#the song is what got me in the end

[eruanna1875]

Dang it now I'm actually in tears

O weary soul - drabble

Oh you know, a little bit of hurt and comfort

The world had blurred around him. His mind clouded like a rainstorm as sorrow flooded deep into his soul. The sun shone bright mockery on his downcast head as he walked slowly forward. One foot in front of the other, one step forward, another moment he had lived through and left behind him. His hands held out before him but close to his chest as if waiting in hopes someone would take them; blood still visible on his gloves and fingertips. His tear-filled eyes looking at them, never breaking away as he stumbled over rocks tucked away in the earth. All things must come to an end. Goodbyes are said and people part ways. Everything dies and leaves the world alone without it. Empty and barren. Lonely and dark. 

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[cecoeur]

How do you sleep at night? No one to hide behind Betrayed every alibi you had You had every chance to make amends instead you got drunk on bitterness And you still claim that you're innocent, it's sad

[applestorms]

ok, well. if last time i talked about parallels between near & light, i guess it’s only fair that this time i talk about parallels between mello & misa. yap central on this blog lately.

the main thing that stands out the most about mello & misa, and the reason why i will forever Defend them and their place in the story, is that in my mind they both function in a similar way on a narrative level: namely, both of them are incredibly active wild-card characters that keep the action going and the story moving forward when the other main characters like light, L, & near start getting too passive.

notably, while i often see this trait praised in mello, usually in the context of a comparative criticism of near for his overly-abundant passivity, i have also seen it used as a criticism of misa's character, that she breaks up the status quo of DN too significantly and thereby makes the story feel less realistic. this last point in particular is an odd argument to make imo, as if anything misa's presence only increases the realism of DN by adding some extra luck/random chance into the story in a way that is ultimately still character-motivated and thus easier for the audience to go along with-- something DN in general is very good at, often introducing elements through pure chance but keeping them grounded in characters enough that you almost don't even notice.

take light meeting naomi misora, for example: the only reason he runs across her at all is because he offers to run an errand for his mom on a bored laundry day, literally stumbling across her right at the exact moment she is divulging important insights she is literally the only person capable of making about kira. yet this moment does not stand out as particularly aggravating or out of place in the story, as ultimately the only reason why light is able to get out of that situation is his own quick thinking and ability to calm himself while under immense pressure, squeezing his way out of a potentially run-ending situation he didn't even know existed moments prior.

(not a fan of that big joel video, if you couldn't tell. lmao.)

point is, mello & misa both fulfill about the same narrative function in the story by being so aggressive in their actions, catching the others off guard even if their plans aren't as well thought out or careful as they could otherwise be. they're both incredibly passionate, dedicated characters as well, tough enough to take the hit when it inevitably comes, and in my opinion neither of them are nearly as stupid as the other MCs like to make them out to be. to some degree, i think both of them are aware of the fact that they can't win at the Mind Game Cold War Bullshit the others are inclined to get involved in, so they instead choose to carve out their own place in the story through sheer perseverance alone.

which, speaking of passion: one of the most interesting parallels i think you can make between mello & misa is the ways in which they idolize their respective heroes, misa's obviously being light while mello's is L. allow me to elaborate.

as this post points out, DN has some very interesting use of its religious imagery & theming, and in particular its use of christian/catholic gothic imagery in its story and especially its art. however, as op notes, a lot of this is quite superficial, ascribing to an aesthetic of "kitschy Catholicism," that was characteristic of a lot of early 2000s japanese goth style. yet, while i admit that a more serious consideration of religious elements in the art & story could add some interesting flavor to the story, i also think that, regardless of intention, the superficiality of DN's religious elements works really well in the context of this particular story. as i stated in my tags on that post: light is a superficial god. he is a fake, a scam, some idiot human that stumbled across the powers of a real shinigami and got his head up his ass about it. and a lot of the arcs of other characters in DN is about their reaction to light's claims-- whether they choose to follow him (e.g. misa, mikami), follow somebody else (e.g. mello), or follow nobody at all (e.g. near, also kinda soichiro?), and the implications that has for their lives and personalities.

this is all to say that while you can, on a surface level, connect misa & mello pretty easily as the two aggressive, fashionable blondes of the series, i also think that these somewhat superficial traits betray a greater connection between the two of them. if we understand the christian/catholic elements of misa & mello's fashion as a demonstration of their connection to not just a higher power but a lie, a superficial deity simply reflecting the sunlight of powers greater than himself, then i think we have great insight into another key element of both their characters.

do not forget: in the world of DN, heaven & hell do not exist. at least in the context of death itself, the realm & lore of the shinigami reign supreme, a point which the DN musical makes even more overt: "Isn't it a laugh? / Isn't it a shame? / Thinking there is someone in heaven to blame?" and "Going through the motions / as if there will be a reward / Oh, while we stay eternally bored!" (BEST SONGGG.) everyone is destined for the same fate of MU, the same void of nothingness awaits all. no reward, no punishment, no greater deity looking down upon us than the bored, slothful shinigami, lazing about in their realm and picking people off only when necessary (for the most part).

misa & mello are thus dedicating themselves to false idols, and we can see the negative effects this has on them in almost every facet of their character-- particularly for mello, who is perhaps more self-aware and has more of a mixed emotional outlook on his idol, but maybe even to a more extreme degree for misa. i keep going back to this idea of equating boredom with depression in DN, but where light/L/near are all "bored" in a very quiet, passive, stewing-in-bed late at night kinda way, misa & mello are characteristically a lot more aggressive and intense about it-- while neither of them are super overtly suicidal, necessarily, their actions still betray a distinct lack of care for their own safety or lives, expressing the same thematic sentiment as the others. even if they still don't straight up say it, through their actions they're a lot louder about not liking themselves, and seem to take the problems they see in the world more personally, shouldering the blame as a failure within themselves instead of projecting it outward like the others: e.g. light taking his unhappiness at the emptiness of his life at the start of the story & placing the blame on the world for "going to shit" & humanity's moral failings, versus misa being willing to literally & figuratively give up her life for KIRA the second he demands it, whether that be in the form of shinigami eyes or killing her own friends w/o second thought-- all because he was the only thing to bring justice to her own parents' deaths, an almost undoubtedly traumatizing/horrible experience for her considering how much value she places on KIRA/light afterwards.

to clarify, this is not to say that all of these characters are actually and literally depressed and/or suicidal, though you could certainly make that argument for some/all of them-- this is just one way that i think you could interpret their roles in the plot, and their thematic attachment to the story. even if DN isn't all that interested in considering the True Moral Answer to ethics/the justice system/human society/etc, it definitely takes at least some interest in the emotional viewpoints of characters in relation to those concepts, so i think this is a fair enough approach to take. or to say this another way, it's less about justifying the claim that "the world is shit," and more about trying to understand the emotional motivation & experience of feeling like the world is shit, if that makes sense.

that being said...speaking more on the whole "not liking themselves," thing: even if she doesn't say it aloud often, if ever, i think that misa is deeply aware of the fact that she was not supposed to live this long, that her existence at all is a pure stroke of luck that let her live on past her destined date. she dedicates herself to light so fully, not even necessarily expecting reciprocation (though she at least reserves herself the possibility of such), because being a disciple to her god at least gives her life some kind of purpose. similarly, i think mello is also aware of just how out of reach the one thing he wants is, how his desperation in and of itself is ironically the one thing keeping him from surpassing near and truly being #1. it's important to note that pre-time skip misa & post-skip mello are almost exactly the same age, around 20 years old at the time of their main arcs. they're immature, and in the case of mello especially, are lashing out at the world in whatever way they can because they know they don't quite fit into it in the way that they want to or should. regardless of the intent behind it, mello & misa both still make the conscious decision to kill with the DN-- perhaps in a way that still keeps their humanity, at least following near's logic, but it's a decision to end a human life either way.

anyways, going back to my previous point, this "worshiping of false idols," idea has some interesting implications-- for misa & mello yes, but also for L and the ways in which he contrasts again light, as under this logic mello's treatment kind of inherently gives L a similar status as a sort of false god/idol. which-- actually makes a lot of sense? or at the very least, viewing wammy's house as a kind of mystery cult a la the eleusinian mysteries is a neat approach to take. L & light's mutual alienation from humanity fits them both filling a false god status, anyway. also there's another thread of analysis you could follow here where near is instead fit into the role of the person mello is fixated on which AAAAAAAAA has interesting implications but jesus fucking christ, this post is long. some thoughts for another time, i suppose.

[feroluce]

Lucid Dreamer (1/2)

part 2

Gepard notices that it's been. Quiet lately. Like weirdly quiet. TOO quiet. He hasn't seen Sampo Koski in almost a week, which is about the longest he's ever been absent. And he is NOT worried. He's not! So what if they've been getting along more lately! So what if Gepard sometimes looks for him in his favorite hiding places! So what if he's been dreaming about blue hair and green eyes! It's nothing!!

But they're….strange, these dreams. Gepard doesn't usually remember what he's dreamt. It's out of his mind seconds within waking up. But these stick with him, they won't leave him be, they feel different somehow.

He dreams of Sampo bringing food to the frontlines and eating breakfast in his tent with him. Sampo always sneaks him extras. He dreams of chasing Sampo through the alleyways, Sampo sometimes letting himself be caught, Gepard sometimes catching him, and trying to ignore how it feels more like a game now more than anything else. He even dreams that Sampo tags along with him on one of his few civilian days. Sampo runs errands with him, prattles about inane bullshit while Gepard picks out groceries for the week, drags Gepard into some bakery he's never been to but he thinks Serval mentioned once.

And sometimes, it feels so close to reality, that Gepard half expects to see Sampo, shamelessly swaggering into the frontlines with all the guards' breakfast like his wanted poster wasn't only recently taken off the walls of Belobog. He's disappointed when it's always someone else instead. He tells himself his disappointment is ridiculous and if Sampo wants to go prowl around the Snow Plains or wherever he is, then fine. It's not any of his business.

…But it IS his job to investigate any unusual criminal activity relating to the frontlines. And the frontlines are Sampo's usual haunting grounds, and this is unusual activity, and Sampo IS technically a criminal, so it is absolutely part of his duty to look into this - is what Gepard tells himself the entire tram ride down into the Underground.

Natasha tells him he's gone, and Gepard has to steel himself. He knew Sampo made enemies wherever he went, there are a lot of people who would love his head on a platter, but he didn't think-

Natasha corrects him that she means literally gone. As in off-planet. Sampo always leaves her a note before he goes anywhere, so she knows not to expect any supply runs from him. He should be back in exactly two weeks. Thank the Preservation.

Gepard goes back home. He waits.

The uneasiness doesn't leave him.

"Where did you go?" Sampo stops dead in the middle of some story about Seele, and how you'd think someone with as blunt a mouth as her wouldn't have so much trouble asking a woman out, even if that woman IS the Supreme Guardian, and stares at him. He nearly fumbles his cigarette.

"Ahaha, what do you mean, I'm right here?" Sampo smiles at him the same way he always does. Gepard has no idea why he asked. It just popped out. He can never tell when Sampo is lying, anyway.

"I don't know. I feel like I haven't seen you in a long time." Gepard idly mouths at his own cigarette. He almost never smokes, but he wants to ration their stocks of Blizzard Immunity, and it helps with the cold. It's seemed colder lately, for some reason.

Gepard flicks his lighter once, twice, sighs at the third time because a metal prosthetic and thick gloves make the damn things so difficult. Sampo reaches over and wordlessly kisses the end of his cigarette to Gepard's, lighting it. "Thank you."

Nothing happens for almost a full 30 seconds. Something churns behind Gepard's ribcage. Because Sampo never leaves a "thank you" hanging. This is the part where he gives his spiel about how helpful and kind he is and Gepard either brings up how long his rap sheet was before Bronya helped clear his name, or just stares deadpan because seeing Sampo squirm is weirdly satisfying.

"…I'll be back in one more week."

Gepard jolts awake in his cot, mouth dry and eyes bleary.

The hell.

The next dream he has, Sampo looks tired. Sometimes he seems normal. Sometimes he says strange things, like how he wishes he'd gone to some restaurant in Belobog. Ate his favorite food more recently. Brought something with him. Gepard asks why he can't do that now. Where would he bring something? Sampo only shrugs. His rebuttals have less energy.

Gepard doesn't know if he wants to dream more, or less.

He ticks down the days on his calendar. Natasha hasn't told him any different. She promised she would if she got any kind of message. Sampo returns tomorrow, from whatever vacation or seedy business dealings he's been off having. He is not excited about it. He is not looking forward to it. He's not!!

Gepard falls asleep late that night, unable to settle. He dreams again.

He's alone. There are tons of people everywhere, the frontlines are always crowded. But he's alone. They all pass right by him as though he were a ghost. Gepard starts to walk before he realizes his feet are even moving.

He checks the trashcans in the dead end alley. He checks the supply crates that someone always stacks too high because they don't feel like finding more space for them. He pauses to check the soldiers that march past him, watching their footprints in the snow.

He finally finds Sampo on the rooftop along the northernmost wall, the one that looks out over the plains, towards Everwinter Hill, towards where the Stellaron had once been kept. With a full moon and an entire land of white snow, Gepard can almost see clear out to the horizon.

"Found you." Sampo stiffens, and Gepard is almost prepared for him to sprint off the roof. He doesn't. But he doesn't relax either. Gepard sits down next to him and stares out at the wastelands.

"…I fucked up." It wasn't what Gepard had been expecting. Sampo never 'fucks up,' Sampo just gets into incidents that are entirely, supposedly, not his fault and that he just happens to always be within the vicinity of.

"What did you do now?" It must be really bad if Sampo is coming to the Silvermanes for protection.

Instead, Sampo ignores his question completely. "See out over there? Right on the other side of that mountain. There's a safe house that way. It's hidden under a lot of snow and dead trees, but it's there. And in that safe house is a box full of letters. I need you to deliver those letters for me."

Gepard's brow furrows. It's a weird favor to ask. Sampo would never tell anyone where his hidden safehouses were. It defeated the whole purpose of a hidden safe house.

Something is wrong, something is really really wrong.

Gepard turns back to look at him again and startles, all of his questions dying in his throat, because the entire left side of Sampo's head is suddenly matted down, dark and sticky, his skin is dyed red red red-

"In three more months, there's gonna be something big happening." Gepard grabs Sampo's hand and it feels slick and warm against his palm. "I won't be here. So I need you to do my end of things for me." Gepard tries to keep hold, but something is fading, something is slowing, the sun is coming up but the colors are all wrong, everything feels like encroaching fog, Sampo's hand slides right through his. "I was gonna come back with my mask to finish setting the stage, but…" Gepard makes a frantic grab for Sampo's wrist, the air twists, he comes back empty-handed. "They have you. And you're the Iron Wall of Belobog. So it'll be ok."

Gepard finally manages to find his grip, snatches the front of Sampo's dark wet jacket and yanks him forward to hold onto him, and this close up, he can see it better, his colors are bleaching out, leaking outside the lines as if Sampo will become part of the background, as if he's fading into the strange fog that's been closing in on them. His fingers are already starting to feel empty again.

"Wake up."

Gepard jolts awake, uncurls his hands from where they're fisted in the blanket, scrubs the dampness off his face. Breathes. Breathes. Breathes. Today is supposed to be the day.

He throws on his civilian clothes, and he goes down to the shipyard the IPC had built. He finds a spot where he can see every person that returns to Belobog, and he waits.

And he waits and he waits and he waits.

No one he recognizes appears.

[thechaotichorselord]

WIP that i hope to finish

i just wanna post what i got so far because i’m proud of it :3

song is QUEEN- english cover by trickle

Black belongs to @blackkatdraws

[bibiana112]

I don't think the bad response to vengeance saga is due to it being too video game anime coded I think Jorge had to falter somewhere in this project and this ended up being it, it's not a terrible big mistake either and is still awesome to see a guy in his position who's not exactly a first timer but that has used his storytelling media in a way that's all around innovative and experimental still have nearly flawless execution of every album so far

Ideally to me, Hermes would tell Odysseus to not open this bag too soon he'd make sure the audience knows in his song that aeolous put the storm in there again but that the other gods blessed it in some way too, a passing mention of them too wanting to get at poseidon that this is the will of the gods now for Odysseus to return home, in a way that wouldn't change anything about the intensity and emotional catharsis of 600 strike cause then in the last animatic of the stream you could only convey that visually

Absolutely no hate to the 3D animator that was called in but even if it was the most professional made flawless renders and animation I've ever seen it would still break immersion too much by staying in that general style in my opinion, and doing that alongside asking us to believe poseidon was taken down by a mortal on a jet pack with no molly or outside help beyond the wind yeeting him up was just asking too much of our suspension of disbelief to go alongside that level of immersion break

[cent-scratchnsniff]

here together

[kindred-spirit-93]

ulysses dies at dawn

good god this was quite the ride. thoughts!!

i walked in knowing nothing except its cyberpunk setting and gfdsdfgfdasdfsdf mind successfully blown

i love the narration so much. idk its refreshing to me at least in music. very creative and effective way to present info. big fan :D

i am very musically illiterate lol so apologies in advance, but the genre at first listen to me instantly made me think of bluegrass.

listen theres a violin and a banjo esque intrument (sounds like a shamisen to me lol) its close enough

anyway absolutely brilliant music, i like the juxtaposition of a futuristic premise & a somewhat older more grounded music style (i want to say country but i also dont want to be hunted down lol)

favourite songs are broken hahse horse and sunrise lol

my jaw dropped when the horse was scanned for everyhting including hidden soldiers (i wont spoil too much pls go listen) but there was a thing and it made everyone do things and *combusts*

interesting choice of characters! heracles orpheus ariadne and oedipus. i need art of them in 3 piece pinstripe suits nowwwww

took me a minute to get the mf joke lmao. nearly choked

orpheus my poor boi omg all he wants is his girl back :')

fuck u theseus. i feel bad for ariadne honestly. i wonder if in another reality she and dio also had something?

hades! being the villain isnt my favourite thing bc im biased as hell, but i do love the idea of him orchestrating shit for his amusement

the worldbuilding itself is amazing btw, the concept of acheron is quite fascinating and very sinister.

zeus is the worst omg eugh. the olympians are a mafia family lol

i love calypso having a bar idk why its such a funny concept to me. in my mind she and antinous own the place lol (epic crackship crossover no one can stop meeeee)

penelope my beloved. the end hit me like a truck. it was pretty fast like i barely had time to register the events as the story progressed (also i was studying so half my brain was elsewhere lol)

sunrise is the best song ever my ears have been blessed. the melody is ethereal i can literally hear the leaves rustling and feel the faint sunlight

according to the wiki the tree is an oak and ngl idve preferred olive but ig u cant have everything in life lol

the imagery is on another level. i never wished i could draw & animate so much in my life. i want to draw ulysses' last moments, crawling to the roots of the tree under which her remains rest

united once more in death as they were in life :')))))))

trying really hard to stay sane u guys and its getting harder augh

[loverboybrightsideghost]

“you finally got adopted” really got to me because how long do you think eugene and lance hoped and hoped and hoped that they would get adopted, but they never did. and then they gave up and ran away. but he finally got adopted 🥺

[waywardstation]

the moment he remembered Emmet...

Out of all the moments to remembers... it's now...

Mishearing Ember for Emmet, subconciously reaching out to someone who isn't there. The fog surrounding his memories is lifting, returning to their original station.

I'm sure he's at the point where he's not fully there anymore. At this moment he's probably back in Unova waiting for Emmet, ready to finish off the day at the Battle Subway.

It has been a long day and he is eager to get some rest to sleep. Today he's extra tired from work. He's sure that Emmet is as well. He's so tired and he wants to rest. "Sleep" tugging at him.

The level of pain has been through the roof with this! But it is comforting that the next time he comes to be and is more clear there IS gonna be Emmet at his side along with Akari most mayhaps!

Gosh I already know this fic is gonna rip me to shreds but I'm gonna be all there for that!

And the WIPs and the way you're writing is definitely making this a ride I wanna be in until the end!

In regards to this IWLYB WIP I posted

Correct, Ingo is losing himself at the end here, probably not sure of what he is and isn’t supposed to be seeing or hearing anymore, and not being well enough to realize he should care that’s even happening. The brain is just going through everything it still has.

But man the way you phrase it, to him he is just waiting for Emmet after a long day of work and being tired and just wanting to sleep. Ohhh ow ow <;( OWW AUGH

But you are also correct in that his next lucid moment will be waking up to see Emmet and Akari. He’s got it easy past this point, just lose consciousness and wake up at the good part. Akari’s the one that’s left alone with all the hard work to get him to that point!

I’m so glad you’re looking forward to the fic and you’re enjoying the WIPs!! Thank you so much!!

[jackass-jones]

Come back home when you have some sense

You can throw your life away just not at my expense

You’re not the son I raised

[rainbowpufflez]

“If I could go back, one thing I would do / Try to unravel, cut down, and unscrew / The first double helix that links me to you”

Wow, get a load of these guys. What’s wrong with them?

Also song inspo if anyone would like it! It’s where the top quote is from!

[faunandfloraas]

Sometimes I remember lee know saying he wants to do a song with Seungmin and I.N bc he'd like to be a part of vocalracha and then I remember that was well over a year ago and there's still nothing.... </3

[littlehatmouse]

lots of doodles because i forget to post art here most of the time

[swan2swan]

Thinking about Wish again (listened to the song) and how insanely neutered the film was.

Remember when killing off Elsa's parents was a huge emotional impact? Remember when Eugene got stabbed? When Wreck-It-Ralph had...take your pick?

What happened to that?

Disney had their gumption back for a minute. Then they--wait, never mind, I figured it out, it's YOU AGAIN.

Right there.

Or a few minutes earlier, rather. When Elsa saves the empty castle and city from being destroyed by the terrible wave created from the destruction of her family's evil legacy. That was it. That, right there.

The sanitization. The reluctance to do anything huge. The moment whatever focus group, whatever executive, looked at the screeing and said "No, take out the destroyed buildings, we can't have a downer ending in this film! The kids will be sad at the sight of buildings falling!", and from that moment on, it was nothing but trash.

[jackalopedaily]

Jackalope Daily Day 349

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