#nara / visual
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c6smic-angel · 9 months ago
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Aya Takano meets Yoshitomo Nara 𐙚 ‧₊˚ set by @/nailsbysami_
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ouurdeal · 8 months ago
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Lolita jeans Yoshimoto Nara
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rkivo · 2 years ago
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yoshitomo nara
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gummi-stims · 9 months ago
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🦌Nara, Japan🦌
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littlebeedreamer · 7 months ago
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☪︎ ֶ֢࣪⋆𓄃 °˖➶➳
Shikamaru Nara
☪︎ ֶ֢࣪⋆𓄃 °˖➶➳
Shikamaru is another one of my sillies from Naruto 🩷 I love him SO much 🩷
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moonlyxe · 6 days ago
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me when i get reminded of my old hyperfixation which was fantasizing over NOT sayori but the MALE VERSION of sayori 🤓🤓 remember those genderbent fanart of ddlc characters?? yes. exactly. i still love sayori tho <3
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readtilyoudie · 2 years ago
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Naruto Vol 12
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freshthoughts2020 · 1 year ago
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"THRU THE VORTEX"
by
WELÇOME©: HAND DRAWN GRAPHICS
-
gettothecorner.com/welcome/thruthevortex
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moongirrl7 · 2 years ago
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come along with me
and the butterflies and bees :)
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instructionsonback · 1 year ago
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THRU THE VORTEX 🌀
12” x 18”
By
Jaevonn™️
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heartbeatbookclub · 11 months ago
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It's 2 am as I start this, and I feel the need to put pen to paper on this thought, so to speak, because it's something I think about with relative frequency.
This is going to be more of a personal musing on my experience with Doki Doki Literature Club, and why it had such an impact on me when I first played it, as opposed to any more concrete analysis, so I guess you can keep reading if you want to know more about me as a person and my overall personal relationship to it.
Something I think about often in reference to DDLC is its status simultaneously as a satire on visual novels and all of the tropes therein, as well as a love letter to that genre, explicitly. It's very readily apparent if you've played a good few "weeb" visual novels that it very much fits that bill. I think my first experience with it makes it especially funny in that respect.
To give context, I first experienced Doki Doki Literature Club like a month or two after it came out, in a Skype call (shows how old I am) with 2 or 3 of my friends. During this period of my life, me and this small group of friends spent lots and lots of time just hanging out in Skype calls like this, doing whatever we pleased, spending time well into the next morning just enjoying each other's presence and seeing what fun shenanigans we could get into on the internet.
One frequent passtime of ours was playing visual novels. Not just any visual novels, no; we went looking for the most low effort, mediocre, low hanging fruit of visual novels we could download for free. The goal wasn't to enjoy a good story, the goal was to find something amusingly bad, whether in cliched, awkward, lazy writing, or in sheer absurdity. I still do this sometimes, though it's admittedly with a different thought in mind now.
I don't think this perception we had of visual novels, being that they're typically sloppy, cringe-inducing messes is necessarily uncommon even now, but it was especially common back then. It was "weeb shit", simple as, but even deeper than your typical weeb shit. The perception was something like watching High School DxD unironically; it's just weird.
And I don't really think the perception of visual novels being that way is necessarily inaccurate; there is a very low bar to entry to actually creating a visual novel just by the nature of the medium, so really, anyone with enough passion for a project and time on their hands can make one. As a consequence, there are a few egregiously bad visual novels, there are a few really excellent visual novels, but there are a great many just sort of okay, somewhat mediocre visual novels, and lots of visual novels created with not so honorable goals in mind.
And one thing we really enjoyed was just exploring what existed in the depths of unpopular visual novels slipping through the cracks of what people saw. For most of it, we were making fun of it, but there were a lot of points where we found stories which were mediocre, but ended up really enjoying our experience with it. I think an important thing to understand with that lower barrier to entry is that it enables people who really are passionate about telling a story to tell a story that has a lot of heart, and you can see all of that heart as a diamond within the rough of the actual construction. Even in VNs with more polish, typically there are still cracks right around the edges, where you can see just a little bit of the humanity that goes into it. It's sort of magical.
And Doki Doki Literature Club was an odd edge case, which successfully played with all of my perceptions of it. DDLC is probably the only game whose story is reliant on a plot twist where I actually went in completely blind. By all appearances, it was a silly little visual novel made with no sense of irony, and I spent a great deal of time laughing at its contents, completely unaware that they were in on the joke.
And my perception of it being this way I feel like colored a lot of what happened next when I looked into it. I forget exactly when our playthrough ended--we didn't make it to any of the deeper stuff, I watched a Let's Play for that--and I forget how the whole series of events following that went, but somehow or another, I learned of some of the true nature. Namely I saw what happened to Sayori.
It reminded me of Corpse Party, when I actually thought about it.
I'm not going to go deep in depth on all of my thoughts about Corpse Party nor any of its history, but to be frank, Corpse Party reeeally sits in that realm of "mediocre, but lots of heart" to me. I don't really think Corpse Party is very good, particularly elaborating on a lot of the lore, but I really enjoyed it when I first experienced it, and it's still something I occasionally like looking back over. It's deliciously dark, and is extremely effective at creating an oppressive atmosphere out of what's ostensibly a collection of happy warm anime character tropes with little serious personality outside them.
So when I say that Sayori's death reminded me of Corpse Party, I mean that the way it paired playing the happy warm visual novel setting straight with extremely grim subject matter was done well.
Really, there were only a few other examples of this kind of media I could think of that really effectively utilized the exact kind of gut punch that DDLC did. Everything about the way the game framed itself around it, up until the final plot twist, really did feel like they were just elements of a visual novel playing themselves out. Sayo-nara really sets that tone for me--it still gives me chills sometimes when I hear it, because it sounds perfectly like what a "Bad Ending" theme for that kind of ending would likely sound like. It plays itself remarkably well into creating the setting, it really effectively feels like it is a normal visual novel falling apart at the seams.
I think that, more than anything, is why DDLC made such an impact on me when I first experienced it (which is remarkably different than the kind of mark it leaves on me now), it played so effectively with a genre I was so familiar with, and simultaneously played "mediocre visual novel with lots of heart" straight while also completely knocking "deep and terrifying existential horror" out of the park.
It's hard to truly describe, but there's just so much that feels so right about DDLC just being as it is. There's such a unique quality to the way it's written, to the way it's constructed, that goes down to its bones. It feels like that exact brand of junk food media you go to visual novels for. You don't necessarily want to think too deeply about the characters, or the setting of the story, or any of the deeper themes surrounding it; you just want to experience a nice story with some anime girls.
And then it yanks the rug out from under you, and makes you think it's junk food media with a side of deep and disturbing horror.
And then it yanks the second rug out from under that one, making you realize it's something much, much deeper.
I think something else it really appealed to, to me, was just that sense of being on the edge of the world which most indie games of that sort always give me. There are a shitload of examples I could give for this, but this sense I'm describing is the opposite of the sense which games like Undertale give me. Undertale's world feels lived in, it feels like it exists in a much, much wider concept of a great, sprawling world where billions of people live.
DDLC feels like you and the 4 girls in it are the only people in the universe. There are all of these environments you inhabit which ostensibly have other people who pass through them, live in them, there are implications of people, but inside this world, there's only you.
I think it just appeals to my desire to be transported to a complete other world for a little while. A limited space, where only things important to this experience exist, for this pure feeling of emotional catharsis. And that's something a lot of these sorts of simple visual novels appeal to; the goal isn't necessarily to tell some deeper story, it's just to present beats as they happen. DDLC takes that, and plays with it, both in a textual sense, as though these fictional characters exist and are somehow aware they're fictional, and in a meta sense, by directly playing around with your expectations and the way the entire thing is framed.
Or something like that.
Fun fact 1: Doki Doki Literature Club (specifically Sayo-Nara, still one of the few songs I can play entirely by memory) is what got me to start learning piano. I taught myself to play, and started mostly with the DDLC soundtrack (Which is very simple to play by ear, by the way, it's pretty much entirely C major.)
Fun fact 2: What initially inspired this thought was this video, which really reminded me of other visual novels we/I played that would utilize this particular style of music.
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c6smic-angel · 8 months ago
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the cuter book
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luxcruor · 2 months ago
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*. i will not STAND BY— in the presence of EVIL!
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ssnowysparkle · 2 months ago
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“Come ooon, Sasuke! It’ll be fuuuun!” Naruto hangs onto Sasuke.
“No! I’m not going to help you, dobe!” Sasuke shoves Naruto off and into a tree.
“You have to admit it would be funny to see the clan heads make a fool of themselves singing how dumb they are.” Shikamaru points out.
“It would be a fuckin’ riot with the costumes!” Kiba leans on Shikamaru.
“You gotta help us, ya know!” Naruto pleads.
“NOO! That's illegal. If I’d do it I’d get caught. I’m not going to sit in police headquarters and have my dad or his work buddies interrogate me.” Sasuke crosses his arms.
“Fuckin’ buzzkill.” Kiba and Shikamaru grumble.
“No one would know you did it!” Naruto argues.
“Yes, they would.” Sasuke counters.
“How?” Naruto scratches his head.
“It’s something so dumb it could only be you who would think of it.” Sasuke points out.
“And as the Uchiha seen the most often with the Yondaime’s son, my little brother would be questioned.” Itachi jumps down from the surrounding trees.
Naruto, Kiba, and Shikamaru jump back from being caught by the ANBU. Sasuke just narrows his eyes.
“Wouldn't it be humiliating for the police captain if his son ended up being a criminal offender, though?” Itachi smirks as he places a hand on Sasuke’s shoulder.
“Yeah… It would.” Shikamaru scrutinizes Itachi.
“Luckily for you, my ANBU designation allows me a certain amount of legal immunity. So…” Itachi grins. 
Sasuke stares at his elder brother in horror. Kiba and Naruto vibrate with excitement. Shikamaru grins.
“When do you want the clan heads singing?”
——— Oops, hand slipped. I hope you liked it :)
@comikadraws @itachis-eyes @the-real-sasuke-uchiha
I feel like we are not talking enough about the fact that Sasuke and Itachi are the sons of a police officer. Imagine a no-massacre AU where their respective friend group comes up with some brain-dead idea that will most definitely get them in trouble.
Sasuke: "NOOOO. That's illegal. I don't want to sit in an interrogation room with my dad or his work buddies."
Itachi: "Wouldn't it be humiliating for the police captain if his son ended up being a criminal offender, though? Anyway, ANBU-issued legal immunity goes brr"
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k-star-holic · 2 years ago
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Park Na-rae, open courtship "Do not look at the house and academic clique and job! Ideal type? Only face + code"
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usnatarchives · 18 days ago
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Revolutionary War Pension Files Seals ✒️🪙📜
Official American 19th century records have fascinating visual features and many remarkable examples of those can be found in the Revolutionary War pension files at the National Archives. 
During the conservation stabilization treatment of these records, the conservators come across watermarks, ribbons, wood engraving illustrations, historical repairs, and of course various seals and wafers.
Guest Post by
Paper Conservator (Document Conservation Laboratory, RXC)
Ewa Paul (National Archives)
The term “seal” can be confusing because it refers to both the impression and the device which produces it. Early documents or letters were secured with resinous sealing wax impressed with a stamp seal and were reserved for officials or aristocrats. Later on, in the 19th c., the majority of the literate people used circular paste wafers and paper wafer seals which were much cheaper and easier to use. Wafers are “thin, flat, baked adhesive discs” made of flour paste. They would be moistened on both sides before being pressed to seal a letter or a document. Wafers came in different sizes and colors, and were used as adhesive joints or for affixing paper seals on official documents as shown below.
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The wafer made from red colored paste is underneath the paper seal stuck on top. It is the same seal shown on white and blue wafer paper seal.
 Sometimes the wafer paper seals would be made to purposefully emulate the appearance of the older wax / resinous seals as illustrated below (NARA records).
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The paper seals found on the Revolutionary War documents vary in color, style and type and can have eye-catching, intricately carved designs.
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The Revolutionary War pensions records bear many types of seals: hand-written seals, ink printed seals, embossed paper wafer seals and “Scherenschnitte” hand-cut seals.
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The image of the beehive in the inked seal above illustrates the importance of  agriculture, as does the plough in the paper seal below, featured in the Revolutionary War pension file of James Scott, TN.
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Hand-cut  Scherenschnitte seals found on the American Revolutionary War pension records. Scherenschnitte paper seals are one of a kind. Scherenschnitte means “scissor cuts” and is a traditional folk-art brought to Pennsylvania in the 18th century by German immigrants.
As other methods of document protection became common, particularly the self-sealing envelope, the use of wafer paper seals declined and by the end of the 19th century the wafers and seals became obsolete.  
These days the seals remind us about the importance of privacy and the need to guard our information, and how tricky it must have been to keep things private in the days past.
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