#answered : bellamy | Explore Tumblr Posts and Blogs

slytherinbarnes · 5 months

Note

I NOW WE'RE TALKING ABOUT RED BUT YOU CANNOT TELL ME THAT TEARS RICOCHET ISNT ABOUT BELLUNE LIKE!!!!!!!!!

i just found this in my drafts bc i very clearly had inspo and i cant believe i never shared it. my tears ricochet x bellune, but make it a season 3 au where we lose our girl instead of lincoln oops sorry

You sit beside Kane in lock up, having just said goodbye to your mother, wishing you could do the same with Bellamy and your sister.

As you near the hour of what will soon be your death, you find comfort in knowing that at least Clarke will have your mother. Selfishly, some part of you is grateful that you don’t have to feel the loss of losing your twin, and that Clarke will have to learn to live with the grief. But she was always stronger than you, and if anyone could learn to live without half of themselves, your shining star can.

But in the end, it’s Bellamy your heart aches for. In a way, he’s lost his sister, his friends, those that are closest to him. In the moments of silence, when it’s just the two of you, you can see the weight pulling down his shoulders, can see the anguish that has settled into the lines on his face. Bellamy has spent most of his life lost; searching for who he is without a father, what kind of man he wanted to be on the Ark. and then losing his mother and Octavia, it left him listless, floating in the openness of space with no idea of who he wanted to be.

It’s why he so easily agreed to save Octavia’s life by shooting Jaha; he had the opportunity to find himself again. To anchor his identity to his goal of saving Octavia, and ultimately, his people.

But then his obsession with saving his people, after having lost so many in such a short time, broke him, pushed into the arms of a fascist chancellor who saw how easy it was to take advantage of the man you love.

It’s a path you can’t follow him down.

It’s a path you won’t be given the chance to follow him down, even if you wanted to.

You look at Kane, at the man you’ve come to see as a father figure without even realizing it was happening. And now, the man who will lose his life the same way your father lost his. Fighting for what’s right.

“It can't be all for nothing.” Kane turns to look at you in confusion, not understanding what you mean. You push on, “All of it. The spying, Mount Weather, all the hell we’ve faced can’t be all for nothing. Pike will destroy Skaikru until there’s nothing left, and everything we fought for will no longer matter.”

Lincoln wanders over and sits beside you on the bench. He reaches out to squeeze your shoulder, a silent message that he understands your frustration.

“There’s nothing left for us to do. We have to hope our deaths will mean something. That it will finally push for the change we’ve been fighting for.”

You’re incredulous at the suggestion, at the thought of being told to just stop fighting. “So that’s it? We just give up?”

Kane shakes his head, his expression sad, but determined. “No. This is how we fight now. We go with grace, accept our punishment, hold our head high. We don’t break, we don’t show fear. The people will remember.”

He glances up at Sinclair, who has just joined the three of you, nodding in agreement. You look at Lincoln, who gives Kane a single nod in agreement, and you sit between them, wondering how this is all that’s left for you. You’re the last to agree, resigned to a fate that may save the love of your life and your people, a fate that you will not be around to see.

You’ve never been happier to see Octavia Blake in your entire life.

She ushers all of you to safety, freedom just on the other side of a hidden passageway built into Arkadia’s walls.

A freedom that she watches slip away as Lincoln insists on staying back for his people.

You see the betrayal on her face as she slips into unconsciousness, the same betrayal you felt when Bellamy did the same thing to you in Mount Weather. As Lincoln passes his unconscious girlfriend into Kane’s waiting arms, you close in on him, trying to change his mind. She passes out right after, and Lincoln catches her easily, passing her to Kane. You step towards Lincoln, looking at him in confusion. “What are you doing?”

“Same thing you’d do for your people.”

You give him a serious look, “Yu laik ai kru.”

You are my people. He smiles at you, but it’s sad, and the sight of it hurts your heart. “Just get her out of here. Please.”

But then Kane’s words rattle around in your head, and it finally clicks for you. We have to hope our deaths will mean something. The people of Arkadia see Lincoln as a Grounder, and his sacrifice to save other Grounders will mean nothing to them. They will only see it as someone saving their own. They need to see one of their own, someone from the Ark, risking their life for Grounders. It’s the only way they’ll ever understand what the rest of you are fighting for.

The answer seems so obvious now, and you feel like a fool for not thinking of it earlier.

You turn back to Lincoln, shaking your head at him, already stepping away. “Get her out of here yourself. I can save your people.” And maybe Bellamy too.

Kane steps closer to the two of you, unable to avoid overhearing your conversation in the small hallway. His expression is distraught, shaking his head as he looks at you. “No, you can’t.”

“You said it yourself: our deaths can mean something. The people will remember. I know this place better than Lincoln, I know the guard schedules and routes. I can get them out and be seen only when I need to be. I can end this.”

“But Clarke-”

You cut Kane off, “Has my mother, and our friends, and you.”

You can see the moment he remembers that you will not go out without a fight, that you will do this with or without his support. He offers you the only thing he can, which is his blessing. “If you get them into the west woods, they can navigate the trade routes to the blockade. They’ll be safe.”

It relieves you to have his approval, though you can see the anguish it’s causing him to give it. You give him a small smile of thanks, hoping he won’t carry guilt from something that you’re willingly choosing to do.

You can’t say the same for Lincoln, who grabs your arm as you try to step away, pulling you back towards the escape route. “La lune, you can’t.”

“We both know it’s the only way, Lincoln. You know that I know this camp better than you. I’m more likely to make it through unnoticed. If you want your people to be safe, they need to get out of this camp, at least until Pike is dead. I can’t take care of that, but I can save your people and make a statement. Maybe the people will turn on him, offer him to the Grounders at the blockade.”

You can see that he desperately wants to argue with you, but when his mouth opens, no words come out. Because both of you know he’s right, and if Skaikru wants any chance of survival, they need to see Pike do the unthinkable. He reaches out for you, his strong arms pulling you into a hug, and it’s the first time since you made your decision that you start to tear up.

When Lincoln pulls away, his expression is sad, but you swear you glimpse a look of pride in your eyes. It strengthens your resolve further. “A warrior with a heart.”

You smile at him before reaching up and unclasping your necklace, your thumb brushing over the silver moon one last time. You press it into Lincoln’s hand, delivering your final wish. “Can you give this to Bellamy for me?”

His hand closes over the moon, the last time you’ll ever see the small charm, and when you meet Lincoln's eyes, you can see that he understands what this means to you. “Of course.”

There’s a clamor down the hall, what sounds like a commotion of guards, and you know that time is finally up. You quickly press a kiss to Octavia’s forehead and back away from the two men, looking them both over as you mutter, “May we meet again.”

They repeat it back to you before slipping into the hidden passageway, and when you press the panel back into the wall, it’s with the knowledge that you’ll never see any of them again.

The escape of 4 prisoners sentenced to death has the guards scrambling, and it makes them sloppy.

It’s easy to be invisible when that’s all you were your entire life. You blend in with the crowds of Arkadians easily, walking past most of the guards in plain sight. And when you round the final corner to the small lock up you left not long ago, you’re relieved to find that they only left one guard behind.

He’s not expecting you, so when you run down the hall at full speed, kicking your legs out to swipe his own feet from beneath him, he tumbles easily. You yank the shock baton from his belt, cranking it up just enough to knock him unconscious, but not to kill him. You’re trying to help your cause, not hurt it.

You pat the man down, finding a small pocket knife that you slip into your pants, along with his key card to open the holding cell door. Denae stands there with the others, looking at you in shock, surprised to see you after you were led to your death not long ago.

“Where’s Lincoln?”

“Safe. Escaped with the others.” You look over the group of Grounder prisoners that have started to stand and move towards you. “We don’t have much time. I have to get you to the west woods before they notice you’re gone.”

The Grounders don’t need to be told to hurry; they’ve seen how easily Pike locked his people up and sentenced them to death, know that it’s only a matter of time before they’re next. The stronger ones carry and guide the weak, and you take the emptier hallways until all of you are safely outside, the fence and the woods beyond it in your sight. You want to be seen, but getting caught before freeing the Grounders will only make things worse for everyone.

As your group openly jogs across a busy section of Arkadia, people stop to watch you, but no one says a word, unsure of what exactly they’re seeing. When you reach the fence, you toss a nearby stick at a section you hope is no longer electrified, fried long ago during spy related activities. The stick hits the ground without event, and you let out a sigh of relief, guiding Denae and the others through the gaps in the fence. When everyone is safely through, Denae turns to look at you, surprised to find you still on the other side. “You’re not coming with us?”

“There’s something else I need to do. Follow the trade route to the west, and you’ll reach the blockade in no time. Your people can protect you from there.”

“Thank you.”

You feel strange accepting her thanks. “I’m sorry for what my people have done to yours. Maybe one day we will all be one people.”

“Peace will find a way.”

And as the two of you exchange a smile, an alarm begins to sound over the PA system, prompting Denae to turn and run, disappearing into the treeline with her people before Pike and his guards even know they’re gone. You let out a sigh of relief, because at least now, everyone is safe. Except for you.

“La lune, la lune, la lune.”

The name falls from Bellamy’s lips like a broken prayer as he sprints through the woods, back towards Arkadia, a necklace squeezed so tight in his grasp that a small silver moon will leave its imprint in his palm for hours after he lets go.

He can hear footsteps crashing through the woods behind him, his sister and Kane calling his name as he tears through the woods on memory alone, letting his legs carry him back to the woman he loves.

I only wanted to keep her safe. To protect her, and my people. I was wrong, I was wrong, I was wrong.

When he bursts through the treeline, his eyes trace the arc of Arkadia looming high in the gray skies, rain starting to fall like the Earth knows what’s about to happen. Bellamy is sure that he can stop it, that he can convince Pike to save your life, even though he failed before. He’ll give himself in your place, accept that the bullet meant for you is actually for him, one shot to atone for his sins and wipe his slate clean. Because you deserve to live, to have peace and live life until you’re old and gray. You deserve a partner that loves you, and the comfort of knowing that you’ll always be safe with the people you love. You deserve all the things you’ve dreamed and longed for, and even if he can't be there to see it, even if he can't be there to give those things to you, he will sacrifice himself in your place.

Pike walks ahead of a group of guards, guards that Bellamy would have considered friends not two days earlier, guards that are now pulling his fighting girlfriend outside the main gate.

Bellamy starts to run again, his legs moving on instinct to be with you, but strong hands pull him back, holding him in place with an iron grip, forcing him to watch from a distance.

Your hands are bound; hands that he once spent hours holding, content just to be with you. Your hair is wild around you, the way it looks when you wake beside him each morning, tousled now from the way you’re fighting the guards. And the necklace that would normally be glinting in the light around your neck is now gripped so tightly in his hand that blood begins to seep between his fingers.

He wants to turn to Kane and Octavia, scream that they have to save you, that they have to let him go so he can take your place, but he is frozen as he sees you pulled before Pike, the chancellor’s hand already resting on the gun at his side.

Pike is too much of a coward to kill you in the middle of Arkadia.

You guessed as much, but once he dragged you towards the back of camp, out of sight from the rest of your people, you started to fight, deciding that going with grace only worked if there was someone there to see it.

The people of Arkadia will know what happened to you, even though Pike tries to hide it.

Once you are pulled through the gate and into a patch of land just outside Arkadia’s walls, you finally stop your fight. It’s almost over. Everyone you love is outside the camp, except your mother, who will have no idea what’s happened until after you’re gone. You can only hope she remembers her promise to you and Kane, and that she doesn’t risk her life when Clarke still needs her.

You thought you’d be scared, but you aren’t. You swear it’s because your father is with you, his cologne easy to spot amongst the smell of dirt and pine. He’s keeping you standing tall and strong, giving nothing to the man that will soon take your life. A man that he once played chess with, long ago on a ship in the sky, long before anyone knew that a life on Earth was possible.

When you had nothing but time while locked up, you anguished over all the things you were going to lose. Now, as the clock ticks towards the end, you think only of the things that give you joy. You think of Clarke when you were both small, of the pictures she would draw and leave on your pillow to find in the morning. You think of Octavia, the timid girl that became a warrior and your friend, making you more proud than you thought possible. You think of Monty’s moonshine and your mom’s laugh and most of all you think of Bellamy.

You think of the freckles dotted across his face, the ones you would trace for hours as he slept beside you. You think of his lopsided grin, and the way he always seemed to know what you needed before you needed it. You think of how he gave you strength when you had none, the way he laughed when he thought no one was paying attention. You think of him in the quiet moments, the in between, when his face was serene with sleep or his shoulders finally relaxed at the end of a long day. You think of Greek gods, constellations, and the Iliad, of all the stories that tied the two of you together.

And your final wish to the Universe as you turn to face Pike, is that Bellamy Blake will no longer be lost.

You stand tall as they turn you to Pike, your stance confident, despite the situation you’re in.

You don’t drop to your knees when they ask you too, making the guards get their hands dirty instead as they push your knees into the mud beneath you.

You don’t flinch when Pike pulls out his pistol and cocks it.

Your eyes never leave his as his finger moves to the trigger.

The last words to ever leave your lips falls on ears that don’t understand the meaning.

“I love you more than the stars.”

And you swear the last thing you hear before everything goes dark, is a scream that sounds a lot like Bellamy.

Bellamy feels like the scream is splitting his throat apart, his anguish so raw, so palpable, that he’s sure he must be bleeding.

He can’t understand that he’s okay, that the pain he’s feeling isn’t one that can ever be seen. He’s sure that it will kill him, that his heart will refuse to carry this and simply stop. He thinks that will be the greatest mercy, the way to reunite again with you.

He doesn't remember Kane and Octavia pulling him away from the clearing, trying to escape the Arkadian guards that now know where they are. He doesn't remember punching the walls of the cave until his hands were nothing but blood and torn flesh, doesn't remember the screams that tore from his throat until Kane slipped Reaper drugs into his veins.

He slips unconscious in a fit of anguish, surrounded by friends who wonder how they will share the news of your death to your other half if this is how Bellamy reacts.

They have to keep someone on guard duty all night, because Bellamy tries to escape three separate times, swearing he’s going to kill Pike with nothing more than his bare hands.

He has to be chained up when they kidnap Pike and deliver him to the Grounders, ending the blockade. He fights the restraints for hours, until his wrists are just as bloody as his hands once were, and only when he’s finally exhausted every ounce of strength in his body does he finally fall asleep.

And when he dreams, he dreams of you.

@anoddsightcomeoutatnight

#sub rosa x red #sb answers #bellamy blake x reader #sub rosa au

48 notes · View notes

cherrylng · 27 days

Text

ROCKIN’ON - MUSE (November 2009)

MATTHEW BELLAMY INTERVIEW

●"The Resistance" is an amazing piece of work. 「(Laughs) You liked it, thank goodness.」

●I think it must be a very well thought-out concept album, from the composition and arrangement of each song, to the fact that the last three songs are a suite, to the lyrics. How did you come up with the concept for this album? 「In a way, I think this work is a dramatic reflection of my real life. Because of the current situation in the UK— well, especially the political situation during the time we were making this album. Various protest actions, such as the G20 protest rally (an appeal to the world's 20 major financial conferences held in London in April 2009), the shock of the economic crisis, and the revelation that British parliamentarians were embezzling money (*the British media revealed that many members of parliament had unfairly requested additional benefits for private financial aid, housing allowances, etc. under the pretext of “public expenses”, which developed into a major scandal)… Well, it seems to have calmed down a bit now (September 2009), but at that time there was a very strong feeling among people demanding “change” - breaking down and denying the current system. It was flowing, wasn't it? That's partly because I’ve been away from England for a while now and have been living in Italy, so I guess I was absorbing information about England even more voraciously. I was probably missing England a little bit, so I watched British news on TV, read newspapers, and closely followed the coverage of various events at the time. By looking at the current situation in Britain from the outside, I was able to develop an objective perspective within myself.

At the same time, my relationship with my current lover (Gaia Polloni) is also very important to me. You could call it romance, but yeah, that’s why those two things, politics and love, were in a sense bisecting my daily life at the time. I think if you listen to the album, you can hear that there's a more dramatic, dramatized version of that happening in the album. They serve as a setting for this album. For example, the first song sings of ideas such as revolution, uprising, and a strong desire to overthrow the status quo and change, while the second song sings about an immersion into love that can almost be called a retreat. I want to feel free by being locked up in the world of two people. It is also a desire to be freed or to escape from the various problems faced in reality, such as the government, or from the many unpleasant people that one cannot trust at all. It's a feeling I've had for a while now. In this context - a romance in the midst of political unrest, upheaval, and change - each song on the album depicts a different emotional journey. This is the same thing with “1984,” and that's why I quoted a few things from that book. But the ending of the album is - what can I say, I'm not a particularly religious person, but I'm leaning towards a bit more of a spiritual direction.

In the first half of the album, I use love or romance as a means of escape, but at the conclusion of the album, I objectify the world and the people who live in it, and it becomes very objective. So, so to speak, I'm trying to objectively view the Earth and the people living on it over a longer period of time. In that sense, that last suite can almost be called science fiction, but in a sense, it's a song that starts from the perspective of the universe as evolution. Evolution is a process that progresses on a cosmic scale, and probably occurs all over the universe. Part 1 of that song has a character with a distant, bird's-eye view, looking at everything from a distance. It's almost as if the person is just gazing at various problems, problems for which there seems to be no way to solve them, from afar. So, in Part 2, the idea of escaping from that planet is depicted, and some of the inhabitants of that planet escape to outer space. So, well, we're stepping into a bit of a science fiction world (bitter smile). But then I realized that I really like that movie, Stanley Kubrick's "A.I." (*Kubrick's legacy project, adapted by Spielberg). The first half of the film depicts a typical everyday story, but towards the ending, it becomes very dramatic and reaches the level of a sci-fi drama. I really like that development. So I guess that movie may have partially influenced me. Although the majority of his (Kubrick’s) work depicts extremely mundane and “global” topics such as various problems faced by humans, love relationships, happiness, and the joy of love, in the end he depicts a completely different and spiritual place. I like the idea of making an album that goes somewhere far away from everything and is cut off from this world.」

● At the end, in the eleventh song, you sing, “Let's start over again.” This work, which opens with the order of the revolution and describes the path to its defeat, seems to contain an eternal cycle in which the revolution begins again, returning to the beginning at the end. 「Yeah, yeah. It is a kind of loop! (laugh). It's a kind of cycle of life, of things. I have also studied the work of Richard Dawkins (a Darwinist sociobiologist. He advocates memetics, which compares the spread of culture to genes. His representative works include The God Delusion). I was reading about evolution and Darwin's theory of evolution, and that influenced me a lot. Was it last year? The Darwin Memorial Festival (*Charles Darwin's 100th anniversary) was held.」

In the album's conclusion, I try to objectify the world, or rather, the earth and its inhabitants, in a longer term.

●I think it was this year. 「Yeah, yeah. That's one of the things that brought me into contact with Darwin's research and literature. I read it, and I got really into it. I read that the inside of a human being is almost like a computer program, that the inside of DNA is a storehouse of information from the past, and that the genes are basically spreading this information. In this way, some information survives, while some is eliminated. In a sense, genes are the main force controlling our lives. In this way, we are almost a shadow or reflection of something else. I think that is a very interesting way of thinking.」

●Do you think the human race is still evolving? Are we on the right track? 「Yes, of course! I think we are still in the process of evolution (laughs). But are we going in the right direction? If you ask me, I don't know. I mean, if you read books about evolution, you realize that some parts of the species are always surviving. So, for example, the way we are now, the framework within which we live, the way we live, all of these things may eventually disappear completely. There are even some people who think that the current human species does not have much longer to live! (laughs) Well, I personally sometimes feel that evolution is something very spiritual. The inner workings of evolution are actually very exciting, and through it we can gain a different perspective on time, and a different view of life. For me, it's much more rewarding to learn about it than religion, or, you know, it gives me a peace of mind.」

●As you mentioned earlier, Orwell's “1984” is the basis of the story of this work, but why has the motif of “1984” emerged in your mind now? Why did “1984” have an immediacy in your mind? 「The current British government (Labour) seems to be experimenting a lot with new technologies and things like that in their own country. For example, the newly developed technology of large CCTV surveillance cameras. Nowadays, when you go to the airport, your eyeballs are scanned (laughs).I don't know what to say. It's like the government is trying to be more sophisticated and control the people, using the excuse of "anti-terrorism" as a cover. I think we are moving towards a new period. At least in the UK. Many people (in the U.K.) have a sense that "someone is always watching" and a certain kind of Big Brother (*The dictatorial ruler/politician depicted in "1984". He is a symbolic figure who controls and suppresses people's lives and thoughts through television and wiretapping.). I think that motif is very contemporary, especially for the British. I think it is true that our freedom as human beings is slowly being taken away.」

●Is it a warning to the people? “Beware, our freedom is being taken away”? 「Yes, I think so, but hasn't it always been that way? In the past, the majority of people have always been optimistic, not worrying too much and not thinking too deeply about things. I think that's why it's important for artists to try to influence popular culture, to try to convey some of their ideas and perspectives. It might be an opportunity to make some people think about things that they have never thought about before. And, yes, I think that what I am expressing in this work is probably worth issuing a warning.」

●This is your first full-fledged self-produced album. Why did you decide to self-produce at this time? 「We have been using various studios in Europe as well as some studios in the U.S., and we got a little fed up with working in "rented" places. There are time constraints, you have to finish in a few weeks, and there are other people using the same studio, so it's very difficult in terms of time and freedom. I think it was during the recording process of the last album that the idea of "building a home studio" came to me. I learned a lot about recording technology in the process of building that studio. We bought and installed all the recording equipment ourselves. And through the process of setting up, I became aware of the recording and engineering side of the business. Until now, that part of my life has always been a bit of a mystery to me. I just watched the other people doing all this complicated stuff (laughs), and I thought, "This must be really hard work." But through the studio construction work, some of the mystery was taken away, and I was able to understand exactly what they (engineers) were doing.」

●What, if any, characteristics of the band Muse did you discover in this process of being left to make all the choices? 「Well… I don't know why we didn't do that before - it was pretty tough when we first started recording. But once we got through that phase, we realized that we were really enjoying the recording process. We laughed a lot, and I don't think we've ever had so much fun in all the albums we've made. Because with the previous albums, we were under a lot of pressure in terms of time, because we were only booked in the studio for two weeks or a few weeks, and we had to work really hard while we were there. So, yeah, I think if there's anything we've discovered about Muse, it's that we don't take ourselves too seriously (laughs).」

●Ha ha ha! 「(laughs) Especially while we are in that kind of production environment. Some of the songs are pretty heavy, and I think that's part of what made our creative environment so enjoyable. The three of us had a lot of laughs about the music we were doing, about ourselves, and about everything else. So in that sense, it was a much lighter and more relaxed experience than before. And if there's one more thing I've discovered, I think (with some emphasis) it's that this is the best way for us to record. It's probably the best creative environment for us, and it allows us to be more bold and not be afraid to try out ideas as they come to us. Because when everyone is happy and enjoying what they're doing, it sometimes gives you more courage to try something, even if it's a pretty crazy idea.」

●This album is a concept album, but at the same time, it is a work with an amazing variety of sounds, and is filled with various genres of music that are not all the same. What was the process of songwriting for the 11 songs? Did you compile songs that were born from different triggers and clues, or did you create them in order from the beginning, as if the lyrics depicted a universal story? 「Yeah… It's funny, but as far as the recording goes, we recorded the songs in the order they were recorded. We recorded "Uprising" first, and the symphony was the last song we recorded. But the songwriting process was pretty random, and there was no process. For example, I remember playing some of the piano parts in the final suite on a whim for three or four years, but I never thought they would become songs, or even something for Muse. On the other hand, songs like "Undisclosed Desires" were written almost entirely in the studio. "United States of Eurasia" was probably written a little before we started working on the album. I had a feeling that it was going to be one of the cornerstones of the album. It's a core song. That song was already ready before we recorded it, or rather, it was well-developed, and I had a clear idea of how I wanted the song to turn out. I knew exactly how I wanted the song to be recorded. But for the final suite, even though some of the piano parts were already there, the idea of making it a three-part suite, or adding bass and drums to make it a Muse song, came after I went into the studio and was not part of the plan. So "Uprising," "The Resistance," "United States," and "MK Ultra", which were already with us before we started recording, and most of the others came out of the studio as we continued working on them. Some of the songs had ideas from before, like the piano parts, and some of them were new versions of old ideas.」

●In terms of excitement, “United States of Eurasia” has a structure that has several “chapters” within one song. I think this song, which changes from an operatic melody to a Middle Eastern melody, and has an outro of Chopin's Nocturne, is a number that encapsulates the eclectic charm of this work, but where did the idea for this song come from? 「(laughs happily) That's right, maybe it's a Middle Eastern-ish “♪Dun dun dun dururu~♪” melody part, but didn't that already exist before the Wembley Stadium performance? How did it go? (Thinks for a moment) No! Around the time we performed at V Festival last year, we played a live show in Dubai, and we were able to experience a lot of cool music there. Shortly after that, I went back to England and performed at V Festival, and I remember playing a little bit of that melody during the break between songs, and Dom's mom came to see the show after the concert. But (bitter smile) she said to me, “What's that melody you were playing earlier? It was amazing.” So I thought, oh well, it might be a good idea to write some songs using that, and I thought I'd give it a try.」

●It's Dom's mom's favorite song (laughs). 「(Explosive laughter) Yeah, yeah! And, yeah, that Middle Eastern-style melody was the starting point for that song. And for some reason, I played it in the black key, the key of E flat. Because it is easy to play a melody like that (pressing the piano keys with fingers) like this. So that automatically led me to the key of E flat, which is a scale I don't normally use. My vocal range is usually D, E, C, or A, but I was not familiar with the E-flat, black key. So I had to work with a different chord arrangement than usual, and as a result, I had to build a song around that Middle Eastern groove to match it. And so the song gradually developed into a strange shape, a different type of chord shape, independent of the Middle Eastern melody that started the song in the first place. So, after I finished writing the main part of that song, I was listening to a piano piece. I think it was when I was looking at my iPod playlist, and that Chopin piece, “Nocturne/E Flat Major,” came up. It is one of my favorite pieces of Chopin's, along with the C-sharp pieces, and I thought, “Oh, this is an E-flat piece too, how interesting (laughs)!” I had never played it before, so I bought the sheet music, read it, and learned the notation so I could play it. Then I found that I could play it exactly the way it ended (laughs).」

●(laughs) I wonder if the meaning of the "song" as a unit, or the way you view it, has changed drastically since your last album. The amount of information contained in a song is completely different from your previous works. 「Yes, that's true for "United States" and especially for the symphony at the end. Of course, we try to incorporate new ideas and techniques into our music on every album, but one of the things that happened on this album was definitely a drastic change in the structure of the songs. I'm sure that will influence the next album as well.」

Dom's Interview

Translator's note: I actually finished translating Dom's interview first before tackling Matt's. The reason why? If you see the original interview itself as shown in the second image, his second answer alone took up almost the whole page of the magazine. And I had to split it into 3 text blocks simply because it exceeded the maximum of 4,096 characters that can be contained in a single text block.

It was no wonder Matt's interview took up 3 pages while Dom's only took up 2 pages.

At this point in time, I'm tempted to just set up a Ko-fi or something because this took up so much of my free time to get this scanned and translated, on top of wrangling with Tumblr itself to get this posted. Someone let me know if that's an idea to follow through or not.

#Matt Bellamy #Muse #The Resistance era #smol meerkat #interview #translation #Matt why do you have such a motor mouth #I had to procrastinate by doing Dom's interview first because of that long ass answer alone #don't give me that soft look on your face #look at what you made me do Matt

12 notes · View notes

maegicks · 2 months

Text

wildflowers brush against his calves. they stood amidst the flowers that flourish in the gardens outside volterra. it was dark, obviously. even though there are walls that line the gardens, it was still safer for demetri that way. their conversation had begun to wane, falling off into a comfortable silence until…

@fyllakas: ❛ a golden cage is still just a cage ❜

gaze snaps upwards , staring at demetri with a look of confusion etched across features. over time , bellamy had started to understand that demetri felt trapped here. it had taken time to come to this realization, because on the surface demetri seems perfectly content with his current placement. but that wasn't the case. if it weren't for reasons unknown to bellamy , demetri wouldn't stay here. fingers tremble as they lift , brushing over demetri's shoulder. a comforting touch, he hopes.

❝ if i could free you, i would. ❞

#( ⁶⁶⁶ ) bellamy swan. ⇀ answered prompt.#i'm fucking SOBBING for demetri rn he deserves so much better

10 notes · View notes

profanepurity · 1 year

Note

No pressure at all but mayhap you have wholesome Secondo and Bellamy content lying around. These two are just so cute and you were 100% correct and valid for making Secondo a daddy’s girl, this man’s gives off the vibe that he would spoil his daughter to the point of making Diana mad

(also I hope midterms are finally over and you’re doing ok and get to rest. I’m spending only the best vibes your way

Of course! You're so right, Secondo spoils his little baby a ridiculous amount. He simply is incapable of saying no to her (if it's anything material. If she asks to play outside of the church grounds or with a ghoul that's not in his immediate circle of advisors, guards, or band members, the answer will always be no. Secondo would put Bellamy in a bubble if he could).

Diana usually thinks it's sweet, and a bit amusing to see her stoic, cold Papa melt into a soft, loving man when it comes to their daughter. She does think it's a bit excessive at times, but Diana would much rather allow her lover to suffer the consequences of his own actions, as she finds that to be a much sweeter punishment.

For example, Diana had softly reminded Secondo that Bellamy did not need every single plushy she looked at. But Papa justified it by saying the bigger ones were for decoration, since he didn't want her childhood bedroom to feel like a white, suffocating study room (he's totally not projecting). He also may or may not be slightly jealous that she loves her stuffed rat, Lumaconi, that Copia got her so much.

Papa didn't take into account that whenever Bellamy would come into their room to sleep with them that she would bring every single one of those plushies with her.

Now he can't sleep. This man has to be up in 2 hours to go be a satanic pope.

(Thank you so much for the positive vibes Bamboo! Midterms have passed, but I'm unfortunately going to be quite busy for the next two months. I'm in the last semester of my BFA, and I'm neck deep in work for my undergrad thesis. I may be gone for short periods of time here and there, but I have no intention on leaving! I am actually extremely excited to show you guys little peaks of what I've been working on in the next few days. I have something coming out at the end of this month that I hope you guys will enjoy as well. It has to do with the origins of a particular sister of sin 🖤)

76 notes · View notes

she-who-the-river-could-not-hold · 4 months

Note

Hi. I was looking for a Bellarke fic on ao3 and I wanted to reach out since I feel like you’d know which one since you’re a huge Bellarke fan

It’s basically a fic where I believe Clarke and Bellamy meet in this bar, its kind of a dystopian/futuristic fic and they are forced to get married. I know Bellamy has like a ship and they are rebels, where Clarke joins them and they end up killing I think Josephine’s finance. Bellamy’s father ends up being this leader of the country and it turns out Bellamy is his son.

I remember reading it a while back but I can’t seem to find it. All the help would be appreciated!

Oh wow I wish I could help, that sounds like an awesome story!! I'm not sure I've heard of it though (though now I definitely want to read it as well).

Any of my Bellarke mutuals recognize the sound of this AU?

Update! It looks like it's "Saint of Lost Causes" by TotalBellarkeTrash! Not currently on AO3 anymore/at this time.

#bellarke #bellarke fic #clarke griffin #bellamy blake #the 100 #the 100 fic #emmarsblog #kathryn answers

16 notes · View notes

simlit · 7 months

Note

3, 6, 7, 9, 13, 19, 22, 24, 25, for VEN

What is your OCs fatal flaw? Are they aware of this flaw?

In his current state? Probably his selflessness. He gives too much to people and has a hard time drawing lines if it's someone he deeply cares about. Case in point, letting Naida more or less railroad the entire family into chasing the Fountain of Youth. In his defense, Naida isn't really someone you can win fights against, but considering the dangerous nature of the voyage, one would think he should have fought against it a lot harder. I do think he's aware of it, but not in a way he can actively check, because it's a lot of him overcompensating for the way he used to be and the things he's done. So I guess a larger and probably more fatal flaw is the fact that he carries around so much guilt and does a lot in the name of reparations.

How easily could your OC be convinced to do something that goes against their moral compass?

Easily, but tbh I feel this is one thing Ven shares with Kato. His morals can be bent depending on who is involved and the consequence of the situation. Ven isn't standing on moral highground in the first place, despite understanding right and wrong well enough. He certainly doesn't care enough about authority not to break rules, and as far as life or death is concerned, a life will always matter less to him if they're at odds with someone he loves. That being said, I think he's resourceful enough to find ways around making risky choices.

What's one way your OC has changed since you first came up with them?

Also a really fun question, cuz I haven't thought about it in years LOL. Though Ven stayed mostly the same from conception, he was supposed to be a bit more "roguish" even after his Reaper years. More of the typical pirate: loose, unkempt and thieving. But he ended up being way more charitable and straightlaced than I'd initially planned, but that ironed itself out almost immediately so I don't really consider it to have been "the plan" just "what I had had in mind at some point" lmao. Now the idea of Ven sleeping around with literally anyone is goddamn baffling to me.

Do you have a specific lyric or quote which you associate with your OC?

Every single word of his theme song, "The Balancer's Eye" by Lord Huron, but all of this: Nothing's waiting for us in the great sky Life is equal to dust in the Balancer's eye Now I know that I can't lift an old curse Tell me, how does a man change the universe? Will I ever be forgiven for the crime of my life? Will it haunt me till I die? To the end of time?

If you met your OC, would the two of you get along?

I think Ven is one of the few characters I can genuinely answer "yes" to this question lmao. Just because Ven is hands down the least judgmental of my OCs, not to mention packing all that charisma, he can literally talk to anyone. Although I probably would just be dead on the floor so it wouldn't be a very interesting conversation.

How does your OC behave when enraged?

We so rarely see Ven angry. Honestly, a bit like Kyrie, Ven has a quiet temper. He's good at restraining himself now, because he knows intimately well just how horrible of a person he can be, so he makes a concerted effort never to let anything get him that upset. Mostly, things don't anger him as much as he may be disappointed or saddened. There is one scene in OST:O I've had planned for years that actually showcases Ven's true anger and it is very much "silent and lethal" lmao.

What character alignment would you consider your OC to be?

Oof, I dunno, somewhere between neutral good and chaotic neutral. Hard to pinpoint lol

What is an alternative life path your OC might have gone done? How different would their life be if they'd made those decisions?

Oh, this one is interesting. I think Ven could have easily continued down the path he started on when he got the sight. That is, had he not been able to pull himself back from that maniacal person he'd become as consequence, he'd be unrecognizable today. That's not to say he isn't already because he absolutely was that person for a moment in time. The Reaper King wasn't just a persona, it was his entire essence. He was ruthless, violent and he did very literally kill dozens (I won't say 100s but it's up there) of people. We like to imagine him as the loving father and perfect husband he is now, but outside of maybe Elsera he's my OC with the highest bodycount. And while in a way you could justify he killed people because "they deserved to die" he was never in the right to pass that judgement. Had he not eventually woken up from that state of trauma and derangement, he'd still be a completely unstable murderous lunatic .-.

What is your favorite thing about your OC?

How hot he is. The end.

#jade babbles #ec: ven bellamy #ask game #this is old but I needed a mental break #I've been working a lot of 12 hour days and im just so tired #not having time or energy to do creative stuff gets me so pent up too #I only have one day of this left but tonight was just getting rough so I needed to do something for myself #thank god I ignored this when aymay sent it in the first place LOL #also I was reading back on ost:o and bellamies and getting nostalgic #anyways I get one troll answer bye :squidwardasleep:

20 notes · View notes