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#canto ii
reis-miscellany · 4 months
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This is how my brain processed the scene for some reason.
Virgil: You got sum b*tches worried sick for you in Heaven. Get it together, man.
Or he's just jealous.
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apeshit · 1 year
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this shit is so crazu
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spectralmoon · 6 months
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He is everything to me....
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ashevi666 · 5 months
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anyway more humanhead dante from limbus company!!!
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yagi-arts · 9 months
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[intervallo II spoilers]
Hast seen the white whale?
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melonisopod · 1 year
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Broke: Rodion never cared about helping her neighbors and just wanted to be special.
Woke: Rodion did the right thing by killing the pawnbroker but was doomed to fail because the system was too strong.
Wired: Rodion’s arrogance was not in her approach but in her individualism. While her heart was in the right place and she genuinely wanted to keep her neighborhood from starving to death, she believed she could save everyone single-handedly instead of building a united front to empower others to fight against systems of oppression. Both she and Sonya tried to change a broken system on their own and they were both doomed to fail because of it.
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andr0nap · 10 months
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my little pogchamp!!!! if you dont clap and cheer for him i will blow up this entire building
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outism-had-a-purpose · 7 months
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If Ishmael gets to kill the 'bastard' in her canto and finally gets the catharsis she needs, wouldn't it be kinda symbolic if she cuts off her hair to symbolize her letting go of the weight of avenging/looking for her crew.
Honestly I'm just writing this because I want to see Ryoshu pulling out her odachi and going "BBG, IGY" when Ishmael throws the idea of cutting her hair around after canto v
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GUYS HELP I'M PLAYING CANTO 2 OF LIMBUS COMPANY WHAT THE HELL DOES THIS MEAN
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oddnub-eye · 1 year
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Canto II really intruiges me from an adaptation/inspiration standpoint because it did something really noticeable in a way I didn't really notice the other Cantos do.
And that's applying character traits heavily associated with one character to a different character with an equally clear explanation.
Gregor and Hermann keep the antagonistic relationship between Gregor and his family (remains to be seen if Gregor and Hermann are blood relations, a literal family like the novel or in a more metaphorical sense)
Sinclair, Kromer, and Demian are still largely in their "focus", "tormenter", and "savior" roles respectively, just expanded upon and dramaticized to fit the setting.
But then you get to Rodya and Sonya/Rodion and Sofya and it's like they did a freaky Friday "personality flaw swap" in addition to both being genderswaps of their namesake.
From what I know of crime and punishment, Rodion was the one who repeatedly attempted to use high-minded theory and big words to justify their actions, justifying the murder under the logic of "Now I can go achieve great things, so it's a worthy sacrifice", whole Sofya was the grounded confidant who eventually followed Rodion into his punishment to stick with him out of devotion.
Very interested to see where Project Moon takes Rodya and Sonya from here, because, as of right now, they're really conspicuous in this shuffling of "role", in a way Gregor and Sinclair really weren't.
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rain-candy-u · 6 days
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crazy how Limbus Company Heathcliff is more tolerable than the Heathcliff from the OG book and he's still annoying as fuck
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opera-ghosts · 6 months
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OTD in Music History: Composer and conductor Johann Strauss II (1825 – 1899) is born in Vienna. Over the span of a long lifetime spent largely before the public, Strauss II – who led his own private dance orchestras and was also one of the most famous conductors of his day – composed over 500 original waltzes, polkas, and quadrilles, as well as several operettas (most notably “Die Fledermaus” in 1874) and a ballet. Strauss II was known as "The Waltz King", and he was largely responsible for establishing the primacy of the waltz as the predominant popular dance form across Europe in the 19th Century. Some of Strauss II’s most famous works in that vein include "The Blue Danube" (1866), "Tales from the Vienna Woods" (1868), and "Frühlingsstimmen" (“Spring’s Voice”) (1882), and the "Kaiser-Walzer" (“Emperor Waltz”) (1889). Even though he almost exclusively wrote “light” music, Strauss II was widely admired by other prominent composers. Richard Wagner (1813 – 1883) once admitted that he liked the waltz "Wein, Weib und Gesang" (“Wine, Women and Song”), and, in the course of composing his famous waltz series from his opera “Rosenkavalier” (1911), Richard Strauss (1864 - 1949) – unrelated – remarked: "How could I forget the laughing genius of Vienna?" The most touching anecdote in this regard comes down to us thanks to Johannes Brahms (1833 – 1897), however, who was a close personal friend of Strauss II. Strauss II’s, wife, Adele, once allegedly approached Brahms with a customary request that he autograph her fan. The usual practice at that time was for a composer to inscribe a few measures of his best-known music, and then sign his name. Brahms, however, inscribed a few measures from the "Blue Danube," and then wrote beneath it, "Unfortunately NOT by Johannes Brahms." PICTURED: A c. 1900 real photo postcard, showing the middle-aged Strauss II at the height of his powers c. the 1870s.
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apeshit · 1 year
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i just saw a sigilyph pokemon card that made tears well up in my eyes. it looked so joyous
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anri-ideas · 7 months
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I started playing Limbus Company, any tips for new players?
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fumrell · 2 months
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I should play Canto III.
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melonisopod · 7 months
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youtube
Not even a minute into this video and I'm clapping and cheering and crying and puking and shitting oh my god YES THANK YOU
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