#and i rambled about some songs

[frothingatthemaw]

i rambled to her a bit about them and she said THEY SOUND COOL!!!!! you have no idea what this means to me

[avloki-pal]

Hello ISATblr, love to see you thriving

My friend introduced me to this game and I haven't been the same ever since, so of course I had to celebrate it's birthday

Have a doodle dump of all ISAT art I've made so far, including some Im not really satisfied with, and some ISATsonas, because it's my art and it's ISAT and we have fun here

HAPPY 1ST ISAT BIRTHDAY!!!!!

also my posts include a lot of rambling in my tags, so please do check those out, and click on the images for better quality and non cropped versions

[fizpup]

valentine, you're a horse ❤️

[tell-them-the-north-remembers]

It is crazy to think that Robb's crown, a piece of jewelry he was meant to gain power from, was also his shroud in a sense, not just metaphorically but also literally.

Catelyn's very first thoughts about the crown is that it presses heavy on Robb's head and kingship, the very thing it represents, is indeed too heavy a burden for a fifteen year old boy to bear. But he wears it regardless, he has no choice, he will wear it even if it crushes him under its weight. It is iron and steel, stronger than gold and silver, Robb points out. But at the end of the day whether it be iron or gold the swords on the crown will not protect him, worse yet they will cut him, and when they do they will cut him deep, just as the iron throne cuts the one who sits on it.

Robb wears the crown for the rest of his short life. Robb is killed with the crown on his head, but it is not his last time wearing it. The last time Robb wears the crown is as it sits upon his corpse, nailed on the head of Grey Wind, sewn into his decapitated, dead body. It has at last become nothing short of his shroud.

And then the last time we see that crown is when we see Lady Stoneheart, who has been driven by nothing but a lust for revenge until now, holding the crown that crushed her son under its weight just as Cat had thought it would the very first time she saw it upon his head. She clutches it, she runs her fingers through the swords and for the first time we see her showing an emotion besides anger, "her eyes glimmered under the hood". It is the last relic of Robb, who she believed to be her last living son, her first and last son. And at the same time it is also the visual signifier of the thing that cost Cat her life, the thing that cost Cat her son.

[nnayomaise]

amazing happy halloween night x hsr

extra that i wanted to do but i am not drawing all those damn cartoon characters. but this is a callback to the web event. i think about it a lot. all of the clockie characters are based off of real people from penacony's history. sunday is the only one there who is just himself. idk if it speaks to just how young he is that despite being the head of the oak family he doesn't have his own caricature or not but. yeah. i just think about it a lot.

[oneshotgremlin]

Fake Peppino Speech Headcanons (that nobody asked for):

Hc that Fake Peppino thinks "forwards", Pizzahead just messed up their brain to mouth connection during creation so they speak backwards:

(I find the ciphers some peeps use for Fake's speech very cool, one that comes to mind being atbash [where in a way he's speaking backwards, just alphabetically]. Personally tho I can't really see anyone naturally speaking in ciphers unless it's like Stanford Pines lmao)

Since only their speaking is backwards, they can reverse their speech forwards w/ effort or assistance:

(Their tone still goes forwards! Hence why they can still get across that they're questioning something even though the words itself are backwards)

Not all "assistance" is helpful, however:

(Did I really commit to a whole ass headcanon just for the sake of this dumb joke? Of course I did who do you take me for)

[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.

[francy-sketches]

Hiiiii guess who finished her pmv. finally. um enjoy :3

[king-of-tragedy]

Not to be melodramatic but "you've got to get better, you're all that I've got"/"I've got to get better, I'm all that I've got" might be one of the most beautifully raw and heartwrenching lyrics I've ever heard sung before. Like. Shoot, man. I really am all that I've got.

[melit0n]

"Let the tides carry you back to me." has always been among one of my favourite lines in Telomeres, and so, having listened to it again recently, a little idea popped into my head. Let me explain:

While ocean tides/currents is a very common metaphor, there's an underlying meaning to it. The ocean is a beautiful, but somewhat cruel place: tides can leave you stranded on a sandbank, or sweap you away before you even know it.

To put it in short, no object or creature that goes into the ocean comes out the same. For the tides to carry something back to you, something you've lost, it will be and always will be changed: eroded.

The cliffside will fall, the cave will crumble, etc etc.

With this in mind, we're yet again greeted with another example of Vessel asking for something he can't truly have. The person he wants will not be the same as they were before; they "collapse" into him, breaking apart, but still, to him, it's "the start of something."

His memory is warped, they are warped, and it'll stay that way.

However, what I would like to add is that, in DYWTYLM, it's theorised that instead of Vessel speaking to a second person, he's instead talking to himself.

Of course, this makes the song itself much more emotional (to me). Finding love for yourself is one of the hardest things you can do, but it has to be done to find love in others.

With that idea (stay with me here), the lyrics "Do you roll with the waves? Or do you duck into deep blue safety?" match up (generally) with Telomeres, which is mostly interpretated as being towards someone else.

So, what if some lines in Telemores are directed to himself as well?

Keep in mind, the tides don't just erode and carry objects (sediment), they also reflect. The Atlantic is one big mirror, and Vessel is staring into it's "deep blue safety" wondering what, or, rather, who, he was before he was Vessel.

Overall, the album name, "This Place Will Become Your Tomb", either being directed at Vessel or Vessel to Sleep (and being a Halo quote lmao), is more metaphorical than literal.

Who he was before Vessel sits in that coffin, not his physical body.

[rosetta-stoned-bitch]

So twsift namedrop Kim K's daughter and mentions Kim's death. Because of the beef that she primarily had with Kanye....

But she shouldn't be held responsible for the bad that men in her life ever do, like Matty Healy being a bigot or that godawful director she worked with or Kelce being a xenophobe and misogynist. She disgusts me.

[badnewswhatsleft]

(x) this is cute though. "it's a good sweater!!" "joe is killing it with sweaters lately" "theyve been all awesome" "i think all of my shirts are technically shirts for sweating in"

[harpieisthecarpie]

Harp's way too long "interpreting Jayvik as a queer rework of Judas & Jesus" ramble (BASS BOOSTED)

Okay so I have a ramble about jayvik's jesus/judas parallels that was inspired by the acoustic vers of JUDAS by The Reverent Marigold (amazing trans nb artist pls listen) and a mutual I'll tag in a reblog bc this is LONG

But this particular song is one I hold close to my heart (and project onto my favorite stories) bc it's a fundamentally compassionate reading of a biblical figure who is viewed as anathema by believers for a fate he never even had the chance to change.

To skip my kinda long Judas preface ramble go to the next orange text

Jesus forsees Judas's betrayal, he lets it happen. Yet Judas has become a reviled figure for being the catalyst of Jesus's transcendence from prophet to Christian deity.

Jesus had to be betrayed, he had to "die for our sins", and he had to fall so he could ascend. He could not be the redeemer without his betrayer.

Yet Judas, who is argued to either be destined or hellishly influenced for his betrayal, in my eyes didn't have to betray Jesus with a kiss. An emotional gesture, whether romantic or familial or platonic or whatever.

There was a gesture of devotion even in that act of persecution, and Judas died in despair of his own actions.

Okay this is the jayvik ur here for

Okay okay this is the part about jayvik, because when everyone was mad over Jayce killing Viktor during the 2nd batch of s2 eps, all I could think about how Viktor had been stuck in a limbo. Half ascendant and half trapped by his mortal form.

Like Christ was Jesus of Nazareth before being the Son of God, s2 Viktor is stuck in the middle of The Scientist and The Herald. Not quite mortal, not fully deity.

Something's gotta give, someone has to hammer the last nail in his coffin (or the crucifix in this instance), someone has to be the Betrayer for Viktor to be the Redeemer. And would we really want it to be anyone other than Jayce?

Would Viktor want it to be anyone other than Jayce? Someone other than his partner, the first man he saved on his path to ascendance. The man killing him with compassion because the Viktor of before had never wanted this.

And it's fascinating to me that within the parallel to Christianity, the differences in Arcane's story give Jayce and Viktor a far more lovely, compassionate ending than Judas and Jesus ever had. At least in the mainstream canon.

It's why I compared jayvik to Rev Mari's JUDAS instead of the basic story. JUDAS's queer themes and Rev Mari's lyricism reframe Judas in a kinder light and humanize Jesus in ways that make me so happy.

Lyric examples:

Because queerness, especially in gender, is so deeply about compassion, and living true to ourselves, and killing what is keeping us from growing into our own identities.

And the fact that Viktor and Jayce, with all their allegorical connections to the Savior and Betrayer, got such a beautiful, transcendent, and queer ending is. Meaningful

Wayyy more analysis under the cut! YAY

go to the next pink if you only want my main conclusion :]

Because Judas's story ended in him taking his own life, and Jayce was given a near rebirth when Viktor saved him from taking his own.

Judas's betrayal was predestined as a tool for Jesus's ascension to Christ the Son, while Jayce's betrayal was that he actively went against Viktor's decision and Viktor's autonomy. When Jayce killed the in-between Viktor he was repenting for that betrayal, and in doing so he was saving himself. In the Christian sense of the word, where Salvation is of the soul.

Only, in the Christian sense of the word, Jayce's salvation would have to come from the Savior. He would be praying for guidance, even if from that in-between Viktor.

But he doesn't put the onus on Viktor to forgive him, he doesn't compromise his devotion to his partner Viktor at the behest of this new Viktor that came from Jayce's betrayal.

When Judas sent Jesus off to die, that was his greatest sin. Jayce's was forcing Viktor to live in spite of Viktor's wishes.

The popular belief is that Judas was condemned to eternal damnation, punishment for a betrayal that Christ needed to ascend. And I think that is the saddest, most hopeless thing in the world.

If Christ couldn't– or wouldn't– save his friend and follower who fell so deep into guilt when his led to Jesus of Nazareth's death that he killed himself, how could anyone trust in their own salvation? If Judas was condemned to rot in Hell when his "loving" deity was done using him, why the fuck would anyone want that Salvation?

pink text indicating the conclusion

So Jayce and Viktor, in this fucking fundamentally queer story, saving each other and knowing each other and finding each other in every fucking reality like their souls could never exist apart is beautiful to me.

Neither of them were the passive objects of the other's Salvation. We know this because Jayce's original betrayal and the Herald's reality shifting "fixes" didn't save the other, nor did those actions condemn themselves.

Neither were helpless, or groveling for "forgiveness", or forced to fundamentally alter who they were at the core in order to be worthy of goodness.

They weren't exactly Jesus of Nazareth and Judas Iscariot, because Jayce and Viktor were written with a fundamentally queer compassion many refuse to apply to their faith.

Neither Jayce nor Viktor were purely Salvation or Forgiveness.

They were better. Jayce and Viktor saved each other, and themselves, when instead of forgiveness they offered acceptence and compassion.

I read it as:

There is nothing to forgive, because there is nothing wrong with you. I'm sorry I tried to change you, there is nothing wrong with you. I will prove in every reality that there is nothing wrong with you.

I found you again, and I'll find you again, because you held my soul so gently your hands left shining, iridescent marks that guide me to you in every reality.

There is no Jayce without Viktor, and no Viktor without Jayce, because they made it so. They chose to be soulmates, in whatever way you want to read it. And that means so much to me.

tl;dr arcane showed us the kinda religion we'd get if they let jesus be trans and have a boyfriend

[flickerintwilights]

on the road to hell

[sensitiveheartless]

hey i just saw a tiktok video with the horrors comic and i couldn't find any credit (also the comments were turned off ://) and i thought maybe you should know (here's the link to it: https://vm.tiktok.com/ZGexd54Qx/ )

Ah, thank you anon! I'm not particularly surprised unfortunately, not the first time it's happened with that comic — sadly I don't think there's much I can do about it, especially since I don't have a tiktok myself. But thank you for letting me know! I do like to know whenever that happens, even if I can't do anything to get the videos taken down. At the very least, it's a reminder that I should really start putting some sort of signature on my comics 😅

...Also, in this particular case the video you linked actually made me laugh when I looked at it, because!! Quick storytime: the last time someone messaged me to let me know that a tiktoker had reposted the horrors comic, I went and looked at it and noticed that the reposter had put two of the comic pages in the wrong order. Somehow NO ONE in the comments had mentioned the fact that the order of events didn't flow right, it was hilarious.

Why is this relevant? Well, because this tiktok you've linked me to has the SAME EXACT MISTAKE, which indicates to me that this new person didn't even steal it from me directly, they stole it from the OTHER REPOSTER and also didn't notice the mistake in page order! The reposters are cannibalizing each other! I am both very entertained and utterly baffled by the lack of effort! They're not even stealing things well!

Anyway, all this to say: I have managed to find the humor in this kind of situation, but I still do not appreciate people reposting my stuff, especially without credit. And general PSA that if you see my comics/artwork anywhere that is not here on my tumblr, or on my AO3 account forest_raccoon, that is not posted by me, and it has been done without my permission.

[narwhalandchill]

oh my fucking god i feel. SO stupid rn at How i didnt make the (super sane very normal just absolutely. Yes. Surely) connection earlier but uhh

so anyway im now like 89% certain that whatever the "traces" of the narwhal that remain on ajax and facilitate their (ever-growing) innate connection are like. an actually fundamental aspect of it (them?) more or less.

why? because if you consider its pov just for a moment. the narwhal was literally about to depart teyvat for good. it had nearly finished consuming the primordial sea and preparing to breach surface to finish the job by eating the french for the leftovers their human bodies were made from. its an interstellar voyager it does not linger on planets it devours. it goes glug glug and it leaves.

and like if it wasnt for traveler intervening its confirmed through narzissenkreuz and renes world formula that teyvat wouldve just been destroyed. no one could have stopped the narwhal not neuvillette not focalors not anyone.

so what was the one other thing it did right before going for that french brunch? calling for ajax. getting them reunited in the primordial sea. like all the possible implications aside bc theres many different ways to speculate on the exact reasons why and the nature of that link. the point remains.

it wasnt leaving teyvat without finding him.

like the narwhal is about to fucking Dip from this cringe planet and whatever part of it that ajax carries within himself his narwhal Absolutely wanted to be reunited with. what the fuck am i supposed to read from that. hoyo???????!??! answers?!?!?!

and its not only the calling from the narwhal side itself either bc this is ALL coinciding with the growth of a 'restless power' within ajax and his vision malfunctioning (the things celestia is literally confirmed to harvest energy thru to repair its damaged authority) and his connection with the narwhal reaching an actual conscious level (arguably subconscious n emotional too bc i find it Curious his mood is poor right as the narwhal is repeatedly described as positively malding to the point its boss fight mechanic is literally a rage meter). ajax' power is growing. his destiny is starting to shift and something is drawing him to fontaine... right as the narwhal is getting close to finished with the primordial sea. funny how it overlaps eh. how it aligns 🤨🤨 why are they orbiting each other like this (they should kiss)

(& not to even Mention how ajax just Happened to get that absolutely exponential and borderline unbelievable feat of power spike in extending his foul legacy endurance as massively as he did. while. within the primordial sea. with his narwhal. who had at that point all but incorporated the power of that sea into itself. i s2g if childe was getting passive home turf co-op bonus exp with a 4x multiplier automatically the whole 40+ days 💀💀)