#( sin: ira )

[shpepyao]

Third mothman in sin design series :]

[automatonwithautonomy]

i can't wait for dies irae. i love wrath.

[izztreme-art-n-stuff]

Ira, sinner of wrath and part of the group Hell's Gang. This is the other part of this au, with both heaven and hell having divisions and groups to help spread world peace after the dark ages and to not repeat the same events that lead to those ages again.

Hell's Gang has a similar goal to God's Gang, with an additional mission of steering people away from any bad paths that could easily consume them like it had with the group themselves in the past.

They're like the secondary protagonists in this au of sorts, if that makes sense.

Anyways, here's Ira's ToyHouse bio:

[real-sociedad-de-las-letras]

El hoy y el ahora

Por favor, deja de pensar que no puedo ver. Para mí es tan claro como para ti, que estamos viviendo entre basura. Basura que lleva a sus hijos a la escuela, que visita una vez por semana a su madre, que le quita muy bien las arrugas a los pantalones, que reza en la iglesia, que hace decente su tedioso trabajo. Sabes cómo yo que todos ellos, cumplen un montón de puntos en una lista interminable titulada "buenos ciudadanos" y que simulan con sonrisas sus infelices vidas, esas vidas que están perdiendo por tanto miedo. Si, yo creo que es miedo, miedo a que les quiten lo muy poco que tienen, miedo a que alguien como ellos los señale y les diga que son uno hipócritas, porque fuman, beben, golpean a sus hijos y les hacen sentir inútiles, porque más de una vez estropearon el trabajo del compañero para que esté no sobresaliera, porque todo el tiempo están mirando en lo que tiene el otro con esa envidia rapaz que grita en su mente tan pero tan fuerte -¡No es justo! ¡No lo merece! ¡Debería ser mío! ¡Me lo ha robado!-porque si, está basura se viste de buenos deseos y a tu espalda te escupe. ¿Crees que no lo noto? ¿Crees que vivo en un mundo de fantasmas donde los espectros son personas leales y felices? Pues no. Yo también veo lo que la gente se hace, lo que permite que se haga, y soy cruel participe de los comentarios de pasillo donde la gente jura estar asustada por las cosas terribles que ven en los noticiarios, para pasar como si nada a la elección del menú del dia, alegrandome porque no sea alguien que conozco, para seguir teniendo mi moral elevada, alegrandome porque sea un extraño, lejos de este círculo para seguir diciendo -es que ellos- para mantener la miseria alejada, según yo. Para seguir pensando que la basura está allá y no aquí donde la huelo.

Erán

[demonanastasi]

The Cardinal Sins are virtues for the adhd mind.

Our brains don't produce dopamine like a neurotypical's, and so outsourcing the dopamine is a valid choice.

I just ate a massive cone of chocolate ice cream on my 45 minute break at work and came back so happy, and sharing the joy of the picture I took of it with my coworkers (temptation unto Gluttony? :3c).

Double shifts are hard on me mentally because of dopamine drain, and the ice cream rejuvenated me. The sense of taste and the texture of nummies is a huge source of dopamine for me. Caffeine in delicious and sweet Southern iced tea and lattes. Chewing on my straws to stim and for flavor of sippage during.

Gluttony saves and maintains my brain, and I am opposed to temperance.

I am still reeling with happiness (dopamine) over that ice cream. Obsessed. Hyperfocusing. It was so good.

The alternative I've been facing of late at work is mental suffering due to little to no dopamine. Foodform dopamine beats the suffering of not attaining such nummies.

Likewise are Lust and Greed joyful sources of dopamine unto us. Sexual pleasure and climax, beholding sexy figures, of course the impulse spending our brains are wont to do, and the joys of new things attained!

Pride lets us not hate ourselves for how our brains are. Wrath is in our natures, adhd rage. Envy ties in with Greed, the yearning for new things that others have, that seem to make them happy, that could make us happy (dopamine source). In my experience, sleep deprivation makes it harder for my brain to produce dopamine, so Sloth remedies that, along with the other different types of rest (Hayley Honeyman, an adhd youtuber, did a video on the seven types of rest!!!).

And, at least for me, the Seven Deadly Sins are among my biggest special interests at present, so engaging in them and thinking about them naturally gives me an additional big dopamine hit by default.

The Seven Dopamineful Sins 💚

[a-hopelesslife]

Estúpido corazón

Así que... Me enteré de que me borraste de tu vida como si fuera solo una basura más.

Supongo que tenía razón y nunca signifiqué ni la mitad de lo que tú significaste para mí. Mierda, mientras tú para mí eras como un arcoiris en un día lluvioso yo solamente fui una estúpida y simple nube.

Desperdicié años pensando y sufriendo por ti, tantas cartas, poemas, canciones y pensamientos desperdiciados en ti, lamentándome no haber hecho más, ¡pero ahora me doy cuenta de que todo fue una inútil y estúpida pérdida de tiempo!

Eres o eras el amor de mi vida pero para ti fui solo una persona insignificante en el camino, siento tanta tristeza pero esta vez también tanta ira el saber cómo fui una basura inútil para ti después de todo lo que pasamos.

Darle tu corazón a alguien es el mayor error que puedes cometer.

[ethelgodehel]

🖤 7 𝕯𝖊𝖆𝖉𝖑𝖞 𝕾𝖎𝖒𝖘 𝕷𝖔𝖔𝖐𝖇𝖔𝖔𝖐 🖤

𝕶𝖍𝖎𝖉𝖟𝖎𝖙 𝖆𝖘 𝕴𝖗𝖆

[otaku-sama-us]

Se lo recomiendo mucho este juego es uno de lo buenos :gráficos ,historia,personajes ,variantes,canciones y sonidos realmente geniales se los recomiendo chic@s

[jogosposts]

Me fallaste en el momento más vulnerable de mi vida y eso no tiene perdón.

[silksworn]

SEVEN DEADLY SINS: CHARACTERISTICS.

BOLD whatever applies | ITALICS what sometimes applies | STRIKETHROUGH what doesn't apply, & tag people. REPOST, don’t reblog!

LUST: desire for connection, pursuit of pleasure, emotional intelligence, obsessive, lovesick, one-night stand, seductive encounter, flirtatious conversation, erotic party, seductive attire, revealing clothing, passionate gaze, provocative makeup, sensual expressions, suggestive gestures, flirtatious smiles, lingerie, love letters, perfumes, provocative behaviour, love poems, erotic art

GLUTTONY: indulgence in experiences, savouring moments, hospitality, generosity, hedonism, culinary expertise, wine tasting, excessive snacking, overloaded plates, excessive portions, bloated stomachs, messy eating, greasy fingers, full tables, indulgent spreads, overflowing cups, satisfied expressions, wine bottles, can't get enough, fast food wrappers

ENVY: motivation, competitive spirit, strategic planning, observational skills, bitter, rivalry contest, envious gossip, resentment-filled argument, social media jealousy, furrowed brows, clenched jaws, side-eye looks, pursed lips, tense posture, whispering behind backs, crossed arms, gossip magazines, keeping up with the Joneses, the grass is always greener, feeling inadequate

GREED: resourcefulness, entrepreneurial spirit, negotiation, materialistic, aggressive investment, lavish spending spree, resource hoarding, get-rich-quick scheme, auction bidding war, property acquisition, piles of money, overflowing wallets, luxury items, locked safes, penny-pinching, rare collectables, selfishness, unwillingness to share

SLOTH: calmness, stress management, nonchalance, relaxation techniques, lethargic, apathetic, inactive, lazy weekend, binge-watching marathon, neglected chores, skipped workout, long nap, lounging on the couch, missed deadline, unkempt appearance, messy hair, pajamas, blankets, slippers, procrastination station, self-care routines

PRIDE: confidence, self-assurance, self-respect, dignity, public speaking, self-promotion, arrogant, conceited, egotistical, self-important, vain, boastful speech, puffed chest, raised chin, smug smiles, spotlight, tooting your own horn, showing off, refusing to admit mistakes, feeling entitled, personal branding, leadership development

WRATH: assertiveness, decisiveness, strength, intensity, boundary setting, courage, indignant, heated argument, road rage incident, physical altercation, angry outburst, clenched fists, glaring eyes, tense muscles, raised voices, reddened faces, aggressive gestures, stormy demeanour, intense frowns, destructive actions, broken objects, punching bag, out for blood, fists, simmering anger

[edsonjnovaes]

Sobre os anos que Jesus viveu no Oriente, a história escondida

Jesus deve ter chegado à Índia na mesma altura em que a filosofia da não violência causava sensação em todo o país. Ele entrou em contato com esta ideia na Índia e este é um dos motivos pelos quais os judeus não a podiam reconhecer. Muitas das suas ideias eram provenientes da Índia e do Egito. Quando regressou, tinha trinta anos. O que aconteceu neste intervalo entre os treze e os trinta anos da…

[elijah-dawlish]

Ni siquiera estaba seguro de por qué se apareció en una de las cafeterías de su abuela en lugar de ir a casa. Lo único en su mente era una taza enorme de reconfortante café, aunque quizá le vendría mejor uno descafeinado pues su mente ya estaba a mil por el extraño intercambio con Potter.

Era consciente de los raspones en las rodillas, pero no de su aspecto. Por instinto empezó a sacudirse con las manos, al escuchar la voz de su abuela.

—Je te faisais confiance!— murmuró sin levantar la cara todavía, después de sacudirse sobre el abdomen, la miró—. Confié en papá y en el proceso ¡y ella me robó el huevo y me acusó de una conspiración! No entiendo nada, mamie. Por favor, dime de quién habla ella. Dijo que mis padres la conocen. Me pareció que hablaba de una mujer.

Al ser la hora del almuerzo el lugar estaba completamente abarrotado. Aunque contaban con suficiente personal le gusta involucrarse lo más posible cuando podía ir a los diferentes locales que habían construido a lo largo de los años.

Se encontraba en la parte de atrás, ayudando con la preparación de algunos sándwiches, cuando escuchó la puerta del personal abrirse. Era normal que Elijah llegara por ahí para visitarla, pero su aspecto la preocupó.

— Merlín, ¿Pero qué te pasó, panquecito? — Se acercó para mirarlo mejor. Toda su ropa estaba completamente sucia. Parecía como si lo hubieran arrastrado por el césped.

[rindreamery]

hi, nishi!!

first off, congrats again for 300 followers!

so, for the event, my character will be: itoshi sae.

flavor: spicy

add ons: topping 1- eye contact. topping 2: best friend's brother.

thank you, and take your time.

ORDER 8: READY TO GO !

sae + spicy + eye contact + best friend's brother w.c. 800+

note. thank you ira 🤍 and thank you for your patience with this !! ik i've been slacking a little with my posting schedule, but i swear i'll prioritize the event fics from now on before posting other fics. (my own personal time-out 😞)

interested in more? check out the lounge !

stepping into the threshold of rin’s kitchen, the last person you had expected to see was sae. 

as far as you were aware, he was still supposed to be in spain for another two weeks. but rin had a habit of never telling you when sae had a change of plans, when he was was back, and, much to your dismay, when he was coming over. that was simply up to you to find out, for yourself, whenever you visited. 

like now. 

sae’s standing just a few feet away from you, leaning on the counter as he sips on the remainder of his water, eyes staring off into the window across the room. he’s clad in a plain tee and sweats, waistband hanging unreasonably low on his hips and giving you a clear view of his v-line, and his hair is unruly from having just woken up— yet, somehow, he manages to pull the look off. a little too well, you note to yourself. he looks a little too good, and it almost feels like a sin to check him out so blatantly, like it’s a sin to be thinking such things about him. maybe it is, in a way. 

you could already feel the pressure of rin’s judgemental stare, although not there physically, at the way you gawk openly at his brother. “gross, never call my brother ‘hot’ ever again,” his distant words echo somewhere in the back of your mind, reminding you that he’s not particularly fond of the idea of you cozying up with his brother. you had mentioned it in passing, once, as a joke, only to be met with distaste and a nasty side-eye. “it’s disturbing, so please, shut up.” 

you should take that as a sign; you should leave, clear your mind, and go back to minding your own business. acting like you don’t care all that much about him, despite your painfully obvious attraction. unfortunately, you were never truly known for your acting. because as you’re about to turn away, about to spin on your heel and walk back to rin’s room, you freeze in place.

your gaze gets caught on the way his biceps flex under the thin material of his shirt, the lines becoming more defined as he brings his drink up to his lips. hook, line, and sinker— the way you can’t seem to look away, even for just a second. your eyes hike down and then up the line of his bicep, and then his forearm, and then the hand that’s gripping onto the glass. equally distracted by the veins that decorate the skin on his hand, prominent as his fingers stretch around the glass. you’re distracted by him, in his entirety. 

you forget that you’re standing in his periphery, and the realization comes to you a second too late. 

sae’s eyes flicker over to you once he notices your presence, scanning down the length of your body as he does a brief once-over of you, one of his brows quirking up at the way you linger awkwardly at the entrance of the kitchen. he’s still sipping his drink, lips pressed tightly against the glass, but his eyes remain locked onto yours. they’re passive, unreadable like always, digging into your skin uncomfortably as the two of you stand there in silence. neither daring to say a word, or maybe, just not knowing what to say. 

you should feel embarrassed at the thought of having been caught, but you’re more flustered by the way he eyes you down. the weight of his stare is steady and intense, coupled with the dragging silence, and it makes you shift awkwardly on your feet. you’re about to clear your throat, come up with some lame excuse of forgetting what you needed from the kitchen, and booking it to rin’s room. but as your mouth opens to speak, sae cuts you off.

“nice outfit,” he says, voice low and even. you follow the way his eyes form a trail down your body, landing on the oversized shirt you were currently wearing. you can feel the way he lingers at the hem of your shirt, staring at the way it stops shy of your upper thighs. before they flick up back to meet your eyes, still passive, but now flickering with amusement?

you blink at him once, and then twice, and then a third time. “what?” you manage to sputter out, taken aback by the random compliment, feeling the surface of your skin burn from the way he had blatantly checked you out, too. but, also confused; you glance down at the shirt, noting that it was nothing worth complimenting. “uhm, thanks? rin lent them to me 'cause i spilled something on my clothes. they're comfy, at least."

the amusement flickers off into nothing, at your answer.

sae seems displeased, evident in the way he reacts to your words. he presses his lips together, and for a second, you see a flash of jealousy in his eyes. or maybe, it’s your delusions speaking. you’re not quite sure.

he gets up from where he was leaning on the counter, focused on you as he takes a tentative step towards you.

your feet stay locked in place as he closes the distance between the two of you with slow, calculating steps. “that’s my shirt you’re wearing, you know.” the jealousy in his tone is more apparent, putting emphasis on my and you’re, dragging the syllables on his tongue. "not rin's."

© rindreamery, 2025

[lu-is-not-ok]

Hong Lu is beginning to Crack

The most recent Intervallo, LCB Regular Check-up, gave a lot to chew on for a lot of us. From lore drops for the Sin Analysts of us, to an important moment for Don Quixote, to subtle hints of something brewing under the surface for Gregor.

There was, also, a lot of Hong Lu foreshadowing, even though he barely had over ten lines in the entire Intervallo. As much as I'd love to go off and overanalyze every single line he's had, I'd rather focus on one main point that this Intervallo cemented.

That being Hong Lu's repressed anger.

Of course, this means we have to talk about this moment here. Upon Hohenheim explaining how Peccatula Irae connect to the concept of Wrath, the following exchange takes place:

Now, before this explanation takes place, we have an extended moment where Hohenheim focuses on the Sinners' lack of agency in their situation. They're effectively prisoners, without any control over their situations, unable to say no or even act as individuals.

I'm pointing this out, because when Hong Lu interprets Wrath as rage and compares it to Sinclair's behavior, he specifically calls out a similar lack of control. Sinclair's Wrath presents itself through an extreme sort of anger that makes him completely lose any control over himself, a stark contrast to how controlled and downright repressed Hong Lu is in most of his behavior, as pointed out by Sinclair.

I want to linger a bit on the answer Hong Lu gives Sinclair here, because I feel there are layers to this line. What Hong Lu is saying here is that he very much has things to burn. There's enough fuel to sustain a fire were he to indulge in it. But he never actually sees a reason to start that fire, to let any spark start it. Because he believes it to be meaningless.

In less poetic words, I believe what Hong Lu is saying here is that he has plenty of reasons to be angry, and perhaps even straight up has a lot of anger that he's actively repressing. However, because he realized that acting out won't actually change anything, he no longer sees any reason to indulge in that anger. Whether the fire burns everything down or not, it won't change anything, so why even bother? Why lose control when it won't even do anything meaningful?

However.

If that's all I would have wanted to talk about, I wouldn't have made a wholeass post about it.

The actual reason I'm talking about this is because I believe we have already seen Hong Lu begin to snap at others. And not only that, but I believe we're already seeing a pattern as to what exactly causes Hong Lu to start to slip in his emotional repression.

What do I mean by Hong Lu snapping at others?

Well, generally Hong Lu is shown to be very good at directing conversations without being too disruptive. He waits his turn before shifting subjects to what he wants everyone to focus on, or at least doesn't directly interrupt anyone, waiting for a lull or an opportunity to jump in rather than asserting himself by directly stomping over someone else's words. Even when he redirects Meursault in Hell's Chicken, he doesn't directly interrupt him, instead waiting for a pause before making his move.

Or at least, that was how he always did it until recently.

See, starting with Canto 7, Hong Lu has begun to have moments where he goes against his usual pattern of behavior. He directly interrupted others.

Remember how the focus of what Hong Lu understands as Sinclair's rage is that he screamed so fiercely he lost control of his body? I believe Hong Lu's interruptions are of a similar nature. A similar loss of control due to his anger escaping through the cracks, causing him to be unable to wait his turn and to say his piece before the other person can finish.

I believe there are, as of now, two notable occurances of him snapping like that.

First is in Canto 7, when Gregor begins to muse over what would happen if Hong Lu were to witness the death of a dear family member.

Then there's the second one, that we only just recieved in the most recent Intervallo - Sinclair showing hesitation to kill Peccatula for the test, due to the fact these ones aren't actually posing danger to anyone, which causes Hong Lu to snap and interrupt him with a Very Loaded Question (one that I am extremely curious as to how it would be voiced btw).

We're already starting to see a pattern forming around what exactly makes Hong Lu actually begin to crack.

Both of these scenes notably include Hong Lu getting in some way emotional over death and its meaning.

With Gregor, it's the implied death of someone close to him, causing Hong Lu to snap back with a very straightforward answer as to what his reaction to such an event would be, denying that such a death would have any further effect on him.

With Sinclair, it's the implication that killing for the sake of survival is different to killing just because, causing Hong Lu to snap with a loaded question that carries the idea that he himself considers both kinds of death equally as devoid of meaning.

For a reason we don't know yet, the suggestion that death could be anything other than completely meaningless is enough for Hong Lu's repressed anger to start leaking through.

And, that made me think. Because of one voiceline.

There is, in fact, a single voiceline in Limbus Company, where Hong Lu's voice contains clear and unrestrained anger.

Cavernous Wailing corroded voiceline.

The visual design of which shows Hong Lu with mismatched limbs, only half of which are corroded; an empty eye socket on his shoulder, the eye from which being transplanted somewhere else; and a moving sprite that shows him covering his face with his hands.

And it made me think.

The death of a loved one, one which happened to save another life. One which Hong Lu considers to be so utterly meaningless that being reminded of it is the only thing able to cause him to lose control over his emotions and let his anger leak through.

There's certainly someone that Hong Lu continues to never mention, isn't there?

Anger that's as meaningless as their death, is it now?

Hong Lu. Just how much do you blame yourself for Daiyu's 'death'? And just how much anger do you hold over your family for allowing this to happen?

[cuthalions]

Mientras una tragedia se desata, desde mi hamaca Veo a varios superhéroes sin capa Y aunque a veces me gana la ira Estar con ustedes es un regalo de la vida.

LA SOCIEDAD DE LA NIEVE / SOCIETY OF THE SNOW (2023) Dir. J.A. Bayona.

[flying-fangirls]

As a music, religion, and literature nerd, the Dies Irae has been one of my favorite go-to pieces of trivia for a long time, which means that this line:

Has been driving me batshit BONKERS since part 42! And also as a semi-professional media analysis yapper, I figured I might as well dive into the exact reasons I jumped up and audibly gasped upon first hearing this line and have subsequently lost my mind since then. So!

Here is why I think that the Dies Irae is the perfect analogy for John and Arthur:

Religion

Let's start with the most straightforward meaning: "Dies Irae" is a Latin term, and it translates to the "Day of Wrath." Or otherwise known as the Judgement Day, the foretold second coming in Catholic canon, when Christ will "come again in glory to judge the living and the dead." It's at this Last Judgement where God will wield perfect justice to send the worthy to everlasting peace and the unworthy to everlasting punishment. (everyone say "thank you" to excessive childhood Catholic lessons for burning this into my brain)

There's a kind of irony to the fact that Arthur so vehemently rejects Christianity and religion as a whole, and that John spends much of his arc trying to distance himself from the role/identity of a god, yet both are given this incredibly religious title, effectively restricting them from ever forgetting the presence/influence of religion in their lives.

This title has a couple layers though, because we have to consider why it's the Day of Wrath specifically that represents Arthur and John. Now, I don't think I have to tell you that those two are bursting with anger 80% of the time. But I am going to tell you that those two are not just angry, but moreso "divine fury" incarnate.

The Day of Wrath, the Final Judgment, is the final and eternal judgment of God on all: "For now before the Judge severe / all hidden things must plain appear; / no crime can pass unpunished here." (Dies Irae, Dies Illa). The final Judge, the all-powerful God, can see the objective morality of every single person, and is thus the sole, rightful determiner of fate.

This assumption of their right to perfectly and single-handedly decide others' worthiness shows up over and over, not just John and Arthur's actions, but also in how they describe these judgments.

When Arthur kills the widow on the island, it's not because she was dangerous, but because she was a cultist who "deserved" to be punished.

When John and Arthur need to get rid of Mr. Scratch's stone, John says they should give it to "criminals" who are "deserving of this curse." Even though, just moments before, Arthur refused to give the stone to Oscar because to do so would be to cursing him to a fate of eternal suffering.

And I can't go into every single detail about the entire Larson plotline because this post would double in size, but it obviously needs to be included here. Possibly the strongest tie between this arc and the idea of the Dies Irae is Arthur's conviction through it all. Arthur vows that he is going to kill Larson in divine retribution not because he wants to, but because he has to. He even goes so far as to admit that killing Larson will be a mistake, a cruel and overly-bloodthirsty action that goes against his compassion. But killing Larson isn't a choice to Arthur, it is the unavoidable punishment for Larson's sins and Arthur is simply the enactor of justice. Just like the Final Judgment, there is no sympathy, no hesitancy— the judgment is absolute, divinely ordained, and cannot be stopped no matter how undeniably horrific it is.

If we look at the Catholic Catechism, principle 2302 states that it is sinful to kill out of desire, but that it is "praiseworthy to impose restitution" and use violence to "maintain justic." So even if Arthur has intent to kill, his actions count as divinely sanctioned. He is acting as the hand of God's punishment.

Over the course of Season 3 and 4, Arthur's fiery rage dies down to a more gentle simmer, but his conviction only seems to grow, and John follows suit. Despite previously reprimanding Arthur for his unquestioning wrath, John eventually becomes just as convinced that Larson "deserves" to face a wrathful reckoning. The "fact" that Larson is wholly unforgivable and is fated to receive eternal punishment becomes more indisputable in their minds, and they both stop questioning the morality of their intentions, entirely convinced of their judgment.

Throughout the story, Arthur and John insist upon the importance of kindness, compassion, and forgiveness, and say that these are the values that guide their every action. Yet, time and time again, they approach certain people with nothing but wrath and resentment. It's a sharp contrast to the benevolent figures they make themselves out to be, and Arthur and John are often blind to the contradiction because, in their eyes, they are still following those values in every action. And in the moments when they do recognize their horrific words or actions, they still cannot let their judgment go, convinced that it is their "duty" either way.

In Part 35, Arthur says "Just because you can't make the hard decision, doesn't mean it's wrong." This is exactly how John and Arthur view themselves. They know that some of their actions are harsh and violent and painful, but they are don't view that violence as wrong, because they are enacting that violence in justice. They move through life with carefully-selected destruction, culling the world of those they view as unforgivable sinners, and punishing them with divine righteousness. Arthur and John carry righteous fury in their every step, bringing the Day of Wrath down upon the world around them.

Now, there's already a ton of meaning just in this religious allusion alone. However, there's another application of the Dies Irae in modern culture, which brings us to the second side of this title:

Music

Back in the 13th century (sounds like a familiar setting...), friar Thomas of Celano wrote a poem for and about the Dies Irae. The poem was recited at Requiem Mass (church services to honor the dead), and it ended up being set to a Gregorian chant tune.

Over time, this melody has been used by a variety of composers, but the one we're focused on is Hector Berlioz. In 1837, Berlioz used the Dies Irae melody as part of his narrative symphony, Grand Messe de morts, in order to communicate that the main character had died. Then a lot of other composers saw that and said "Hey that's a cool idea!", and started also using this melody to represent death in their music. Nowadays, it's a fairly staple part of modern film and musical storytelling. If you've listened to literally any major soundtrack, then there's a good chance you've heard this motif (or a variation of it) used before. It's often subtle, sometimes loud and obvious, but no matter what, it reveals the inevitable presence of death. (essentially, the Dies Irae=death)

Now, obviously there's something tragically ironic about Arthur being likened to a musical motif when he tries so hard to distance himself from it, and there's something tragically ironic about John being associated with such a dark piece of music when he shows so much fascination and joy toward the art. Again, though, we've got some layers here. Yorick doesn't just compare Arthur and John to the Dies Irae, he literally defines them as the Dies Irae, a full embodiment of it.

Even before the story started, Arthur lost both of his parents, his friend and wife, his daughter, and his best friend.

John, when he was part of the King in Yellow, knew only how to harm and attack. In the Dark World, he falls back on this fearful lashing out with violence, harming even more people.

And throughout the story, John and Arthur seem to bring devastation to everyone else around them: Lilly the buopoth, Oscar, Noel, Collins, Daniel, Larson and Yellow.

The arrival of Dies Irae musical motif in a film always indicates that death is approaching or that is has already struck— a host carrying its blight to spread onto others. Just like the musical motif, the arrival of Arthur and John foretells the near-arrival of death. They play a duet together— John and Arthur, and death— always singing and dancing around and with each other.

These two never succumb to death, always finding a way to slip through its fingers and survive every situation. But they cannot escape death's presence because they are death's partner— singing the melody to death's subtle harmony. They cannot escape death because they are its host— destined to carry and spread devastation to death's victims. From the moment you meet John and Arthur, you know that death is inevitably approaching just a step behind, waiting to strike you down.

Whether it's the religious or musical side, we can see that John and Arthur are the literal embodiment of these allusions. They carry these powers and ideas in their every action and word, in their every step, in their very breath and blood.

Arthur and John. The hands of God's justice. The enactors of divine fury.

Arthur and John. The hosts of blight and destruction. The partner of death's song.

The man himself. The voice inside his head.

The Day of Wrath. The Dies Irae.