#i'm gonna apply it

[euphoriavaiii]

i was going through settings for fun and hello?? i didnt know there was a vampire theme??? its so pretty!!!! i cant believe i found it after Halloween

(look at the lil ghost!!!!! 😭😭😭)

[bedupolker]

Do u think the rat guy and mouse lady would try having their own kid? Or are the six she had is enough?

This doesnt answer your question but I think if they did want to try for another litter, going to the rodent OB-gyn would be an experience

[aurosoulart]

JUST FINISHED THIS !!! here is a quick look because I am excited

[daily-odile]

exhaustion

[xuxudio]

sometimes you gotta give the coolest most badass character you know a really silly trait

[honeysucklethornsandalligtrhorns]

see now i think my problem is that i find the horrifying evil terrorizing monster character to be the funniest silliest most specialest little guy i ever did see. and then people in the computer expect me to find his words and actions 'wrong' and 'immoral' and 'unforgivable by literally anyones standards, literally'. what if he was just having a good time. fuck you.

[shannonsketches]

I just wanted to play with color on Toyotarou's art and I these panels spark the most joy

[boredlime]

when you're Probably Not Cis but you present as it anyways because you're too lazy to do anything about it

[littlesparklight]

Begging on my hands and knees for people to NOT drag adaptation-only events or their adaption-based interpretations (epic the musical, TSoA, PJO, etc and so on) into general Greek myth or the Iliad and actual sources.

Your adaptation-only events and actions do not apply outside of those adaptations!

[coddda]

Hiiiiiii. Episode 25/26 lawlight analysis rant thingy here. I don't know how to write an intro for this so let's just get to it LOL

I think one of the reasons that the rain/foot scenes stick out so much (the. Sheer insanity of a Foot Massage Scene in an anime revolving around two guys trying to kill each other aside 💀) is the fact that the anime specifically suffers a bit in terms of adapting a few of the "emotional" moments in death note.

And I don't mean "emotionally impactful" exactly. For example I think the adaptations of scenes like Raye and Naomi's deaths were very impactful and the atmospheres of their final scenes were great, but I mean more from a characterization standpoint (if that makes sense). Being more focused on mind and logic games, Death Note as a whole isn't as invested in individual characters' deeper feelings as it is in its action (which isn't necessarily a criticism per say, it's simply part of the nature of a mystery thriller series). But just because they're fewer and farther between doesn't mean there are none at all. In the manga we do get to see, for example, how much Light actually cared for his family and especially Sayu, and how he actually felt more conflicted and suffered lack of sleep/appetite when he first used the Death Note.

The anime specifically as an adaptation is pretty good at adapting the main mind fuckery and action of Death Note, but its lacking in properly adapting scenes like the ones I mentioned above is a criticism I see somewhat often, and it's pretty fair imo. Compared to all the other adaptations, it certainly seems to fall short on an emotional level: the musical has entire songs going in depth about the characters feelings and relationships, the 2015 jdrama is. Insane and has its emotional moments in spades (because it's a TV drama, which are more focused on portraying emotional conflict and the like), even the 2006 movies has its emotional beats and L Change the WorLd is. Well. Oh Man.

Anime Light to a lot of people is like. Light but he's "already evil" (which I have my own thoughts on but I digress). Light but after using the Death Note for like 2 minutes he's already like "fuck yeah time to kill criminals". Basically the anime doesn't take as much time to delve into his less cynical sides or really delve into his already vague and harder to decipher feelings in general, he is noticeably colder from the get-go here, etc.

But that's part of why I think episode 25 manages to stand out so much tonally (apart from it being, y'know, the episode L literally Dies). I love the episode so much and could probably rant for hours about how much I love the artistic choices made in it but what I'm trying to get at here is that it's one of the very few moments where the show tries to go deeper into specific character's emotions, and one of the very few moments where the show Attempts (emphasis on "attempts" because, well, you'll see in a bit) to get more in-depth into Light's feelings apart from his cynicism/apathy/justice. ness.

L in these two scenes in episode 25 is, well, pretty damn open about how he feels. It's usually interpreted as him knowing that he's going to die, and you can see it. He visibly looks/sounds lost, somber, etc. He never really had much to hide around Light to begin with (since he doesn't really care about hiding himself the same way Light does) but especially not now and it Shows, and I personally thought it was pretty cool to delve into his thoughts/show how he feels this way. The somberness can be felt throughout the entire scene, even people who don't already know the plot of Death Note from the manga could probably tell that he's about to die.

In the manga, once L starts suspecting Misa again and Rem realizes what Light is trying to do, it goes straight to Watari and L's deaths, but the anime instead gives a distinct and unexpected pause in the middle of this where L contemplates his own death. It's fucking great, and the shift from straight action to slower emotional weight makes these scenes stand out a lot, since, like I said, the show usually focuses more on the former. But it's kind of ironic, too.

Not only does the anime open up L's feelings more in these scenes, but it also tries to dig deeper into Light's feelings as well through L. And it's really funny honestly because while, yes, these are the more "emotionally open" scenes of the anime Light still manages to be Incredibly avoidant and contribute almost nothing to the entire ordeal.

L is visibly upset -> "Yeah Ryuzaki, you're not making any sense at all" (Not addressing the obvious conflict from L)

"Tell me, Light. From the moment you were born, has there ever been a point where you've actually told the truth?" -> "[The most stale, over-explained, avoidant answer to a "yes/no" question that you could ever hear + blatant attempts to reframe the question]"

(L's half-smile here kills me) "I had a feeling you'd say something like that" -> [Nothing]

"I'm sorry" -> [Nothing]

"It'll be lonely won't it? You and I will be parting ways soon" -> [Nothing]

^ From this point Light continues to say literally Nothing for the rest of the scene. I'm not even joking, from then on the rest of Light's voicelines are reduced to nothing but vague noises of confusion.

Everytime L calls Light out as a person ("Has there ever been a point where you've actually told the truth?" / "I had a feeling you'd say something like that." / "Won't it be lonely?") he doesn't actually acknowledge anything. Out of those three lines, he only answers verbally to if he's ever told the truth, and even then it's the most blatantly people-pleasing answer ever, as it usually is with Light. And I don't think it's because Light just. Doesn't care about any of what L's saying at all, or that he doesn't know what the hell he's talking about (questioning Light's authenticity as a person, saying it would be lonely when they part), instead he's choosing not to acknowledge any of what this means about himself or him and L at all. He's like a fucking wall.

And like, for the truth question in particular, the show makes sure that you know it's not something that Light just. Doesn't care enough about to answer. The hard cuts to silence are a very rare but extremely effective way that the show conveys an extremely important moment (see: Light regaining his memories, Matsuda noticing Light opening the warehouse door before he escapes (not as much of a "direct" cut to silence but still)), and cuts to multiple angles/framings/zooms of the exact same shot are also used for the same purpose (see: Light hugging Misa when she was crying, Matsuda aiming his gun to shoot Light, Light regaining his memories Again). Just like the scene where Light gets his memories back, the moment L's question finishes the show utilizes both. That question cut Deep. There's is a solid Almost 5 seconds of silence before the sound of the rain gradually starts fading back in, and honestly that should be telling enough as is (but of course Light doesn't actually admit that. Or anything at all really, so). Oh also another fun detail! We do not see Light's face At All (except for the shot where you can see his mouth moving but not his eyes), for the Entire time that he's going on his spiel to L. We Will Be Revisiting This Later, by the way. This is not, in fact, the first time you're going to see this detail from Light.

The only sort of reciprocation that we see from Light during Any of these two scenes is when Light dries L's hair while L dries his feet. Biblical meanings/references aside it's interesting because it's the only time he directly does anything "for" L in these scenes, but even then he doesn't try to pass it off as anything meaningful really the same way L does ("You're still soaked", a purely neutral and factual statement. It doesn't Add Anything compared to L's. Sin atonement loneliness grieving stuff. While Light is showing his own reciprocation to this more personal moment he also tries to keep it impersonal enough that it doesn't actually have to mean anything deep). And when L says "I'm sorry" after he once again gets no response from Light. It's also after this that L gets that pained look on his face, like he knows that at this point he's not actually going to get anything meaningful from Light (again, very significant and rare from L in the show. We've seen him in distress (see: when Ukita died, hell, when Watari dies), but even then he mostly manages to keep his usually neutral expression), we never see him "look sad" like he does here):

I just think it's interesting that this is one of the few scenes in this particular adaptation of Death Note where they try to open up the character's thoughts/feeling (especially considering the fact that they. lowkey blunder in adaptations of original scenes from the manga), and L himself is being rather open (not that he ever really tries to hide what he thinks nearly as much as Light), and yet all Light contributes to it in return is like. Actually nothing. Bro fumbled it. There is no resolution to any of this, to any of what L asks at all, to any of the many opportunities for a meaningful conversation, and the only thing even relatively close to an answer that you can get from Light is what you can infer from how he acts in the episode after L dies, where he's just going through the motions, but hardly acting as if he's actually living at all.

(Honestly I think the transition from this scene with the taskforce to the subsequent scene with Misa says enough on its own. Light's expressions and tone says everything:)

(Oh sidenote but. This shit again:

"Light, this is our first date in forever. can't you enjoy yourself a little more?" ('Why don't you seem happy? We can finally be together since L is dead') -> No response, Light instead changing the topic to him wanting to move in with Misa without changing his mannerisms at all

Also there's that one detail again. You pretty much don't see Light's expression when he speaks here at all, except for one shot of his eyes, which is quite literally the exact same shot they used when he "saw" L, just altered for the new setting. You have No idea what he looks like when he's responding to Misa, although it's probably fair to assume that it's the same empty stare he has for the whole Two Shots where you can clearly see his whole expression in the entire scene.

Something something Light Yagami bad at feelings I think you get the point though)

I guess Light's Kind of showing what he's feeling now? He'll admit to himself that it's boring without L, but no more than that. Light never actually admits to anything "significant", and L's dead already anyway, so what would that even do?

And then we get, uh. Basically nothing from Light. For the next 5 Years. Except that he joined the NPA, so, uh, yay? Good job, Light you totally nailed it! Thank you for allowing us as an audience to delve deeper into your inner thoughts and feelings as a character so we can find out more about you as a person! Very helpful! Thank you for not sabotaging one of your few dedicated opportunities to look into yourself as a person and reflect on your relationships with others and being 100% honest with yourself! We stay winning guys.

Anyway, this got way too long for a scene that's over a decade old, and I've probably just said everything that everyone else has already said in this fandom before. But unfortunately this has been living in my head for way too long and I must scream. I just think this episode's neat is all :)

tl;dr Part of the reason why the rain/foot scene (tbh episode 25 in General) stands out so much is because the Death Note anime specifically was a bit robbed in terms of its more emotional character moments compared to the other medias, which makes more somber/introspective scenes like the ones in episode 25 stand out a Lot in comparison. But it's also incredibly ironic because it's one of the few moments where the show (or specifically L) tries to look deeper into Light's character, but because he is so avoidant for the entire duration of these two scenes he adds basically nothing at all. It's almost funny. Mostly sad. It's also very gay. Aand post

Okay actually nevermind one more thing I talked about how the jdrama is supposed to be more emotionally in-depth because it is a TV Drama and just for the record, same thing happens there! I could probably do an entire analysis of the Blue Scene in this context like I did with episode 25 but I'd literally be here forever, so uh, just take this iconic line as my main example:

Same Thing. L's statement "I wish we could have met some other way" is personal. It's his own wish, his own regret that he is expressing to Light. While Light's reply obviously has that same regret implied it's also phrased in a specifically impersonal way. It's closed off. "This is the only way we could have met" it closes off the topic and simply renders L's wish as ultimately futile. Light does not say that he Also wishes he could have met L a different way even if it was likely impossible, instead it's a cold statement of cynical fact.

Idk just. Something something L being able and Willing to be more openly sentimental/emotionally open towards Light/about Light vs. Light's inability to be honest with anyone including himself and his own nature preventing any form of meaningful reciprocation. Something something self-sabotage, y'know the drill. God don't even get me Started on how sincere L's tone is when he says "It'll be lonely won't it?"(at least in the eng dub) in the anime I could talk about his tone in that scene for ages. Also yes all of this relates to L Change the WorLd too by the way. Don't ask how it just does okay.

I do think that scenes like these (rain/foot scene, The Blue Scene. Uh. L Change the WorLd The Novel Adaptation) show, at least in those adaptations, that L does genuinely care for Light, and show that he values him as a friend not just in the mindgame-equal sense but also just like, a more sincere sense you know. Idk if that made any sense and that's a whole other topic for another day but you guys just have to believe me on this one alright please please believe me buries head in hands. Okay post over finally thanks for coming to my tedtalk hope you enjoyed my very-unnecessarily long analysis of the week

[dailyloopdeloop]

DAY 56: IDGAF the haterism flows within me

[lgbtlunaverse]

While I think the moment in cql where Meng Yao– still bleeding from a stab wound in his chest btw– realizes Lan Xichen is in danger and decides to save the man who was so kind to him in cloud recesses is cute and all, nothing will ever beat the book for me. Little bookkeeper civilian Meng Yao, who has not had a serious chance to make his dreams of being a cultivator come true in fucking years, out of nowhere gets the fucking sect leader of Gusu Lan dropped right in his lap?

It's such a great example of Meng Yao's multilayered motivations to me. Because is civilian Meng Yao thinking of all the ways he can use this? Of the fact that having a great sect leader in his debt is the best thing that could happen to him? Duh. Obviously.

Is he very purposeful about appearing to Lan Xichen as a kind young man full of untapped potential, brave and willing to put his life on the line even though he really doesn't know so much about about cultivators, no sir, except a little he picked up here and there, because you see his father– 👉👈 Of course he is!

But the way through which he does that is... by actually saving Lan Xichen's life, at no doubt significant personal risk. The way he makes Lan Xichen believe he's kind and selfless is by... being kind and selfless. Just because he's doing it on purpose doesn't mean he's not doing it.

Is it lying if you want people to think you're nice and so you're nice to them? Isn't that just called being nice? Yes, he is very purposeful about how he appears to people, and very carefully crafts an image based on what he wants them to think of him, but most of the time he does that simply by... actually being the kind of person he wants to appear as. He still did the kind things he did, regardless of his motivations for doing them.

[willwriteforhugs]

damian slowly transitioning from calling bruce "father" to calling him "baba" is something so incredibly important to me

[moeblob]

[c6jpg]

Evil takes on many forms, but always carries a karmic curse. It spawns monsters that lurk in the mountains where the adepti dwell, preying on the living for decades. It manifests as devastating pestilences, scarring the world for centuries.

It is the sworn duty of the yaksha to purge all evil. But after a millennia of bloodshed, the karma takes a toll...

[cjgladback]

I went to my first fiber festival this past weekend! Hoosier Hills Fiber Festival; if I'm still in this state come June next year, I'll probably be back and would love to meet anybody else there. Socializing/hanging out/talking to people without feeling like I was obstructing Real Customers was the one thing I missed, though I didn't really get to any of the free lectures so maybe that's where I could've met some people. Since it was an unknown situation with a lot of people and nearly an hour drive each way, I strategized to make sure I'd go:

First day, I signed up for a couple volunteer shifts. Absolutely a recommended strategy.

Got to be helpful!

They happened to have goodie bags, to help me justify the gas and time (I now have a nice tape measure to replace the one that's been vacationing with a missing sewing kit for a couple years and a lasercut wood two-inch gauge window that might help me with consistency versus my suboptimal practice of just trying to knit perfect squares when swatching in pattern)

I got to learn things about the layout and schedule I wouldn't know to ask when answering questions and acting as a gofer -- especially true working two different locations

And of course, some people were pretty much guaranteed to be happy to see me!

Second day, I signed up for a workshop in the morning so I'd be there and able to shop for anything I needed at the end. Ombre yarn dyeing was the class! It's acid dyes, something I'm several years off from wanting to get into enough to commit to dedicated cookware, full pots of dye powder, etc. The room with the workshop was a barn that had plenty of outlets--but they did not represent plenty of breakers. So there weren't quite enough functional heating elements for the class to have sufficiently cooked our yarn before leaving, and I did need to risk a giant stock pot at home for three batches of four jars, almost-simmering in a water bath for thirty minutes each, of the yarn that hadn't proven it was done (all but the two palest greens). I was a little worried the delay/drawn out heat situation would affect the results but if it did it wasn't much; I got pretty much exactly what I was hoping for with my two color gradient and the single is great too!

The single dye gradient is the color Moss, which did some interesting things with the red portion separating out once they were heated. Every skein has redder blotches, so I'm not bothered about any inconsistency -- if anything it'll help my finished product camouflage stains. Though it was definitely a surprise for me and the other Moss user in the class when our first yarn to have exhausted the dye was the complementary color to what it went in as.

The two color gradient used Rhodamine Red on one end, which was one end of one of our instructor's samples where she chose a cool-green for the other end to show how multi-component dyes mix less predictably than most paint. (It was kinda like shading with markers where you can still see washes of the pink and green in what you squint at and call a grey-brown.) The other end was Cantaloupe, which was one of the maybe three colors she didn't have a sample cut of yarn for. But she described it as the flesh of a perfect ripe cantaloupe and obviously I had to see that, and it sounded like it would be fairly guaranteed to combine nicely with the magenta while being just enough around a bend in the color wheel to be interesting--warm orange versus cool pink. As I said, it turned out pretty much exactly as I was picturing. Not anticipated was how much the jars looked like they were full of some delicious dragonfruit-mango beverage. Were I still a barista I'd be trying to recreate this for my shift drink.

Image descriptions under the cut.

[ID: Five images following fourteen small skeins of sock yarn dyed in individual glass jars, in two gradients. One gradient is six skeins from a medium forest green through a pale creamy pink, the other is eight skeins from a vibrant yellow orange through an even more vibrant magenta. The first photo is inside under fluorescent lights, showing the 32oz glass canning jars with metal lids and rings, full of dye and yarn on a table at the end of the class in which they were filled and heated for a short time.

The next two images are animated gifs. The first gif is two frames showing the finished dye jars sitting in grass, with their yarn and with it removed. The green gradient left only transparent blue color in its jars, and most of the pink to orange gradient's water looks more orange without its yarn, aside from the third and fourth jars from the orange end, which shade toward a neon lilac with the peachy pink yarn removed. The second gif is a view of the inside of the bright green wash bucket, with just the pink-orange yarn in it, then all of them mixed up, all as they were after a soak with the rust-brown water, in the first rinse, and that rinse water alone showing its transparent but still brown tint.

The last two photos show the gradients lined up along a weathered wooden bench on the side of a deck. The first photo has the wet piles of yarn bundled in front of each of their respective jars with remaining dye. The final photo has the clean, dry yarn wound into center-pull balls and still vibrant in the direct sunlight. End ID]