#extremely tragic actually

[fandomsnrambles]

Yknow what one of the most interesting things about Misako & Wu is?

How they differ in views of fate and destiny

Misako was convinced she could change Lloyds fate and avoid the final battle with his father so left him at darkley’s, whilst Wu thinks destiny cannot be changed & instead thinks its better to let it run its course whilst making sure the ninja & lloyd are all prepared.

I wonder if this difference is why Misako left him at Darkleys and not with his uncle in fear of Wu training him (that and i’m pretty sure Wu was depressed after banishing his brother and not in a good place mentally & emotionally to be taking care of an infant.) Maybe leaving him at darkleys was her way of prolonging the prophecy from occuring

And btw, this isn’t an invitation to bash Wu, from the Spinjitzu brothers books we see him & Garmadon go out to find a cure for the venom on multiple quests where Wu at first believes they can avoid the venom from consuming Garmadon but begins to lose hope as the series progresses.

This tells me that Wu’s belief in destiny was actually created from his experiences. He no longer believes fate or destiny can be avoided and maybe thinks the best way to handle it is to be prepared for it. And it’s not like he was wrong, the prophecy still happened and it would’ve been awful if Lloyd wasn’t trained alongside the ninja. Garmadon seems to share this view that you cant avoid destiny in the earlier seasons.

Literally everyone here is a victim of circumstances

This fucking show and the theme of ‘you can’t outrun destiny’ bro 😭😭😭

[coddda]

Everyone knows that Light and L matched each other's freak but I think their dynamic in the musical (the Japanese ver specifically) is underrated. Like it's not super different from canon but they just had this extra edge of Violence that we never quite saw from the more methodical and careful mindgames in canon death note and I think it's great. Like, yes, they did declare in canon that they will bring each other to justice, yes L says he wants to send Kira to his execution, but in the lyrics of the musical they both outright say multiple times that they just want to straight up Kill each other. It's direct the whole way through. There's more mutual contempt. This game is about nothing more than simply being the first one to Kill the Other (they actually use the word "殺し合い" (koroshiau) or "to kill each other" to describe their game (translated as "murderous ... game")).

(Sidenote but all those references about wanting to send each other to Hell?? Beautiful)

Yeah this is a battle of justice and ideals, yes that clash is a key part of their final confrontation at the end of the musical, but throughout their duets (or even songs like The Game Begins where they're singing by themselves) there's this near singleminded desire to just fucking End each other. It's fucking Raw and it's great.

Also THIS FUCKING SCENE?? THIS SCENE FROM SECRETS AND LIES. Iconic. Actually Insane. My jaw dropped. Light looks like a crazy bitch it's beautiful.

Um. Also. Obligatory Playing His Game (yknow the gay sex song) lines dump. It basically says everything I just said above in like 9 lines. You see what I mean right.

In canon they're playing a game of mental chess, trying to use everyone around them to finally catch the other as their end goal, but in the musical you really do feel like all they see is each other. They would probably beat each other to death with their fists if it came down to that. Idk they're just so excited and fired up about their little game in the musical and it's so unhinged and fun and special and I love it. It's like the writers for the musical decided to kick their murderous intent up a couple notches and the result is absolutely Beautiful.

I also think that the intensity of their rivalry in the beginning just makes the wind-down of The Way It Ends soo much better. It's such a good contrast to their previous duets where they try to sing over each other (Secrets and Lies & Stalemate) or with each other but basically at the top of their lungs (Playing His Game). It feels like there's both a quiet mutual understanding but also an underlying disappointment that the game is finally over. In canon, L's death Is instead the peak of their game, the moment he gets confirmation that Light is Kira is the exact same moment that he dies. In the jdrama it's almost sudden, how L dies, after the quiet moment has already passed. But in the musical L's death, ironically, Is the one quieter moment in their game. Their peak was the game itself. It was Secrets and Lies and Playing His Game. But the end of the game in the musical is not a victory, it's just (as L says) the end of everything they'd been wanting up until this point.

Uh. Fuck it. Clip from the Kenji Urai version because I just love his delivery here. His tone just goes so well with the silence and the sound of the clock ticking. You see what I mean right.

Their rivalry in the musical may have been more shortlived but like Damn they were really enjoying every second of it. They were truly insane about each other until the very end. (Like despite everything I just said about the ending it was still unhinged as fuck. Light Making L Shoot Him and then Making L Shoot Himself with L's Own Hand?? Holy shit man. What the fuck /pos)

Musical Light and L your game might've been shorter but you'll always be famous <33 Please never inflict what you had on anyone else ever please stay in hell forever thank you

[bioethicists]

it's quite offputting to me when ppl can't disentangle their hatred for capitalism from a hatred for... new technological innovation? the ways in which capitalism has shaped the development of certain technologies has been deeply negative, not to mention that imperialism ensures that new technology is usually produced via extractive relationships with both the planet + ppl in the global south.

but this weird tying of capitalist impact on innovation (+the idea of what is/is not innovation) to hatred of innovation itself (or even more disturbing valorization of "the good old days"/implications that technology is causing social degeneracy) is baffling to me. perhaps it is impossible to achieve specific technologies without unconscionable resource extraction practices, in which case they should not be pursued. but so many ppl act like there is something inherently morally suspect in pursuit of tech such as autonomous vehicles or AI or automation, independent of the material conditions that produced them/that they may produce.

tesla is evil because they exploit ppl for profit + participate in an economy built on the exploitation of the global south + use 'innovation' as a marketing tool to mask serious safety concerns. they're not evil bcuz they want to make vehicles that move on their own. there are actually a great deal of fantastic applications for vehicles which move on their own? equating technology with moral decay is not a radical position; you need a material analysis of why technological innovation has become characterized by harmful practices.

[thekittyokat]

you ever just have a lot, a LOT of feelings all at once about a character and not even remotely enough words or brainpower to FORM the words to describe everything you're feeling. so it feels like you may explode. yeah

[crimsonlovebartylus]

rosestarkiller is cute, until you realize that Barty loses the two love of his life and ends up alone, while Evan experiences his first heart break when Regulus dies, and Regulus dies with the guilt of leaving evan and barty without an explanation but with the memory of their final moments together.

and while Evan and Regulus reunite in the afterlife, they both have to watch as Barty will never join them. a very tragic love story.

[arom-antix]

As part of a two-part reverse bang-bang, here's some more Valentines art to which @probablytoooldforthis wrote an amazing fic, Sweets for the Sweet! Please go check it out, I promise you won't regret it, and keep your eyes peeled for the second chapter - and artwork, of course - coming out on White Day aka the 14th of March!

Also, I this is an unrendered version, the finished version will be posted within about a week's time (hopefully) since I don't have access to digital drawing at the moment YuY

[hellofastudysession]

am i rlly going to write a death note literary analysis when i could be doing other things

about the discourse going on in the tag abt "death note is acab and thats why the characters couldnt better the world with the note (/written in somewhat jokey matter)" vs "death note is trying to say we all have potential for evil, especially if you get a chance to insta-hurt ppl without repercussions, and it doesnt matter if youre a cop or not", i personally feel like it ignores the things that i like abt death note, which is "both of these things are true", and simultaneously "both of these things do not matter". the first part of this is dedicated to the first point, the latter to the last.

first point. i think its an important part of the message and themes (unintentional or not, and i lean on the former because... come on, can you really say the author intended you to not think of the cops as good people, at least compared to light and l) that light is a cops son, and that almost everyone who gets the death note is cop adjacent/thinks like a cop and is already corrupt/powerful when they get it (mello raised to think hed be just like l, yotsuba group is self explanatory; you cannot look me in the eyes and tell me teru "churchill" mikami, who was hand selected by light out of a bunch of rabid kira supporters, is a normal citizen). i appreciated the cop post bc its rlly important to not gloss over that aspect.

all of this would be an argument for "only someone like them would do something like this, and i am not like them, so im above them and immune to thinking about what id do with it", but... misa is the MOST important outlier in all of this bc her murders are solely selfish in nature and shes not doing any of this for "the greater good"!!! her nature of being an exception and still a very very bad person is really really important...

or it would be if death note gave a shit about her character at all!!! im not talking about her tragic side, im talking about exploring the ramifications of her killing people the way lights murders are (somewhat) explored. that would strengthen the message greatly! but shes dismissed and that weakens it overall. firstly, she's dismissed by the characters when l only sees her as a way to get to kira and basically shelves her the rest of the time. secondly, shes dismissed by the narrative when her character is gradually ground down to a stump and (not to sound perilously close to the bad takes ppl meme about) she never faces repercussions for her actions. every other character using the death note is treated relatively seriously, but misa just dies bc her love is dead. im not saying this isnt a... fitting punishment or that it isnt in character, but it doesnt fit snugly into the theme other people are talking about of "you reap what you sow" at all.

we do have something of an equivalent to misa's grayscale motives. surprise surprise, its light yagami. first is light's characterization in the musical (i will also note that misa never kills anyone in the musical). light's thinking is coplike, yes — he literally starts his first song by talking about "throw[ing] away the key" — but also, oddly enough, could be read as progressive and therefore sympathetic to tumblr ("let the corporations make the regulations / and hold no one accountable when everything gets wrong / let the rich and famous get away with murder / every time a high-priced mouthpiece starts to talk, his client gets to walk"). compare to the anime and manga, where his bigotry and pride and disgust come from a place of lukewarm dissatisfaction and boredom. the musical has much less time to play around with lights character, so it gives the audience something to immediately hook on. more on how that actually plays out later.

in the animanga, none of this is justified from the start. animanga light could say he was just killing people to make humanity way, way worse, and that wouldnt matter, because at the root of it, it was always his boredom that made him pick up the note. of course he actually believes in justice and believes hes doing the right thing (no, he believes he's doing the wrong thing, for the sake of the world... the right thing, because he is god...), but it was boredom at the start. all animanga light says about justice and righteousness and the law is a front in the end, bc he is exactly like l and misa — amoral. selfish. searching for entertainment. hedonistic. we know this. he kills naomi misora*. he kills lind l. turner. everything hes saying deserves to be dismissed from the beginning.

"but doesnt that mean you agree with the discourse post you wrote this post to argue against?" like i said, i agree with both of them! but i... still think its not right to reduce death note to the message of "the power to kill people is bad". because that is not exactly what the story is saying, even though that's literally its whole plot and therefore reaching that conclusion is self explanatory (lmao). let's look at the concept of mu. nothingness. "there's no heaven or hell". The Real Slay The Princess (Death Note Essay) Starts Here.

in light's final moments in the death note manga, while screaming about not wanting to die, he remembers that the first day they met, ryuk told light that "there's no heaven or hell. no matter what they do in life, all people go to the same place. all humans are equal in death". it is retroactively revealed that light knew this the whole time, operated under this knowledge for all the years we watched him — the knowledge that nothing he does is actually bad, that nothing any human does is actually bad, that shinigami are not "evil", that the universe does not care. that no one cares except humans. this oblivion absolutely terrifies him more than anything anyone could ever do to him. its what he thinks of before anything else as he flails there, screaming, dying. one could say everything he does after that day is him trying to escape that fact, or wrest control over it. but it doesnt work.

here are the lyrics of requiem, the musical's final song, sung over the bodies of l and musical light, a light who was at least somewhat good-intentioned at first: "sleep now, here among your choices / then fade away / hear how the world rejoices / shades of gray / gone who was right or wrong / who was weak or strong / nothing left to learn". this is the final message the death note musical and the manga chose to leave us with. there is no judgement. even after all that acknowledged hurt, after all the damage done, there is no judgement.

in the manga and anime alike, the world is just as fucked when light picks up the death note as when he dies. sure, we as readers can guess otherwise logically (and be optimistic, believing the world was never fucked regardless), but that's not what death note wants you to think. it ends with matsuda and another member of the task force noting how the world is worse again even though they killed kira (matsuda is clearly much worse for wear, but still determined), we see the shitty motorcycle band again, it ends with misa and a whole kira cult on a mountain even though kira died a long time ago...

its extremely important that light is never killed by any human or any aspect of the law. he is always killed by ryuk: a chaotic force completely detached from human sensibilities, one that does not care about good and evil. same with l; in the anime, manga, and musical, he is always killed by rems senseless, morally gray love (and you could argue in the kdrama that hes killed by love there too lol). justice is just a set dressing.

this is not just because death note is a tragedy, because good and evil can still matter in a tragedy. the theme of "nothingness" and "good and evil doesnt matter here" is also shown in a situation relatively unrelated to light winning or losing, or being good or bad. and its in fucking lawlight of all things. we all know ls not a good person. we know lights not a good person. this is tip of the iceberg death note knowledge. but the moment they start to interact, none of that starts to matter. textually, their relationship becomes more important than the people theyve killed and hurt. and the thing is? the thing is? THAT WORKS STORY-WISE. THAT'S ENTERTAINING. AND IT'S NEVER TEXTUALLY CALLED OUT IN A LASTING WAY. l and lights relationship, no matter how much i meme it, is genuinely important to the themes and "mu" because it makes it clear that despite all the pretensions, despite everything, this was never about good and evil. and it still works in the story. this is why death note is simultaneously a comedy — isn't the battle of good and evil supposed to matter more? well, fine, i'll keep watching this anyway. that suspension of disbelief comes crashing down the moment l dies, though, and a relationship built on nothingness (the "mu" sort, meaninglessness, not "character development" nothingness, theres plenty of character development) gives way to just nothingness (again, "mu", not light's post-l depression nothingness), forever.

(an aside: there is no one to root for in death note, and the only things to root for are either interesting character relationships, convoluted plots, or complete and total destruction: for everything to end so no more damage is done.)

not to say that death note does not encourage its readers to consider what damage they might do with the death note (obviously.), or that its characters never do. look at matsuda, a much easier heroic figure to latch on to than soichiro because of his unique place in the cast dynamic and because he's willing to consider both sides of the situation and kill light instantly for all he's done. its just that the story's own stance on the subject is... complicated by the existence of shinigami worldviews and by its own insistence that the world cannot change for the better.

also, this is not to say that this is executed well by the death note manga at all. it is a very strong tool, artistically, to establish and then violently remove any emotional connections between characters and make your story only about the exceedingly convoluted lengths characters go to to survive and catch each other so the reader can realize how ultimately pointless all of this is, but like... is that a good story choice if that's all you do? i would say not really. add in a good dollop of misogyny that destroys the second-to-last character who might actually be an interesting contrast to the rest of the cast's dull one-track focus on winning and justice, and youve got yourself a shitty story that... honestly still achieves what it went out to do, just not in a way id ever want to replicate.

anyway, back to the parts death note's actually trying to say. no matter what any human does in their life, no matter how they try to hurt or help the world, they all die in the end. hey, light, they all die in the end. once dead, they can never come back to life. and the seasons turn. and the world rejoices. and you say "goodbye"...

that's all.

no analysis of death notes overarching theme would be complete without nears final monologue, the definitive roast of light, the "you're just a murderer" speech: "what is right from wrong? what is good from evil? nobody can truly distinguish between them. even if there is a god." if we take this as talking about the actual god in the room (ryuk) as well as light, then near admits that humans will never be able to withstand these overwhelming forces and that, using justice and happiness and selfishness, they are just scrabbling to find meaning in things they ultimately have no control over.

but of course, near does not stop there. "[...] even then i'd stop and think for myself. i'd decide for myself whether his teachings are right and wrong." nears alright with not having control over everything, because near can still control nears own actions. these forces can and do exist, but they have no sway over nears own humanity — unlike light, who caved.

one of the creators of death note said they believe its message is "life is short, so everyone should do their best". the first time i learned this, i was like, thats... nice and optimistic, but an awful reading of the story! "life is short, so everyone should be desperate and striving like light yagami", who literally cut off other ppls lives for his own life? what character in death note are we supposed to strive towards when we "do our best"? they all do awful things with their lives! honestly, maybe they shouldnt have tried their best, if this is what their best is!

but with the view of "mu"... it makes a bit more sense. just a little. maybe.

there is no good and evil. there is only what humans think, and no matter what we do, we all die in the end. it is easy to be crushed and terrified by this in the same way light is, but what is more important than justice and righteousness and finding meaning is... doing your best. not being a person that hurts others too much. not letting yourself get swallowed up by an ideal. not going too far. and simultaneously, trusting yourself.

it leaves a few questions, though... was the currently dead l even a little bit right about his blatantly amoral approach, then? was there a point to this pain, and me slogging through this dumbass manga, and all the people that have lost their lives to a selfish teenage cop's son and the whims of everyone chasing after him? was there a point to any of this...?

the manga** never answers this. it stays clinically impartial until the very end. the musical is anything but clinically impartial (and i love it so much for that), and its ryuk that has the last word.

"there's no point at all."

of course theres no point. none of this was ever supposed to happen. that is what matters more than all the hurt and the crimes and the pain.

and that's... actually okay, because it's over now.

yes, death note has many really important themes present in its story, but its viewpoint is nihilism first and foremost. thats why its so fun and easy to play around with all the other messages, because no matter what fun or torment or awful things or righteous justice or absolute nothingness or sentimentality happens in between, there is always an end.

there is always the end.

[nthflower]

So sad how underrated René Gaston reletionship they are making me insane this is the real disco Elysium old man yaoi.

Plus you have the deserter as third wheel old man.

[cursedpupperino]

another redraw

[taamlok]

not feeling very relaxed or nonchalant about veilguard right now

[moe-broey]

HEARTBREAKING

Worst Dad You Know Has an Extremely Endearing (Now) Reoccurring Character Trait

For further context: this whole FB involved Sharena and Henriette seeking out lockpickers in the Order of Heroes to open this VERY SECURELY locked box from Gustav's room that took Tina's special staff to finally crack open (or rather -- "steal" the contents out of. No one could actually break the lock!)

And the first instance of this!

It makes me wonder if he saved anything related to Sharena..........

[petitcalamar]

sports anime to f1 pipeline

[numinousnic]

[IMAGE ID] Three references for Samson Morgenstern, an NPC from @clumsynotdrunk's Lyron homebrew campaign for Dungeons and Dragons. The left and center references are full-body views of Samson facing forward with his head turned to the side. The right reference is a bust with Samson looking directly, but sympathetically at the viewer. All references are set against a pale purple background, offset by slightly darker purple circles.

Samson is a tiefling man in his late twenties, with grey-blue skin, shoulder-length black hair and a close-cropped beard, and indigo eyes. He has a long face with a straight nose and pointed ears. His horns curl back from his forehead over his skull, becoming whiter towards the tips, and his tail ends in a tuft of black hair.

In the right reference, Samson is shirtless. In the left reference, Samson wears a white laced-up shirt with a ruffled collar and cuffs, loose black pants, and scuffed mid-calf black boots; his hair is tied up in a loose bun. In the center reference, Samson wears a black doublet, tight grey pants, and shiny knee-high black boots, and his hair is loose. He also wears a dark purple half-cape fastened with braided ties attached to a leather pauldron by a silver star-shaped buckle; the half-cape is trimmed with stylized embroidery of apples. In both the left and center references, Samson wears a simple gold wedding ring and a silver ring with a crest on his left hand. [END ID]

Did I finish this reference exactly a year ago? Yes. Has my perspective on Sam been irrevocably altered since then? Also yes! But Sam's design has also come a long way since my initial concept art way back when, and I spent way too much time on his reference and killed my old laptop in the process to let it molder on my iPad forever, so here it is!

[july-19th-club]

tanaaj is such a tragic character "i do everything right nobody has ever been as good or correct about the rule of saint leah as i am. unrelated but why do i feel so bad and guilty and lonely all the time?" well for starters you live in fully automated luxury catholicism so that's gonna contribute to the issue for sure

[swallowtail-ageha]

Thing about small italian villages is that the didnt really have roads up until the 70's which of course leads to a massive amount of cousin marriage and inbreeding and while yes my particular own has its issues regarding that (3 major families (one of whom i am part of!!! Yay!!!) that all of the other families are related to, everyone there has bone/joint problems or some sort of schizofrenia) the neighboring one is worse as in they have one major family and the rest of the inhabitants are ppl who immigrated to have a quiet life in the mountain slopes and that by itself could be an extremely interesting study bcs everyone there kinda looks the same-ish and has a frankly insane amount of people with developmental disabilities for a population this small

[designernishiki]

as much as a i understand and respect ace kiryu truthers, i really feel like kiryu is the type to really take the idea to heart that sex is something vulnerable and meaningful and thus reserved for someone completely trusted and special to him– someone who feels right. after years and years he’s still never legitimately voluntarily slept with someone, always tries to turn women away or is at least apathetic when they try to get physical with him, never feels that deep and specific bond with a woman– nothing compared to some of his bonds with other men throughout his life. and maybe, hopefully, one day it’ll hit him that there’s a pretty big, glaring reason why no women have ever felt “right” to him.