escape, yuzuru's fs3 solo, and 5 reasons on why it's undeniably about saegusa ibara
ignore that i've been inactive here for months
— i will be using the ENG TL by milkis for consistency, but i've also talked about the original JP lyrics with my friends who know JP better than i do.
ENG TL by milkis: https://youtu.be/gyxLmaEgxns
— some of these ideas i've discussed with friends and had friends bring them up to me (especially the last bullet), and initially i had a disclaimer here where i would just bring up the points i wasn't able to come up with myself but not go too in depth, but then i started connecting my own dots so... i've adopted it into its own fully-fledged bullet. PLS NOTE i do not want to steal ideas from others and i enjoyed escape via freaking out about it with Friends so we may have similar ideas but i tried my best to talk about what my personal observations were and what i think their significance are!!!
outline:
yuzuru uses "俺" (ore) in the song.
1.5 the tone of the song is lighthearted/more casual.
sentiments are echoed that are directly a callback to his conversation with ibara in SS finals.
yuzuru mentions being "not the ideal version [the addressed] dreamed of".
yuzuru mentions being "the protagonists".
yuzuru makes callbacks and parallels to "salute desire".
— yuzuru EXCLUSIVELY uses 俺 as his 1st person pronoun when he's talking to ibara. the only other time he uses 俺 is during flashbacks when he was in the military camp with ibara. in other cases, yuzuru uses わたくし (watakushi) when referring to himself, which is a highly polite form of the pronoun 私 (watashi). more on this below.
1.5. 𝐭𝐡𝐞 𝐭𝐨𝐧𝐞 𝐨𝐟 𝐭𝐡𝐞 𝐬𝐨𝐧𝐠 𝐢𝐬 𝐥𝐢𝐠𝐡𝐭𝐡𝐞𝐚𝐫𝐭𝐞𝐝/𝐦𝐨𝐫𝐞 𝐜𝐚𝐬𝐮𝐚𝐥.
— this is only half a bullet point because it's an extension of the main point, ie. with and around ibara, yuzuru is able to express himself more freely and authentically.
usually, yuzuru speaks in a highly polite form of japanese, called kenjougo, or humble language. this is because of his social status and class as a servant. there are times yuzuru breaks away from this, but notably it happens whenever he interacts with ibara. in this song, the language he uses is less kenjougo and more casual.
— in SS Finals, Laurel (11), yuzuru confronts ibara about the whereabouts of tori. in this ibara admits that he's not aware of what nagisa's or hiyori's plans are. yuzuru says he needs to confront them next in order to safely rescue tori, and in turn ibara offers to help. yuzuru rejects his offer because he "failed to be the place [for ibara] to return to" and he does not want ibara to lose that "home" that he's already found. in the official ENG translation this is translated as: "I failed to be your safe harbour, but I won't take it away from you after you've found it."
yuzuru explicitly states that he's felt as if he missed his chance to be ibara's home and safe haven. during their time in the military camp, yuzuru was perhaps the first and only kindness ibara had ever received. both of them have talked about how yuzuru would even cook food for ibara and how he would take care of him. yuzuru had always wanted to be ibara's support system, but since he had to leave the camp first, he left ibara alone. since then, even after they've reunited, yuzuru feels like he can't "impose" himself into ibara's life any more, now that ibara has a "new home" to return to (eden).
the lyrics of the song callback to this, but now instead of yuzuru remaining passive, he says that maybe even if he's no longer ibara's home, maybe it won't matter anyway, and they could still enjoy the present. he's challenging the very ideas and feelings he used to hold back in SS Finals.
— yuzuru and ibara have several conversations that touch upon this topic. in the story "Revenge Match", yuzuru and ibara don't interact directly, but their interactions and yuzuru's involvement (or lack thereof) is expounded on in extra scenes in the anime and kiseki stage. i don't have access to a translation to kiseki stage so i'll only talk about the scene in the anime.
in the anime, right after ibara gets introduced, he and yuzuru meet presumably for the first time in a while. ibara makes a remark about how yuzuru is now "the himemiyas' lap dog", and yuzuru retaliates by saying he's happy with the choice he's made. the authenticity of yuzuru's claim aside, this is not the last time they have this kind of conversation.
"𝘠𝘰𝘶 𝘤𝘰𝘶𝘭𝘥 𝘩𝘢𝘷𝘦 𝘩𝘢𝘥 𝘢 𝘮𝘶𝘤𝘩 𝘣𝘦𝘵𝘵𝘦𝘳 𝘭𝘪𝘧𝘦 𝘵𝘩𝘢𝘯 𝘸𝘩𝘢𝘵 "𝘐" 𝘩𝘢𝘷𝘦. 𝘞𝘩𝘺 𝘥𝘪𝘥 𝘺𝘰𝘶 𝘷𝘰𝘭𝘶𝘯𝘵𝘢𝘳𝘪𝘭𝘺 𝘨𝘪𝘷𝘦 𝘶𝘱 𝘵𝘩𝘢𝘵 𝘳𝘪𝘨𝘩𝘵, 𝘠𝘶𝘻𝘶𝘳𝘶?"
"𝘐 𝘴𝘪𝘮𝘱𝘭𝘺 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺 𝘰𝘸𝘯 𝘭𝘪𝘧𝘦. 𝘕𝘰 𝘰𝘯𝘦 𝘪𝘴 𝘧𝘰𝘳𝘤𝘪𝘯𝘨 𝘮𝘦 𝘵𝘰 𝘨𝘰 𝘥𝘰𝘸𝘯 𝘵𝘩𝘪𝘴 𝘱𝘢𝘵𝘩. 𝘐 𝘳𝘦𝘧𝘶𝘴𝘦 𝘵𝘰 𝘤𝘰𝘮𝘱𝘳𝘰𝘮𝘪𝘴𝘦 𝘰𝘯 𝘵𝘩𝘪𝘴, 𝘯𝘰 𝘮𝘢𝘵𝘵𝘦𝘳 𝘸𝘩𝘢𝘵."
— this is a homescreen conversation they have from ! era, which i assume had inspired the extra scene in the anime.
in stories like "gang" and "wondergame", this is also touched upon.
no direct quotes from "gang", but there persists a sort of frustration from ibara that yuzuru allows himself to "succumb" to a life of subservience when ibara knows he could fair better, even when they were younger.
in the song lyrics, yuzuru is referring to that ideal version of him that ibara dreams of. perhaps a version of him where he's not forced to be a butler and a servant. yuzuru is beginning to accept some of his feelings toward his status in life & towards tori (as tackled in MANA recently). still, of course, yuzuru can't and won't just abandon his duties to the himemiyas and to tori. so even if he's still not completely "free" as ibara would have liked to envision, he's sure he would still get ibara's support, anyway.
— in several stories and more recently in VS Gladiator and Enkan, ibara has expressed an interest and a desire to be in the spotlight. in the teaser for Megasphere P.1 Stream 2 ibara talks about how he wants to be the protagonist of the story. it's just interesting for yuzuru to point this out and reference it in this song when it's been so timely for ibara. and of course, "playing protagonist" also applies to yuzuru himself, stepping outside of the shadow of his servant role and becoming his own idol/person, as tackled in MANA and a bit more recently, in that one mini-talk yuzuru has with mika for Graceful Punishment.
5. 𝐲𝐮𝐳𝐮𝐫𝐮 𝐦𝐚𝐤𝐞𝐬 𝐜𝐚𝐥𝐥𝐛𝐚𝐜𝐤𝐬 𝐚𝐧𝐝 𝐩𝐚𝐫𝐚𝐥𝐥𝐞𝐥𝐬 𝐭𝐨 "𝐬𝐚𝐥𝐮𝐭𝐞 𝐝𝐞𝐬𝐢𝐫𝐞".
— i hadn't picked up on this myself at first, but my lovely mutual ibaradaihyo on twt pointed out that yuzuru was specifically referencing motifs brought up in Salute Desire, namely dreams and time.
here are some of the lyrics involving the dream motif, though i won't expound on it much further:
"𝘞𝘪𝘵𝘩 𝘵𝘩𝘰𝘴𝘦 𝘦𝘺𝘦𝘴 𝘵𝘩𝘢𝘵 𝘤𝘢𝘯 𝘴𝘦𝘦 𝘵𝘩𝘦 𝘥𝘳𝘦𝘢𝘮, 𝘚𝘩𝘰𝘸 𝘮𝘦 𝘵𝘩𝘢𝘵 𝘥𝘳𝘦𝘢𝘮. 𝘛𝘩𝘦 𝘥𝘦𝘴𝘪𝘳𝘦 𝘵𝘩𝘢𝘵 𝘴𝘩𝘰𝘰𝘵𝘴 𝘰𝘶𝘵 𝘵𝘩𝘦 𝘭𝘪𝘨𝘩𝘵." – Salute Desire (ENG TL by mireiarchive)
and here are other lyrics worth pointing to that involve time as a motif:
"𝘞𝘦 𝘥𝘦𝘮𝘢𝘯𝘥 𝘰𝘶𝘳𝘴𝘦𝘭𝘷𝘦𝘴 𝘵𝘰 𝘤𝘭𝘢𝘪𝘮 𝘦𝘢𝘤𝘩 𝘰𝘵𝘩𝘦𝘳.
𝘖𝘯 𝘵𝘩𝘦 𝘴𝘵𝘢𝘨𝘦 𝘸𝘩𝘦𝘳𝘦 𝘸𝘦 𝘥𝘢𝘯𝘤𝘦 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳
𝘛𝘩𝘦 𝘩𝘢𝘯𝘥 𝘰𝘧 𝘵𝘪𝘮𝘦 𝘵𝘩𝘢𝘵 𝘢𝘭𝘭𝘰𝘸𝘴 𝘪𝘵 𝘵𝘰 𝘣𝘦𝘨𝘪𝘯 𝘪𝘯 𝘵𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘱𝘭𝘢𝘤𝘦
𝘞𝘪𝘭𝘭 𝘯𝘦𝘷𝘦𝘳 𝘴𝘵𝘰𝘱 𝘢𝘨𝘢𝘪𝘯." – Salute Desire (ENG TL by mireiarchive)
though i would like to expand on the time motif with my own thoughts —
not quoting any specific lyrics from Escape but in general the dream motif also gets paired with it being "a dream that lasts an eternity" and yuzuru mentions "unstoppable time" as another motif. the concept presented in Salute Desire of dancing together on stage, letting time begin and never stop, is kind of paralleled in what yuzuru says, with a large theme of Escape being dancing together regardless of time, enjoying the present moment.
in Salute Desire there is also an underlying theme of letting yourself submit (to each other), getting lost in each other as you take over the stage. Escape has a similar theme of getting lost and "submitting" to the moment. while the vibe in Salute Desire is more "conquering the stage alongside someone", Escape is more casual and carefree. Salute Desire talks about making yourself known to an audience:
"𝘉𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘦 𝘤𝘩𝘦𝘦𝘳𝘴
𝘛𝘩𝘢𝘵 𝘵𝘰𝘰𝘬 𝘰𝘷𝘦𝘳 𝘢𝘭𝘭 𝘵𝘩𝘦 𝘴𝘦𝘯𝘴𝘦𝘴,
𝘖𝘶𝘳 𝘦𝘺𝘦𝘴 𝘮𝘦𝘵."
while Escape talks about seizing the present moment for just between the two of you, with nobody else watching:
"𝘐𝘯 𝘢 𝘤𝘰𝘳𝘯𝘦𝘳 𝘰𝘧 𝘵𝘩𝘦 𝘧𝘭𝘰𝘰𝘳, 𝘫𝘶𝘴𝘵 𝘧𝘰𝘳 𝘯𝘰𝘸, 𝘪𝘵'𝘴 𝘰𝘯𝘭𝘺 𝘵𝘩𝘦 𝘵𝘸𝘰 𝘰𝘧 𝘶𝘴, 𝘚𝘶𝘳𝘦𝘭𝘺, 𝘯𝘰 𝘰𝘯𝘦 𝘦𝘭𝘴𝘦'𝘴 𝘦𝘺𝘦𝘴 𝘤𝘢𝘯 𝘴𝘦𝘦 𝘶𝘴."
i think it makes for a good contrast between the two songs.
i have no idea how to conclude this post. fushimi yuzuru managed to make me feel even more ill than when i had started out typing this post. i expected to finish this within an hour but i've spent way too long on this. i hope someone else can appreciate this song more now because that is really the only reason why i wanted to lay out all the bullet points like this. good night and i hope fushimi explodes and dies for being an utterly disgusting yearner
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escape, yuzuru's fs3 solo, and 5 reasons on why it's undeniably about saegusa ibara
ignore that i've been inactive here for months
— i will be using the ENG TL by milkis for consistency, but i've also talked about the original JP lyrics with my friends who know JP better than i do.
ENG TL by milkis: https://youtu.be/gyxLmaEgxns
— some of these ideas i've discussed with friends and had friends bring them up to me (especially the last bullet), and initially i had a disclaimer here where i would just bring up the points i wasn't able to come up with myself but not go too in depth, but then i started connecting my own dots so... i've adopted it into its own fully-fledged bullet. PLS NOTE i do not want to steal ideas from others and i enjoyed escape via freaking out about it with Friends so we may have similar ideas but i tried my best to talk about what my personal observations were and what i think their significance are!!!
outline:
yuzuru uses "俺" (ore) in the song.
1.5 the tone of the song is lighthearted/more casual.
sentiments are echoed that are directly a callback to his conversation with ibara in SS finals.
yuzuru mentions being "not the ideal version [the addressed] dreamed of".
yuzuru mentions being "the protagonists".
yuzuru makes callbacks and parallels to "salute desire".
— yuzuru EXCLUSIVELY uses 俺 as his 1st person pronoun when he's talking to ibara. the only other time he uses 俺 is during flashbacks when he was in the military camp with ibara. in other cases, yuzuru uses わたくし (watakushi) when referring to himself, which is a highly polite form of the pronoun 私 (watashi). more on this below.
1.5. 𝐭𝐡𝐞 𝐭𝐨𝐧𝐞 𝐨𝐟 𝐭𝐡𝐞 𝐬𝐨𝐧𝐠 𝐢𝐬 𝐥𝐢𝐠𝐡𝐭𝐡𝐞𝐚𝐫𝐭𝐞𝐝/𝐦𝐨𝐫𝐞 𝐜𝐚𝐬𝐮𝐚𝐥.
— this is only half a bullet point because it's an extension of the main point, ie. with and around ibara, yuzuru is able to express himself more freely and authentically.
usually, yuzuru speaks in a highly polite form of japanese, called kenjougo, or humble language. this is because of his social status and class as a servant. there are times yuzuru breaks away from this, but notably it happens whenever he interacts with ibara. in this song, the language he uses is less kenjougo and more casual.
— in SS Finals, Laurel (11), yuzuru confronts ibara about the whereabouts of tori. in this ibara admits that he's not aware of what nagisa's or hiyori's plans are. yuzuru says he needs to confront them next in order to safely rescue tori, and in turn ibara offers to help. yuzuru rejects his offer because he "failed to be the place [for ibara] to return to" and he does not want ibara to lose that "home" that he's already found. in the official ENG translation this is translated as: "I failed to be your safe harbour, but I won't take it away from you after you've found it."
yuzuru explicitly states that he's felt as if he missed his chance to be ibara's home and safe haven. during their time in the military camp, yuzuru was perhaps the first and only kindness ibara had ever received. both of them have talked about how yuzuru would even cook food for ibara and how he would take care of him. yuzuru had always wanted to be ibara's support system, but since he had to leave the camp first, he left ibara alone. since then, even after they've reunited, yuzuru feels like he can't "impose" himself into ibara's life any more, now that ibara has a "new home" to return to (eden).
the lyrics of the song callback to this, but now instead of yuzuru remaining passive, he says that maybe even if he's no longer ibara's home, maybe it won't matter anyway, and they could still enjoy the present. he's challenging the very ideas and feelings he used to hold back in SS Finals.
— yuzuru and ibara have several conversations that touch upon this topic. in the story "Revenge Match", yuzuru and ibara don't interact directly, but their interactions and yuzuru's involvement (or lack thereof) is expounded on in extra scenes in the anime and kiseki stage. i don't have access to a translation to kiseki stage so i'll only talk about the scene in the anime.
in the anime, right after ibara gets introduced, he and yuzuru meet presumably for the first time in a while. ibara makes a remark about how yuzuru is now "the himemiyas' lap dog", and yuzuru retaliates by saying he's happy with the choice he's made. the authenticity of yuzuru's claim aside, this is not the last time they have this kind of conversation.
"𝘠𝘰𝘶 𝘤𝘰𝘶𝘭𝘥 𝘩𝘢𝘷𝘦 𝘩𝘢𝘥 𝘢 𝘮𝘶𝘤𝘩 𝘣𝘦𝘵𝘵𝘦𝘳 𝘭𝘪𝘧𝘦 𝘵𝘩𝘢𝘯 𝘸𝘩𝘢𝘵 "𝘐" 𝘩𝘢𝘷𝘦. 𝘞𝘩𝘺 𝘥𝘪𝘥 𝘺𝘰𝘶 𝘷𝘰𝘭𝘶𝘯𝘵𝘢𝘳𝘪𝘭𝘺 𝘨𝘪𝘷𝘦 𝘶𝘱 𝘵𝘩𝘢𝘵 𝘳𝘪𝘨𝘩𝘵, 𝘠𝘶𝘻𝘶𝘳𝘶?"
"𝘐 𝘴𝘪𝘮𝘱𝘭𝘺 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺 𝘰𝘸𝘯 𝘭𝘪𝘧𝘦. 𝘕𝘰 𝘰𝘯𝘦 𝘪𝘴 𝘧𝘰𝘳𝘤𝘪𝘯𝘨 𝘮𝘦 𝘵𝘰 𝘨𝘰 𝘥𝘰𝘸𝘯 𝘵𝘩𝘪𝘴 𝘱𝘢𝘵𝘩. 𝘐 𝘳𝘦𝘧𝘶𝘴𝘦 𝘵𝘰 𝘤𝘰𝘮𝘱𝘳𝘰𝘮𝘪𝘴𝘦 𝘰𝘯 𝘵𝘩𝘪𝘴, 𝘯𝘰 𝘮𝘢𝘵𝘵𝘦𝘳 𝘸𝘩𝘢𝘵."
— this is a homescreen conversation they have from ! era, which i assume had inspired the extra scene in the anime.
in stories like "gang" and "wondergame", this is also touched upon.
no direct quotes from "gang", but there persists a sort of frustration from ibara that yuzuru allows himself to "succumb" to a life of subservience when ibara knows he could fair better, even when they were younger.
in the song lyrics, yuzuru is referring to that ideal version of him that ibara dreams of. perhaps a version of him where he's not forced to be a butler and a servant. yuzuru is beginning to accept some of his feelings toward his status in life & towards tori (as tackled in MANA recently). still, of course, yuzuru can't and won't just abandon his duties to the himemiyas and to tori. so even if he's still not completely "free" as ibara would have liked to envision, he's sure he would still get ibara's support, anyway.
— in several stories and more recently in VS Gladiator and Enkan, ibara has expressed an interest and a desire to be in the spotlight. in the teaser for Megasphere P.1 Stream 2 ibara talks about how he wants to be the protagonist of the story. it's just interesting for yuzuru to point this out and reference it in this song when it's been so timely for ibara. and of course, "playing protagonist" also applies to yuzuru himself, stepping outside of the shadow of his servant role and becoming his own idol/person, as tackled in MANA and a bit more recently, in that one mini-talk yuzuru has with mika for Graceful Punishment.
5. 𝐲𝐮𝐳𝐮𝐫𝐮 𝐦𝐚𝐤𝐞𝐬 𝐜𝐚𝐥𝐥𝐛𝐚𝐜𝐤𝐬 𝐚𝐧𝐝 𝐩𝐚𝐫𝐚𝐥𝐥𝐞𝐥𝐬 𝐭𝐨 "𝐬𝐚𝐥𝐮𝐭𝐞 𝐝𝐞𝐬𝐢𝐫𝐞".
— i hadn't picked up on this myself at first, but my lovely mutual ibaradaihyo on twt pointed out that yuzuru was specifically referencing motifs brought up in Salute Desire, namely dreams and time.
here are some of the lyrics involving the dream motif, though i won't expound on it much further:
"𝘞𝘪𝘵𝘩 𝘵𝘩𝘰𝘴𝘦 𝘦𝘺𝘦𝘴 𝘵𝘩𝘢𝘵 𝘤𝘢𝘯 𝘴𝘦𝘦 𝘵𝘩𝘦 𝘥𝘳𝘦𝘢𝘮, 𝘚𝘩𝘰𝘸 𝘮𝘦 𝘵𝘩𝘢𝘵 𝘥𝘳𝘦𝘢𝘮. 𝘛𝘩𝘦 𝘥𝘦𝘴𝘪𝘳𝘦 𝘵𝘩𝘢𝘵 𝘴𝘩𝘰𝘰𝘵𝘴 𝘰𝘶𝘵 𝘵𝘩𝘦 𝘭𝘪𝘨𝘩𝘵." – Salute Desire (ENG TL by mireiarchive)
and here are other lyrics worth pointing to that involve time as a motif:
"𝘞𝘦 𝘥𝘦𝘮𝘢𝘯𝘥 𝘰𝘶𝘳𝘴𝘦𝘭𝘷𝘦𝘴 𝘵𝘰 𝘤𝘭𝘢𝘪𝘮 𝘦𝘢𝘤𝘩 𝘰𝘵𝘩𝘦𝘳.
𝘖𝘯 𝘵𝘩𝘦 𝘴𝘵𝘢𝘨𝘦 𝘸𝘩𝘦𝘳𝘦 𝘸𝘦 𝘥𝘢𝘯𝘤𝘦 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳
𝘛𝘩𝘦 𝘩𝘢𝘯𝘥 𝘰𝘧 𝘵𝘪𝘮𝘦 𝘵𝘩𝘢𝘵 𝘢𝘭𝘭𝘰𝘸𝘴 𝘪𝘵 𝘵𝘰 𝘣𝘦𝘨𝘪𝘯 𝘪𝘯 𝘵𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘱𝘭𝘢𝘤𝘦
𝘞𝘪𝘭𝘭 𝘯𝘦𝘷𝘦𝘳 𝘴𝘵𝘰𝘱 𝘢𝘨𝘢𝘪𝘯." – Salute Desire (ENG TL by mireiarchive)
though i would like to expand on the time motif with my own thoughts —
not quoting any specific lyrics from Escape but in general the dream motif also gets paired with it being "a dream that lasts an eternity" and yuzuru mentions "unstoppable time" as another motif. the concept presented in Salute Desire of dancing together on stage, letting time begin and never stop, is kind of paralleled in what yuzuru says, with a large theme of Escape being dancing together regardless of time, enjoying the present moment.
in Salute Desire there is also an underlying theme of letting yourself submit (to each other), getting lost in each other as you take over the stage. Escape has a similar theme of getting lost and "submitting" to the moment. while the vibe in Salute Desire is more "conquering the stage alongside someone", Escape is more casual and carefree. Salute Desire talks about making yourself known to an audience:
"𝘉𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘦 𝘤𝘩𝘦𝘦𝘳𝘴
𝘛𝘩𝘢𝘵 𝘵𝘰𝘰𝘬 𝘰𝘷𝘦𝘳 𝘢𝘭𝘭 𝘵𝘩𝘦 𝘴𝘦𝘯𝘴𝘦𝘴,
𝘖𝘶𝘳 𝘦𝘺𝘦𝘴 𝘮𝘦𝘵."
while Escape talks about seizing the present moment for just between the two of you, with nobody else watching:
"𝘐𝘯 𝘢 𝘤𝘰𝘳𝘯𝘦𝘳 𝘰𝘧 𝘵𝘩𝘦 𝘧𝘭𝘰𝘰𝘳, 𝘫𝘶𝘴𝘵 𝘧𝘰𝘳 𝘯𝘰𝘸, 𝘪𝘵'𝘴 𝘰𝘯𝘭𝘺 𝘵𝘩𝘦 𝘵𝘸𝘰 𝘰𝘧 𝘶𝘴, 𝘚𝘶𝘳𝘦𝘭𝘺, 𝘯𝘰 𝘰𝘯𝘦 𝘦𝘭𝘴𝘦'𝘴 𝘦𝘺𝘦𝘴 𝘤𝘢𝘯 𝘴𝘦𝘦 𝘶𝘴."
i think it makes for a good contrast between the two songs.
i have no idea how to conclude this post. fushimi yuzuru managed to make me feel even more ill than when i had started out typing this post. i expected to finish this within an hour but i've spent way too long on this. i hope someone else can appreciate this song more now because that is really the only reason why i wanted to lay out all the bullet points like this. good night and i hope fushimi explodes and dies for being an utterly disgusting yearner
pressing a kiss to his jaw as you’re out and about because people are obviously checking him out and you want to show them all that he is yours ….. he laughs, a little breathless and cocky, as he tells you that he is all yours …..
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