“it is because of your negligence that we're stuck here with each other,” you spat at him, the words laced with a bitter edge, and rin couldn't ignore the way you emphasized each word as if it were a weapon.
and from the way his chest was contracting against his ribcage, maybe they were indeed sharp knives out to get him.
rin felt the weight of your accusation pressed against his chest, a stark contrast to the sweet nothings the two of you once exchanged beneath the sheets of love, where “i love you's” had been met with smiles, and the world had seemed so full of promise.
but now, things had taken a dark turn, and neither of you could pinpoint when or how it had all gone wrong. you wouldn't tell him– wouldn't let him turn things around.
rin's anger flared, his words escaping through clenched teeth. "my negligence? you're really pinning this on me, again?"
your eyes locked onto his, a warning in their depths. "don't go there."
he pushed on, relentless, “go where? you know i'm right. you always pin things against me.”
you didn’t respond , but you looked at rin in a way that made him want to fall on his knees and beg you — beg you to just tell him what more he can do for you to stop looking at him like this.
only if it was that easy, no — because it was a look of indifference, a look in your eyes that’s telling him none of his words were right anymore, and everything he says had not been good enough to attempt to fix things.
“let's just tell them we're done and leave this shitty reunion,” rin suggested with a note of finality.
“i should have known you'd suggest something as selfish as you,” you countered, shaking your head in disbelief. “this isn't about us. so don't you dare ruin this too, itoshi rin.”
the word ‘too’ hung in the air, a relentless echo that reverberated through the room, each syllable like a blade, cutting into rin's heart. it felt like a never-ending loop, a supercut of all he had lost and ruined - nights filled with piercing arguments, when your voices were raised until your throats ached, and the bed you had once shared had become a cold, lonely expanse. just how much of you had he shattered beyond the point of no return?
the ensuing silence was thick and suffocating, it enveloped the room, creating an atmosphere so tense you could almost hear the creaking of the floorboards under its weight.
two old friends, once lovers, now trapped in a forced reunion getaway, compelled to act like a couple when their love had long since turned to ashes.
perhaps it was pride that you couldn’t admit it was partly your fault too. you should’ve told your friends about it the moment he took his things out of your shared apartment. there had been numerous chances, yet you clung to false hope, bargaining for a lost cause, and desperately wishing for a change that was never meant to be.
foolish. that's what it felt like - a foolish hope. you knew it was over the moment he couldn't bring himself to respond to your declaration that you were done.
“uhm, guys?”
as if on cue, isagi's head appeared at the slightly ajar door of your designated room,
“is everything fine? the tour guide is already downstairs, so…” he trailed off, his gaze shifting between you and rin, sensing the tension.
“we're—” rin began to say, but you immediately cut him off.
“everything's fine! just one of rin's moods,” you chimed in, forcing a smile as you turned towards isagi. “right, baby?” you said, addressing rin with a strained cheerfulness.
isagi chuckled, seemingly oblivious to the emotional maelstrom in the room. “must be it, then. i don't know how you dealt with that for five years, y/n.”
and there, amidst the oblivious laughter, it struck you.
five years.
“yeah,” you admitted with a tinge of sadness, “five years of loving him would make you immune to it,” you thought, the words choking in your throat.
isagi, still in the dark, laughed lightly. “i guess so. we'll wait for you downstairs.” and with that, he left you alone with the relentless weight of your unresolved feelings.
for a moment, you and rin remained silent, but when you met his gaze, it was as though he wanted to ask a hundred different questions to comprehend what you meant about being immune to it.
but you beat him to the punch. “we'll tell them on our last day, and then pray to god that we never have to talk to each other again.” with that, you left rin to grapple with his thoughts, leaving the room heavy with the unspoken truth.
and right then and there, it struck him that the answer to when and how things had unraveled for both of you had been staring rin in the face all along. it was just that he wasn't ready to see it.
note. and i offer you: an excerpt from an idea i scraped :D
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To address the big grey, candy corned horned elephant in the room. Yes I am a homosuck fan. I'm still mildly amused that people are so shocked that the nerds making animated shows, are into animated nerd shit? I've already been asked a few times so I've written out below what I think the Heeler's classpects would be.
HOWEVER unfortunately for all of you I am not only into Homestuck but am also a huge textual analysis nut for it. So before you can have dessert I'm going to use this as an excuse to lay out some of my fav pieces of writing regarding it. They sum up why I still have an immense reverence for this stupid piece of shit better than I could ever explain.
@hampermarketplace
Why I can’t understand Homestuck
@some-triangles
I’m trying to figure out why I like Davepetasprite so much.
@optimisticduelist2 & his wonderful YT channel
@mmmmalo is a never ending stream of interesting and intricate theories and I like to pretend I'm erudite enough to understand even half of them
There's too many artists still out there posting up and drawing extremely hard HS pics that I love to list out, but fruitegg has got to get a mention. Everything I attempt to do in my art when it comes to capturing the energy and attitude of living Aus she does far smarter and far funnier. It rules I have somehow fooled her into being my friend.
______
Alright done, here's what you wanted
Bandit: Bard of Hope
Chilli: Mage of Hope
Bluey: Knight of Void
Bingo: Page of Light
Bandit & Chilli are straight forward enough. The thinking behind Bluey & Bingo is as follows. Doing a close reading of them as kids you could easily argue they're Breath/Hope players BUT. There used to be a few working theories around Hiveswap characters mistakenly imitating the wrong classpects. And though I don't think the girls are doing that, it feels to me like their youth is masquerading what their classpects would actually be.
As they're very clearly delineated active (Bluey) passive (Bingo) and so close as sisters, I reckon they'd be a full classpect pair. As much as I think Bluey would really suit Knight of Blood, there's ways Knight of Void would act as a perfect compliment to Bingo's Page of Light. A helpful, positive Knight of Void who protects her friends from despair, and is socially intelligent enough to weaponise people's unawareness/ignorance to her and her friends own advantage seems like a really exciting angle to analyse her through.
Finally, the only classpect I would bet my life on is Muffin being a Mage of Rage. 🤡
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The Story Behind The Song: Arctic Monkeys’ early ambitions on ‘A Certain Romance’
Lucy Harbron – Far Out Magazine | January 17, 2024
It was 2006. Mortgages were crashing, and businesses were going bust. Tony Blair was on his last legs in office as the longest-serving prime minister since Margaret Thatcher, and the hangover of ‘Cool Brittania’ was beginning to set in with an unexpected ferocity. Things were bleak when a young Alex Turner sang, “There ain’t no romance around there” through the public’s speakers. Arctic Monkeys were about to write themselves into musical history as the voice of a new generation.
The final song on their debut album, there has always been something special about ‘A Certain Romance’. In 2022, after the release of their seventh album, The Car, Turner seemed to find himself reflecting back on that 2006 track. To the musician, that early cut holds a clue to everything that was to come as he said the piece “showed that we did actually have these ambitions beyond what we once thought we were capable of”.
Coming in at over the five-minute mark, ‘A Certain Romance’ almost feels like the Arctic Monkeys’ version of a rock opera, summarising all the themes, feelings and energy that came before it on their seminal album Whatever People Say I Am, That’s What I’m Not. It has the cheekiness of ‘Fake Tales Of San Francisco’ and the catchy instrumentals of hits like ‘Dancing Shoes’ or ‘I Bet That You Look Good On The Dancefloor’. Utilising the northern charm of ‘Mardy Bum’, it stands as a final, neatly summarising point on the social commentary found in their early tracks like ‘From The Ritz To The Rubble’ or ‘Riot Van’. Really, it could be argued that ‘A Certain Romance’ is the ultimate example of Arctic Monkeys’ original sound, perfectly encapsulating all the things that made the world listen up and pay attention.
It’s like they seemed to know that, too, always allowing the song a special place. In fact, it was really the band’s opening remark. Years before the offer of a debut album came around, the group were a well-oiled machine with their own local hits. They had the northern live music scene in their hands as their homemade demo CD was passed around like everyone’s worst-kept secret. Beneath the Boardwalk features eight out of the 13 songs that would be on Whatever People Say I Am, That’s What I’m Not, albeit in a slightly different, lower-quality version. But the opening number, ‘A Certain Romance’, sounds just the same.
It’s all there, from the rolling opening drums to that final guitar solo. Recorded and produced in a rented studio at only age 17, the existence of ‘A Certain Romance’, one of the band’s most explorative and energetic numbers, in this form this early in their career feels like a diamond sitting in a mine. It proves that they were always onto something special.
They never needed any help. In fact, their producer, Jim Abbiss, noted that they even seemed nervous about the help. “I think they were probably a bit weary, like ‘who’s this guy? And is he gonna make our sound this or that.’”
They didn’t want anything to change too much, as the group already had the songs figured out. Turner certainly did, as the track’s meandering narrative about hometown lads, fights, and local boredom is already there. Talking on a podcast, original member Andy Nicholson revealed the story behind the song. “We had a practice room with a pool table in, and we had a party in there, and we invited another band who were friends of ours, and we all had some drinks,” he said. “Then something happened, someone throws a pool cue, someone throws a pool ball, and everyone ends up fighting,” he added, explaining the lyrics, “there’s boys in bands / And kids who like to scrap with pool cues in their hands.”
But the magic of Arctic Monkeys lies in their nuance. What begins as a snooty analysis of his local landscape is a genuinely affectionate take. “Well, over there, there’s friends of mine / What can I say? I’ve known ’em for a long long time / And, yeah, they might overstep the line / But you just cannot get angry in the same way,” Turner sings, looking around at his bandmates and lifelong friends. ‘A Certain Romance’ is not only a time capsule for the group’s beginnings but is an ode to all the people who were there with them. It’s an ode to the hometown that made them and all its various characters.
But as the last guitar solo roars to life, there is an unspoken statement that they’re going to be bigger than what they came from. “I remember when we were recording ‘A Certain Romance’ and having a conversation with the producer about the final guitar solo,” Turner told NME, recalling the moment these songs were reworked for their debut. But they wouldn’t let anyone mess with ‘A Certain Romance’, knowing exactly what they were doing and trying to say with that one. In the 2003 demo version, all the feeling is already there, and Turner wouldn’t risk it.
“There’s something that happens at the end of that track where we break some rules in a single moment,” he continued. What happens at the end of the piece feels even more special, considering how the album was recorded. “These are the songs we wanna do, and I think this is the order we wanna do them in,” Alex Turner told their producer, recounting the conversation in 2007 to RadioX, “And he goes, ‘alright, we’ll try to record them in that order as well.’” As the final song, that last guitar solo is the last thing recorded for the album, standing as a cathartic outlet and a chance for the band to prove themselves.
“We focused on the [emotional] effect of the instrumentals over the words,” Turner reflected on the track, concluding, “and I feel like we’ve been trying to do that again and again since then.”
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