Near + My Favorite Lines
Beyond Birthday from Another Note.
I kinda lost touch with the Death Note fandom - does anyone remember dear old B? Does the Death Note fandom even have an online presence any more?
Anyway. B. Henh henh henh.
ok so i was re-reading some death note chapters and came across this cap
so below here, you can see where mello and near are both positioned
but if you look closer you can literally see that mello is noogying the shit out of one of his fellow orphans
Light and L talking to each other in different languages in front of the task force is my favourite thing because it’s a chance for them to be inconsiderate jerks AND show off how fucking smart they are
and also because I think they’d choose really unconventional forms of communication sometimes
- L signing ‘you asshole' in ASL to Light across the room and Matsuda thinking he's making the 'a-ok' hand gesture
- Light tapping out in morse code that L is full of shit on the intercom and everyone thinks his computer is glitching
- L hiring a sky-writer to leave a plume of white smoke saying ‘Light gives inadequate handjobs” in wingdings font over the Yagami household
I wanted to draw something for dear Near by August 24th but a lot of stuff happened so here it is late….. and not too inspired. Mostly reworking him with newfound knowledge and things I’ve always wanted to see.
I’ve seen this character is drawn in so many different ways over the years but I think in the end my favorite way of seeing was as portrayed in Balgus Rec’s ‘Angelic Reed’. Someone who knows there’s something different going on with him, who has difficulty communicating but finds solace and fulfillment in piecing things together (either literally or through mysteries). Unfortunately, none of these drawings do a lot to show that. ^^;
Emotional Q’s ‘Gentei Kaijo’ is good too btw.
I cannot stop drawing this fucker’s hair
and also here in the bottom left corner is my shitty No Kira College AU!Near. He wear’s glasses that’s pretty much the only difference
(read: acting like actual human beings instead of flesh supercomputers)
There’s something about being different from everyone else — either by being the rookie cop or the girl idol — that affects group dynamics. People are hierarchical social animals, we’re hardwired to adjust to situations with others by behaving in a way that doesn’t disrupt the pecking order. Misa and Matsuda acted in the ways they were expected to, “stupidly”, because in the Death Note pecking order, they weren’t supposed to be anything but.
We’ve all been in situations where we’ve had to take on a submissive role in a group, like class clowns or village idiots or housewives. You act a certain way in that confine, sometimes even saying things you know are wrong or excessive or unwanted. It’s how the demure survive the dominant, by perpetuating an image of being unaware and lesser. Learned helplessness can benefit those who know how to use it.
Misa and Matsuda certainly aren’t idiots or useless to society at large. Misa is a financially successful individual with fans and exceptional social skills, notably her tact. Matsuda is a Japanese police officer. That’s incredibly hard to achieve. There’s police academy, then exams on exams on exams, and finally an exam for your prefecture. Add in the fact that Matsuda is a police officer in Tokyo, the most populated city in the world, and there was bound to be stiff competition and rigorous expectations for his job.
Put Misa or Matsuda in their respective fields of idol performance and actually realistic crime-solving, and you’d see them shine as people persons, intuitive to what others need and what needs to be done.
But here’s what really kills me.
When they try to break out of their expected character molds, such as Matsuda’s attempt to be useful by infiltrating Yotsuba and Misa’s deception of Higuchi, they are punished or played down. Attempts to have control over their narratives within the groups are met with “Matsuda you idiot!”s and barely there recognition of Misa’s breakthrough role in the case.
As archetypes from detective fiction, Matsuda the hot-headed Rookie Cop and Misa the devout Lover-in-Crime aren’t allowed to be smart. They can “win”, but only if they play along. Matsuda can only defeat Kira with his gun, not his brain, and Misa wins by choosing to die, following Light even in death.
In the extraordinary circumstances of Death Note, there is an authorial agenda at work. Our interpretations needn’t be bogged down by it. Being thoughtful and critical of who Misa and Matsuda are and broadening fandom portrayals of them (and everyone really, look close and hard), would do these two more justice than the series did.