#kinda wish i had recorded this

[efingcod]

Stealth

[starheirxero]

A redraw of this post I made a couple months after Bloodmoon had first died lol

Fun fact!! The flowers shown here—Lycoris Radiata, Higabana, Hurricane Lily, Spider Lily, etc etc—are associated with death, grief, painful memories, and sometimes reincarnation! They're my favorites <3

[coconut530]

panel that hurt me so much I redrew it ✨

[crescentfool]

does anyone else want to stick these two in the same room together or is that just me... i simply think they are adjacent in vibes... (+a bonus thing???)

get u a fictional guy that makes you feel like this... seeing these guys just evoke a Similar Kind of Brain Chemical and Response. Help Me.

also have bonus yosuke doodle featuring the same brushes used here...! from january 23rd, lol.

[terresdebrume]

Since we're on the topic of abuse and hitting kids

This is not a fact I'm proud of, but I've spanked/slapped three kids in my life, and one of the important lessons I got from that is that if you are a kid and an adult hits you, it isn't your fault because it isn't about you

I mean, the adult in question can convince themselves it is, and will often tell you that it is, but it isn't. None of those three times were really about what the kid had done or said, none.

So idk if this will be helpful to anybody but I promise, I genuinely promise, it is absolutely never, ever your fault. Never.

[kousuisetsu]

Final Fantasy Type-0 scenery:

➟ Kingdom of Concordia

[iknowwhereyousleepatnight]

should i sleep for a hundred million years or purposefully stop sleeping just to see what happens

[zenosanalytic]

I just watched Amadeus(1984) on Netflix(SPOILERS: It's Wonderful), and I seem to recall hearing over the years ppl talk about the character Salieri(entirely ahistorical by the way, but the setting is simply that: A frame for telling a Good Story, which it does beautifully) as a man poisoned by envy, but my immediate reaction was that it's a movie about a man poisoned by pride.

His father accurately describes to him how Salieri's idol, Mozart, is abused by His father as "a trained monkey" to enrich and enfame HIMSELF, and hears only a denial of his own dreams for a career in music.

His father dies at a family meal, and Salieri sees only God answering his prayers for that career by striking his father down to remove him as an obstacle and free up his fortune to pay for that career. He doesn't spend a single instant on what condition that might leave his relatives, dependent on him and his inheritance for survival, in.

He looks at HIS OWN lifetime of hardwork and study and discipline and monumental success and sees only God favoring HIM, Salieri, God's Special Little Boy. Not one single instant given to considering HE made that for himself; HE wanted it, HE achieved it, HE suffered through the toil and struggle to make it real. No, it's not enough to humbly recognize his own agency: He Must Be God's One and ONLY Instrument; God's Chosen Voice on Earth.

He goes to a concert of Mozart offered by his Patron, the Prince-Achbishop of Salzburg, finds hundreds of people there drawn to and moved by Mozart's music just as HE is, and expects himself, Magically, to pick the man out of the crowd! No consideration that he doesn't know him, that the crowds are massive and obscuring, that what he is asking of himself is godlike knowledge.

There, secretly and by accident, he witnesses a young couple in a moment of juvenile, playful, and occasionally vulgar intimacy, only for the young man involved to be revealed as Mozart himself when he hears his music playing without him and rushes off. Salieri recoils at this: How can MOZART not be what SALIERI expects?!?!?! He doesn't spend one single instant thinking about the fact that this is how the man acts IN PRIVATE, not in public; not one single instant on the possibility that someone so different from himself might have lived a VERY DIFFERENT LIFE than he did; not had an inherited fortune as he did; the freedom to CHOOSE his life as he did; the SATISFACTION in his Life of being allowed to succeed on his own term, as he did.

After the performance he reads Mozart's sheet music, immediately sees its genius and innovation and beauty, and just as immediately rejects it as a fluke because HOW could that "CREATURE"(again the arrogance; denying him even his humanity merely because he, Salieri, finds his manner On First Meeting and Under Secret Surveillance distasteful) create such music, so beautiful it borders on divine? Again: not one instant spared to how Mozart has been FORCED TO MAKE MUSIC SINCE HE WAS AN INFANT, that it has been conditioned into him like Breathing; not a Smidgen of the barest humility needed to recognize that WORK and MAN are TWO SEPARATE THINGS and that HIS Feelings about either are NOT their reality, but HIM.

Again and Again and Again the movie shows us this: shows us Salieri interpreting everyone around him through the lens of his own life and mind, casting himself as the Protagonist of the World and Only Person in his every interaction, CONVINCED that the only story, the only LIFE!, worth telling or knowing, or indeed capable of even happening, is his own. Not One Thought spared, Ever!, for the interiority, context, and motivation of others. To the point that he can only interpret Mozart's "talent"(Read: The hard-taught Product of his childhood of constant Abuse) as GOD Picking a FIGHT WITH HIM(I mean: The GALL of that. The Utter self-involvement to think THE AUTHOR AND PILOT OF THE UNIVERSE created a whole-ass-other-life just to mock you; that THE OMNIPOTENT WILL BEHIND ALL THINGS ~gave~ you a whole-ass life of success and fulfillment just so it could, halfway through, piss on your feet about it).

Indeed, to the point that he can't even understand HIMSELF anymore. There's a part in the movie where, interpreting the hurt a diva he likes collaborating with felt at learning Mozart was affianced as evidence that they'd had sex(Salieri himself is "celibate" as part of the "deal" he thinks he struck with god for his success[again-again: The Gall. As if God were some fishmonger in the market and his beautiful life were a fresh trout he bought]), he concocts a plan to cuckold Mozart by extorting sex from his wife in exchange for influencing the Emperor to give Mozart a royal position. But of course: Salieri is "celibate". He has NO IDEA AT ALL what to do with a person who wants to have sex with him. He LITERALLY PRAYS TO GOD for her not to show up he's so scared of the encounter and when she does, he's struck to silence; unable to say anything; unable to take the lead she, trembling, expects him to take because HE IS EXTORTING THIS FROM HER; HORRIFIED as she, embarrassed unsure and scared but ready to do this thing she obviously abhors out of love and necessity for their family, undresses for him there wanting to get the sordid ordeal done. The only act he can muster: having backed away from her nudity in terror as if from DRACULA HIMSELF and stumbled into his piano, he rings a bell for his porter to remove her(of course, he's embarrassed by what he walks into and runs away). She cries herself to sleep on her marriage-bed racked to her soul by what she almost did; by the humiliation his cruelty and cowardice and refusal to see other people as PEOPLE JUST LIKE HIM has made her live through. He is Publicly as Staunch and True an admirer and Friend to Mozart as he is Privately his ruin, and can never Once -- not for a SINGLE MOMENT -- see through his own ego enough to recognize the obsessive DESIRE and FASCINATION(yes I am choosing this word for its latin associations) for Mozart which drives him. He drives himself MAD hoping for revenge from a dead person, Mozart, who in life never saw him as anything less than a kind colleague and supportive friend, and never felt anything less than fondness and love for him. This really cannot be stressed enough: Salieri spent his life boiling himself in hatred for this man who never failed to seek him out for aid, advice, and comfort; who loved him as the kind father he never had.

I think this is a wonderful movie. There are so many stories here stacked atop each other, richly implied and infuriatingly DENIED us by its focus on Salieri, which is excellently diegetic of the film's themes and Salieri's all-consuming arrogance. The cast does an astounding job helping to create this effect: F Murray Abraham is, of course and as always, Magnetically Compelling and his voice the very DEFINITION of an Instrument. His subtleties and ENORMITIES of expression and intonation do so much to make this film, and he Understands and Conveys this pathetically self-absorbed man to Vile Perfection. Tom Hulce, too, really GETS what they're going for here with Mozart; Mozart as a man stunted by parental abuse, torn btwn love and appreciation for his art wrapped entirely in the person of that abusive parent, and a Desperate, natural desire for freedom and affection; and accomplishes it with equal perfection to Abraham under the far more difficult circumstances of IMPLYING that past and interiority instead of showing it and explaining it, though unfortunately his performance hasn't gotten the attention I think it deserves, historically(looking at his wiki, he DID get a best actor nom for it, but all I ever hear or read anyone talk about this film is Abraham), and I can't think of any other movie roles of his after this one. Elizabeth Berridge as Constanze Mozart has an even MORE difficult task with an EVEN MORE Restricted part and handles it well, tho her delivery is a bit monotone(this is often a directoral issue, tho, and I dont know any behind the scenes stuff on this film). Jeffery Jones makes Emperor Joseph II a Marvelous Nonentity; an understated comedic performance of the pretentious pedestrianism of Bosses for the ages. I was VERY surprised to see Simon Callow in this movie, playing as he so often does a Theater Guy(in this instance: Emanuel Schikaneder) and it was a great "THAT Guy!!" character-actor-role, and a reminder that EVERYONE was Young and Beautiful Once.

Anyway: I thought this was a great film.

[radlegowaffle]

(not so) doodle page of a friends dnd character magdelene! character belongs to @pixellyix

[half-doomed]

The idkhow show was so much fun!! 😭

[wildflowercryptid]

to the person who took the time to go through defoko's crunchy voice files and make a vcv bank for them : i am getting down on one knee and kissing your hand oh so tenderly.

[tiffanylamps]

i wrote nearly a thousand words about why i didn't like barbie. but i cba to finish it. just know that it isn't a bad movie but it has numerous big issues that kind of pissed me off (especially regarding the disabled character) if you liked it, you liked it. i'm not gonna come on here and try to change anyone's mind. i could see what they were trying to do (and i did enjoy some of it ngl), but i feel like they just really missed the mark on a lot of the themes and sociopolitical conversation(s) they were trying to engage in. there was a lot of potential, but the execution wasn't my cup of tea

the memes are better than the movie unfortunately

[jonny-b-meowborn]

If I had the proper equipment for that I would 100% make a career out of sorting stuff on video. It's like one of my favorite activities ever but I rarely have the opportunity to do that. It's like a special treat for special occasions. I love doing it and if I could I'd milk that forever <- is currently sorting a whole jar of plastic gems for fun

[fentanyl-rabbits]

Chaos

[crescentfool]

i love ryomina

no but seriously. even when i’m thinking about other things that captivate my interest, i find myself coming back to them and feeling like i fell down three whole flights of staircases every time i do. they are one of my favorite pairs in media and are very special to me.

it’s the way that ryoji and minato’s lives are inevitably intertwined with each other due to the circumstances 10 years ago on the moonlight bridge. without no minato, there is no ryoji. minato as he is today is because of ryoji. they have irreparably affected each other’s lives that you cannot discuss one without bringing up the other one.

ryoji mochizuki, who is death, pharos, thanatos, nyx avatar, the man of many names and identities, is the perfect summation of p3′s messages and themes.

minato arisato, the wildcard and protagonist, who has boundless kindness in his actions despite the unfortunate cards handed to him.

the two of them complement each other and tell a beautiful story from start to finish.

minato’s personas capture this perfectly. he awakens to orpheus, who’s flames burns bright, is snuffed out by thanatos during the encounter against the arcana magician. a visual precursor of the idea that ryoji stole from the life that minato could have had.

it’s the way that over the course of the game as minato interacts with pharos, talking throughout the dark hour, forging a bond that cannot be broken, that allows ryoji to exist. minato humanizes death.

november. the bells toll, calling the appriser. and yet, it’s peaceful... quiet, and full of life. ryoji, who breaks free from death’s chains, refusing his role, is given the chance to live for a month. to make the most of the humanity that minato has given him over those ten years. and what a life he lived. ryoji’s life is a reflection of what minato’s life could have been like in another universe.

it is the way the two of them are reflections of each other. ryoji with his hair down is just like minato. they are both stubbornly committed to choosing to be kind, to love life, yet are chained down by the cards the narrative dealt them with. they finish each other’s sentences, knowing each other intimately in a way no one else does.

how is that, a boy who lived for only one month, profoundly changes the course of the narrative? he is simultaneously relevant and irrelevant. blink, and you miss it, the beautiful life that he led.

ryoji is horrified at the revelations of being the appriser. he who so desperately wished to forget that his existence was meant to bring the end to all life, was unable to escape the inevitability of death. in a non-human way, of course. he becomes remorseful. a shadow of his brief time as a human who was enamored by the small beautiful things that life had to offer.

he is swallowed by grief. grief knowing that his very existence will take away not only minato’s life, but everyone else’s. the very thing that ryoji loved- life, fundamentally went against the role he was born for- to be the harbinger of death. and unable to grapple with this sadness he believes that the best thing for minato to do is to kill him, so that SEES can live in bliss not knowing about their inevitable end.

SEES is left rattled, calling into question what the meaning of life is and what they do when faced against the inevitability of death.

and!!! minato chooses!! for ryoji to live!! even in spite of what ryoji is MEANT to embody, minato still stubbornly chooses to defy death itself! and if that’s not cool i don’t know what is!! minato wants everyone to have the chance to live!!

so he climbs. he ascends tartarus, to meet ryoji, again, who is now the nyx avatar. and i just think there’s something so so beautiful about being able to use messiah, minato’s ultimate persona, against nyx avatar.

messiah, being the fusion of orpheus and thanatos is peak ryomina to me. because ryoji and minato have established an unbreakable bond from having been entwined for 10 years, minato still has a piece of death with him, and by proxy!! ryoji is able to defy and rebel against nyx trying to bring the fall! and i think that’s fucking cool shit if you ask me!

even when all of the arcanas have been gone through, it’s still not enough to stop the fall. and yet. minato knows. in the way that ryoji was sealed in minato 10 years ago by aigis... minato becomes the great seal so that everyone can live. it comes full circle.

march rolls around. he fulfills his promise to SEES on graduation day. minato dies from exhaustion. but goddamn does his sacrifice make me weep- he’s had such, such a tiring journey. he’s been through so many things because he was at the wrong place at the wrong time. but at the end of it all, he’s reunited with ryoji in death.

and i think this is why ryomina continues to evoke so much emotions for me, to this day. the relationship that they have embodies so much of persona 3′s messages and themes that it makes me feel like a microwave with nothing running in it.

p3′s message is very hopeful, for me. my favorite takeaway from it is that even if death is inevitable, appreciating the life that we were given and choosing to live as best as we can with kindness (even if we can’t feasibly do everything), is just? really nice? and you see this manifest in both ryoji and minato’s personalities and what they do for the other characters.

ryomina just feels so distinct to me, the flavor that their relationship ties back to my favorite takeaways from this game and im just!!  god!! i love you minato arisato! i love you ryoji mochizuki! im so glad that i could meet them! i’m happy that they changed my life! they made me want to appreciate the connections in life even if they were fleeting! they made me!! want to pay attention to the good moments in life and cherish them!

i love ryomina so much!!! i’m so glad that these two could bring so much joy into my life! and i hope that others can have this joy too! 💛💙

[autumn-opossum]

I’m making a playlist for spot :)