/vt/ - Virtual Youtubers

Incels are some of the most obnoxious people I've come across the internet, and I'm not talking about woman haters but the kind of retard who is extremely proud to identify himself as an incel

The only politics they identify with are neonazism and calling absolutely everyone a nigger or a tranny (including the whitest woman with an actual vagina), many of them are actual pedophiles who prey on little girls, and their literally retarded minds can't do nothing but complain about the most insignificant of things

They're basically a parody of everything wrong with /pol/. I hate incels so much it's unreal

>>20760432
Hey, thanks! Mostly for not calling me Mori but I'm glad you appreciate the analysis.
>you bet your ass I'm going to point and laugh at you
Hey man, go right ahead. Getting shit wrong is half the fun of this, and I only have about a 50% success rate judging from past lyric dives. Sometimes I hit the mark so hard she tells me that point-blank in chat, and sometimes, uh...
I actually really disliked End of a Life at first because I got retarded and thought the whole thing was seething about SR-chan, until Mori and /here/beats spelled out for my stupid ass how much of it was just about COVID and growing up. Just trying to return the favor.
>>20759623
>4. Graveyard Shift (feat. BOOGEY VOXX)
Yet another electro-swing J-rap bop about how much she loves murder, designed to lull the listener into thinking she's going to continue the same narrative from the previous song by fitting it almost perfectly. Like Q, it's a mostly story about kicking her guests' asses before joining forces with them at the very end. Like Dead On Arrival, it's about how the inevitability of death and how nobody can stop the villain she's portraying from murdering her own fans...but her new pals have other plans.
>「お迎え」は [Take me in?] No thank you
>生き返って [Come back to life, &] Let's go crazy
After Fra's rap (which is more aggressive than anything Mori's voice can put out) bragging about how they're too fly to die, Ci politely refuses to be her adversary or victim. But instead of fighting back, she just invites Your Boy to give up on her job of destroying this brand new species, and join them instead of beating them. To which Mori kind of agrees:
>Say 橿屍, Zombie, 死神, the party killers have arrived
>Can find us hanging by the mausoleum doors living our best lives
But gets all Tohsaka Rin about it and insists that she's EVENTUALLY going to get around to murdering them someday so they shouldn't get too close.
>Alright, it's fine, 'cause all in due time, this scythe's designed to reach your head
>For now, party down like 気楽に行こう 'til I bury you dead
Like any good tsundere, though, she's actually really torn up about the fact that she's betraying all her former ideals to become the very moeshit she swore to destroy:
>Cranking tunes in the night? Giving humans a fright?
>Am I losing it? Are un-alivers actually alright?
>No more "bones to pick" or skeletons in the closet
>Hunter hanging with the prey, you know she's finally lost it
And so the three of them vibe for the rest of the song while Mori gives the same excuse she's given to Kiara, Ollie, and Rushia in-character so many times:
>Well, I guess exceptions can be made
The joke here being that Mori isn't actually talking about undead, because she never actually hated spooky shit. What she did hate, was idolshit, moe streamers, GFE, extra-textual parasociality, weird vtubers - and that's the stuff that BOOGEY and Kusotori and Milky ACTUALLY changed her mind about. That's what Mori herself has suddenly become, it's what's cut her off from what she thought was her story, and it's what ultimately makes this Reaper's hiatus a permanent one.
>(Maybe)
But you can't have a tsun song without a dere song, so here:
>5. Lose-Lose Days
Pretty sure this is the easiest one for anons to follow, due to the slower pace, thinner backing, and musical/thematic similarities to regular idol songs, and I suspect that's why /morig/ likes it best. It also helps that it's trying to say the same thing in sugary song that she already said in yesterday's member stream, and in Journey Like a Thousand Years, and in her Christmas comic...
>man my genmates are so cute, they even helped out an edgelord like me, and not because I could do anything back for them! sure sucks how all this dumb shit like EN curse and COVID rules and my old habits keep knocking me down with all these little yabs. But since they'll always be here for me, I'll always be here for them, and that's amazing! Sugoi!
I'm not even gonna dive any further into this one because you dipshits got the point already. It's cute as hell. I love it. But if you look exclusively at it, you might miss the nuances of what she's struggling with, and then expect the entire album to be a continuation of the same shit you see here.

>>10678616
Fuck outta here, tourist. I did that last thread and got way too many (You)s for the most basic bitch reading of the lyrics.
Tonight we're doing musical analysis.

This song is Mori's first original to be in a major key - specifically B flat major, the relative key of the G minor she used in RIP and Cursed Night. To put it simply, the "palette" of notes she and Patterns are using for this song are a brighter, "happier" set than ever before. Most Hololive originals are in a major key, and sticking exclusively to minor was a major thing setting apart her works as edgier than the rest. This shift into major could represent Mori coming to terms with her life as an idol and saying goodbye to the grind, and making it a foil to RIP/CN could be a subtle hint that this song is a brighter outlook on the subjects from those songs. It could also be a coincidence, or a key she naturally prefers when she's not relying on heavy instrumentals, since it's the same set of notes she used for the ASMR acapella of Live Again, but then how do you explain why the first songs of her EPs share D minor while the last songs share A minor?
Most of the hook's melody revolves around Mori sliding between the second and third notes (C-D-C-D), almost never resolving down into the central first note like most of her other melodies do. This has two main effects: Focusing on the third note in any song highlights its major/minor status, in this case playing up the song's lightness/sentimentality. But it's also a much weaker finish than going back to the first note, as if Mori's doing a duet part and singing along with some missing first person. When she ends the song on that "C to D", it colors the word "over" with a feeling of lightness and uncertainty, so the listener can hear the "...?" inside her voice.
But this song has plenty of that first note, B flat - the piano plays it at the end of most phrases, and all over the verses. Combined with Mori's uncertain D above, the two resonate well despite not lining up - as if the closure the song needs is right there staring her in the face and she's trying as hard as she can to avoid it. Here's the handful times she DOESN'T dodge, actually lands on the note the piano keeps begging her to hit: (the actual B flats are in CAPS)
>Just what the hell was so FUNNY?
>is the me that I can never BEFRIEND. i LET it GO
>But was there ever a soul INSIDE?
>What is there to MISS?
>I'll keep WAITING
>*singing part after the hook*
>*humming part after the above*
Your Boy has taken the moments where her voice is the most aligned with the track, where she SHOULD be at her boldest lyrically, but most of these are popping up in the verse where she's only supposed to be rapping. And all of them are either a question or left without words entirely....except for this one:
>Is the me that I can never befriend. ...I let it go
>>10676724
So I think you have a point here. From the lyrics alone I didn't get the sense that the whole thing was all about her past self, but from the way the song itself is constructed (which we know was painstaking enough that she got a migraine and almost scrapped the whole thing), her alternate timeline self is getting a laser-focused spotlight usually reserved for lines like these:
>と言ったら、幸せ (Signing off)
>この絶望…
>I'd rather just...Fade away
>And smile while you do Love, the me that's killing you
It's the kind of shit she ends songs with, not the shit she sticks at the end of the first verse. Having the "grand finale" so soon in the song might be a depiction of how it feels to get everything she ever dreamed of so suddenly, in a way that she said over and over again "feels like a dream".

And no, I will not take my meds.