modern au but is it really?
chuuya has recently moved to the countryside from the busy city, for the change of scenery but also because it's closer to the hospital that is looking after his twin brother. verlaine and rimbaud think it's a good idea, for a change of pace.
anyways chuuya goes through the notions of being the new kid from the city now in the quiet countryside with their dirt roads, hokura(small shrines found on the country roadsides), and rice fields, as well as neighbors a good walk away from his new home.
he adjusts well, surprisingly. his friends at school who claim themselves to be called the flags, his neighbor who frequently visits who he found calling her ane-san.
and since moving, he was able to visit his brother in the hospital more often, whose health has been progressing slowly but positively. baki's now able to walk with a cane, an upgrade from his wheelchair!
but he could tell that something was... different about this side of the country. he couldn't figure out what the feeling was. and when asking ane-san and the flags, they all deduce that he was simply getting used to the airy atmosphere the spirits brought, as if welcoming them.
that same night, he could hair faint whistling amongst the gentle breeze and rustling treetops.
—————
it was any other day where chuuya found himself laying amongst the grass, enjoying the sun on his skin. then just a moment later, he hears a skitter. but when he looked over, there was nothing. thinking nothing of it, he resumed minding his own business. this happens for the next few minutes before chuuya just got tired and snapped his head over. only to see a white fox from the nose to tailtip.
with his phone in their jaws.
needless to say, chuuya gave chase after the animal who raced off, letting out loud squeals that sound as if it were laughing. but in this current scenario, chuuya felt-- no, knew-- it was mocking him. they ran all over the place; his open front yard, down through the streets (it didn't help that he people were out and about harvesting their fields, they have a front row seat to the spectacle happening before them. the flags, definitely), and through the forest brush.
after chasing the white speck of squealing fur for what felt like a lifetime, chuuya finally first through the forest and... into a small clearing. it physically made him stop to take in the sudden change of scenery, as one second ago it was purely forest. and now... there's a path that he could tell has been overun by the grass. he could barely see the stone slates that help make the path. at the edges of the clearing, small but prominent stones with shimenawa encircled the clearing.
and just ahead of him, a rundown and unattended hokura, a small stone statue in the form of a fox with five tails. five? suddenly, he hears a mischievous snicker behind him, and he whips around, remembering what brought him on this wild goosechase.
only to be met twin white fox ears poking out the top of curly brown hair, a glint in heather brown eyes accompanied by a mischievous smirk, and five white tails behind them and their blue kimono.
oh, and his phone in their mouth.
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no you dont get it you dont UNDERSTAND this scene at the end of wall-e is so aburpt and emotional. especially in the context. the whole movie it's all been up in the character's faces, filling the frame. but the camera steps back and you see how small they are. so insignificant. massive towering monoliths all around them but at the end of it all.. they're just robots.. two tiny little robots. they're in the shadow and wall-e is *gone*. The bright spark of life has quietly been whispered away. that spark, so small, so bright. the framing gives you the eerie sense of emptiness [emphasised by the previour shot - showing wall-e's lifeless eyes.
there's no emotion there. it's empty. he's gone. not just gone, but the lights aren't on. sure you rebuilt the house but you look inside and nobody's there. the echo of your love doesn't return. it's hollow. it's so sad. i could cry about this for years and years and years. so much is being told. EVE was lifting his eyes and they dropped back down in the most robotic way possible. no swagger or humanity or personality. just back to inhuman efficency. compared to the swift, sweeping, emotive movement throughout the movie - this feels not just bad, but wrong. there's only about 2:30 from wall-e "reanimating" until he comes back completely. but that 2 and a half minutes. its some of the most heart-tugging animated movie i've ever seen.
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Idk why I took so long but I just watched Jonathan Glazers full speech and the man literally says "victims of October 7th" and "refutes his jewishness . . . Being hijacked" like did zionist twitter make someone up to be mad at. His speech was middle ground all around sympathies. Was it a crime that he said what's happening in Gaza is a result of dehumanization? Whoops i guess they don't want to start to think of the people of gaza as worthy of life as any other person but I digress
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