House Of Balloons: An In-Depth Analysis of The Weeknd's Essential Debut Mixtape

As we start this new decade, I think it's important to take a look back at what was arguably the most influential project of the last one. Trilogy, a compilation released in 2012 by The Weeknd, has had an impact on modern music that rivals Kanye West's 808's & Heartbreaks. Trilogy contains the first three mixtapes released by The Weeknd, House Of Balloons, Thursday, & Echoes of Silence. The story of Trilogy is a long one, so long in fact that in this article, I will only cover House Of Balloons, the debut project.


The year is 2010. With the turn of the decade, the music world is excitedly awaiting what the 10's will bring to the table. Kanye West is in hibernation after last year's VMA debacle, but knowing him he is working on something incredible. Lil Wayne is trying to release Tha Carter IV, a project that wouldn't see release for nearly two more years, despite already missing a release date. However, the most promising artist wasn't the Young Money CEO, but his protégée, one Aubrey Drake Graham. Just before the end of the 00's, Drake released So Far Gone, a mixtape which immediately showed the world that music was in for a big change, and he would be leading the charge. Drake was unique in that he took influence from his mentor Wayne, as well as the autotuned-singing style of West, but Drake took both those sounds to places they had never been. Drake was a rapper who would make full on R&B songs, crooning like noone had done before. And aside from his style, Drake was importantly from Toronto, a city that's music scene hadn't exploded yet, where no big stars hailed from. Drake broke down that barrier, opening the 6 to the outside world. In that city, where noone had made it, where kids were frustrated and waiting for a break, was one Abel Tesfaye.

Abel was not your average artist. Like Drake, he possesed rapping and singing abilities, but unlike Drake, his voice was comparable to the all time R&B greats. Like Drake, he was from Toronto, but while Drake spent 2010 out of the city making star-studded hit songs with Alicia Keys and Lil Wayne, Abel spent 2010 right in the city, unknown, and struggling to pay for his food.

1578630020893.pngAbel wasn't meeting much success as Kin Kane, but this all changed when he had the fortune of meeting a producer named Jeremy Rose. Rose was making some dark music, darker than anything the mainstream had ever seen. One day, during a smoke session, Rose played a beat which Abel started to freestyle over. It just clicked, like magic. That day, Kin Kane died, and "The Weekend" was born.Abel is an artist that is very unique, so we will stop with the comparisons to Drake, but there is one more artist worth drawing a parallel to. Before his big break, Frank Ocean used to record pop music under the name "Lonny Breaux", hoping to blow up off the current pop sound. Abel was doing the same thing, as "Kin Kane". His 2009 and 2010 were full of this music, a very mainstream sound that while nice, lacked some artistry. If you're looking to hear this, check out "The Noise", a compilation EP leaked by various producers in 2010.

The song that Abel freestyled over would later become "What You Need", one of three essential songs recorded in 2010 over Jeremy Rose production, the others being "The Morning" and "Loft Music". These songs were dropped as an EP titled "Inside The Dangerously Empty Lives of Teenage Girls", which was famously shared by one Drizzy Drake on his . You may notice that on this post, Drake says "Introducing The Weeknd" as opposed to "Weekend". Jeremy Rose claims that once he stopped working with Abel due to creative differences, he dropped the 'e' from his name.

A Drake cosign is a huge deal, even ten years ago. This put a global spotlight on The Weeknd, with everyone anxiously awaiting a release from him. It's worth noting that due to Abel's reclusive and mysterious nature, not many knew if The Weeknd was a group, a solo act, or any of the associated names behind the project, which was a level of anonymity that is near impossible to achieve in today's music scene.

The world got its' wish in March of the following year, when The Weeknd released a mixtape containing nine songs that would change the world: House of Balloons.

Track 1 - High For This (prod. Dream Machine)

"You don't know what's in store, but you know what you're here for"

This is how The Weeknd opened his debut mixtape, and it would be impossible to chose a better line to do it with. At the time he wrote it, I don't think even Abel himself knew what was in store for him, XO, Toronto, or music as a whole. This line, directed at a girl in the song, is really directed at the listener. House Of Balloons would be unlike anything ever recorded before, and The Weeknd knew it. "High For This" is, on the surface, a song about strung out sex with an unnamed female. In and of itself, this was fairly new territory for the time in R&B. Most tracks in the genre at this time focused on love, à la Chris Brown (With You), Drake (Fall For Your Type), and Usher (There Goes My Baby) among hundreds of others. If sex was the topic of a song, usually it was a smooth, polished, intimate moment between two lovers. The Weeknd looked at all these trends, including some he followed on previous songs(Birthday Suit, Material Girl), and spit on them. "High For This" isn't loving, it's raw, dirty, and strung out. Abel and this girl aren't making love, and he definitely won't be calling her tomorrow. Abel is here to guide this girl through using the drugs he puts her on, and the sex they're going to have. That's it. "We don't need no protection" both refers to a lack of protection during sex, and a lack of protection from the "safe" trends of conventional R&B. "High For This" is a guide, welcoming females, listeners, and the genre of R&B into Abel's dark and drug-fueled world, one that nobody was leaving anytime soon.

The production serves as the perfect stage for these dark lyrics, being handled by Canadian production group "Dream Machine". While they usually work on pop music, like Britney Spears' "Till The World Ends (The Femme Fatale Remix)," here they lend their talent to create a spacey, atmospheric, and cold track that sounds like the drug trip that Abel is currently experiencing. The drums echo, looming in the background, leading into intense and dark synths that are just as strung out as the vocalist.

As an introduction, to both The Weeknd and House Of Balloons, "High For This" works incredibly well. While the listener may still not know just what's in store, they certainly know that it will be darker than anything they could have imagined.

Track 2 - What You Need (prod. Jeremy Rose & The Weeknd)

Coming off of the intense intro track, "What You Need" feels a lot more chilled out and relaxing. That doesn't mean, however, that this song is boring by any stretch of the imagination. The track opens with a sample from Aaliyah's "Rock The Boat", a sample that is tragically missing from the Trilogy/streaming service versions of the track. The beat, handled by Rose and The Weeknd himself, feels like a dream, but not a particularly happy one. There is a sense of melancholy in the melody of this track, with a very stripped back instrumental. The low tempo is complimented by incredible percussion, not particularly complex, but perfectly suited for Abel's crooning.

The lyrics of "What You Need" are the closest the mixtape comes to the aforementioned stereotypes of contemporary R&B, but of course they are not without The Weeknd's flair of darkness. While this slow track may contain lyrics such as "I'm gon' love you girl, the way you need", they are quite quickly followed up with lines like "I'm the drug in your veins". Even at his most mainstream, The Weeknd is still just as fucked up as he is on his other tracks. This song, while it may be about making love, is about cheating. This girl (or girls as later tracks imply) should not be with Abel right now, and instead of taking drugs with Tesfaye she should be at home with her man. When he sings "I got you on the floor, doing things you never thought you'd do", he is referring to not just the drugs, not just the sex, not just the cheating, but again the style of music he's chosen to adopt. The slow, crooning ballad has become a dark and twisted song about meaningless cheating.

The whole song is tied together through its excellent mixing, handled by frequent collaborator and producer Illangelo. The dominating feature of this track isn't the percussion, or even the vocals, but the dreamlike beat. The girl, and the listener, are being waltzed through this high by The Weeknd, who is both singing in her ear and at the same time far away, and not present emotionally. The vocal effects and layering of the beat are incredible here, and really make this message shine through on even just one listen.

Track 3 - House Of Balloons/Glass Table Girls (prod. Doc McKinney & Illangelo)

On the third track of House Of Balloons, The Weeknd puts together what could be considered the first masterpiece of his career. Many times when talking to fans of The Weeknd about his work, myself included, many say they miss theTrilogy sound. This song is the shining example of that style, and to thank for that we have Illangelo and Doc McKinney. The beat, at first, samples "Happy House," a song by British rock band Siouxsie and the Banshees. The original is an ironic piece, detailing life in a happy house where it "never rains." In reality, of course, nothing is that happy and the song talks about forced conformity and abuse over creeping guitars. Doc and Illangelo take those guitars and elevate them, adding trippy effects and deep percussion, creating an effect that puts you right inside The Weeknd's "happy house".

The Weeknd explained in 2013 that the "House Of Balloons" was a real place, which can be seen in this commercial. At this time in his life, Abel was struggling to put food on his table, but he would throw sex and drug filled parties at 65 Spencer. Abel said in an interview with Rolling Stone that "We’d throw these shitty parties and have girls over, and we’d try to make it celebratory, so we’d have balloons,”. This track perfectly captures that feeling. Lyrically, everyone is having a good time. The Weeknd opens the song with praise for the girl, saying that since she arrived at the party he was "on another level". Of course, this most likely means that when she arrived, the two got high together. As with the song that is sampled, "House Of Balloons" feels almost happy, but behind that happiness is nothing. These parties are empty, and no amount of sex or ecstasy can hide the fact that this party is happening at a rundown home, and were it not for the drugs, noone would want to be there. Balloons make everything appear fun and exciting, but no amount of balloons can mask the darkness and pain found inside this "happy house."

After a few minutes of this facade, one of the most memorable moments of music in the past decade happens. At 3:33, instead of repeating the vocal sample, things suddenly take a dark turn, and one of The Weeknd's signature tricks is pulled out, a beat switch. As many listeners will probably tell you, hearing this for the first time created a flashbulb memory. I remember exactly where I was when I first heard this switch, expecting another repetition of the happy sounds, when all of a sudden, the balloon popped. The song, Abel, and the listener, all fall down into a pit of darkness and hedonism. No longer are we in a "happy house," we're in a depraved party where girls do cocaine off of tables. The Weeknd does exactly what he says he can, and "Turns this to a nightmare: Elm Street."

The beat is much more intense than the previous, featuring dark synths, pounding 808s, and voice deepening effects throughout. The Weeknd takes this beat and rides it, just like his boy "Big O" told him to. He raps on this track, in a style not unlike some of his scrapped Kin Kane work, but perfected beyond any of those demos. The lyrics, unlike the rest of the tape, feature no metaphors or double entendres. Abel isn't here to make deep statements, he's here to snort cocaine and fuck someone's girlfriend. This rawness is a nice contrast to the irony of the previous track, and Abel can really hold his own as a rapper, a talent he explores more later in his discography.

The track closes with some of the most impressive singing on the mixtape, showcasing The Weeknd's impressive falsetto. This track is a far cry from any other song by him, or by any other artist at the time (or even today if we're being honest). If you check out one song from House Of Balloons, have it be this one. The title track serves as a true reflection of the hedonism and depravity these parties contain. This isn't one exciting night for Abel, this is every night. And while sex and cocaine may sound like a fun time, noone would need them if not to cope with true emptiness.

Track 4 - The Morning (prod. Doc McKinney & Illangelo)

This track is famous among Weeknd fans, and much like the previous song is hailed as one of his best. It recentley made an apperance in Adam Sandler's Uncut Gems. "The Morning" picks up where "HOB/GTG" left off, and puts us back in The Weeknd's "House Of Balloons," though this time things are different. This is the morning after one such party.

You may recall that this was one of the three tracks produced by Rose, yet he has no production credit listed on this song. That's because the song was entirely reworked and improved upon, going from a Kin Kane style trippy rap to a beautiful and slow guitar lead track, sung instead of rapped. Doc and Illangelo yet again kill the production, capturing the rare feeling of waking up high while the sun is yet to rise. Illangelo yet again does an excellent job on the mixing, placing beautiful autotuned background vocals under the main song, adding a wonderful accent to the song.

Lyrically, this song both tackles more of the drugs and sex that the rest of the tape does, but this time a more reflective and reserved tone is taken. Everything feels slow and dreamlike as the girl from the previous night calls a cab and leaves, leaving Abel to reflect on his position in the music world and his eventual goals. At this point in time, he had never left Canada, so when he sings "Cali is the mission," he means it. This track is full of ambition, outlining goals and preparing himself for fame in the music world. The song also contains lyrics about his eventual rise to fame, and his fall from it, through a metaphor about coming down from a high. He knew, even back then, that no matter how big he got, he would eventually see the bottom again. However, in 2020, he has yet to drop back down, and in fact only seems to be climbing higher, with his upcoming work poised to be his biggest ever.

This track also features clever word play, saying that his loud music and sex has "got the walls kicking like they six months pregnant." I could continue to praise this song and its lyrics, but the best thing to do is to hear it for yourself. "The Morning" features a reserved, hopeful, and nearly pleasant Weeknd, one we rarely see throughout Trilogy. This is one of his best works, and serves as a nice reprieve from the hedonism of the rest of the tape.

Track 5 - Wicked Games (prod. Illangelo & Doc McKinney)

If you're a fan of The Weeknd from before his rise to superstardom, chances are this is the first song you heard from him. This was his first radio single, his first platinum hit, and his first song to land a soundtrack placement on 2015's Southpaw. But before all of that, this was just another incredible track from House Of Balloons. This song ventures away from the dreamlike, medatative state that "The Morning" achieved, and instead leans right back into the seductive and filthy. Doc and Illangelo use simple, stripped back percussion, paired with soothing but at the same time sinister guitars. This track sets the stage for the tale of a one night stand, a loveless love.

Abel details how he's left his girl, left his life, and left his money. All he has now are drugs, and this new girl, who may very well be a prostitute. "Wicked Games" explores the reasoning behind cheating on a partner, and in this case it seems to be the result of a lack of confidence. Abel is feeling unloved in his relationship, so he pays for sex to feel loved, feel important, and feel self-confidence for just one night. The hook repeats "Even though you don't love me, just tell me you love me". Unlike earlier songs like "High For This," here Abel is the one in the vulnerable position. Despite his attempts to control the situation in the verses, the chorus reveals his true colors. He needs this more than she does. He is hurt, and though the drugs and sex can't heal him, they can push the pain away for just a night.

Wicked Games sits at the midway point of House Of Balloons, and at this point in the mixtape we can start to see the cracks in the persona that The Weeknd puts on for "High For This" or "What You Need." There's a source for this pain, and "Wicked Games" starts to explore that.

Track 6 - The Party & The After Party (prod. Rainer & Jeremy Rose)

"The Party & The After Party" is yet another song showing one of the Weeknd's signature stylistic decisions, the beat switch. The first half, "The Party", was one of the songs produced by Jeremy Rose. “The Party” is very melodic and almost sing-songy, not unlike a lot of current R&B. While the topic may yet again be drugs, and sex, this time things are very relaxed, and much happier. The production is a simple loop of a piano melody, and gentle percussion, sampling Beach House’s “Master of None."However, as the song goes on, many special effects are interwoven, such as a gunshot, the sound of snorting cocaine, and more.

Lyrically this song is on par with the rest of House of Balloons, however it appears to be missing that same depravity that other tracks included. The group sex and drug use that Abel discusses do not seem to be escapes from pain, but instead fun party activities. This provides a seemingly nice reprieve from the darkness of the rest of the tape. However, this is The Weeknd. Nothing is that simple. The hook of “The Party” is mostly Abel complimenting his female companion, encouraging her, and even offering himself as support if she should trip, both literally and off of the drugs she is presumably consuming. However, after these nice sentiments, a vocal sample from “Master of None” is included.

“You always come to the parties, to pluck the feathers off all the birds.” This will be explored much more in depth in my Thursday review, but throughout Trilogy, Abel likens himself to a bird, wanting to fly free and not stay in one place, or relationship, for too long. It seems that the girl in "The Party" is looking to make him flightless, to stay attatched to him for longer than he wants, or to possibly fall in love. This ties in with the themes of "Master of None," a song about a character not unlike Abel, looking for short-term hookups but lacking long-term happiness.
About halfway through the song, the transition begins. Unlike the suddenly shocking switch on "HOB/GTG," this transition is smoother, and more gradual. New guitars come in under Abel's vocals, leading the beat to suddenly become a slow guitar driven song, moving away from the Beach House sample. Thus begins "The After Party." Here we see just what happens as The Weeknd begins to mess with this girl, and the results are not pretty.

Similar to "Wicked Games," Abel becomes addicted to this girl. He needs her sex, and more importantly her attention. A hint of desparation creeps into his voice throughout this half of the track, and as the verses progress, Abel starts to threaten drug use if she won't keep giving him what he needs. In just one song, he goes from "feeling like a million bucks" to even cutting out his mother to keep being with this girl. Of course, at face value, he wants to have sex with her. However, reading between the lines, we can see that this cuts way deeper than a one-night stand. His feathers have been, for the time being, plucked.

This song also features what can only be described as incredible vocals, especially in the second half. The Weeknd is usually a great singer, but here he ramps it up. The slow guitars mixed with his silky delivery that almost falls over itself, and the amazing background vocals compliment the main verses. This is one of the most sonically pleasing tracks on the entire mixtape, and really in the entire Trilogy. This second portion of the track is produced entirely by Rainer, and Jeremy Rose once stated in an interview that he was angry with the addition of the second half of this song onto his production, but Rainer did an excellent job making the halves flow and work to be one complete song.

Right before the end of the song, the instrumental entirely dissapears. Abel sounds cold, and heavy autotune is applied. This is an incredible transition on the tape, as this plays pefectly into the next track.

Track 7 - Coming Down (prod. Doc McKinney & Illangelo)

"Coming Down" is a far cry from "The Party & The After Party," or anything else on the tape. "Coming Down" is a song born of lonliness and pain, and while it does pick up right where "The After Party" left off, it tells a much darker tale. The desparation in Abel's voice and words from the previous track is fully realized on this cold, dark, and empty song, driven by an eerie piano riff. If the tone wasn't clear enough from the instrumental, the first vocals on the track are a haunting "All Alone" delivered by Abel, in what seems to be a banshee cry, full of hurt.

"Coming Down" is about, well, coming down. The high is wearing off for Abel, and the party is over. All the girls he has partied, drank, popped, and slept with are gone. Abel does have a lover, as mentioned in "Wicked Games." Whether this girl is the same as the one from "The After Party," or if that was just a song driven by lust is up for interpretation. Now that he is sober again, he is starting to see the consequences of his actions. Behind the balloons are a bunch of poor decisions, drugs, and now potentially a broken heart. "When I'm faded, I forget what you mean to me." This is a direct contrast to just two songs earlier, where Abel proudly declared: "I left my girl back home, I don't love her no more." "Coming Down" is the song where we really get to see what House of Balloons is all about. Even though it was obvious to see that he was using drugs to cover up for pain, we never got to see that yes, he did have a lover, and he still cares for her. The first six songs of this mixtape are sung by a drugged out Abel, and this track is a sober Abel, regretting his choices, wishing he could make ammends, and ultimately turning back to the drugs before the song is over.
On the bridge, there is an important sample from the anime Fate/Stay Night which is missing from the Trilogy version of this song, but can be found on the original mixtape release. The sample is in Japanese, so here is a translation:

"I wish you would not trouble me.
What are you doing makes me uncomfortable.
You are cowardly Shirou.
You learned about my past and used that against me several times.
Even when you know my answer.
Even though you know my sins."

This is from the perspective of Abel's girl, who hates his drug habit, and hates how he hurts her with his cheating and bad choices. As we will see later on in Trilogy, Abel has done and wil continue to do a lot to hurt her. Despite his sentiments of not wanting to lose her, he continues to take drugs and forget about her, only leading to pain he takes more drugs to cope with. This is the vicious cycle of drug addiction. This lifestyle isn't the flashy glass tables and women, it truly is pain and emptiness, and "Coming Down" does a perfect job of capturing that feeling.

Track 8 - Loft Music (prod. Jeremy Rose & The Weeknd)

"Loft Music" is a complete tonal shift from "Coming Down", at first anyway. This is the third and final song that Rose and The Weeknd collaborated on, and by saving it for the end of the tape, it sends the duo out on a very high note. This track uses another Beach House sample, this time from "Gila," mixed with a vocal sample and a simple yet dominating drum pattern. "Loft Music" features some of my favorite production on the entirety of House Of Balloons.


Lyrically, there's not too much to get into without spoiling all of Abel's bars. "Loft Music" is a half-sung half-rapped track, detailing Abel taking a girl up to his loft, where the textbook Weeknd drugs and sex are waiting. Abel places a heavy emphasis on being better than the next man this girl will be with, in almost a reversal of Lil Uzi Vert's "Ps & Qs." This song is definitely worth a listen (or 50), but I won't go into his lines as I want you to experience them for yourself. As the verse starts to come to a close, the sample starts to slow down. At the conclusion of his verse, distorted "ooohs" start to play. The Weeknd croons for 3 minutes on end, with a healthy mix of indiscriminate moaning and lyrics from the following track. He first asks what this girl is thinking about, before revealing that he "knows everything."

Loft Music is a great song on its own, but to examine its full meaning, we need to first understand the final song on the mixtape.

Track 9 - The Knowing (prod. Doc McKinney & Illangelo)

"The Knowing" lures you in, with its first few seconds containing a charming little melody, sampled from "Cherry-Colored Funk" by Cocteau Twins. However, this gives way to a much slower version of that same sample, mixed with a distorted audio element looped throughout, as well as slow yet powerful drums, to create a feeling of mourning and finality. If you shuffled House of Balloons, you'd know this was the final song.

So, given the buildup from "Loft Music," a natural question to have is: what does The Weeknd know? His answer would be everything, but what he means is that he knows she cheated on him. In fact, he blames her cheating for his drug use and for his own cheating. He paints a particularly morbid picture, saying that by sleeping with his girl, she would taste his mistress still on his lips. He sees this as a punishment, and sees himself as in the right about the whole situation.

The tone of "The Knowing" is smug, but at the same time deeply pained. Abel is trying to handle this well, claiming that she didn't actually hurt him, and that he can find more girls: "the more of you the merrier." He claims that she didn't break his heart, that he isn't hurt as badly as she would have wanted him to be, and the whole situation is presented as if he "won" by knowing all of this. However, through the music, and the tone in his voice, we know Abel is hurting worse than he ever has before. It doesn't matter if he knows about the disloyalty she has engaged in, because she still hurt him, and he knows deep down it was probably his fault because of his actions.

"The Knowing" features a chorus that layers vocals in a choir-style, giving the effect of judgement being passed. This final conclusion feels almost religious, grandiose, and epic, but at the same time depressing. This is the scene at the end of the movie where the hero has "won," but it cost him everything he had. Abel may have had one moment where he felt superior to this woman, but at the end of the day he is alone, sad, and probably drove her away. The electric guitars and fantastic vocal delivery from Abel make this conclusion nearly impeccable, and the only fitting way to conclude a project like House Of Balloons, morose, spiteful, and lonely.

House Of Balloons, unlike a lot of music today that covers the same topics, is not happy. While Young Thug or Travis Scott might take drugs for a good time, Abel takes them to cope with the deep pain that he is in. This lifestlye is not fun, and it only leads to further sadness. In my opinion, what separates House Of Balloons from current drug-heavy music of today, is that this mixtape was not recorded by a xan-happy superstar, but a starving, struggling kid living the lifestyle he sung about. All the experiences on this project feel real, and most likely are. Toronto at this time has been described as a dark place, and Abel bottled this energy up and released it in what could be considered one of the best, most prophetic, and influential mixtapes of the past decade.

The influence of this tape can be seen everywhere, and started to appear the very same year it was released. Drake transitioned away from star-studded hit singles back to dark Toronto music after hearing of and working with the Weeknd, leading to the best music of his career. This mixtape is also responsible for acts like Bryson Tiller, 6Lack, PartyNextDoor, or even XXXTentacion aside from hundreds of others. The Weeknd's openness about drugs slowly permeated throughout the entire R&B and eventually Hip-Hop worlds, allowing Juice WRLD among others to discuss their pain and their use of painkillers. This opening of doors even impacted those at the top of the totem pole, like Kanye West with tracks like "Blood On The Leaves." The very release style of House Of Balloons became the standard for this subgenre of R&B, influencing how PartyNextDoor and dvsn would eventually debut their own music, with a focus on anonymity and being mysterious. Above all else, House Of Balloons changed the way that R&B as a genre was discussed in the mainstream. Think back to the example R&B songs listed at the beginning of this article. At the time of this release, R&B was a "soft" genre, covering the same few topics of love, romance, and the like. The Weeknd is none of that. Thanks to this tape, R&B was no longer Chris Brown or Usher, music that was listened to by "girls" (or insecure guys who couldn't own their own music tastes). R&B became a serious, dark, genre, ready to make waves and dominate the entire decade.


Thank you all very much for reading this long, long, long, article. I know its not really a review so to speak, but if it was just know I'd give all of this a 10 (with a few 11's thrown in there). This is meant to just write about music I hold very dear to my heart, and hopefully influence new listeners to check out one of the most important projects in modern music history. I'll see you all on Thursday.
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Aug 20, 2019
Outer Space
In bro, even tho I'm not no The Weekend fan the rest of the songs are well written too!
Much love XO continue ur hard work
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El Drake

6 Ghost
Middleman Required
Nov 19, 2018
This is top tier why aren't you writing for a big website
Wow thank you so much! That means a lot!

That is kinda the goal one day tbh, hoping I can build up a portfolio of sorts and practice more on

Thanks for showing love!
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