#Desperation for Christ

[onlymywishfulthinking]

Interview with the Vampire - S1E6/S2E3

"Come to me/Come to me you little whore"

[martyschoenleber]

Hungry, I'm Falling on My Knees

I’m at a retreat for Standing Stone Shepherds about 30 of us, I think. We drove eight hours to tuck ourselves into the beauty of these Tennessee hills south of Nashville and arrived around 4:30 in the afternoon. We ate, we sang, we prayed, we heard from our president and his wife and we laughed. It was sweet. One of the songs we sang was one I have heard and sung before but I heard a still small…

[drbtinglecannon]

See Frieren x Himmel is canonically doomed and that's part of the overall narrative, Frieren will outlive almost everyone she ever meets but she slowly starts to build more and more relationships in spite of that and Himmel was one of the biggest catalysts in her changing in this way

But they also have this "this is how it can still win" vibe to it because Frieren is literally traveling to the afterlife specifically to visit Himmel, and along the way she's changing and very slowly embracing love in all these different forms from the people around her, one of which was from Himmel

So it's doomed but it still feels like they'll definitely have a happy ending too, it's an interesting dynamic

[starsapphire]

the thing about people writing tim as insecure is like yeah he is insecure and a little desperate and the cockiness is partly a defense mechanism. but he would NEVER actually let on that he is even remotely insecure. he's an unreliable narrator because he doesn't even let the reader know he's insecure most of the time. tim would rather disembowel himself with a grapefruit spoon than have even his closest loved ones know that he's a little insecure sometimes

[gambeque]

therapy sesh

[s0fter-sin]

(cw non-sexual kink, cis male tiddy sucking)

nikolai takes one look at ghost - at the stiffness he holds himself with, arms held rigidly at his sides as he glares ahead, each breath carefully measured to make himself unnoticed - and knows it’s been too long since he’s checked on his boy

all it takes is a single look, catching his bruised and tired eyes, and ghost all but slumps. nikolai turns, heading towards the 141’s private rec room and he doesn’t need to hear the near-silent footsteps to know ghost’s following. he pulls him down onto the couch, bringing him into the circle of his arms even as he weakly tries to pull away

“don’t need it, nik; don’t have time…” ghost argues but it’s hollow at best

“hush, sweet one,” he soothes his halfhearted protests and thumbs his mask up above his lips. “always so nervous; so lost...”

he tugs his shirt up, showing off his belly and the heavy swell of his hairy pecs; nipples already pebbled. he cups the back of ghost’s head, his thumb brushing over his exposed jaw and ghost is helpless to follow as he gently leads him to latch onto his breast

“i have you,” he promises

no matter how big he is, in presence or in stature, nikolai is bigger; encompassing his whole body in warmth and safety, the familiar scent of cologne and motor oil filling his senses just as the heat of his tit fills his mouth

ghost’s eyes roll back and he nuzzles deeper into his chest, sinking into him and lets his mind empty as he suckles

-

soap didn’t mean to. he didn’t mean to walk in on something not meant for his eyes. he just wanted to check on ghost; he’s been so distant lately, different from his usual bad days and he doesn’t know how to help him but that doesn’t mean he isn’t going to try

but he didn’t mean for this; for guilt and a heated, confused want to chase through him as he enters the rec room and realises nikolai got to ghost first

realises they’re not just necking on the couch; that ghost’s lips are pressed tight to nikolai’s furred breast and not moving away, a gentle hollow thinning his exposed cheeks as he sucks, his throat softly bobbing as he swallows

nikolai’s cupping the back of his head, fingers drifting through the blonde hair at the nape of his neck and he looks so fond; like there’s nowhere he’d rather be than on their broken in couch with ghost curled around his body, sucking what must be a deep ache into his tit.

then nikolai looks up at him, frozen in the doorway and soap-

soap runs

-

nikolai gives soap a few days before he tries to talk about it; gives him a chance to come to terms with what he's seen. it's almost adorable; how deep soap’s flush grows when he sees him, how he stumbles over his words and can’t quite make eye contact

but it also tugs at him that he feels the need to shrink, to brace himself from whatever punishment he thinks is headed his way; shoulders hunching in, arms wrapped almost defensively around his body before finding whatever excuse he can to run from him

run from himself

he wishes he could wait for soap to come to him but he knows lost boys and their fear of coming in from the cold

nikolai keeps himself gentle as he uses his bulk to corner soap; stopping him from running but also using it to show how easily he could hide in him if he just let himself give in. if he let him take care of him the same way he takes care of ghost

"but... but it's wrong," soap whispers, fingers tangling with a gold cross at the hollow of his throat (a cross so similar to one he’d melted down all those years ago), but he speaks with such clear longing; eyes wide where he stares up at him, all but begging to be told otherwise and it almost breaks nikolai's heart

"no, lovely boy," he denies softly and soap shudders as he cups his face and backs him up against the corner; hugged by both walls and nikolai himself. "there is nothing more natural."

he caresses soap's cheek. he feels him shake under his touch, his eyes already growing dewy, and chances drifting his fingers over his bottom lip. soap's breath hitches and he looks up at him with so much fear - so much trust - and hesitantly opens his mouth to let them sink inside

nikolai doesn't press them too deep, doesn't threaten his throat, but they are thick and wide; filling his mouth and comfortably weighing down his tongue

with a small, involuntary moan, soap closes his lips around his fingers and nikolai catches him with his body as he goes limp. he coos as he starts sucking; wrapping his other arm around his head and brings him into his body, hidden and safe and small

"my good, lovely boy," he whispers and soap lets out a cracked whimper. "you are not wrong."

he isn't ready yet, much the same way ghost wasn't ready at first. but feeling soap tremble and suckle at his fingers, nikolai knows he'll soon have another boy tucked safe to his breast

[applestorms]

ok, well. if last time i talked about parallels between near & light, i guess it’s only fair that this time i talk about parallels between mello & misa. yap central on this blog lately.

the main thing that stands out the most about mello & misa, and the reason why i will forever Defend them and their place in the story, is that in my mind they both function in a similar way on a narrative level: namely, both of them are incredibly active wild-card characters that keep the action going and the story moving forward when the other main characters like light, L, & near start getting too passive.

notably, while i often see this trait praised in mello, usually in the context of a comparative criticism of near for his overly-abundant passivity, i have also seen it used as a criticism of misa's character, that she breaks up the status quo of DN too significantly and thereby makes the story feel less realistic. this last point in particular is an odd argument to make imo, as if anything misa's presence only increases the realism of DN by adding some extra luck/random chance into the story in a way that is ultimately still character-motivated and thus easier for the audience to go along with-- something DN in general is very good at, often introducing elements through pure chance but keeping them grounded in characters enough that you almost don't even notice.

take light meeting naomi misora, for example: the only reason he runs across her at all is because he offers to run an errand for his mom on a bored laundry day, literally stumbling across her right at the exact moment she is divulging important insights she is literally the only person capable of making about kira. yet this moment does not stand out as particularly aggravating or out of place in the story, as ultimately the only reason why light is able to get out of that situation is his own quick thinking and ability to calm himself while under immense pressure, squeezing his way out of a potentially run-ending situation he didn't even know existed moments prior.

(not a fan of that big joel video, if you couldn't tell. lmao.)

point is, mello & misa both fulfill about the same narrative function in the story by being so aggressive in their actions, catching the others off guard even if their plans aren't as well thought out or careful as they could otherwise be. they're both incredibly passionate, dedicated characters as well, tough enough to take the hit when it inevitably comes, and in my opinion neither of them are nearly as stupid as the other MCs like to make them out to be. to some degree, i think both of them are aware of the fact that they can't win at the Mind Game Cold War Bullshit the others are inclined to get involved in, so they instead choose to carve out their own place in the story through sheer perseverance alone.

which, speaking of passion: one of the most interesting parallels i think you can make between mello & misa is the ways in which they idolize their respective heroes, misa's obviously being light while mello's is L. allow me to elaborate.

as this post points out, DN has some very interesting use of its religious imagery & theming, and in particular its use of christian/catholic gothic imagery in its story and especially its art. however, as op notes, a lot of this is quite superficial, ascribing to an aesthetic of "kitschy Catholicism," that was characteristic of a lot of early 2000s japanese goth style. yet, while i admit that a more serious consideration of religious elements in the art & story could add some interesting flavor to the story, i also think that, regardless of intention, the superficiality of DN's religious elements works really well in the context of this particular story. as i stated in my tags on that post: light is a superficial god. he is a fake, a scam, some idiot human that stumbled across the powers of a real shinigami and got his head up his ass about it. and a lot of the arcs of other characters in DN is about their reaction to light's claims-- whether they choose to follow him (e.g. misa, mikami), follow somebody else (e.g. mello), or follow nobody at all (e.g. near, also kinda soichiro?), and the implications that has for their lives and personalities.

this is all to say that while you can, on a surface level, connect misa & mello pretty easily as the two aggressive, fashionable blondes of the series, i also think that these somewhat superficial traits betray a greater connection between the two of them. if we understand the christian/catholic elements of misa & mello's fashion as a demonstration of their connection to not just a higher power but a lie, a superficial deity simply reflecting the sunlight of powers greater than himself, then i think we have great insight into another key element of both their characters.

do not forget: in the world of DN, heaven & hell do not exist. at least in the context of death itself, the realm & lore of the shinigami reign supreme, a point which the DN musical makes even more overt: "Isn't it a laugh? / Isn't it a shame? / Thinking there is someone in heaven to blame?" and "Going through the motions / as if there will be a reward / Oh, while we stay eternally bored!" (BEST SONGGG.) everyone is destined for the same fate of MU, the same void of nothingness awaits all. no reward, no punishment, no greater deity looking down upon us than the bored, slothful shinigami, lazing about in their realm and picking people off only when necessary (for the most part).

misa & mello are thus dedicating themselves to false idols, and we can see the negative effects this has on them in almost every facet of their character-- particularly for mello, who is perhaps more self-aware and has more of a mixed emotional outlook on his idol, but maybe even to a more extreme degree for misa. i keep going back to this idea of equating boredom with depression in DN, but where light/L/near are all "bored" in a very quiet, passive, stewing-in-bed late at night kinda way, misa & mello are characteristically a lot more aggressive and intense about it-- while neither of them are super overtly suicidal, necessarily, their actions still betray a distinct lack of care for their own safety or lives, expressing the same thematic sentiment as the others. even if they still don't straight up say it, through their actions they're a lot louder about not liking themselves, and seem to take the problems they see in the world more personally, shouldering the blame as a failure within themselves instead of projecting it outward like the others: e.g. light taking his unhappiness at the emptiness of his life at the start of the story & placing the blame on the world for "going to shit" & humanity's moral failings, versus misa being willing to literally & figuratively give up her life for KIRA the second he demands it, whether that be in the form of shinigami eyes or killing her own friends w/o second thought-- all because he was the only thing to bring justice to her own parents' deaths, an almost undoubtedly traumatizing/horrible experience for her considering how much value she places on KIRA/light afterwards.

to clarify, this is not to say that all of these characters are actually and literally depressed and/or suicidal, though you could certainly make that argument for some/all of them-- this is just one way that i think you could interpret their roles in the plot, and their thematic attachment to the story. even if DN isn't all that interested in considering the True Moral Answer to ethics/the justice system/human society/etc, it definitely takes at least some interest in the emotional viewpoints of characters in relation to those concepts, so i think this is a fair enough approach to take. or to say this another way, it's less about justifying the claim that "the world is shit," and more about trying to understand the emotional motivation & experience of feeling like the world is shit, if that makes sense.

that being said...speaking more on the whole "not liking themselves," thing: even if she doesn't say it aloud often, if ever, i think that misa is deeply aware of the fact that she was not supposed to live this long, that her existence at all is a pure stroke of luck that let her live on past her destined date. she dedicates herself to light so fully, not even necessarily expecting reciprocation (though she at least reserves herself the possibility of such), because being a disciple to her god at least gives her life some kind of purpose. similarly, i think mello is also aware of just how out of reach the one thing he wants is, how his desperation in and of itself is ironically the one thing keeping him from surpassing near and truly being #1. it's important to note that pre-time skip misa & post-skip mello are almost exactly the same age, around 20 years old at the time of their main arcs. they're immature, and in the case of mello especially, are lashing out at the world in whatever way they can because they know they don't quite fit into it in the way that they want to or should. regardless of the intent behind it, mello & misa both still make the conscious decision to kill with the DN-- perhaps in a way that still keeps their humanity, at least following near's logic, but it's a decision to end a human life either way.

anyways, going back to my previous point, this "worshiping of false idols," idea has some interesting implications-- for misa & mello yes, but also for L and the ways in which he contrasts again light, as under this logic mello's treatment kind of inherently gives L a similar status as a sort of false god/idol. which-- actually makes a lot of sense? or at the very least, viewing wammy's house as a kind of mystery cult a la the eleusinian mysteries is a neat approach to take. L & light's mutual alienation from humanity fits them both filling a false god status, anyway. also there's another thread of analysis you could follow here where near is instead fit into the role of the person mello is fixated on which AAAAAAAAA has interesting implications but jesus fucking christ, this post is long. some thoughts for another time, i suppose.

[starsm00n]

IM RUNNING UP THE WALLS WHY CANT FICTIONAL MEN BE REAL ARGGHHH

[jollyhaunt]

need more of bruce in his twunk era circa. 1970s

[cakemoney]

the way it happened is truly everyone's worst fear, and the episode puts a spotlight on what those fears are. k trying to fix something and fucking it up massively. when she airdrops all her stuff, it didn't feel like "k's still thinking about her network etc", it felt like defeat, giving up the work she was doing as itsy for someone else, cause she's lost all confidence in her ability to fix what she was trying to fix. sam tries to help with magic, and her wand doesn't work, and she's confronted with how helpless she is without it. she hosts a show with magic in the name but when she needs it, when she calls for it, it doesn't come, and without it all she is (all she fears that she is) is just being shiny on the outside with nothing on the inside. jammer having less than a minute to feel grief and fear before he just locks in on what he needs to do, where they need to go, because jammer feels responsible for everyone he cares about so he feels responsible for this, he can't face evan's shadow because he can't fail evan again because he's already failed to be there before. and then evan! having to be rescued, being inconvenient and throwing off their mission, and then coming back with no clothes, is the worst! he's so sad about how his presence is making his friends' lives worse because k and jammer can't even look at him, he tried to help sam in whatever way he can and it just upset her, and then he socially trapped sam into assuring him she cares about him. he has to ask a magic goat a question and he doesn't know how and even though the goat ends up giving him the theoretical right answer, now it's disappointed in him because he used a cop out! very bad no good day for evan. man.

[yutamayo]

the ways in which he is both down and bad are unfathomable

[amywritesthings]

i totally took my 10 min break to 25 to finish part one of compass by @peachdues and i swear to god i look like

[spider-man-2o99]

“why are you always only ever talking about, like, spider-man 2099’s childhood and mental health issues instead of posting panels of him Biting People” uh. because... spider-man 2099 the comic book... also does this.?

[spaciebabie]

its crazy how i went from spending almost 24/7 working on school stuff and now i have nothing. absolutely nothing but free time. and it feels so wrong

[dramoor]

Our Lady of the Sacred Heart "She is the Hope of the Desperate" ~St. Ephrem

[kayvsworld]

sorry to be doing mcu throwback complaints again and EXTRA sorry for it to be about cacw and aou, sorry, i just am thinking again that if marvel had. in aou. committed to letting steve rogers see that captain america graffiti calling him a fascist with his own two eyes i would have forgiven many of their subsequent deeds and crimes