#I'll take desperate

[drifting-pieces-blog-blog]

Disney Plus has quietly released Werewolf by night "IN COLOR".

Will I watch it? Absolutely. I want to see his suit and face paint in color. I also want to see his face again as if I were watching it for the first time.

Do I think this is a grab by Disney/Marvel? Absolutely.

The original in black and white is how it is meant to be watched and gives it the full experience of the original horror story. It also gives even more to the slow color fill in at the very end when the night is over and we can all go back to our homes safe and sound.

Remember, the black and white is viewed from Elsa's eyes where things are unclear. In the color version, we might see a bit more of the truth that was there all along.

Soooo.... Sure! Go watch it! But keep the original in your hearts. Experience a night or terror where the real monsters were the humans all along and our good wolf man is there to help a friend.

[heybiji]

[owlheartt]

Something I really like about timebomb is that Ekko actually knows what he's getting into.

I'm not really seeing it get talked about but in season 1 they mention that Ekko and the firelights help people addicted to shimmer get off it and lead more fulfilling lives within the community. I should probably rewatch the scene for the exact wording (might be misremembering tbh) but that comment implies A LOT.

First: Ekko's mission is helping people where he can, he would probably try and help Jinx even if he wasn't in love with her

Second: He has experience dealing with severe mental illness as that often goes hand in hand with drug abuse, namely depression/suicidal ideation like what Jinx was exhibiting

Third: He's probably mapped out best course of action FOR dealing with this and has already figured out his own limits/boundaries. Meaning he knew what he was getting into trying to talk Jinx out of suicide, and was thus more equipped to deal with the aftermath

Fourth: He's probably helped ex members of Silco's gang. The firelights seem to have a theme of healing and repairing and recovering, so they've probably also learned to forgive. If they're mission is to rebuild the lanes into a safe space, they can't exclude people they don't like, they have to make room for them. I think they fought Silco out of necessity, and I doubt Jinx would be the first person they help who's killed one of them.

These all might be a bit of a stretch but I think it really fits. Beyond that, it shows that Ekko can ACTUALLY help Jinx. As much as unconditional love can do, Ekko has the tools for Jinx's recovery and a path ready for her. He also probably knows that her "healthy" will look different from AU Powder's "healthy." On top of that, I expect he knows how to respect her even in the middle of psychotic breaks and won't agitate her already frail mental state

[regalpotato]

[spilycoris]

Your are is divine, I'm having a luxurious feast 🗣️‼️

UQGDHHH STARTS SOBBING THANK YOU?;!??!

here. take moros as a little treat

[ananinidraws]

Based on that one meme

He's fine guys, don't worry

More doodles under the cut

A bunch of kissing sketches (that got... a bit more heated than intended. listen i promised it started out wholesome with the bottom ones, but then i blacked out and whoops /silly)

I do not know how to draw kisses 😔

[otomehonyaku]

DIABOLIK LOVERS More,Blood Stellaworth Complete Set Tokuten Short Stories ☽ Ruki ver.

Original title: DIABOLIK LOVERS MORE,BLOOD ステラワース全巻連動購入特典ショートストーリ English translation by @otomehonyaku Scans can be found here (courtesy of @karleksmumskladdkaka!)

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

SUMMARY | This short story provides a slice of Ruki and Yui's daily life after the events of More,Blood. Ruki has always had a preference for soup, but when Yui prepares a particularly hearty vegetable soup for him one day, he comes to an important realisation.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

Please do not reuse or repost my translations elsewhere or translate my work into other languages without my permission.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

—The first time I learned to appreciate soup was when I was in that dark cage.

“It had already gone cold, but to me, it was the most delicious thing on Earth back then. It was infinitely better than the junk I ate while I roamed the streets, after all.”

“Oh…”

Somehow, as I ate the soup she had prepared for me, I had somehow started talking about all the reasons why I had this particular preference for the dish. The story had stolen the words right from her mouth.

“I’m sorry,” I said. “I shouldn’t have brought up such an unpleasant story during dinner.”

“That’s… that’s not it,” she explained, hurrying to wipe the tears from her eyes. That’s not what I meant…”

“Do you pity my past self?”

“Pity kind of feels like… a high-handed way of putting it. I don’t mean it like that…”

“I see.” My voice was monotonous while I spoke. 

I took up my spoon again and continued to eat. 

It was a simple consomme soup, filled with colourful slices of a variety of vegetables. The soup that we were served during our time in the detention facility was a far cry from this. Back then, the few off-coloured beans that floated in the soup, though they barely had any nutritional value, were enough to bring me at least an inkling of happiness. 

While the memory resurfaced, it occurred to me that I had obtained true happiness since then, no matter how absurd it seemed.

“And to think a human would accompany me at dinner…” I mumbled to myself, earning a surprised look and a soft what did you say? from her. 

It’s nothing, I swiftly replied.

My life was saved by Him. The four of us had been destined to die a noble death in that filthy cell, and yet He had rescued us. Just like that, he became our god. Our saviour.

Someone to serve.

My brothers and I would do anything to fulfil his wishes without batting so much as an eye. And yet… What was I even doing right now?

I let her make soup for me like this. She willingly stayed with me all this time, even though she cannot become Eve. Even though I cannot become Adam.

“Ruki…?”

As we sat in silence, various thoughts stirring inside of me and picking at my resolve, I reached across the table to take her hand in my own.

“...?”

“Sorry. Would it be alright… if we stayed like this for a little while?” I said, my grip on her small, soft hand tightening. 

Greed is a grave sin according to God. 

Considering that I agreed with Him, I was awfully addicted to this greed all the same. I was the sinner of all sinners, thriving on such atrocities. When a simple bean soup was all it took to please you, the first taste of a good vegetable soup makes it easy to take such happiness for granted.

“Still, I will…” 

Never let you go, I wanted to say, but I could not manage the words. She likely did not want to listen to the mutterings of such a weak, pitiable man.

It was difficult to gauge her thoughts, but it was then that she spoke with a gentle smile on her face. “Don’t worry.”

“What?”

“I’ll be by your side, Ruki.”

My eyes unconsciously widened in response. Her soft smile made my chest ache. She was Eve and I was her captor—she should be miserable, and yet she was so extraordinarily kind. 

Did she not realise that it would only add to my suffering?

“Alright,” I replied curtly. Then, ever so unwillingly…  I let go of her hand. “The soup is getting cold. Let’s eat.”

“Yes, let’s.”

After that, we ate the soup together in silence. 

I found myself thinking there was nothing in the world that I wanted more in that moment. No matter how lavish a meal I would be served, I would cherish this vegetable soup as my favourite dish for as long as I lived.

[amourninghost]

i climbed the fence, the one that you've been sitting on

[queenie-ofthe-void]

A Desperate Fool - Part 12

Part 11

Last Time: Steve's struggling with Eddie being back in town, and Dustin just tries his best to help

~~~

Eddie’s been in Chicago for almost three months and Jeff’s only called once. They’d chatted for a few minutes before Eddie spilled all the beans about Steve. Jeff wasn’t all that surprised, which surprised Eddie in return, and when he told Jeff as much, his friend laughed. “It was only a matter of time, Eddie.” And he’d said it with such grace that Eddie felt the anxiety slough from his shoulders. Either with or without him, the band would be fine. 

Now, Eddie’s learned to savor the casual routine he and Dustin have established over the past month. It’s been nice, relaxing– normal.

While Dustin spends his days working from his home office upstairs, Eddie cooks, cleans, and avoids calls from his manager. Somedays Nancy and Jonathan invite him over for dinner. He’s also started meandering the neighborhood, discovering all the reasons Dustin picked here to settle down. Around the corner is a small game store which hosts DnD nights on Wednesdays and Magic the Gathering tournaments on Saturdays. It’s next door to a record shop and a small cafe that serves the best cranberry orange muffins Eddie’s ever tasted.

He’s starting to gain some of the weight back he lost, so the small amount of clothes he brought with him are starting to dig in. Dustin says it’s thanks to the home cooked meals and down time, now that he’s not partying every night. Cooking is another part of everyday living Eddie’s come to love. Steve had done all the cooking before, not just because Eddie didn’t know how, but because Steve genuinely enjoyed it. He doesn’t think his skills will ever be that good, but that doesn’t matter much. Eddie’s already halfway through a cookbook and hasn’t felt this proud of himself since he learned how to play.

It’s well into April when Dustin suggests renovating the downstairs guest bedroom into a temporary recording studio. Eddie considers it for a grand total of three hours before he calls his manager– much to their relief– to have his guitars and equipment shipped from LA on the promise of starting a new solo album. By the time it arrived, the room’s sound proofed with mounted wall hooks for each of his sweethearts. He’s also furnished it with a few plush couches and a black leather barstool beneath the hanging microphone.

This is where Eddie sits now, headphones pulled up and plugged in, his old-school acoustic swung across his back as he leans over a notebook scribbling out the lyrics falling muffled from his lips. He hums the melody, repeating the last verse to himself when there’s a soft poke on his shoulder. Startled, Eddie shouts and barely manages to catch his guitar before he tumbles off the barstool on top of it. Loose sheets scatter across the floor as he fumbles the notebook. He gathers as much as he can, but when he stands, he finds Dustin scanning some before he can snatch them away.

“Those are private, dude,” Eddie exclaims, shoving them unceremoniously into his pocket. Hopefully later he’ll be able to make out the writing through the wrinkles. 

“Yeah, seems like it,” Dustin replies. He avoids eye contact, shuffling back and forth, and picks at his fingernails. “So, are those–”

“New songs.”

“–breakup songs?”

Eddie sighs, rubs his hands down his face. Dustin’s eyes are on him when Eddie moves his hands away. He feels seen, overly scrutinized, much in the same way Max and Nancy first looked at him. Dustin’s the only kid who’ll talk to him, but Eddie’s been living here for two months now and on some level, it feels like they haven’t talked about anything. Stuff like what’s for dinner, shopping lists, TV shows, video games. Things that don’t really matter.

The studio’s suddenly claustrophobic, but as Eddie moves towards the door, a half-hearted bullshit reason to leave stuck in his throat, Dustin steps in front of him.

“You know Steve’s happy, right?”

Ok so they’re talking about it. Eddie’s been anticipating this since the phone call, but is still unprepared for the solid earnestness scrawled across Dustin’s face.

“Yeah, Nancy told me everything. About all of it.” Eddie crosses his arms, can’t help hunching in on himself. Big, loud, and obnoxious never worked around Dustin, who could match him step-for-step. And after his initial conversation with Nancy, all Eddie wants to do is hide– preferably here in Dustin’s basement. “She takes care of him, she’s practically obsessed with him, wants kids– the whole package.”

Bitterness coats his tongue, and Dustin doesn’t miss his seething tone. 

“She likes sports too,” Dustin adds, defensive. The kid’s always stood up to bullies to protect the people he loves. He used to do that for Eddie. Now Eddie’s alone on the opposite side of a chasm, wondering why he never considered what kind of relationship Dustin could have with Becky. 

“Nancy mentioned something about sports journalism.”

“Becky gets press tickets and front row seats. They go to Blackhawks and Cubs games all the time.” Tone rising, Dustin’s cheeks are flushed, hands clenched at his sides.

“That’s–” Eddie starts, but is interrupted.

“Has he called you?” Dustin shouts at him.

Eddie freezes, body coiled tight and ready to run, but also horribly, devastatingly confused.

“What?” Cold sweats break out down his spine, his hands tingle with tiny pinpricks. “Dustin, I don’t–” he wheezes, swallowing around the dryness in his mouth. “No, we haven’t talked at all.”

“Good. Right, yeah– that’s good.” Even though Dustin’s impeding stance doesn’t change, his tone is laced with uncertainty. 

“I swear,” Eddie pleads.

“I believe you,” Dustin heaves a great, heavy sigh, his body slumps. “Just– please don’t answer if he calls. I don’t think it’s a good idea.”

Eddie can’t help the snap of irritation. “Why?”

“Uhh,” Dustin’s voice drags out, dripping with defensive sarcasm that has Eddie deflating, “maybe because he’s planning a wedding with his new fiance and his ex showed back up out of fucking no where.”

“I know. Fuck, I know. I’m sorry.” Regret and shame crawl under his skin.

“You keep saying that, but it still doesn’t feel true.” 

His eyes are hot, the panic of confrontation bubbles up through his grief. “I want it to be true, Dustin, I’m trying to make it true. I know nothing I do will ever make up for what I’ve put you all through, but– fuck.” Eddie wipes at his misted eyes. “I’d give up everything if I had to. Everything I have, all the money and clothes, the parties and the awards. I’d grovel and I’d–”

He doubles over on a long exhale that lurches from his chest unrestrained. Eddie grounds himself by counting the checkered pattern on Dustin’s socks until his breathing evens out. 

“I’d give up Steve.” He almost vomits as the words leave his mouth, and at that moment he can’t tell if it’s the truth or not. “I just want my family again, Dustin– you and Nancy and Mike. I don’t want to be alone anymore. And if he’s truly happy with her, I don’t want to hurt him. He deserves to be happy, even if that means I never see him again.”

He stands up and sees Dustin’s crying now, soaking the tears into the sleeves of his sweatshirt. Years or minutes or days pass as he waits for Dustin to answer, to say fucking anything after Eddie just carved himself open and spilled his guts on the floor. He can’t imagine never seeing Steve again, never hearing the sound of his laugh or grazing his hands against the moles on his neck. 

Except if Steve’s actually happy– truly down-to-the-marrow-of-his-bones happy– like Dustin says, Eddie can’t stand in the way of that. He won’t. He’s already hurt his baby so much, he won’t ruin the rest of his life too.

The realization tips Eddie’s world on its axis, the foundation of his life crumbing beneath him. As he does his best to reorient himself, Dustin scoffs a wet chuckle. “There’s going to be so much groveling. Like, a shit ton of groveling.”

A wide, relieved grin breaks out across Eddie’s tear stained face as Dustin smirks. The tone is teasing, but they both know he means it. Eddie wasn’t lying, he’ll grovel on the ground until his knees are soaked in blood. Giving up Steve feels wrong to the depths of his soul, but he’ll do it. Eddie’s not promising he’ll move on, but he can let go. He’ll do whatever it takes to earn the love and respect of his family, and he’s willing to rebuild his entire life to do it. Reconstruct it into something softer, more mundane and normal and utterly filled with a new kind of love.

And when Dustin pulls him into a hug and squeezes the air from Eddie’s lungs, he can’t help but feel overjoyed at the thought he’s already started.

~~~

Part 13

Tag List!!!

@sadisticaltarts @5ammi90 @blacklegsanji21 @jaytriesstrangerthings @thewickedkat

@stripey82 @a-lovely-craziness

[applestorms]

where is the justice full lyrical analysis GO GO GO

TL;DR i'm of the opinion that many people give light a Lot more credit for being a Paragon of The People than he really deserves in this song, so i'd like to take a closer look at the (english) lyrics here-- not only to understand some of the deeper (highly questionable) ideas light is establishing/implying, but also why it may be especially easy to skip over those more dubious implications, unlike in other DN adaptations. see full analysis below the cut, this is Long.

[Light] Where is the justice When the guilty all go free? Why don’t we lock them up And throw away the key?

direct meaning: light begins this song questioning the effectiveness of the justice system. from these lines, it is clear he is questioning the fact that "the guilty" have the ability to "all go free," though it is unclear if he is criticizing the fact that some guilty parties are able to get away with their crimes or the simple fact that prisoners are free to return to society after serving their sentence.

while the first meaning seems potentially easier to assume, the next two lines perhaps point towards the second, implying that "the guilty," should be locked up forever-- typically, you don't throw away a key just to get it back later.

questionable implications: a couple things here. first, light has an underlying claim here that the meaning of "justice" is purely to punish the guilty, to quarantine them away from the rest of Good society. note that he is making this assumption without any clarification about who these "guilty" parties are, what crimes they have committed or otherwise. second, he is also setting up a kind of false dichotomy, saying that the guilty currently are free but the correct course of action is that they are instead locked away. again, no rehabilitation is possible under this view, and no nuance either.

[Light's Teacher] I see a young man’s anger Burning in your eyes;

direct meaning: light's teacher is pointing out light's naïveté ("young man"), though this criticism is softened somewhat by the fact that he also points out his passion for the subject. note that the light in light's eyes here is "anger," and the connotations associated with that emotion-- action, violence, a lack of clear logical thinking. light burns, quick and powerful, but with little discretion for the details.

implications: by describing light in this way, he is establishing light as a very emotionally-driven character, but also as one who has perhaps not had the time nor experience to fully think through his ideals. light's justice is a naïve retribution.

[Light] What you see is my impatience With your noble compromise;

direct meaning: light pushes back against his teacher's criticism, clarifying that his "anger" is more like "impatience," an annoyance with "your noble compromise." light is not stupid, according to himself, he understands the ways in which the legal system (which he sees his teacher as fully ascribing to) is supposed to work, but questions its effectiveness regardless.

to light, this legal system as it currents stands is a "noble compromise," something that people feel they Must stick to for the sake of upholding their noble character, but ends up leading to a questionable execution of justice, which compromises final judgements. i'm assuming this connects back to this page:

questionable implications: light's primary push in this song is towards a fully black and white justice system, wherein The Guilty are Punished and The Good receive Justice (the ability to see the guilty get punished). he is not willing to concede any gray morality here, no "compromise" ever. he is also very quick to write off the idea that he might be getting too caught up in his own emotions about injustice, ironically a bit of an emotional move.

[Light] Show me what’s right about the wrongs that we allow Real people need to feel protected here and now; This whole damn system’s broken way beyond repair It’s just law Not law and order; Not much good and seldom fair;

direct meaning: light continues to question why the legal system allows for what he sees to be compromises in the execution of justice, arguing that "real people," The Good, have the right to feel protected by such a system. he states his points overtly here: the legal system is broken, it is unordered, it is unfair. nothing good comes of it.

questionable implications: a few points. first, light is once again Very vague about what exactly these "wrongs," are that the legal system is allowing, which guilty are actually going free under which circumstances. second, light is assuming that "real people," which is itself quite frankly an incredibly loaded term when it comes to how dehumanized his view of The Guilty is, do not feel protected by the legal system, that The Good live in fear under a system that fails to guard them against evil.

i think people often get stuck on the line, "This whole damn system's broken way beyond repair," since it has the potential to greatly emotionally resonate, what with its underlying pessimism and cynical view about the world. even in my own views, there are plenty of systems that i think are plenty broken. where this line becomes questionable is again in how vague it is, allowing for many interpretations of exactly how the (legal) system is broken. take note of this not only in the context of how people interpret this song, but also for the next few lines in-context.

[Light's Classmate #1] Laws were made for everyone We’re treated all the same;

direct meaning: a classmate enters the conversation, stating a somewhat basic fact-- that the laws were created for everybody, and that everybody is all treated the same.

EDIT: actually, listening to this again, i genuinely can't tell if this is a classmate or light's teacher again?? regardless, i think my points still stand, just push the part about the other students being convinced by light to a bit later in the song.

(questionable) implications: a third party is now introduced with light's classmate here. this conversation between light and his teacher is not one-to-one-- there are other parties listening in the room who may be convinced one way or another depending on how the arguments go. thus, while this is a somewhat obvious statement on the surface, it is being stated in response to light to get him to expand on his claims.

i'd also like to bring up one point that i think may be relevant moving forward: the difference between normative and descriptive claims. in ethics, we typically use this to describe the difference between claims about how things should be versus how things already are.

light makes a lot of claims in this song that are presented as descriptive, implying that this is simply How The World/Legal System Already Is, that we are approaching a system that is already broken. he also makes a lot of claims about how the world should be, that justice should be this kind of starkly black and white Passing of Judgement-- these are the ones that he is less direct about, and that should be more closely questioned imo. don't mix em' up. anyways,

[Light] Till a lawyer’s tricks can fix the blame; What about the victims Waiting for some justice? How can we turn away And say that's just the way things are? What about the families Hiding in their houses All of them afraid to walk the street at night With all their doors locked tight Tell me where is the justice If there's any justice

direct meaning: light responds to his classmate's previous comment, arguing that the system is equal, but that stops once a lawyer can trick the system into allowing their client to go free. he continues, asking-- "What about the victims / Waiting for some justice?" once again painting The Good as pure, innocent victims, afraid to even walk along at night or leave their houses, living in Fear of evil that the legal system has so cruelly allowed to go free.

a very good couple lines in this section: "How can we turn away / And say that's just the way things are?" light wants change. he sees the system as "broken beyond repair," something that must be fully taken down and rebuilt into something better, to help people.

questionable implications: again, light is making the assumption that people already live in fear of Evil that lurks the streets, Good Families that need to be protected by the justice system. there is a non-zero number of universes where light fails to get the death note and ends up being a vigilante superhero, istg. he is also making the (descriptive) claim that victims do not receive the justice they deserve, presumably since The Guilty are Freed.

an interesting point there, actually-- justice for light is about the victims of crimes, not the perpetrators of them (who, as we already established, he doesn't actually see as "real people," not the "families" that need to be protected).

the one sympathetic point in all this that i find myself drifting back to is that big about actually wanting to change. he makes quite a good point about not assuming that this is how the world Must be-- i just find it unfortunate that his Ideal World is so horrendously flat.

[Light's Teacher] Your simple arguments have all been made before The world's not black and white The choice not either, or

direct meaning: light's teacher once again criticizes light's arguments for being surface level and overly black and white. i also think his point about light's arguments having, "all been made before," can connect to his previous point about light being naïve, that he simply hasn't had the experience to recognize that his supposedly New, Improved ideas for how the system can be fixed have already been presented and argued against.

[Light] Perhaps it's time we drain the color from within Till we're back to seeing black and white And wrong and right again

direct meaning: light argues back, saying that his teacher's push to see the nuance is pushing the compromise too far, that we are losing sight of some kind of true morality, "wrong and right," by taking such an approach.

questionable implications: not just questionable tbh, these lines are the most terrifying thing light says in the entire song. it's not even an implication either, really, he just says it outright here-- light wants a black and white justice system. he thinks the only way in which true law and order can be established is by giving up on nuance entirely.

i'm reminded a bit of han feizi's approach to crafting ideal legal systems a bit here, like the extremes of Two Options: Punishment (Death) or Reward (Everything You Could Possibly Dream Of/Desire). wonder if light's a fan...

[Light's Teacher] Overwrought pronouncements won't improve the paradigm [Light] Till lawyers cutting deals becomes a crime;

direct meaning: another back and forth between light and his teacher, with light's teacher once again calling light out on his "overwrought pronouncements," his strong, but overly emotionally-driven claims while light points again back to his strawman of the Corrupt Lawyer cutting deals to let The Evil Guilty go free.

implications: it interests me that light's teacher doesn't really argue against light's claims here by saying this image of this Lawyer doesn't exist, but instead keeps pointing to light's emotional state, how he's pushing for this so passionately but not really thinking through any of the greater implications of his claims. you could maybe see this as what makes the teacher's rebuttals less strong, that he doesn't seem to be matching light's passion with the same Excitement to meaningfully combat any of his underlying points, but i actually think this is quite a measured and good response. light isn't thinking very deeply about this, he's pushing from anger and trying to get the class on his side. it's a bit reminiscent of far right strategies-- hitting emotional buttons, getting the Crowd on your side, giving people hard hitting lines with little substance but no time to think it through. light really would benefit from trying to understand his emotions but but, i mean. what else is new LOL

[Light and Ensemble] Let the corporations make the regulations And all go unaccountable when everything goes wrong; Let the rich and famous get away with murder; Every time a high-priced mouth piece starts to talk His client gets to walk; Tell me where is the justice? If there’s any justice;

direct meaning: the ensemble is officially on light's side now, singing behind him as he throws out his criticisms of "the corporations," of, "the rich and famous," who can apparently get away with murder. notably, light is making a Money point here-- it's the rich, the corporate, who are able to get away with crimes.

questionable implications: uhh source?? is light trying to say that O.J. getting away with it means that the legal system has to kill all criminals for justice to be served? (#joke, i know, i know, he's japanese.)

this is where the normative vs. descriptive claims thing becomes really relevant to me. light, on the surface, is making descriptive claims about how the world Is-- that corporations decide what is and isn't justice, that anybody rich enough can do whatever they want, so long as they have enough to pay off a lawyer. and he may not be entirely off about all of these claims!! the problem here is instead to be found in his underlying normative claims, that the way to fix this is through a purely black and white legal system.

light presents this argument like he only has to sell you on the first part, on the fact that the System Is Broken and people can get away with horrible acts if they have enough money. at least in this section, he does not clarify What his justice is, or any of the horrible implications his ideal system to "fix" all of this might have, though he bounds those two points up in such a way that it feels natural to accept both.

this is where i think some people get the idea that light is a Comrade fighting Capitalism or some shit. it's quite easy to see and get on board with his descriptive claims about how broken the world is (feels), but lose sight of his underlying normative claims about how this Should be fixed. light doesn't think the problem is capitalism here, that's something You have to bring to the table-- but he keeps his arguments vague enough here that it's really easy to do so.

[Light] Where is the justice [Students] Tell me where? [Light] For all the victims? [Students] Tell me where? [Light] Where is the justice? What good is law that can’t punish those who break it?

direct meaning: similar points from before. again, light describes justice as something that must be found and given to "the victims" (of what?), calling the law useless for its inability to enact (his view) of justice (or what light thinks justice should be).

[Light's Classmate #2] Politicians make their speeches all day long; While judges pushing pencils mostly get it wrong; [Ensemble] Mostly get it wrong!

direct meaning: same thing, but he adds politicians to the list of those corrupt. the only thing i wanna add here is that the bit about "pushing pencils," is quite a nice bit of foreshadowing. anyway,

[Light's Classmate #3] Instead of loopholes for the laws to fall between; Let some good old fashioned payback Grease the wheels of the machine; [Ensemble] Grease the wheels of the machine

direct meaning: another classmate again arguing in favor of light's ideas, saying that we should drop the loopholes and morally gray areas to get some "good old fashioned payback," instead.

questionable implications: the class is really getting on board with light by this point in the song. note the shift also in the ideas they're presenting-- while classmates #1 and #2 were still mostly focusing on descriptive claims earlier, here classmate #3 points more towards light's normative claims about how the legal system should be. "good old fashioned payback," indeed.

also interesting that the claim they reiterate here is light's point about how the Only way a "victim" of [crime] could ever be fully satisfied or happy again is through this kind of state-mandated Revenge, that The Guilty must suffer/die/be locked away forever in order for The Good to live well. there's a lot of arguments against capital punishment to bring up against this point, but considering the length of this post as is, i don't think i really have the space for that =3=" regardless, i think this says a lot about light's worldview as is.

ANYWAYS. the rest of the song is basically just reiterations of the exact same lines light said before, notably including the lines about "families in their houses," and lots and lots of questioning about where that goddamn justice is. so, to end this off, i suppose i'll interrogate those more general points just a little-- both the title of the song itself, and its core themes in the context of the full story.

"Where Is The Justice?" is such a fascinating way of kicking off this musical, particularly in how it characterizes Justice itself as this lost thing that must be Found, setting up the idea that light himself playing the role of KIRA manages to Become Justice (or, his view of it, anyway). it is also interesting in how it show's light's relationship with the people around him, not only in terms of how he gets the rest of the class on his side by the end of the song, but also how his teacher critiques him earlier on. it's kind of a minor point, but i think that back-and-forth alone really does a lot to set up the space that L's character will inevitably fill later in the story, how he matches light's underlying Passion and Temperament (and lack of any care for deeper morals) in such a way that would lead to their mutual demise.

for all my frustrations with how this song is often interpreted, i actually think this is a pretty decent depiction of pre-KIRA light, at least within this format. my main critique is that i think it may perhaps be truer to believe that light never really comes to these kinds of conclusions until after he gets the notebook, but, hey. you can only have so many songs, and you've gotta start somewhere.

that being said... why do so many people so easily accept this song as a Real and Good critique of the justice system, even going so far as to say that musical light is somehow more morally good or righteous than any other depiction? (a point that i certainly Do Not agree with, if this post has somehow not already made that clear).

i suppose, to me, it all comes back to that normative vs. descriptive claims distinction. people emotionally resonate with the problems that light brings up, the evil that he sees in the world, and in particular his pessimism about the structures around us and questions about whether or not they actually do what they should.

what they fail to see, and what he somehow manages to get away through how carefully his arguments are crafted here, is the deeper implications of his solution-- the dehumanization of The Guilty, his dubious claims about the necessity of such a violent and stark Revenge to make the Good, Pure Victims feel truly safe or satiated, and all the many greater harms that come from such a complete lack of any nuance.

i believe it was @moonlarked who also brought up the fact that, unlike most other adaptations, we don't hear light's internal monologue here, meaning that we're not privy to the same kinds of snark or casual cruelty that light has the sense not to say out loud. in that sense, perhaps this song is actually one of the better depictions to show how light Can actually be quite a charismatic and convincing speaker, so long as you don't think too hard about what he's not saying out loud. (maybe that's why L got so insane about him? lol)

[melverie]

Okay, but you guys do realize that the reason Mephisto behaves the way he does is because he has been raised with the intent of only being beneficial to the future demon king and nothing else, right?

(Buckle up because this is going to be a loooonnngggg post)

Mephisto comes from a family that has been serving the royal family for ages. He mentions multiple times that his family has always acted as their knights, their advisors and their protectors to them, and it won't be any different with him. It shouldn't be any different with him. Being beneficial to Diavolo has literally been decided to be the very meaning of his life even before he was born. He's been forced into the role and he's following it to a T because he's never known anything else, and because he can't afford to lose that. Without it, what else is left of him? What worth does he hold other than being essentially a tool for Diavolo?

And then the brothers fall and suddenly his position is at risk. Lucifer and Diavolo have already gotten along fairly well back when Lucifer was still an angel. Both Diavolo and Lucifer (as well as several others) mention that they go way back in their Nightbringer homescreen dialogues, and we see them having mutual respect by the end of the 'The Glory Days' Devilgram in the original game. Mephisto and Diavolo meanwhile might be childhood friends, but here's the thing

Diavolo wants a friend. A real friend. Someone that genuinely appreciates him for who he is as a person instead of focusing on his status as the future demon king. And that's something Lucifer can give him. They often hang out for the sake of it (apparently even eating dinner at Ristorante Six together regularly), they regularly engage in lighthearted banter, and Lucifer isn't afraid to give Diavolo his honest opinion

But that's not really the case with Mephisto...? He was never meant to be on equal footing with Diavolo; Diavolo even calls him "mini-Barbatos" at one point. He is literally still calling him 'Lord Diavolo' all the time, requests to speak his honest opinion first and waits for Diavolo to allow him to do so before actually giving it. That's why Mephisto keeps pushing down his own feelings and keeps showering Diavolo in praise any opportunity he gets while he adjusts every aspect of life to be beneficial to Diavolo in a way. Sure, he might be popular, but as long as Diavolo doesn't want him to get married he doesn't even waste a thought about relationships. He might have no real interest in journalism, but of course he'll take over RAD's Newspaper Club. After all, Diavolo asked him to! He's part of the House of Lords because as the future king's right-hand man that just makes sense. He was always just meant to be a tool for the crown prince to use, so he doesn't know how to treat Diavolo as anything but. He was literally groomed to be dispensable, so he's obviously going to act like it

And that's also where Mephisto's dislike for Lucifer stems from—he can only watch as Lucifer slowly grows closer and closer to Diavolo, and threatens to take the role that was always made up to be his. And so Mephisto keeps challenging Lucifer over and over again, trying to sabotage their friendship any way he can in hopes of winning back his position as the crown prince's right-hand man

That obviously doesn't make the way he treats Lucifer (and the rest of the brothers!) right. Lucifer isn't responsible for any of this, and blaming him for it is misguided. But it still doesn't change the fact that Mephisto has the right to be hurt at the situation at hand. His entire purpose of existence is just being ripped away from him right before his eyes and all he can do is watch. That must hurt. Especially when your entire familiy's purpose has been to serve the royal family, and you are the first one to lose that

Also, I feel like something else we need to talk about is how his fight only ever really seems to be with the brothers, especially Lucifer? Again, part of the reason is the entire Diavolo situation, sure, but I feel like it also has to do with the situation in the Devildom at large? I already vaguely talked about this in a different context a few months back, but ever since the brothers have been cast out of the Celestial Realm and arrived in the Devildom, the entire situation has just been super unstable. We as a player have a unique perspective on the events because we only have a limited outsider view to on the actual politics going on the the Devildom, while also being aware how things will play out in the future. We know that ultimately letting the brothers stay is the right choice, but that's not the way a regular denizen who has to live through all this sees it. I mean, just the way Mephisto describes the brothers really puts things into perspective:

The entire realm is super destabilized, they just semi-lost their current king, and there have been multiple very real threats of war—first when the Devildom took the brothers in in the first place, then when "Raphael" showed up and told the brothers to return, and Lucifer rightfully points out to (a comatose) MC that they are bound to go to war should the Celestial Realm ever find out that Diavolo turned Lilith into a human. There's just a lot of tension in the air, and the brothers—extremly powerful as both angels and demons—seem to be at the root of most of it in one way or another. From a the House of Lords' perspective, it makes sense to want the brothers gone, same goes for a denizens perspective. And while it is a delicate situation all around that can't just be blamed on the brothers, it makes sense for Mephisto to also see them at the center of it all. Again, that doesn't make the brothers' treatment right, but it's at least understandable given the circumstances

On a side note, when discussing his beliefs, I think it's also important to remember that he to this day is incredibly sheltered. He just accepts all this as normal because to him it is normal, but as we've seen in lesson 31 hard mode Thirteen was so shocked by his views that she immediately decided to drop everything and play therapist for him (absolute Queen for not just blaming it on him btw 💖). I know this was just a throw-away line, but this paired with him basically excisting to serve Diavolo already says so much about his character:

And with everyone else he seems to be generally pleasent? I mean, he says he doesn't want anything to do with angels or humans, and yet he risks getting injured in order to save Luke from falling. Yet he actively seeks out MC to solve one of the 666 Mysteries of RAD together with them, and saves them from tumbling on the floor because "anyone else would have done the same" (they wouldn't have. The season 1 brothers would have laughed straight in MC's face). He literally complained to Thirteen about how he was just about to go home and how he doesn't have time for her, yet diligently carries all her things for her as rain is pouring down on him. His actions always end up betraying his words

Also he has a massive sweet tooth which alings perfectly with one of the headcanons I had for months and is RAD's local horse girl so we stan! <3

-> more character & relationship analyses -> masterlist

[artfullyimprobable]

I've been struggling with crazy bad burn out but MySims has me deep in the depths of rekindled special interest/hyperfixation so have these two random sim portraits :) I was gonna do this old drawing challenge but I think I'm too burnt out to handle it right now :( I encourage others to give it a shot though!

[rocketbirdie]

When zack was caring for Cloud in his Coma do you think he ever considered killing him to put him out of his misery but he couldn't bring himself to because of what he'd had to do with Angeal + it feeling like giving up on Cloud?

I think it never even occurred to him as an option honestly. He was so hellbent on being a hero to someone, anyone, that it looped back around to being a little bit selfish. Whether it was out of guilt, or denial, or love, or honor and dreams or some combination of it all— Zack refused to let Cloud die, even if it would have saved his own life.

That being said, I love fics and aus that explore those kinds of possibilities........ >:)

[werewolves-are-real]

Time Travel Temeraire snippet

At first, Laurence assumes he's dead.

It's a natural conclusion. He remembers dying, after all.

He and Tenzing were at a function hosted by Wellesley. They were mostly there to support the dragons. Temeraire had long abandoned them to quarrel with Perscitia in the courtyard, with half a dozen ferals watching like it were a jousting match. Wellesley had laid out his grounds to allow room for dragons and men to mingle, but a good portion of the guests retreated inside to avoid the raised voices of the dragons.

Laurence wonders how Temeraire felt about that, later. About not seeing.

He was stabbed. He barely remembers it – just a quick pulse of pain in his chest, looking down. Red blooming over his coat.

Then he was on the floor. People screamed. Tenzing appeared, grappling with a tall and finely-dressed man; he used a dinner-knife to punch a hole in the stranger's throat, in a fantastic spray of blood, and dropped the body at once to kneel by Laurence's side.

He remembers Wellesley barking orders – bandages, water, a hot knife. Have to cauterize it, he'd shouted. Keep pressure -

But Tenzing never spoke. Just pressed down on Laurence's chest, over the wound, without particular panic. Laurence still remembers the grim resignation on his face; Tenzing knew what was coming. Laurence was glad to have him there when he died.

Then Laurence woke up.

The world sways in a familiar way, a rhythmic motion that Laurence registers on a soul-deep level. He's on a ship. But why? Where is Tenzing, Temeraire? Why would they put him on a ship?

“I think the fever's breaking,” says a voice. A naval doctor, disheveled and salt-stained, with long scars down his bared arms. “Oh, and awake too!”

“Well thank Christ,” says another man. One Laurence recognizes.

It's Captain Gerry Stuart – but he looks different, younger than the last time Laurence saw him, with smooth skin and dark curly hair.

Gerry died two years ago.

“Well, Lieutenant! You gave us a scare – how are you feeling?” Gerry asks.

“It's Admiral,” Laurence corrects rather than all the other things he does not dare ask. He hates the title foisted upon him; but it's at least more comprehensible than Lieutenant, and he clings to that rather than demand where did you come from.

Stuart throws back his head to cackle, though the concern doesn't leave his face. “Still perhaps a bit feverish, I think!”

“That might be the laudanum,” says the doctor, also amused. “Why don't you sleep a bit more, Lieutenant?”

“But where is Temeraire? Or Tenzing?”

“I can only assume you had some very vivid dreams,” Stuart chuckles. “You were babbling and babbling for Temeraire – isn't that a ship?”

“Perhaps the flagship of his fleet,” suggests the doctor, and Stuart laughs again. “Get some rest, Mr. Laurence. Holler if you need me.”

They both exit the sick-berth. Laurence stares blankly at the door.

What?

Laurence pats his chest. No wound. He looks down, startled by the pale thinness of his fingers, his youth-soft skin.

Well; not soft. Callouses cover his hands. But even these patterns are different – hard skin in places where he would hold a sword, or pulls ropes. His hands should be more wrinkled, yes; but these callouses faded years ago.

“Where am I?” he asks when the doctor returns. “And what is the year?”

“The year? 1793. You don't remember?”

1793. Laurence was 19 in 1793. A lieutenant for two years, on the Shorewise.

The doctor narrows his eyes. “What's my name, lad?”

Laurence swallows. His stomach churns; for the life of him he can't remember.

The doctor rushes off to retrieve the captain.

_____________________________

Laurence is diagnosed with brain fever, and partial amnesia. Gerry is horribly guilty about laughing, earlier; Laurence could not care less. He is given strict orders to stay on bed-rest for another week, in hope his strength will recover – and his mind.

Laurence doesn't think he'll have any issues working – he's forgotten many of the people around him, true, but he may never forget the way to run a ship. He's far more concerned with learning what happened.

From all appearances, it is indeed 1793. France is undergoing riots, and declared war against Britain in February. Temeraire has not hatched. Napoleon is probably a corporal or general himself, at this point. If he exists at all. God knows, perhaps Laurence is only mad.

But he doesn't feel mad. His memories are too vivid to be mere fever-dreams. A man cannot dream up twenty years of life!

But neither can a man go back to his youth, and live it all again.

I have a dragon, he thinks of saying. There is no war, because I captured Napoleon – an unknown man who makes himself emperor.

Mad. It sounds mad even to Laurence himself. But to imagine that Temeraire was a fever-ridden dream... Tenzing and Granby and China, all of it...

Laurence doesn't share his turmoil with anyone – not even with Gerry, who checks on him fretfully. After a week the doctor declares him well enough, physically. He's paired always with another lieutenant for the first few days on duty, and his shipmates watch him carefully for signs of permanent debilitation; but aside from a moment or two of hesitance, Laurence competently resumes his duties. The oversight lessens.

Laurence thinks about writing letters.

He thinks about writing to Tharkay's late father, who ought to still be alive, inquiring after his son. He thinks of writing to Prince Mianning, asking about the health of Lung Tien Qian. He thinks of writing to young Midshipman Granby, his unwed brother, his dead father...

Not all of them would reply. But he could ask questions. Could verify the truth of things. Unless this, instead, is the delusion.

Is he in 1793, imagining the future? Is he in the future, imagining the past? Or maybe he is already dead, and this is the reality of hell. He came here burning with fever, and now he burns with fear. Surely that is it's own form of torture.

Laurence is ironically given the task of tutoring the midshipman and lieutenant-hopefuls more than any other duty as the weeks pass; his crewmates still look askance, and the more eager of the midshipman become protective. Laurence remains perfectly capable of command; it is only that he can't help but be absent-minded, sometimes, staring at all the crewmen that pass him like they are nothing but moving paintings. Images of a world that no longer matters.

One evening the midshipmen drag him away to a meal with the other officers. It's a noisy crowd; Laurence would find the friendly bustle comforting in another life.

One of the senior officers, Lieutenant Moore, waves him down as Laurence enters. Evidently they used to be friends, given his notably concerned behavior of late. Laurence can't remember the man, and has a sneaking suspicion he died too soon to make a lasting impression.Moore jostles him when Laurence sits at the long table. “Will! Did you get any letters with the last batch?”

A patrolling gunboat brought a satchel of letters just this morning. “I did not,” Laurence says. He's grateful for the fact. He'd found a few pieces of correspondence in his quarters that he dutifully sent on; he cannot imagine writing a letter now, in this confused state.

“Then you've had no news! Robespierre has gone mad. Madder than before, I suppose.”

“Robespierre?” asks Laurence blankly.

Lieutenant Moore double-takes, as does everyone else around them. “Good lord, Will, please tell me you remember Robespierre?”

Right... Robespierre's reign was brief, but this is when he led France. Some of the things the papers published...

Well, at least Laurence has a well-worn excuse for his ignorance. He plays up his malady: “Yes. I think I recall he was... French?”

Groans of horror mixed with amusement echo around the table. “...Well you aren't wrong,” says Moore, looking pained. “He has styled himself the 'President' of their Assembly, which is some stupid way of being king; the French are all mad about removing and adding words right now. I don't know how they expect anyone to hold a conversation.”

“We should... probably educate Mr. Laurence about the war at some point,” some midshipman mutters. Laurence doesn't recall his name.

Moore sighs again. “Anyway. Robespierre is a tyrant, of course. But he's elected someone else to rule France! Barely more than a boy, too.”

Laurence frowns; he doesn't remember what Moore's talking about. “Why would he do that? Did they capture one of the Bourbons?” Declaring himself regent of a child-prince would at least make sense.

“Well, at least you remember them. No; it is some nobody, a young soldier. Not even French! I cannot fathom it.”

It feels like Laurence has been dunked in ice.

For a moment he can't respond. “What was his name? The soldier.”

“Napoleon Bonaparte. He has been chosen as head of their new heresy, the 'Cult of the Supreme Being,' they're calling it; and now de facto head of the government, too. Must be a priest? I don't know, nothing the French are doing makes sense. I expect his little group will be as short-lived as everything else about these riots.”

But Laurence doesn't think so. “...Excuse me; I'm feeling a bit poorly,” he says, rising on wavering legs.

“Yes, you look it! Go on, we'll tell you about the war later...”

Laurence flees.

[starflared-arrow]

constantly refreshing the ao3 avencae tag like a starved man

[ominous-feychild]

✦ Character Voice Tag ✦

Following tag from @honeybewrites!

Characters from Sun and Shadow: Freya, Crow, and Daleira Characters from the Arcane Rifts: Gene, Tazin, and Mislav

Lines to be used: - "Move over! I wanna watch too." @honeybewrites - "A little help, please?" @the-golden-comet - "Unhand me!" @the-letterbox-archives - "Okay, someone has to come up with a plan" @fractured-shield

"Move over! I wanna watch too."

Freya: "Move! Ugh--please, sorry!" *has already shoved her way past* Crow: *teleported through shadows to get to a better vantage point* Crow: "Excusez-moi!" *at the same time as slapping them aside with their wing* (note: they are not French.) Daleira: "Excuse me, please. I want to watch this too." Gene: "Uhm... ex-excuse me... please..." Tazin: "OUT OF THE WAY!" *meanwhile shoving people way more violently than necessary* Mislav: *way too quietly* "excuse me? I... excuse--vynost, I SAID MOVE!!!" *will shove if they haven't jumped out of the way of the screaming 9-year-old*

"A little help, please?"

Freya: "A little help over here!? Sooner rather than later???" Crow: "Ey! Over here! HELP!" Daleira: "Hey, could I get some help please?" Gene: *is not physically capable of asking for help* Gene: "Uhm... could-could I... please get some help?" Tazin: "Get your ass over here and HELP ME!" (note: read in a nasally, obnoxious 9-year-old's voice) Mislav: "hey, um... could I get some help? Please?"

"Unhand me!"

Freya: "what the--let go of me!" *will tear away from who/whatever grabbed her if she's able* Crow: *combat mode: engaged. Duck into their own shadows and teleport to get a moment to process the scene before reacting further.* Crow: *calmly, making eye contact* "you have less than five seconds to let go of me. Five. Four--" Daleira: *making eye contact, but trying to figure out if the grabbing was malicious or well-intentioned* "what's wrong." (hint: you do NOT want to be on her bad side.) Gene: *at the top of his lungs, voice cracking from under-use, and simultaneously yanking away with more strength than a 7-year-old should have* "LET GO OF ME!!!" (*panik attack*) Tazin: *insert unintelligible demonic screeching here. And imagine the grabber being set on fire. Because both will be the case.* Mislav: "LET GO OF ME!" *will yank away with, yet again, more strength than a human child should have. In fact, even more than a human adult if the grabber is intimidating. Will headbutt and leave a GNARLY bruise if necessary.*

"Okay, someone has to come up with a plan!"

Freya: "Guys??? What are we doing??? Don't tell me I have to figure something out!" Crow: *deadpan* "Don't make me break out Plan B. Trust me, you do NOT want Plan B." Daleira: *taking a deep breath and tying her hair back with a hairtie that JUST magically appeared* "alright, here's what we're going to do." Tazin: "GENE, COME UP WITH SOMETHING RIGHT NOW!!!" Gene: (regardless of whether or not ^^^ just happened) "I... I think I have an idea..." Mislav: "ohvynostpleaseno--does anyone have a plan??? Anyone??? Anything??? Ohvynostno--PLEASE DON'T MAKE ME HAVE TO USE IT!!!"

Your line: "Well, you see, Perry the Platypus, it all started on the day I (...) AND THAT'S WHY I PLAN TO CONQUER THE TRI-STATE AREA!" (in other words, if you don't want to Doofenshmirtz it, "This is why I'm about to do this No Good, Very Bad Thing. That is also why you are not going to stop me or change my mind." I thought it'd be fun with Doofenshmirtz's way, but either should work!)

Tagging (with no pressure) @darkandstormydolls @yourpenpaldee @.honeybewrites @.the-letterbox-archives (avoiding double-tags) and whoever else wants to join!

Divider from @cafekitsune