#bedtime for me now though

[vampiricsheep]

gd. open tear-free sobbing with my face against a door bc I stepped outside with the contact lenses and the night is so much more beautiful

[radioroxx]

what if you doodled the pre incident bonnie and sif hanging out

maybe cooking something together even

BANNED! banned from cooking forever!!!!

[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.

[arctic-bookclub]

imagine loving someone so much you’ll leave to keep them out of danger, your heart hurts but it’s to keep the danger that follows you away from them, imagine being comforted thinking the ones you love are strong and healthy, they’ll be fine just like they always have been without you, your children are protected by the one you love, someone strong and dependable, imagine going to sleep comforted by this information… imagine being so distant from the ones you love to be so unaware of just how false your false sense of comfort regarding their wellbeing is, not knowing how close to the one you love, the one you see as strong and undefeatable, is to giving up, to let himself get lost forever, and just how much pain all those you love have endured and are haunted by

imagine leaving to protect someone you love, only to unknowingly risk losing them forever to a threat you could’ve never even imagine

i’m thinking a bit too hard about qmissa and just how unaware he is of the fastly declining mental health of his family, hiding in an attempt to keep his family safe while not knowing just how desperately he is needed by them :(

[softceleste]

Christopher Briney and Suki Waterhouse in Dalíland (2022)

Please do not save, repost, or edit these gifs for any reason, use the reblog button instead. Also please do not interact if you’re a celeb rp blog or if you write taboo content on your blog, thank you!

[pumpkingeorge]

[seveneyesoup]

i never know what to do w my hands in pictures

[brown-little-robin]

my last week, a visual demonstration

[hiveswap]

Also i watched the fnaf movie it was. Actually kind of adorable. Also yeah it was enjoyable as horror. I still love foxy a lot !! i used to love him as a kid. Anyone else shipped him with the mangle in like the fnaf 2 era. Im serious i did my little pony art of them when i was a kid.

[headslikekites]

ok I scheduled my artfight things finally. you will never guess what happened (<- the forgetter)

[the-acid-pear]

Coincidentally "ohh doggy!" Is the same thing that comes to mind spotting you out in the wild of my dashboard

Don't have any fucking doggy reaction pics only kitty cat and horsey so have this crude edit. Wags my tail at this ^_^ correct reaction too. If you catch me around you gotta do a Tommy Wiseau and hit me with the oh hi doggy!. It's the morally correct choice.

[charmre]

I lied, I'll be alive tomorrow, I've still been catching up on stuff in life today/errands and need sleep still I think :/

[exopelagic]

I need to go to bed I’m just gonna shout a lil

[vulpinesaint]

i love to be bad at video games btw. killed the artillery hunter in old yharnam!!!!! by uh. by falling off the tower. and dying. but he jumped after me and also died on impact so i still won :3 work smarter not harder folks <3

[girlscience]

I'm over here getting all concerned that the grad students won't like me now and then I won't be able to work in the center. And everyone I have told that to goes "when has anyone ever not liked you? when has that happened?" and I'm over here going "WELL THERE'S A FIRST TIME FOR EVERYTHING".

But what if they decide I'm weird and don't want me because of that? Plenty of people have thought that about me before. Or what if they think my deficits in knowledge are too large to be overcome and that I would be more of a hinderance than a help???? These are actual possibilities.

[brynnmclean]

Getting my notes together for AKB has been SUCH a struggle for the past, uh... three? weeks? But I have notes in a digital document and an outline written out, and I am trying so hard to remind myself that that IS INDEED enough to go on. If it comes down to it. I CAN improvise descriptions and stuff. I WILL BE OKAY.