Cradle ships aren't usually my thing, but the idea of Sun dating one of the regulars at the daycare might be winning me over for real. Usually the potential predatory aspect squicks me but there's no way Sun fun would even begin to process it that way he just really likes this funky lil guy that finger paints with him and eventually gives him a little smooch... my heart (no shade to cradle shippers who like predatory dynamics! <3)
Just a funky little guy and his ambiguous caretaker/lover.
Frodo: Sam hates Gollum, but that is what I shall become once I have lost myself to the ring... he’ll despise me...
Sam if Frodo did turn into a Gollum: That’s a very nice fish you caught with your bare hands, Mr. Frodo, and its very smart of you to eat it raw, saves us the trouble of starting a fire. I knitted you a sweater in case you get cold running around in that loincloth of yours. Is the sun hurting your eyes? I’ll kill it if it’s bothering you. I’ll kill the sun
This one goes out to all the slow burn enjoyers, the dense Y/Ns, and the soft robo jesters that suffer in silence!
Inspired by @bamsara's “Solar Lunacy” fic.
If you feel like reading my ramblings and want to experience more heartbreak for fictional jester blorbos, check under the cut where I detail all the planning behind the frames!
so i heard this song for the first time in a while and the opening lyrics immediately made me think of moon, so i was daydreaming some scenes and then i decided to thumbnail some ideas:
and it all went downhill from there as everything became a metaphor and a parallel to each other, which i will now go into detail on!
you thought the animatic itself was sad?
*writing muse laughs maniacally* IT'S ALL A METAPHOR
Frame 1. "turn down the lights"
We start with a back view on Moon. The lights are out, the Moon is out, but we do not see his face. The music and the greyscale atmosphere are enough to establish the weight of the moment and the weight on Moon’s mind.
Frame 2. "turn down the bed"
We cut to a shot of Moon's body, kneeling on the ground of the daycare, like a padded cell. Moon’s hands are twitching with the effects of the glitch, with purple sparks coming from his hands. We still do not see his face.
Frame 3. "turn down these voices inside my head"
Cut to an extreme close up on the dark half of Moon’s face. Now we see his face, but only a portion of it. His left eye is wide open, red and glitching out. The voices in his head can refer to the glitch but also his repressed feelings. Or maybe it could be Sun's voice in their shared headspace.
Frame 4. "lay down with me"
Y/N's hand enters the frame from the upper right corner, lowering down to meet Moon where he kneels on the ground. Only a corner of Moon's face appears on the bottom left corner of the frame, his starry nightcap beginning to cover his glitched left eye.
Frame 5. "tell me no lies"
An full shot of Moon on the floor and Y/N standing in front of him with their hand stretched towards him. A light spills out from behind Y/N, creating a boundary between them.
Now we see more of Moon. It is only when Y/N enters the frame—enters his world—that Moon’s body is shown in its entirely. When Y/N is here, he is no longer fragmented. He is whole.
Frame 6. "just hold me close"
pspspspsps
Playfully, Moon extends his own hand, beckoning Y/N to come closer, to join him. His right hand crossed over his body as he uses the playful gesture to hide his true feelings—to put distance between him and Y/N. His hat continues to cover his glitching left eye. He doesn’t want to worry Y/N.
Frame 7. "don't patronize"
In response, Y/N’s hand pats Moon on the head, returning his playfulness. Moon looks surprised by the action. Moon, notably, does not lower his hand—perhaps he has forgotten it or perhaps his invitation is still open.
Frames 8-9. "don't patronize me"
Moon rotates his faceplate so Y/N’s hand is touching the side of his faceplate, a more intimate gesture than a head pat. However, his hat is in the way. At this angle, his starry nightcap fully covers his glitchy eye and the dark side of his face, hiding his defect and acting as a veil between him and Y/N. A self-imposed boundary. So close, yet thinly separated. It's better this way. It's safer this way.
The lyrics are broken up by Y/N's arm, both to illustrate how the song is sung ("patronize" is drawn out and "me" is briefly added in before the chorus starts) but also to show how Y/N interrupts Moon's resolve, highlighting the irony between the visuals and the lyrics. Demanding not to be patronized, yet Moon happily accepts this play at intimacy. Don't patronize me, I am weak for it.
This is also the only instance where the red light of Moon's eyes glow and tint the surfaces around it. Visually, it makes it look like Moon is blushing (heavily inspired by @restinsodaroni's art). But also, in this moment of honesty, Moon's intrinsic light spills out, colouring the greyscale world. In this brief moment of honesty, Moon touches the world with his own colours, his own light.
(and this is also where i forgot to clean up the shading on Y/N's arm, but it's okay it doesn't need to be perfect it simply needs to be. And Moon will still love Y/N even if they are a continuity error.)
Frame 10. "'cause I can't make you love me if you don't"
A parallel to a frame 4, Y/N retrieves their hand away and immediately Moon is reduced to the corner of his faceplate in the frame. Only now his glitched eye is fully covered by his hat.
The lyrics here (and in the next frame) in particular grow lighter to emphasize Moon's diminishing resolve and agency.
From here on out, the lyrics here are broken up, carrying on this theme of fragmentation. Y/N is pulling away, Moon is breaking up, the words are breaking up. Everything is coming apart.
Frame 11. "you can't make your heart feel something it won't"
Y/N turns to leave. The lyrics, broken up as before, highlight the irony of the situation. Y/N, a human, can’t feel something they simply don’t feel. Whereas, Moon, the machine, feels something his code never intended him to feel.
Frame 12. "here in the dark in these final hours"
Another full shot that parallels frame 5, as Y/N steps towards the light and Moon leans forward into the space Y/N once occupied. Y/N is leaving—that which makes him whole is leaving. And he is only capable of making it to the boundary where the light cuts into the darkness. The "final hours" suggest it might be the end of Y/N’s shift, or perhaps this scene takes place right before the glitch takes over—the final hours that Y/N has with the true Moon. Either way, time is running out—and only Moon knows it.
There is a contrasting display of body language here. Moon is on the floor leaning towards Y/N with his hand still left out. Whereas Y/N is turned away, walking away, and has already slipped their hand away and into their pocket. Y/N is closed off while Moon is limply open. Y/N is actively moving while Moon is on the floor, waiting, hoping, for that which he lacks the agency to reach for himself.
Frame 13. "I will lay down my heart"
A close up on Moon’s hand, rising up again, perhaps to beckon Y/N back once more. This is a slight parallel to Y/N's hand reaching out to Moon. While Y/N can freely reach out and touch Moon, Moon cannot. He can't enter the light and more importantly he can't risk potentially harming his relationship with Y/N—be it through the glitch or by his feelings. He can only lay down his heart—put aside his feelings or hope that someone will pick up his pieces and make him whole.
Frame 14. "and I'll feel the power"
Still on a close up on Moon’s hand, now clenched in slightly. This initially was going to have the glitch effects. However, I felt it more meaningful for it to be left without. Leave it up for interpretation why Moon pauses his hand. What is the power that he alone feels and stays his hand?
Frame 15. "but you won't, no, you won't"
A parallel to frame 1, a view of on Moon's back with his hand stretched out towards the light, and Y/N walking into the light spilling through the open daycare door.
The placement of the lyrics suggest two different “you won’t”—Y/N who won’t realize Moon’s feelings, and Moon who won’t dare speak them into reality.
Another note on the parallel to frame 1, this time we also see Y/N's back, but it is notably different from our view of Moon's back. With Moon, we literally see inside him through the hole for his loop. However, Y/N is shrouded in shadow, just a solid, obscure silhouette against the bright light of a world Moon—and Sun for that matter—are closed off from. We don’t see into Y/N, just as the Daycare Attendant doesn't have any vantage point of Y/N's life beyond their time at the PizzaPlex. (The unfortunate reality of a being a character made for the purpose of being a vessel for the reader.)
Frame 16. "'cause I can't make you love me"
We finally cut to face Moon head-on, frozen in place with his hand stretched out, unable to cross the boundary into the light. His eyes have gone dark. Where we began by seeing bits and parts of Moon, and never seeing his full face—now we, the viewer, see the full Moon, open and vulnerable—unbeknownst to Y/N.
Frame 17. "if you don't"
But in the dark, behind closed doors, there is no one to perceive him—no one to receive him. The light dwindles as the daycare doors are closed. Moon stays frozen where he kneels. It is no longer the glitch that plagues him, but a far deeper dread.
But a lone streak of light peaks through the gap in the daycare doors. Perhaps that is just enough. A silver lining. A frail hope. A single, ethereal thread out of darkness and into light.
Thanks for reading and watching!
We'll be back to our regularly scheduled fun and games shortly!
Had a thought about the Reluctant War and made myself a bit sad and I have no idea if it'll make it into the story proper so I'm going to inflict it upon all you guys:
Dick Grayson on the streets of Gotham trying to do everything he can to help as everyone join the ghosts in fighting the GIW, suddenly has a version of the GAV barreling down towards him and for some reason he can't get out of the way in time.
He thinks he's about to join the army of the dead in a whole new way, when the tank fo a vehicle is suddenly sent flying as something massive charged it from the side. He hears a familiar bellowing and then realizes that it's Zitka, a ghost after passing away peacefully a few years before.
She wasn't apart of the army of the ghosts, wasn't brought in to fight. She's just been following her tiny human child around all these years and now that there's enough ecto in the air to do so, she's going to protect him with all her might.
Dick is emotional, so thankful to have his old friend back, but the city is still in a state of chaos. He gets onto Zitka's back and they get to work, running - flying - around helping to grab the injured and whisk them away to safety or take out other GAVs and the like.
It's absurd and freeing and wonderful all at once to be literally flying through the skies of Gotham on the ghost of his elephant best friend, and if Dick wasn't already on the side of King Phantom he is *now* and -
He gets shot off Zitka's back.
A GIW agent was aiming for the Ghost elephant but somehow *missed* and hit Dick instead. Not enough to injure him too badly, but enough to send him flying off Zitka's back and plummeting to the ground. His grapple is broken, and Zitka is diving for him but she's being shot at and she's not going to make it in time and -
A hand, reaching out to him in midair, familiar with its callouses and strong grip as he reaches out and grasps it, body suddenly swinging in a different direction and muscles acting on memory as he falls into the old, achingly familiar routine of his childhood. His mother, ethereal and bright as she smiles down at him, hanging upside down from a bar suspended from nothing but open sky as they swing and he is let go, flipping on instinct and caught by the steady strong hands of his father.
The Flying Graysons reunited in the skies above Gotham, Dick's ghostly parents determined to ensure their little bird never falls the way they did.
Consider this: What if the Wizard Kings got a second chance in life?
I like to think that Edward would later become a member of the Black Bulls. He vibes with them so much and is already ready to die for them. They really need a GILF grandpa figure. 👀
Lmao Frank would absolutely keep a list of everything they tried to do to fix this situation. He has his work cut out for him with poor wally as well. Does he know what happened to Sally?
Frank does know what happened to Sally! ofc he caught his first glimpse of her when he sorta woke up, then after he Actually woke up, Wally made sure to sit him down and be like "she will kill you if you go near her <3"
still, Frank didn't really believe Wally. so Wally showed him proof:
and Frank quickly changed his tune.
and honestly, it's more like Wally has his work cut out for him with Frank lmao. cause by the time Frank fully wakes, Wally's pretty much given up. and rightfully so, there's... not really anything he can do except protect his sleeping friends.
so Frank's initial attempts to make a plan kinda went like:
Wally is very earnest about saying "that's nice". it is nice. it's refreshing to have someone around that still believes something can be done, however futile that hope is. Frank will catch on eventually.