawn’s Reflection Demo MMXXIII: This short little demo is a perfect burst of raw-ass lo-fi black metal. Which I usually cannot stand. but for some reason is just incredible here. I think it's the way the riffs and vocals interact– there’s these really solid, almost crust-punky guitar lines that shine perfectly in this kind of (basically non-existent) production. And then the vocals just completely rip over them in the loudest most batshit way possible, but there are always pauses that allow the instrumental to recalibrate. The synths are just a fun touch that drone in the back until they’re pulled to the fore which makes for these great, dense peaks instead of overwhelming the balance. It works! I am always hooked! 

And here are some new-to-me albums I listened to for the first time in 2023:

Nuclear Death …For Our Dead: Nuclear Death is already a favorite of mine (I feel like I never stop talking about them) but I finally got around to their demos/EPs this year. this one takes the cake, easily. Topping out at under 10 minutes, this record achieves a kind of demented brutality other death metal bands would kill for in a fourth of the time. It's a miasmic stormcloud of a project that proves (as everything they recorded did) that nobody can out-sick Lori Bravo.

Moral Decay To Build an End: This is a couple of kids in the 1990s writing a thrash record. Not notable in and of itself. However, it becomes clear immediately that these technically proficient metalheads are obsessed with emo. Like oldschool dc emocore. And it is thrown into their mix of sonic influences plainly and obviously. It is one of a kind. It shouldn’t work. It probably doesn’t, unless, of course, you are me and obsessed with it. The vocals on this are punky as hell and they work surprisingly well over these speedy, late-stage neoclassical thrash riffs. It's wild. I love it; the gem of the year!

Little Teeth Child Bearing Man: you will either love this or find it insufferable. Mathy emo-y touches, but this is freaky folk through and through. Flits in and out these crazy choral vocal moments and harmonies that fall in and out of comfort-level– lots of borderline screaming (or just gives up the ghost and becomes screaming). Everything devolves but the sense of melody is always lurking out of frame and comes back around to quiet and confessional. Manages artful and cathartic with a lack of grace and a hell of a conviction.

Helen Love Love and Glitter, Hot Days and Musik: the best punk understands punk is pop music. This is why I love this record. Helen Love loooovvess The Ramones, she does. And since she loves them so much she wrote dance music in their honor and got Joey Ramone to feature on the record. Incredible. 

The BellRays Black Lightning: Soul-filled garage punky rock that’s just masterfully loud, catchy, and full of unlimited swagger. Lisa Kekaula’s vocals are clearly grounded in a long, long line of rockers and soul-stirrers but what stands out is her maturity and control which allows for the slow-burners to feel huge and impressive– she’s the center, the burning star of the whole enterprise. 

Chinchilla 101 Italian Hits: this album is weird and, obviously, I love weird. Situated in the already weird San Diego post-hardcore scene, Chinchilla still stand out with their epic song lengths, murky 90s alt-rock depths, and the way Sioban Dixon’s vocals shift endlessly between a distorted fry, throaty shouts, and sweet elongated falsetto. So fun to get lost in these songs. 

Heaven’s Gate Livin’ in Hysteria: German power metal is always good. Heaven’s Gate is so obviously following in Helloween’s footsteps but Helloween is one of the greatest metal bands on planet earth and they execute that Keepers era sound so well they make a little magic themselves. Add onto that an album cover with a dragon smoking a pipe… it's over, it was love at first sight. 

A Few Honorable Mentions (if you've made it this far):

-Corinne Bailey Ray Black Rainbows (mostly here because I got to it wayy late in the year and haven’t sat with it long enough. but this was incredible all the way through)

-Smoulder Violent Creed of Vengence (was initially disappointed by this one and then I finally got a tape player for Christmas and it just… clicked in the new format)

-Be Your Own Pet Mommy (i love, love, loved be your own pet as a teen and seeing them return to music after so long with the same blast of energy is so cool. I just think the album overstays its welcome; the EP they released with just a handful of tracks just puts it into sharper relief too)

-Melissa II (incredible it was just such a good year for black metal it didn’t quite squeeze up there for me)

and that's it for me; Happy New Year may we all find new music to fall in love with in 2024 <3

[sexynetra]

What if instead of finishing all my WIPS that I’m hoping to have out by the end of the year I started writing another Drabble about the fallout of a collapsing relationship and infidelity. Hm. What if 🤔 💭 ✍️

[red-hot-moon]

God I feel so sorry for adults whose only hobby is exercise

[schismusic]

One for Godflesh, my girlfriend and Dog

[Disclaimer: the following deals in an assortment of mental disorders (primarily depression and anxiety) and has relatively detailed descriptions of death, sexuality and a number of other amenities I can't really remember off the top of my head. Be warned.]

[Disclaimer 2 - Disclaim Harder: the following was written very feverishly at 2am a couple days ago. I did not like it when it was done. @oldshittydog told me to leave it be and since I can't think of anything better or more precise to say about the topics at hand, I will post it as-is, no editing except for formatting - which was not present in the original - and some minor punctuation/spelling edits to make things clearer.]

It was Dog, G., D. and I, and we were listening to Godflesh, way too late for me to still be up. The conversation obviously went on to be about Justin Broadrick's relationship with his very recent autism and PTSD diagnoses and that sort of spiralled into me writing yet another page of this bullshit. Godflesh is a very important band to me in that they are possibly the only industrial metal band worthy of being taken seriously. Also in that Justin Broadrick and Ben Green are part of that small list of things that were there for me more than most of my family during some of the hardest times I've had (see: the last active years of this blog). As usual, it was all my doing. Sometimes you do stupid shit and sometimes, just sometimes, you pay the price for it. I distinctly remember sitting in the middle of a full one-hour crying session I was having at the time and thinking "I know I fucked up and I deserve to feel bad about this, but what the fuck, there has to be a limit to this". A little while later I first listened to Christbait Rising and it hit me like a truck:

"Don't hold me back. This is my own hell".

The active belief that I held - that I was, in fact, in a personal form of hell - was an absolutely integral part of what I felt in the wake of those days; I guess being a teenager really is about being extremely dramatic when it isn't warranted. But it wasn't easy, that's for sure. Fuck a breakup, my main issue was that the breakup coincided with the end of high school, with the end of innoncence, with the end of my teens, to an extent one might argue with the end of my family as I knew it.

High school was terrifying. I met an old classmate of mine at my uni last year and inevitably we started talking about what it was like after the end of high school: I kept pretty reserved about it, not one to flaunt my shit years all around (you guys are the only one who get the displeasure to deal with them), while he went on and on and on about how fundamentally that experience had fucked him up - nightmares, anxiety and depression, therapy sessions, his relationship with his parents. He's a shaken man, to his core. He's also always been very vindictive and absolutely full of rage. There is an alternate reality where I am just like him, and that sort of scares me shitless - no disrespect intended. The studying wasn't easy either and I distinctly remember being stressed for my marks for weeks on end and it was gutwrenching. Walking home having to tell my mother about the measliest of failing marks was a horror story to me; to avoid confrontation I tried to stay under the radar to literally everyone*. All of my friends were in other classes. None of them talk to me anymore. Ironically enough, I have kept contacts with maybe four people from my old class (most of the others I wouldn't stand to meet ever again) and literally no one else from that school - except for my Physics teacher. He was a legend and a role model to 17-year-old me, and I still think very highly of him. My friend whom I met at uni told me he was very badly mistreated by him and that feeling of betrayal did become a bit hard to shake. Sometimes I miss the idea of getting a Physics degree. When I have to tell people who aren't up to speed that I am now studying cinema I still get ashamed, three full years in, about to get my bachelor's and about two years away from my master's.

I have done some pretty heinous shit to women. My relationship with sex was radically and pejoratively altered by my earliest sexual encounters, which for obvious reasons I am not about to describe here. Suffice it to say that the exertion of force - the idea of having to submit or be submitted - was just about a basic part of what happened; consent wasn't even a word that we knew, let alone considered. This doesn't make me any less responsible of all the absolutely insane behaviours I undertook, and I would never imply that I am free of guilt. I was broken, and like most so-called adult males in existence, the burden of guilt can be too much to bear for someone who is societally kept away from it on a systematic level. So I decided to fully immerse myself in this horrifying feeling for a while. This was possibly the best decision I could take at the time, despite what everyone said to me. The only person who, I think, ever saw it right away was S.: I remember being kind of blindsided by her very honest comment, "you deserve this" (with a red heart emoji right by the side), because no one had been as blunt and direct to me and it was liberating to see that my realization was valid and real, and that I was finally going through it the proper way instead of denying the evidence and hearing it denied back to me. Finally I knew I wasn't alone because someone was there, someone who despised me so openly and clearly I simply had to do better.

It was all fine and dandy being fifteen, chasing pussy and playing Half-Life a full seventeen years after its original release and then Half-Life 2 right that very same summer, getting to know about Filthy Frank and picking up a guitar to actually play with a band for the first time. Try doing that all over again when you're nineteen: it was Metal Gear Solid this time, simply. Hideo Kojima and heavy metal subgenres share a lot of similarities in my eyes in that they're both so big, obvious, bombastic with the way they express feelings and concepts that you're either enjoying them through the lens of a posh, post-modernistic ironic detachment or absolutely one hundred percent into them. Having to pretend you're "mature" and "serious" is something you can consider undertaking only when you're sixteen and spend way too much time on the Internet, and Godflesh was as instrumental as Hideo Kojima's work for me to understand that embracing big ass emotions espressed in an obvious way can be absolutely liberating, because both Godflesh and Kojima games are actually somewhat more elaborate than most would give them credit for - without sacrificing the gigantic emotion driving them. My first listen of Selfless was as liberating as the first time I finished MGS by myself: Gray Fox taught me that one must imagine Sysyphus happy, and Justin Broadrick taught me that not everyone can carry the weight of the world. Therefore it's okay to run the risk to be crushed by it.

We knew our great-uncle U. was about to leave this mortal coil. My mother spent the entirety of September 2017 with him, he was taken to a hospice to help him live out his last few days as peacefully as possible. Motherfucker looked remarkably like Charles Bronson (the actor, not the guy haunting British prisons), and acted quite like him too: sharp-tongued, fast-witted, spoke very little and very measuredly. He liked The Good, the Bad and the Ugly a lot and would routinely quote that one Eli Wallach line ("I get dressed, I kill him and be right back!") for no specific reason everytime he had to do something quickly. Some of my last memories of him include him, then aged 84, playing with my sister who couldn't have been older than 9: he would literally lie on the floor to play with her, then need help to be picked back up again. The kids would put a snapback hat on him and ask him to pretend to be a rapper and he would absolutely fucking do it, no questions asked, this fair-eyed beautiful motherfucker. When he left I think something fundamental broke in the equilibrium of my family, or rather the perception we had of it: everyone was game all of a sudden. Grandpa isn't feeling too well lately, and I'm always afraid my grandma will be swiftly following suit. I guess that's taking a bit of a toll on everyone involved, to be extremely euphemistic.

I'm guessing some of you might be thinking of me as some sort of unserious crybaby by now, someone who can dish it out but most definitely can't take it. You would be absolutely right. I have no defenses to raise because there is no point in raising any defenses anymore: what I did and did not do in the past is not a matter of debate, I must live with it and I was lucky enough to find people who did understand what I did - and decided to give me another chance. I am forever grateful to have gotten this second chance. Surprisingly enough, this is why the music of Godflesh now strikes me in a totally different way: it is no longer crushing in the teenage "hail satan \m/" way, and it is no longer a soundtrack to my competitive crying sessions. It can be elating and joyful. It can be a meditative experience. It can be a reminder that as bad as I have been I always have the opportunity to be better everyday and never let the past behind, facing myself everyday and learning to live with my weaknesses and my mistakes. Bee has been of massive help in this. I don't know whether she understood just how absolutely jaded I was when we began dating, but she's one badass motherfucker, too, and she's not taking anyone's shit - especially not mine. She was very clear to me: no mind games, no crybabying, no bellyaching. She was (and is) not there to baby me, and baby me she never did. As someone who has tried to escape from his mother's shadow all of his life, I really appreciate this. And I treasure and salute Bee - someone who's simply too stubborn and too smart to let an asshole like me drain her happiness away, and someone who I am dearly in love with. The fact that she loves me back is mindblowing to me, but I guess I could take it as a testament that I am, in fact, being a better person.

When we were done listening to Selfless, I showed Dog the song Don't Bring Me Flowers and its relative remix from the Merciless EP, Flowers. They told me they loved them. They were having "an experience" to them. I will forever treasure Dog's opinions because their choices of words are always so writerly and precise and one might even argue ornate to an extent; their writing singlehandedly made me fall in love with the act of writing again. I have never been more jazzed up to open a Notepad page and just let loose. I wrote some fiction for the first time in literal years and they were the first person I showed it to. They are, most likely, gonna be proof-reading this too (even though it's more for quality control, which I need given these are essentially just long streams of consciousness that I only thinly overlay with an overarching structure. I think this one isn't as good as the last one - too thematically sprawling, not enough threads being tied, it's a bit of a mess, but that's how it goes tonight). I treasure Dog's friendship dearly.

*as I was proof-reading this post, I realized that just today I bought a beautiful print by a very talented artist going by the handle @faida-acquifera on Instagram. The print says something to the effect of "I have tried multiple times to disappear and attained the opposite effect". I guess that felt relevant to add, since I didn't even remember writing the particular sentence I'm annotating.

[hechiima]

One of the things that annoys me about chatGPT Justifiers is how little they value writing as a skill despite being unable to do it. If you are unable to write an essay or story and need chatGPT, then you are not a competent writer. You become a competent writer by writing. But instead of putting the hard work in and learning how to write, y'all use this AI tool as a shortcut.

There seems to be this general belief that writing and art are innate abilities. Neither are. My job involves a lot of technical writing, which is something I know I'm good at because I worked to get good at it. Part of that work involved writing a lot (and some very harsh criticism). It's a large reason I stopped writing creatively for over a decade; I was writing all the time for school or work and I no longer had the energy to write for fun. I've taken up creative writing more recently and while I love doing it, I realize that I need a lot of work. And this makes sense! I neglected this skill for years, ofc I'm further behind than my peers. Just like any other skill, there is no shortcut to developing as a writer. You just have to put in the work and by relying on chatGPT you're not.

Writing a lot will not necessarily make you good but it is impossible to be a good writer without writing a lot. If you're not willing to put the work in at least please stop devaluing writers.

[autism-corner]

what they dont tell you about putting on hard metal to help study is that you will come across bangers. and get distracted.

[moonysfavoritetoast]

i am not sleeping tonight i just have so much to do

[tripleskxawng]

txeptìpaw - from txep, fire, and tìpaw, growth; pyriscence

hi i made a playlist

[girlvinland]

I’m feeling emotional about my Characters tonight 🥹

[justanotherblonde]

Voice, Eyes, Heart (AO3)

happy akatsuki gift exchange @time-to-change-away!

your prompt bit me and didn't let go: Pain/Konan. Setting: A grimy venue. Prompt: Local punk band member Pain instantly starstruck over the woman who came to decorate the venue before the show.

and then you directed your gift-giver to 'Go fully smoked-hog ham and have fun!! :D' i took that to heart. and here we are.

thank you for unlocking something truly amazing with this inspiring prompt!! i hope you enjoy it~

@akatsuki-gift-exchange

[eridias]

still thinking about shu.uenpro like. maybe. i make a verse for that video series, but ill probably do it on here bc its a more comfortable horror space i guess HAASDASMASMA

idk who to do it for but i'll figure it out.

wait i forgot to put this in the tags but its funny so i need to write it somewhere, but the creators of shu.uen unintentionally made all their characters lgbt as hell and i think its great

[woodsywizard]

Getting chapters ready to post of my little wizard story feels like the night before a birthday core like I post Friday mornings so I have a whole day to get through but I feel like I’m literally going to get a bunch of gifts when I wake up emotionally about having these little guys ready to go again I missed this

[orcelito]

Ok this song sounds like ITNL 15