#whoopsy doo

[scoobypineapple]

Omg you should see your face rn LMAO

[godspeedmajortom]

I’m fascinated by how variations of Sea Power's “Want to Be Free (Remix)” provide a musical theme for death and endings that follows Harry and his foils throughout Disco Elysium.

The first place you hear it is as “The Field Autopsy” while inspecting the Hanged Man’s body. It's barely recognizable as the original song, though. It's sluggish and muddy and bilious. The piano melody has been lowered and sustained to an ominous funereal organ and combined with deep strings. A lilting viola line in the lush layers of the original "Want to Be Free" is isolated here and contrasts with the low organ, rising like the stench off a corpse. If you do the autopsy first thing as Kim suggests, Harry – freshly, grotesquely awakened from his apocalyptic bender – is not in a much better state than a corpse himself.

The music underscores a visceral scene of death and decay, our introduction to the Hanged Man, the first of Harry's foils. Both Harry and Lely are agents of state-sponsored violence as a cop and mercenary, respectively. They bear similar physical scars from the neglect of the systems they grew up in. They both desperately want to escape the horrorshow of their lives, using drugs and dark fantasies to cope with the terrible things they see and do but finding little more than self-destruction in the nihilism. The Bloated Corpse of a Drunk taking the Hanged Man's place in Harry's first night dream makes their connection explicit: you should be dead, Harry. This may as well have been you.

The next place you hear a variant of "Want to Be Free" is in the washerwoman's shack in the fishing village. “Live With Me” is wistful and melancholic. The gentle piano and cooing vocals evoke the wind and waves on the bay, an escape calling outside the salt-rimed shack. But this is a place of death, or at least its potential, as the return of the high viola from "The Field Autopsy" reminds us. This is where Ruby hid when Harry's arrival made her fear for her life, where she contemplated killing herself if things got even worse. This is where Harry can end up if no one vouches for him at the RCM tribunal finale, where his wounds will grow infected without medical care, where there is little left to do but return to drinking and wait to die.

But true to the song title, the shack also offers Harry the possibility of learning to with himself as he emerges from his bender. Here is a mirror free from the damage and trauma of attempting to destroy himself where he can reflect on who he was and who he wants to become. He can choose to keep or let go of his past coping/defense mechanisms like his facial hair and The Expression. He can choose to embrace or reject the self-defeating fantasy of fascism. The shack marks a midpoint of the game, when the hangover has worn off but before the case is closed. So "Live With Me" scores the balance between potential endings: abandonment or acceptance, relapse or recovery, death or life. Harry breathes in the sea air, breathes it back out, and takes another step.

I didn’t realize this until a recent replay, but “Live With Me” also plays when you visit the Working Class Woman to notify her of her husband’s death. Since this is an optional sidequest, I understand why they didn't create original music for it. But they didn't reuse "Rue de Saint-Gislaine", the song for the rest of the Capeside Apartments (including the Smoker on the Balcony's apartment when you talk to the Sunday Friend). The Working Class Husband is another mirror for Harry who has met his end, and "Live With Me" plays to mourn him.

Victor Méjean died from an accident while inebriated, a fate that also could have befallen Harry on a previous drinking binge. The striking thing about Victor's death is how easily he could have been overlooked and forgotten. He died at the end of a pier in a fenced off, abandoned part of town. His wife wasn't concerned about his days-long absence. It's only by virtue of Can Opening and Jamrock Shuffling that Harry will know about or find him. Victor literally and figuratively died slipping through the cracks – of the rotted boardwalk, yes, but also of any sort of social safety net. This is what happens to alcoholics in Revachol. This is what will happen to Harry if he continues drinking and hasn't built his own personal safety net with Kim or Cuno to prevent the RCM from abandoning him. As Harry informs Billie of her husband's death, it's only natural for him to think of his own possible endings, and the soundtrack reflects that.

The final version of the song you hear is “Burn, Baby, Burn” blasting from Sad FM on the boat ride to the Sea Fortress to find the Hanged Man's killer and Harry's last dark reflection: Dros, The Deserter. Dros shares Harry's penchant for clinging to political ideology to give meaning to his life and obsessing over women he can't be with. He lives in bitter isolation, refusing to move beyond the failures of the past, his personal shortcomings and the evils of the world alike. He's emblematic of yet another possible outcome for Harry: not literal death, but despair-induced stagnation that leaves one living like a ghost in the mortal realm.

By the time Harry gets in the boat to the island, his fate at the end of the game is set. The RCM (specifically Jean) has all they need to decide whether to accept or abandon their prodigal lieutenant-yefreitor. Should his former partners leave him, Harry can return to the shack and the circle of drunks who have also given up on life. Or he can return to the island, where he would take Dros' place as the creepy old man haunting the fortress, scaring children, and staring at the mainland with longing and resentment. But even if Harry returns with his unit to Jamrock, simply resuming his old life will not keep him from returning to the depths of despair. The RCM broke him; the RCM will not save him. Neither outcome helps Harry become a person he truly wants to live with.

"Want to be free/It will last forever/Eternally," croons the boombox on the boat. The lyrics echo the self destruction that Harry sought before the game's events: freedom forever from pain, the ultimate release of death. At least that's what the Ancient Reptilian Brain would see in those words. But there's tension in the lyrics as the desire for freedom and exhortations to "burn, baby, burn" repeat. The bridge offers an alternative vision of verdure not consumed by the disco inferno: "And the trees are green and overhanging/Feather-light, free, and everlasting." Perhaps a less moribund future exists for Harry, even if only in the next world, as a new person.

[victusinveritas]

From 2022: Frenchman, 88, sparks hospital evacuation in France after arriving with 8inch WWI artillery shell stuck in his rectum.

Look, it was icy and he slipped.

[rubiatinctorum]

2024 BOG WRAPPED

You almost walked into the bog ONE time this year! This is a 100% increase from last year

You almost walked into a bog the most at: botanical garden

Your favourite way to almost walk into a bog this year was: didn't notice the end of the boardwalk

Tune in next year for your 2025 Bog Wrapped!

[duelbraids]

IN TODAY'S ISSUE OF SPLATSVILLE DAILY: Inkopolis based duo 8ANN3D CAMP brings their cutting wit, power chords, and shimmery beats to Splatsville. Exclusive photos, set list, and a review of the show on page 12!

[remarcely]

I didn't like Sylvie in S1, mostly because of the whole sylki thing, but S2 has made me her number 1 defender.

It blows my mind that people watched the show and went away with 'wow, Sylvie's a bitch' because it just reeks of misogyny and not having the capacity to understand a complex character.

Sylvie, since the age of 10-ish, has been fleeing a constant threat to her existence and grew up in apocalypses. She couldn't have anything permanent other than herself because she has to keep moving and anything she leaves behind is destroyed. No friends, no family, and no universe of her own.

Then she gets put in a room with the one guy who ruined her entire life and countless others, of course she's going to be determined to kill him. She started as a scared child, it makes sense that she became and angry adult. Nothing, not even Loki begging her, could stop He Who Remain(ed)s death.

And lets be honest he deserved it.

Then in the finale, she watches a variant of herself and a friend she faced hell along side sentence himself to an eternity of sitting on a throne, holding the multiverse in place. Loki gave everyone a chance to live and, most importantly, a choice. To stay at the TVA or go home. Verity (Hunter B-15) and Frank (Casey) chose to stay, Mobius found it too difficult without Loki and left, and Sylvie's choice was obvious.

It's unfair to be angry at her for showing happiness in the finale. Time has clearly passed since Loki left, though we're not shown how much, of course she's managed to move on. I don't see anyone pissed off at B-15 for continuing with their life? What about Casey or Ouroboros?

Also, we saw Sylvie's face as Loki made his sacrifice.

Does she look happy to you?

That is a face of horror and distress as she watches yet another person in her life essentially give up his freedom while she survives.

Do you ever think about the survivors guilt Sylvie has? That in all of the apocalypses she hid in, she saw men, women, and children be killed knowing she technically could save them but it would make them a variant and doom them further. That she is the only one from her own universe that wasn't reset, making her the lone survivor of her world?

Even with the infinite possibility for the future multiverse, those worlds will have their own Sylvie. There's no place for her there, so she has to make her own somewhere else.

From the end of Season 1 to most of Season 2, Sylvie has been fighting for the chance to live a normal life. When she gets it, through such suffering and loss, is she really supposed to be miserable forever because one person is gone? She quite literally got the only thing she's ever wanted, that's got to give her a lot of relief.

Don't be the person to think 'this silly woman gets between my gay ship, brrrr rage what a bitch' or take her as one dimensional.

She's selfish because she's sacrificed everything she had, I think by now she's allowed to be. Sophia Di Martino did a wonderful job and deserves to have her character be enjoyed and understood, not labelled as annoying and 'the real villain'.

Some people only paid mind to the shipping when watching the show, ignoring the plot, and it really shows.

[earthspark-shockwaves-reduction]

every day I wake up with the knowledge that somewhere in the world some conservative is on the verge of bursting a blood vessel over a robot owl. what a world we live in

[blackholedjester]

SSaFS refs : YN!

hehe, finally revealing the acronym for this shizza >:3 Alongside that, we have the third of the main cast club! YN themself!

they get a bit more detail put into them cause they were,,, surprisingly easy to get done like holy shiz

{- Sun's -} |- Moon's -|

YN Will be Receiving Reference Sheet Updates as the Story Progresses!

[chibishortdeath]

R.I.P Simon Belmont, he woulda loved the 80s 😔

[zackprincebooks]

I made a mistake in setting up the queue to run from noon to five (my usual Friday work hours) instead of four to nine today (working an event) so please enjoy some oddly placed posts!

[ferpurple]

Sorry for not posting anything R&S related LIKE I PROMISED 2 TIMES ALREADY...my worst fear just happened...

I lost interest on Ren and Stimpy...it doesn't mean that I don't like it anymore, I just need a teeny tiny break from them, focus on my own things and such (besides..next week I start with my university classes so..myeah)

Don't worry tho, I'll still keep posting drawings I made or maybe translate some comics I've done over the years, but don't expect anything related to the funny dog and stupid cat for a while..sorry 😔😔😔

[marshiestars]

Sans: *talking to another sexyman* so yeah, if you’re ever in the area, the coffee shop by—

Marshie: WOULD

Sans: . . .

[holyguardian]

💋👀

💋 to abruptly kiss Aerith.

It was a quiet moment in Joshua's bedchambers where they had retreated for privacy. Nothing untoward, except for maybe the heavy, somber silence that blanketed over them. Ultima had raised Origin skywards and he awaited the arrival of Mythos.

The hideaway was torn between preparations and a looming dread. Naturally, in the face of what could be the final days, things were a lot more serious.

Aerith sat at the very edge of Joshua's bed, one hand crossed over the other in her lap. She should have been saying encouraging words. She should have been positive, or at least anything but her depressing quiet. But it was so difficult to find her words in the face of this darkness.

Joshua knelt down in front of her. He placed his hand atop hers and offered a smile — it was kind, gentle, but it too was edged with sadness. They were on the precipice of goodbye.

A long silence was shared. She tried not to be so sorrowful, tried to be strong. That meant having a difficult conversation. Something she was quite terrible at, when it came to real talk she could dance around the topic until the sun went down. This was hardly the time to be avoiding what had to be said.

Her head leaned to press into the palm of his hand as he cupped her face so affectionately. "I believe in you, I do." she spoke quietly. "I'm having a hard time letting you go, you see. I have a selfish wish to hold onto you tightly..." he might feel how her hands tensed, balled up into fists now. "I love you, Joshua."

It was an admission sealed by an abrupt kiss. Whether Joshua had had lost his own words, whether he needed a push, or whether this was simply the very last chance and he didn't want her to flood him with tears just yet, she didn't know. And it didn't matter.

Though the kiss was short, Joshua remained close enough for Aerith to chase another from him, her brow creased with heavy emotion as she slid from the bed into the small space in front of him gathered him into her arms. Lips parted a second time, she pressed their foreheads together, holding him close and dear. It was an embrace that had to end, she knew. But in that moment she simply held on, and they drowned together from the weight of what was to come.

[shiftywing]

y'all must've been overexaggerating about velma lowkey it's not even that bad

[disgruntleddemon]

As a side note, ik Spooky Doo isn't in any of the shows, just in a comic, but he's included in a family tree from a Scooby Doo encyclopedia i got, so i figured I'd go ahead and add him lol.

Also, Nasty Doo was confirmed to be made up by the antagonist in the episode he's from, which i think is a shame. Honestly was considering adding him regardless lol. Scooby having a random ass werewolf relative would be v cool

[grumpy-bat-central]

It's the scalp peeking out from under the hair, chill.

You don't actually put a realistic amount of hair on 3D characters, especially when they're stylized. That would be fucking stupid. Which is why usually you color the scalp to match the hair, but someone clearly forgor. It looks like they used particle hair and brushed it too flat so it intersects with the head rather than stay on top.

You can see that it's not a single hair because it peeks out in multiple spots that don't line up to form a single hair.

In one particular piece of official art for Super Mario Odyssey, Mario’s hair is rendered in great detail. Zooming in to the part above his ear, we can see what appears to be a single gray hair. This seems to be deliberate, as analysis of the image reveals that this is not a transparency issue, but that the hair is indeed colored a lighter color than the rest. Due the image being released in a lossless format by Nintendo, this also could not be a compression artifact.