#never let me go colors

[aprilblossomgirl]

Color (Palettes) in Never Let Me Go - Part 2

Continuing my post about color palettes in Never Let Me Go the series. Part 1 talked about the color palettes of the show in general. This part focuses on another thing that were also visible enough: Thanya’s outfit colors as well as Nueng’s and Palm’s aside from their black-white uniform. Again, all screenshots are not color-adjusted/edited.

1. Thanya’s red, yellow, and green outfits/dress/shirts over her usual dark muted colored outfits. It was noted that she used these bright colored outfits only when Nuengdiao was present -- Red, during the announcement that she will take over as the new CEO of Phiphop’s company. Besides Nueng, there were also many other people (public setting). Yellow, when she just came back from Phuket, and talked with Chanon and Palm, and then Nueng came and hugged her (semi-private setting). Green, when she entered Nueng’s room when he was watching a video of Thanya being attacked while giving a presscon (private setting). Red, when she showed a hard exterior as someone that needs to step up taking over the role as a business leader in place of her late husband. Yellow, when she showed a softer exterior in front of her son as well as her trusted employee and his son. Green, when she showed parts of her vulnerable side to Nueng as a mother who also needs to take care of a family business.

Not necessarily associated with traffic light, but, when I thought that red means stop, yellow means careful, and green means go, I think it somehow makes sense to use those colors to symbolize Thanya’s level of openness of her vulnerability to other people. She puts up wall to public and other people including Khit -- on another note, though, it seems that she didn’t mind the rather ‘close’ interaction between Khit and Nueng when she saw them hugged in her office. She trusts Chanon, and being nice to Palm, but to some extent both sides still maintain the formal boss-employee relationship. She spoils Nueng, that goes without questions, but there were some subtle shifts through episodes 1 to 3 on how she talked with Nueng. Although, I still have my doubt that she had fully trusted Nueng to share everything, in terms of her dual roles as both a mother to Nueng and a boss to Phiphop’s business.

2. Nueng’s plain shirts vs Palm’s Hawaiian/Aloha (printed floral) shirts. I think there should be other types of combination too, such as Nueng’s striped shirts vs Palm’s plain sleeveless shirts, but I will not list them in this post, yet. So, what was interesting about the combination between the plain vs the printed floral shirt is that the plain color of Nueng’s shirts were always in-line with the color combination of Palm’s printed shirts. That is, when they shared the screen together, Nueng’s shirt color was always a part of the color combination of the shirt Palm used. In short, their colors were almost always harmonious, matching to each other you may say, either in a shade mode (darker combination; there’s a mixture or presence of black) or a tint mode (lighter combination; there’s a mixture or presence of white). Somehow, I found the color pairing to be visually easy to my eyes. In a way, such color and pattern pairing may also suggest that both of them are visually balancing each other. It’s also interesting to note that, as the official trailer showed, in later episodes, we will see Nueng eventually wearing similarly styled printed shirts as well, especially during the beach scenes.

Episode 1 - first meeting: Palm’s shirt was in a gradient of light-dark color scheme with hints of black/dark gray, brown, dusty blue/green/gray, yellow, and a bit of white. Nueng’s shirt was in brown, rather similar or in a monochromatic term with that little hint of brown on Palm’s shirt. The color pairing between the two outfits was in complementary scheme.

Episode 2 - “pengyou” scene: Palm’s shirt was in a lighter color scheme including hints of red, darker or muted orange, lighter orange (more dominant), and a bit of green, with light cream as the fabric’s main color. Nueng’s shirt was in muted darker orange, similar to one of the colors on Palm’s shirt. The color pairing was in analogue scheme with some tints of orange monochromes.

Episode 3 - dance scene: Palm’s shirt was in a light-dark color scheme with the shades of green, a bit of black or very dark green, and yellow as the fabric’s main color. Nueng wore a white shirt, and a very dark green suits/outer which color was similar to one of the greens on Palm’s shirt (I double checked with the Behind-the-Scenes video to be sure, but maybe it was quite hard to decide if it’s actually a dark green or just a darker shade of any other color). The color pairing here was also in analogue scheme.

Episode 3 - shooting range: Palm’s shirt was in a darker color scheme dominated by a shade of turquoise, I think (?), as the fabric’s main color, with hints of lighter brown, yellow, darker green, white, and a bit of black. Unlike the previous three shirts, this one doesn’t include palm trees in its motif. Nueng wore a white shirt and a black vest, both colors also can be found on Palm’s shirt. This color pairing was in between almost complementary and triad (if only there’s a hint of purplish color on Palm’s shirt).

Notes: Analogue color scheme implies a similar or closer-in-relations color combination (colors are side-by-side on the color wheel), monochromatic scheme refers to a deeply harmonious and calming color combination (colors consists of one basic tone with shades and tints to it), and the complementary scheme suggests opposition or high contrast (colors are on opposite sides of the color wheel). I have yet to find any triadic color scheme, which represents a more vibrant and balanced color combination.

Reference.

[mobius-m-mobius]

Lokius in Loki 2x01 - "Ouroboros"

[medicalunprofessional]

never change, man !

[chezlalune]

I remember the story you told me. The myth about love. Between two men. They were the offspring of the sun. One day, they were punished by the gods. They were struck by lightning. Their bodies were separated. So they needed to look for their missing halves. [...] I hope the gods won't punish us. I don't want to live without you anymore.

PALM & NUENGDIAO NEVER LET ME GO (2022 - 2023)

[nevertheless-moving]

unable to stop dwelling on the discworld trouser leg of time where, in the penultimate fight scene in Nightwatch, Carcer manages to kill teenage Sam Vimes.

Which means that the future that Duke Vimes came from can no longer exist, which means he can’t go home. Meanwhile you’ve got a bunch of history monks with stored up temporal energy, a prepared space outside of time, and the need to do some desperate damage control before the Auditors get involved. Death shows up, reality is unweaving, Sam is reading Carcer his discworld miranda rights because what else is he supposed to do.

and finally, with little other option, the monks de-age Sam so he fits the time period and send him back out into the fray.

(they didn't call it deageing of course. His memory is hazy, splintered during that terrible in between moment, They....took the time out of him? Sanded away the edges of his self for a terrible, workable fit? It...wasn't a good feeling.)

Just—damn. Sam Vimes having to live his whole crapsack life over again, but this time as his disillusioned-reillusioned, unwillingly-character-developed, noir-epic, Duke of Ankh, Commander Sir Samuel Vimes self. 

Younger (Older? He's never felt so Old, His steps so Childlike, reality twisting in his gut like one of Dibbler's pies) Sam Vimes walking around in a haze after the revolution. Desperate to go home, knowing he can’t. Wanting to drink. Knowing he can’t.

The whole precinct feels pity, he really took Keel’s death hard, hardly speaks except to do his job. Eventually he has to grit his teeth and start being present, because what else is there to do?

Resists the urge to drink until Colon takes the whole watch out to celebrate because -he’s going to be a father!

Come on Sammy, one drink won’t kill you— and after the first drink he’s cracking jokes and after the second hes smiling and after the third hes honestly the life of the party and sometime after that he’s crying about how he was going to be a father and my wife would be ashamed if she saw me drinking like this and— 

Oh shit, Did anyone else know he had a wife?? A PREGNANT wife??? What—aren’t you like 12—no you're 17 now aren't you but when did—

You guys n’ver met ’er—oh gods none if you ev’n know ‘er, is jus’ me...

What—when did you lose—

I lost her the same damn day I los’ ev’rythin else, whadya think...bleeding Carcer...the fuckin revolution...

So! That! Sam only vaguely remembers the night, but rumors travel faster than light on the disc, so by the next day the whole damn city knows about poor Sam brung low by the loss of his poor, tragic, pregnant wife, so young to be a widower, and the Seamstresses nod because they already knew, don’t ask them how, somethings you just have to know in that trade.

And his mother—I don’t know, sue me, I’m a time travel fiend but there’s something deeply intriguing about a man meeting his dead parent, who is somewhat younger than him, and stepping into the old relationship like a badly fitting thing that's supposed to fit well. She would know, right? How would she deal with her son’s impossible grief? Maybe she wouldn’t know—he spent most of the time out of the house, running with different street gangs, maybe he avoids her until she dies and lives with the guilt twice over. God, we don’t even know her name. There’s just so much narrative and emotional potential that I don’t even know where to start.

When he’s on duty, which is most time - it’s agonizing because at first he remembers cases, saves lives that would have been lost. But the more time passes, the hazier his memory because in the original timeline he was becoming an alcoholic. Fuck! A kid dies and he could have saved her if he hadn’t been such a drunk, if he had just remembered where the asshole lived, but it’s all a haze, and he wants to drown out his guilt, but that’s what caused this in the first place.

Good young Sammy, who spends his rare off-time in dusty libraries (and yes, the irony that he’s apparently Carrot now is not lost on him) reading gods-only-know.

It’s not like he can ask the wizards for help, cutthroat and vicious as they are now in the not-so-distant-past.

Good young Sam, who...talks to the Broken Drum’s pet Bouncer like he’s a real person and not a dumb rock? That’s a bit weird, but he’s a bit of a funny guy.

Good old Sam, who believed the testimony of the dwarf who said the humans were trying to rob him and let the dwarf go??

the PROBLEMS this man would cause, good grief. Can you imagine a moderately progressive middle aged man with some degree of begrudging diversity and equity training that he did, for all his sins, pay attention to, suddenly going back to like, 1990, going back just 30 years, and going...oh damn this is kind of fucked up, no man you can’t say that, holy shit.

Except Sam’s lived through even more rapidly shifting social moroes! There’s no seamstress guild, there’s no women allowed inside the university, there’s no black ribboner’s society. People hunted trolls for their teeth! But Sam can’t just unlearn everything, and he can’t shut up, and he has no real luck and anyway he would absolutely get himself (temporarily) fired.

FUCK. Sam has no idea what to do with that. None. Zero clue. Wanders around in a haze until that dwarf he saved from police brutality finds him and insists on repaying the debt. No, he insists, do you have any idea what debt means to a dwarf?

“Sort-of?” he replies hesitantly, and that honest admission of incomplete knowledge shows a hell of a lot more respect and understanding than any self proclaimed dwarf-expert ever did.

Gets a job as a surface man, hauling rocks into the city. It’s backbreaking work, but, in true Discworld fashion, it’s also one hell of a workout (again the irony of being Carrot is not lost him. he freezes for a minute while hauling a rock cart, when he remembers he's technically Lost Nobility too, in a strict sense, but someone curses at him in the street and he's comfortingly grounded)

And here is where this au slides into a SPECTACULAR romantic comedy, BEAR WITH ME. Because in his time on the Watch he’s already done noir, action adventure, war story, detective who dunnit, psychological horror, but guards guards only allowed him to be a romance protagonist in an extremely limited context.

Give me righteous, twenty-something-looking, can’t-say-he-doesn’t-have-style, young Sam Vimes, not an alcoholic,  being fed three square meals a day by his dwarven forced found family, hauling rocks. He is startled to find him bumping his head on a low hanging bar that he doesn’t think used to be there, eventually realizing that he’s an inch or two taller than he remembers. Huh. Guess all that bearhuggers really did stunt his growth.

Still doesn’t get what some of the looks from women he’s getting are about, sure, he’s dirty but so is everyone else. Fine, he took his shirt off, but it’s hot out, there’s far wrinklier than him hauling heavy loads, get a life. 

Happens to glance in the Ankh one day when it’s particularly slow and shiny and is startled to realize that he might be turning heads for a different reason. Oh. Right, not that he was ever a heartbreaker, but he did alright for himself... when he was a younger and his face hadn’t been broken so many times. Which...it isn't now.

Is mildly disturbed by the revelation.

Especially once things blow over at the precinct and what with high mortality rates, he ends up with getting hired again. The boys are delighted to have him back, nevermind that he’s an odd one, noone is ever quite in your corner like Vimsey, absence makes the heart fonder, no one else works that hard, and he’s not even competition for promotion. All around great guy, we should set him up with somebody and just, no.

It just keeps getting worse! He’s literate! He’s a feminist! He believes abuse victims! He’s got a tragic backstory! He’s unreasonably good in a fistfight! He’s kind to animals! Word gets around that there’s a good man on the watch and he’s just waiting for a good woman to come snap him up. The widower excuse doesn’t hold people off completely, and for some it’s its own sort-of appeal. 

Things REALLY become stressful after he rescues that carriage full of noblewoman.

What’s he supposed to do? Let them get robbed? Or worse? Chasing down and beating up 10 goons is as easy as beating up one, when they’re that stupid, getting separated like that, drunk and distracted, and he knows these streets better than anyone, really it’s nothing. And oh lord he’s Modest too.

I mean, they were genuinely greatful, as genuine as people like that are capable of being, the skill having grown rusty. And then there is something...magnetic about the man. An air of command.

So, soon enough you get Lady Marigold of Marigrave calling on Treckle Road for that gallant young officer who rescued them, she really needs to thank him. And Viscountess Elanor Thitzferal specifically requesting that he guard her at her next soiree. And Baroness Julieta van Shoeholten insisting that he come to her home while her husband’s away, for... manly protection.

Aaaah just zero sympathy from the guys. None. 'It’s become a competition, they’re just trying to see who can get me into bed first, it’s like I’m a piece of meat, you can’t send me sir, the Marquess greeted me in a nightee last time you made me go to—' and 'small gods Vimes are you even listening to yourself, shut the hell up'.

Simultaneous to this, (again this is several years into the timeline) swamp dragon accessories come into style. Which means abandoned swamp dragons scrounging on the street. Vimes takes one back to his apartment, blows his paycheck on dragon medicine, and eventually, heart in his chest, brings it to the Ramkin estate. The sunshine orphanage doesn’t even exist yet and he’s just standing outside the gates like an idiot, what is he thinking. Turns around, but her carriage is pulling up and—

well. they meet. it's cute. he's never felt so young. he's never felt so old, too old for her, too poor—

and certainly her thoughts linger too long on the awkward, kindly, handsome young commoner, but is it any wonder she doesn't quite connect it to the stern, dangerous, sexy young guard the ladies seem to be in some quiet, cuthroat competition over?

i have this gorgeous, absurd scene in my head in which Vimes is strong armed into standing guard at some high society soiree and one of the pushiest ladies insists he dance with here, or, if he prefers, if he's not confident about his skills, he can dance with her in-private at her home and he’s like [grinding teeth, looking for a way out, seeinf one] “I would be honored to dance with you.”

Steps right into some ultra-complex dance with multiple partner swaps (she never thought he'd pick this one, devilishly intimidating to one not strictly trained, and you barely spend anytime with your first partner).

But he does alright. Better than alright, for a common man, sometimes misstepping but his hands and feet always end up where they need to be. Raises several eyebrows part way into the song because he's throuwing in some slightly scandalous, no innovative, extra lifts and twirls that wouldn't become fashionable for another decade or two. Who even is that guy? Some out of towner? No, no he's in a guards uniform...how very strange.

Gets to Sybll and she's used to embarrassment during these dances, she tries to get out of them when she can... but can't always. Men awkwardly skipping the lifts, or worse, trying and failing. But him — oh it's him, the one who helped little Erold, and looked at her like—like—well like she was someone beautiful. And he's doing it again, and he's strong and there's a quiet moment where she's in the air, they lock eyes, and the rest of the room melts away.

And then the partners change again, the moment ended.

Just...living throught it all again. To the left, a dance he almost knows the steps to, throwing others off balance with erratic moves , honest mistakes, and delibrate stepping on toes. Improvising. Ruining. Improving. Getting far, far too much attention.

Hes almost excited when the first assassains start coming after him. It's like a hobby.

Everyone tells him he should get a hobby.

Interactions with young vetinari...I don't have the energy to write it all down, the slow circling in on each other, both burning with the need to fix the city, save it, their city.

needless to say he ends up fired again, life under real threat after offending some high lord.

Conveniently enough he has an employment opportunity- bodyguard to fucking Vetinari on his 'grand sneer.' The bastard knows vimes isn't what he seems, though sam is pretty sure that he doesnt know the exacts.

Vetinari hypothesis:(the ghost of keel? Keels son, with some hereditary curse? Or a larger spirit of justice possessing a string of unrelated souls? He knows things he shouldn't- mind reader? Fortune teller? Havelock once arranged for a wizard to bump into him on the street, the magical fool gave an odd double look and then muttered something about destiny looping in on itself giving him a headache. Destiny? Lost noble? And hes far too familiar with sybyl, one of the few bearable noblewomen in this city. And his thoughts on guilds, when havelock can trip him into speaking... Most of all, if hes reading him at all correctly (for all the mystery hes not that hard to read, unless thats a very clever cover) then it seems that behind those dark haunted eyes is Respect. Loyalty. For vetinari. What an interesting man. A puzzling asset. An intriguing threat. )

Did I mention the timeline is changing, healing slowly around the place where it was torn? Healing enough around scars to perhaps get some flexibility back, with some painful stretches and...massaging of said scar tissue?

And hes heading to unresting uberwald, a place where a werewolf pack still hunts humans and, truely unrelated but perhaps equally exhausting, an eldritch spirit of vengeance just might be looking to stretch its legs in a hapless vessel?

Opening drabble Vimes Vetinari Meta (Unwell) Scene from the Uberwald Grand Sneer

[lemongogo]

sry i dont know what 2 draw anymore T_T . elendira portrait #999

[tagarilaghost]

I SWEAR CELEBI'S THINGY IS COMING SOON BUT I REALLY WANTED TO POST THIS ALRIGHT

yeaah... future trio got me too...

and Darkrai is there too, because of course he is.

hey look i drew a cute Drifloon :D

...ignore the rest

whatever started at Darkrai doodles ended in brainrot of future trio + darkrai and I'm blaming @scribz-ag24 for this

[wanderlust-in-my-soul]

I think I love you. If that's so, can I express my ownership of you?

[krystaljungs]

🏳️‍🌈??🤔

[riding-with-the-wild-hunt]

“Elwing chose to be judged among the Firstborn Children of Ilúvatar, because of Lúthien; and for her sake Eärendil chose alike, though his heart was rather with the kindred of Men and the people of his father.” - J.R.R. Tolkien, The Silmarillion, "Of the Voyage of Eärendil and the War of Wrath"

@halfelvenweek day 2 ⇢ people of sirion + the choice || EÄRENDIL

[ID: an edit comprised of six posters in shades of golden brown.

1: Michael Lockley, a young african-american man with brown skin and coily golden hair. He is shown in profile, with his head tilted back and one arm raised. A white rectangle frames from his shoulders up, with white cursive text reading "Eärendil" overlapping it at the bottom right corner / 2: Golden light shining on ocean waves. White serif text at the bottom right corner reads "“Hail Eärendil, of mariners most renowned, the looked for that cometh at unawares, the longed for that cometh beyond hope!” The text block is bordered on one side by a vertical white line, and the text has a slight white shadow / 3: A small boat at sunset. Same format as Image 2, but the text is in the upper left corner and reads "“Hail Eärendil, bearer of light before the Sun and Moon!” / 4: Michael Lockley, this time facing the viewer with a serious expression. Same format as Image 1, but the frame is slightly shifted, and the text reads "Ardamirë" at the top left corner / 5: Michael Lockley, seated and partially turned away from the viewer, but with his face in profile. Same format as Images 1 and 4, but the frame is again shifted, and the text reads "Azrubêl" at the bottom right corner / 6: A night sky filled with stars and glowing clouds. Same format as Image 2, but the text reads "“Splendour of the Children of Earth, star in the darkness, jewel in the sunset, radiant in the morning!” //End ID]

[justafriend-ql]

You are the only one whom I will give my whole heart to. NEVER LET ME GO Episode 12

[aprilblossomgirl]

Color (Palettes) in Never Let Me Go - Part 1

This has been on my mind since the first episode airing, but I've just decided to make a post about it. This post won't talk about color symbology or individual colors but rather list the overall tones and/or color schemes. As I went through each episode, I couldn't help but notice that the show uses different color tones across different scenes, with the similarity being almost all were muted colors in a sense of vintage or retro style, as referred to P'Jojo's talk about the show. When I tried to identify and classify the colors, these are what I got (of course, I might not catch everything or be 100% accurate in classifying them). All screenshots are not color-adjusted/edited.

1. The muted darker basic/neutral colors - black, gray, brown, dark shades of almost any colors, and white accent. This palette is mostly found in family settings. Colors are applied for both sets and outfits.

2. The muted lighter basic/neutral colors - black, white, and brick-style-brown to yellow-ish tone. This palette is very specific to the school settings in general.

3. The lighter and more vivid vintage vibes - sometimes dominated and/or accentuated by red, yellow, and green. Usually found during scenes outside the house and school (for example, the dance cafe/bar).

4. The subdued red/pink-purple-blue lighting - mostly seen at night, for either outdoor or indoor scenes of Nueng and Palm. Stronger red/pink light appears during Nueng’s and Palm’s individual indoor scenes (Nueng’s scenes have stronger red/pink, though), but also found during the family dinner on Nueng’s birthday. The far more subtle light in the same colors also presents during the conversation between Thanya and Chanon, an explanatory scene on why Chanon suddenly asked Palm to come to Bangkok. Stronger blue light appears during the scene where Phiphop getting shot.

I think about the four palettes above as associative colors to events that are tied to specific settings. I can't say they apply to the characters as well, for now. Although we can clearly see which color palette was generally found during whose scene by default. Also, so far, no significant transitional colors in sight, but maybe it won't take too long until we see one.

One thing that catches my eye, though, was the presence of discordant color(s). In some scenes, the colors were quite strong, while in some others they were more subtle. They give a point of focus against those regular color palettes, suggesting importance of a person, a place, a thing, or an event, or maybe their presence was as balancing elements. Here are to list a few:

1. Shades of red/orange.

2. Red/orange + blue > complementary color scheme.

3. Yellow + blue (darker or lighter) > complementary color scheme.

4. Shades of green.

Finally, this post is more like a kind of library of color palettes used in the show, written by the end of episode 3. So, this didn’t include colors from episode 4, yet. I might either write a continuing post or maybe just update this post again after some more episodes if some changes are to be found. As the show goes on, I'm keeping my eyes on the possible appearance of transitional colors.

Part 2 will talk about the outfit color schemes of Thanya, Nueng, and Palm in general.

Reference.

[st4rstudent]

sharing is caring or however it goes.

[kingofanemptyworld]

y’know, I can understand people not seeing the appeal of grimmichi, as much as I adore their dynamic myself. I can even see why they might prefer ichihime, beyond the fact that it’s the canon pairing. but I have to say, the thing that really cements grimmichi for me is that fact that, of everyone ichigo knows and loves, it’s only grimmjow who never once flinches in the face of who, and what, ichigo really is. I always think back to when nel has to remind orihime that ichigo is fighting for her, he’s trying to protect her. the fact that he’s drawing on his hollow powers shouldn’t matter. and she needs be reminded again at the very end that’s it’s still him in there, the hollow hasn’t taken over. but like, grimmjow? grimmjow wants the whole package, right from the start. the more ichigo shows him the more excited he is. (to kill him, yeah, but when has that ever been a deterrent for romance in fiction?) I don’t know, but it’s something i see reinforced in a lot of fics, and I love.

no matter what ichigo does, how he evolves, grimmjow won’t flinch.

[namtan]

NEVER LET ME GO — Ep 12 HIDDEN AGENDA — Ep 7

[poepill]

happy belated valentines day quodo upon thee! originally posted on ao3 for the quodo minifest, this was my valentines for @chacusha, who organized the event! i had a ton of fun drawing them and im definitely looking forward to next year <333

+ bonus art based on the comic by Kate Beaton, Javert is in Slash Fiction: