#freaks essays

[oatmealcrisp-freak]

been noticing in the manga Saiki winging out his eyeliner so it reaches the rims of his glasses uwuw

My assumption is eyeliner because sometimes it won’t like here where he’s in his PJs~

(almost there!!! but not quite!!!)

or here when he’s been hanging out with his grandparents and parents!

(again almost there!! but not quite!!)

and I am choosing to ascribe that to a personal in-universe fashion choice as opposed to anything else of Saiki’s, which leaves eyeliner as the most obvious and average explanation.

Nobody comments on it because I mean why would they

They already think he’s accessorizing with hairclips/barettes/hair pins for one, so it’d fit, and two, nobody generally comments on makeup looks in Saiki K - even Aiura :( it’ll be brought up as a punchline (1 visual gag w/Yumehara and Teruhashi telling Imu that she didn’t wear makeup that day while Imu spent hours doing hers to look perfect spring to mind) but not general everyday comments! Nobody even compliments Aiura on her gorgeous glossy lipstick look in her introductory chapter :(

(personally I would expect at least Yumehara to be the type to appreciate and compliment other people’s makeup looks but anyways doesn’t she just look sooooo pretty here?)

ntm with his wallflower personality, Saiki would probably be the king of an understated yet refined and poignant makeup look!

ntm Kaidou obviously the kinda guy who mega wings out his eyeliner/eyeshadow and what gravitated him toward Saiki in the first place?

They’re boys who both like winged eyeliner.

(i specify manga because the anime doesn’t seem to do this)

[fictionadventurer]

I have to talk about Chester Arthur. His story makes me go crazy. A mediocre president from the 1880s who's completely forgotten today has one of the best redemption stories I've ever heard and I need to make people understand just how cool his story is.

So, like, he starts out as this idealist, okay? He's the son of an abolitionist minister and becomes famous as a New York lawyer who defends the North's version of Rosa Parks whose story desegregates New York City's trolley system.

Then he starts getting pulled into politics and becomes one of the grimiest pieces of the political machine. He wants money, power, prestige, and he gets it. He becomes the right-hand man of Roscoe Conkling, the most feared political boss in the nation, a guy who will throw his weight around and do the most ruthless things imaginable to keep his friends in power and destroy his enemies.

Because Arthur's this guy's top lackey, he gets to be Controller of the Port of New York--the best-paying political appointment in the country, because that port brings in, like, 70% of the federal government's funds in tariffs. He gets a huge salary plus a percentage of all the fines they levy on lawbreakers, and because he's not afraid to make up infractions to fine people over, he is absolutely raking in the dough. Making the rough equivalent of $1.3 million a year--absolutely insane amounts of money for a government position. He's spending ridiculous sums on clothes, buying huge amounts of alcohol and cigars to share with people as part of his job recruiting supporters to the party, going out nearly every night to wine and dine people as part of his work in the political machine. He's living the high life. Even when President Hayes pulls him from his position on suspicions of fraud, he's still living a great life of wealth, power, and prestige.

Then in 1880, his beloved wife dies. While he's out of town working for a political campaign. And he can't get back in time to say goodbye before she dies. Because he's a guy who has big emotions, it absolutely tears him up inside, especially because Nell resented how much his political work kept him away from home. He has huge regrets, but he just moves in with Roscoe Conkling and keeps working for the political machine.

And then he gets a chance to be vice president. The Republican Party has nominated James Garfield, a dark horse candidate who wants to reform the spoils system that has given Conking his power and gave Arthur his position as Port Controller. Conkling is pissed, and he controls New York, and since the party's not going to win the election without New York, they think that appointing Conkling's top lackey as vice-president will pacify him.

They're wrong--Conkling orders Arthur to refuse--but Arthur thinks this sounds like a great opportunity. The only political position he's ever held is Port Controller--a job he wasn't elected to and that he was pulled from in disgrace. Vice President is way more than he could ever have hoped for. It's a position with a lot of political pull and zero actual responsibilities. He'll get to spend four years living in up in Washington high society. It's the perfect job! Of course he accepts, and Conkling comes around when he figures out that he can use this to his advantage.

When Garfield becomes president, Arthur does everything he can to undermine him. He uses every dirty political trick he can think of to block everything that Garfield wants to do. He refuses to let the Senate elect a president pro tempore so he can stay there and influence every bill that comes through. He all but openly boasts of buying votes in the election. He's so much Conkling's lackey that he may as well be the henchman of a cartoon supervillain. On Conkling's orders, he drags one of Garfield's Cabinet members out of bed in the middle of the night--while the guy is ill--to drag him to Conkling's house so he can be forced to resign. He's just absolutely a thorn in the president's side, a henchman doing everything he can to maintain the corrupt spoils system.

Then in July 1881, when Arthur's in New York helping Conkling's campaign, the president gets shot. By a guy who shouts, "Now Arthur will be president!" just after he fires the gun. Arthur has just spent the past four months fighting the president tooth and nail. Everyone thinks he's behind the assassination. There are lynch mobs looking to take out him and Conkling. The papers are tearing him apart.

Arthur is absolutely distraught. He rushes to Washington to speak with the president and assure him of his innocence, but the doctors won't let him in the room. He gets choked up when talking to the First Lady. Reporters find him weeping in his house in Washington. Once again, death has torn his world apart and he's not getting a chance to make amends.

Arthur goes to New York while the president is getting medical treatment, and he refuses to come to Washington and take charge because he doesn't dare to give the impression that he's looking to take over. No one wants Arthur to be president and he doesn't want to be president, and the possibility that this corrupt political lackey is about to ascend to the highest office in the land is absolutely terrifying to everyone.

Then in August, when it's becoming clear that the president is unlikely to recover, he gets a letter. From a 31-year-old invalid from New York named Julia Sand. A woman from a very politically-minded family who has been following Arthur's career for years. And she writes him this astounding letter that takes him to task for his corrupt, conniving ways, and the obsession with worldly power and prestige that has brought him wealth and fame at the cost of his own soul--and she tells him that he can do better. In the midst of a nationwide press that's tearing him apart, this one woman writes to tell him that she believes he has the capacity to be a good president and a good man if he changes his ways.

And then he does. After Garfield dies, people come to Arthur's house and find servants who tell them that Arthur is in his room weeping like a child (I told you he had big emotions), but he takes the oath of office and ascends to the presidency. And he becomes a completely different man. His first speech as president mentions that one of his top priorities is reforming the spoils system so that people will be appointed based on merit rather than getting appointed as political favors with each change in the administration. Even though this system made him president. When Conkling comes to Arthur's office telling him to appoint his people to important government positions, Arthur calls his demands outrageous, throws him out, and keeps Garfield's appointees in the positions. "He's not Chet Arthur anymore," one of his former political friends laments. "He's the president."

He loses all his former political friends. He's never trusted by the other side. Yet he sticks to his guns and continues to support spoils system reform. He prosecutes a postal service corruption case that everyone thought he would drop. He's the one who signs into law the first civil service reform bill, even though presidents have been trying to do this for more than ten years, and he's the person who's gained all his power through the spoils system. He immediately takes action to enforce this bill when he could have just dropped it. He becomes a champion of this issue even though it's the last thing anyone would have expected of him.

He oversees naval reform. He oversees a renovation of the White House. He still prefers the social duties of the presidency, but he's respectable in a way that no one expected. Possibly because Julia Sand keeps sending him letters of encouragement and advice over the next two years. But also because he's dying.

Not long after ascending to the presidency, he learns he's suffering from a terminal kidney disease. And he tells no one. He keeps going about his daily life, fulfilling his duties as president, and keeps his health problems hidden. Once again, death is upending his life, and this time it's his own death. He's lived a life he's ashamed of, and he doesn't have much time left to change. He enters the presidency as an example of the absolute worst of the political system, and leaves it as a respectable man.

He makes a token effort to seek re-election, but because of his health problems, he doesn't mind at all when someone else gets the nomination. He dies a couple of years after leaving office. The day before his death, he orders most of his papers burned, because he's ashamed of his old life--but among the things that are saved are the letters from Julia Sand, the woman who encouraged him to change his ways.

This is an astounding story full of so many twists and turns and dramatic moments. A man who falls from idealism into the worst kind of corruption and then claws his way back up to decency because of a series of devastating personal losses and unexpected opportunities to do more than he could have ever hoped to do. I just go crazy thinking about it and I need you all to understand just how amazing this story is.

[girlfictions]

joan didion, “on self-respect”

[jackshiccup]

the greatest thing you'll ever learn is to love and be loved in return

have been perpetually rotating @bignostalgias white winter hymnal hijack inside my mind palace like rotisserie chicken i adore this life-changing au to the core my bones and teeth ache badly from thinking about them <3

[luna-lovegreat]

There's a lot about Twilight's injury arc that makes me wanna cry but every time I read through it Legend is what gets me

Because Legend took his hat off out of respect when going into Twilight's room while he was injured

I don't I ever have or ever will read a "salty and traumatised and not-nice but still good" character as well written as Legend. Because he's mean and snarky and grumpy- and almost always at least one of his eyebrows is down. Twilight even saw him as a bully at first. (Ref. comic 'bully' in Lu archive)

But this is a warrior who will take off his hat for another who got hurt. Legend shows love in almost invisible ways, and his heart is guarded enough to have spikes. But if he's going to see someone who's injured he shows respect and care.

And he showed his care in other ways too- he has so much love for Twilight to show this much past his guarded heart

Legend is always wearing his hat- it is literally something he puts on just as much as his shoes or tunic.

He shows so much love for Twilight through his injury. And him pulling off/putting on his hat is just one small way that was shown.

*dies drowning in tears because legend took off his hat and it means so much and*

Art and comic by Jojo @linkeduniverse au

:)

[bbreaddog]

Practising Goncharov Theme by @caramiaaddio on violin bc I thought it would add an extra layer of haunting…ness (is that a word?)

Here’s the excerpt I’m playing in the video:

Despite it being in a fuck off key for violin it is a really beautiful piece and it’s absolutely worth the trouble of practising in second position (world’s most hated position) and I’m HOPING 🤞 I can record and (maybe) post a full cover of it someday

[theyarewrestling]

Dan and Phil, The Blair Witch Project, and taking back agency.

In their latest video, «DanAndPhilCRAFTS - Slime» Dan and Phil have made a very clear homage to the 1999 found footage film «The Blair Witch Project» directed by Daniel Myrick and Eduardo Sanchez. The movie tells a story about a group of students, who travel to a small town in order to film a documentary about a local legend. In the process of filming, however, they get lost in the woods and never make it out of there, being haunted and then presumably killed by the witch. In this essay I am going to analyze how the visual narrative is structured in both films in relation to one another, the way «Slime» differs from «Blair Witch» and how that difference conveys the shift in Dan and Phil’s public presence.

Let's start with imagery associated with the paranormal in both films. In Blair Witch one of the signs of the witch's presence become the "dolls" made out of sticks. They are filmed by the characters, who are naturally freaked out by the dolls appearing seemingly out of thin air, signaling the presence of the dangerous and inhuman Other.

Dolls are also used in Dan and Phil's video, the main difference being that the pair are not haunted by the paranormal and unexplainable Other, no, they willingly put the dolls there, they are taking active steps in bringing about their own doom.

While in «Blair Witch» the dolls are placed ominously in between tree branches, filmed from below to make them look like they’re floating above the camera, being forces of a power that the characters ought to be afraid of, in «Slime» the dolls are nailed to a steady surface at camera-level, and while they do provide an unnerving atmosphere, they are not a danger to the characters, at least not a danger they’re not aware of.

The same can be said for other "occult" imagery and artifacts. While in «Blair Witch» the characters finding strange symbols and even bloody remains in the forest strengthens the tension and suspense, signaling the close presence of the witch, in «Slime» all of the unnerving, "occult" and "satanic" exists under the characters' control. Dan draws the symbol on the wall himself, the animal skulls are presumably also brought in by the characters. Instead of being signs of danger, uncontrollable, they are merely tools in the hands of the pair.

The interior of the shack where the students meet their end in the 1999 film is filthy and decaying, which only strengthens the fear within the characters and us as the audience. It is filmed using close up shots which show the shack in it's decrepit and unnerving state. The shack that Dan and Phil's video is filmed in also seems abandoned from the interior, it is broken down, dark and dusty. However, instead of being mortified, like the characters of «Blair Witch», they occupy the space quite comfortably. Instead of being haunted by the building, they become the ones who haunt it, once again taking back control of their own demise. The interior is filmed at strange angles, almost reminiscent of German Expressionist films, in which the odd angles conveyed the detachment from reality and perpetual insanity, which in Dan and Phil's case could be used to depict the pair's descent into madness which leads them to their ritual.

Nature plays a crucial role in «Blair Witch» as the witch herself is never shown. The characters are "surrounded" by the unnerving dark trees, which presumably hide the horror that is never allowed to be seen directly.

Dan and Phil make an obvious homage to that with their shots of the trees, however there is a major difference. While the shot is still desaturated and somewhat unnerving, the flowers on the tree are in bloom, symbolizing a new beginning and the hope that comes with it. The new "life" that is going to happen after the pair summons Baphomet.

In «Blair Witch» Heather's final message is a long shot filled with pure fear and desperation. Dan and Phil's shot mimicking it is almost unnecessary as it lasts only a few seconds, however in those few moments it manages to showcase the pair as a unit, they are calm and in the process of their ritual, determined to bring it to fruition. While Heather is left alone in the dark forest in which she will die, Dan and Phil are not alone: they are in this together, they are a team. If they die, it's because they chose to do so. "Creativity is nothing without friendship".

Now for the infamous "Blair Witching it in the corner". In this memorable scene from the 1999 film one of the students is stood in the corner facing the wall. Heather and the audience both know that, according to the Blair witch mythology, this position is a prelude to being killed, as that is how the murderer, who was persuaded by the witch, used to place his victims, for he couldn't bear to look them in the eyes. This face-to-the-wall position conveys pure helplessness at the hands of the persecutor. In «Slime» there is a scene that makes an obvious homage to the «Blair Witch» scene: Phil is stood in a dark corner of a room, the shot is in black and white. There is, however, a stark difference: Phil is facing the camera. With just this one change the scene no longer feels like a display of helplessness. Phil is looking straight at us, he is not a victim at the hands of unknown horrors, he is in control.

The way the "monster" is presented in both films differs significantly. A big part of the horror in «Blair Witch» is our inability to ever see the witch herself. The "monster" not being shown to the camera is a trope as old as low-budget horror: it helps build suspense and also hides the lack of budget. In «Blair Witch» the rapid movement of the camera also makes it feel like the horror is too great for a human mind to comprehend, too great to be caught on camera, Lovecraftian in nature.

The 1999 movie starts with the characters interviewing Blair locals, who tell the characters and us, the audience, the legend of the Blair witch. The witch was sentenced to death for practicing witchcraft, so she haunts those who try to disturb her peace. Here we can make the connection between those persecuted for "practicing witchcraft" aka being Other with being queer and being othered and, historically, persecuted for it.

This interpretation correlates well with the fact that the "monster", in this case the devil Baphomet, is present in «Slime». More than that, Dan and Phil actively seek him out. In the final scene of the short film, Baphomet has his arms around the pair, claiming them. The characters are willingly allying themselves with the Other. Dan and Phil see the "monster" and yet they do not run away, instead, they worship him. In the theme of reclaiming your agency, this could symbolize coming out, proudly and purposefully becoming part of the Other.

They are doomed from the start, but they are not helpless victims of the Other, scary and unknown, they are the ones bringing about their own doom. This is taking your agency back, and I feel like this narrative rhymes really well with Dan and Phil's current presence on the internet. While the early years of their careers were filled with public speculation and being stripped of their agency, something that "was just theirs" being scrutinized by the public, which definitely affected the way they had to behave, their current self-described "chaos era" is very different. They no longer make the effort to pretend to be anything they're not. They are the ones in control of the narrative, keeping their private life private, while also sharing way more openly and freely, knowing that we know and not really caring about the public's perception, as post coming out they have taken the power and agency back into their own hands.

[niyana-the-ambiguous-mobian]

As grim as it sounds, the way Mario and Luigi look at each other when the former holds out his hand to the latter feels like them both wordlessly accepting their fate if they don't lunge for the star in time: if they're gonna get engulfed in flames, then at least they're gonna die together (kinda like the incinerator scene from Toy Story 3 but if it was a millisecond long)

Just 👏 like 👏 the 👏 incinerator 👏 scene 👏 from 👏 TS3.

For real tho, that whole little scene before their star power-up says so much about these two and their deep bond.

For a split second, Mario thought he was a absolute goner until Luigi managed to step in with a freaking manhole cover and stop the blast,

and he looks so shocked and in awe that his little brother, his shy and timid brother who had flinched in fear at a crumbled up piece of paper being thrown at him earlier in the film, was now holding back a blast of fire with something heavy and twice his size in order to protect him.

(And mind you, even though he's wearing gloves, Bowser's fire is basically like dragon fire and the heat was probably starting to burn through the fabric and parts of his skin too since he had his face pressed up against it as well, but he still held strong against it even when the metal was starting to melt)

And as Luigi looks back at him, almost as if he's reading Mario's mind as to why he was crazy enough to do something like this, he merely answers, "Nothing can hurt us, as long as we're together".

The same exact words his brother said to him as an ease of comfort mere moments before they got separated within the tubes and was now using it again in the same manner in this moment of peril.

Knowing that whatever is going to happen, Mario accepts the fact that he isn't going to face it alone and reaches out his hand, full of determination and ready to face it head-on with him as the cover starts to give way.

And with that, Luigi takes his hand, masking the same look and full of courage before they take off towards the star before the flames surround them both.

Just like they both said, nothing can hurt them, as long as they're together .

Goddamn, I just....I can not get over this whole little scene, you guys. It speaks just wonders for the both of them.

[dontlookforme00]

This might be a little strange, but i wanted to post this here. It's the final piece for a topic I was doing in art, and the assignment was to make a cupcake in the style of Catherine Holman (artist we were studying) about something we liked! So I chose chonny jash fucking obviously. And here's the final product, all done with oil pastels, except the sprinkles.

[aroanthy]

the symbolism of revolutionary girl utena is key to understanding what it’s even trying to say narratively and thematically. if you remove the symbolism, if you remove the ways in which the narrative obfuscates itself and abstracts what it’s saying, then what it is saying changes dramatically. if rgu was like ‘yeah lol and did you guys know that incest is bad’ or ‘maybe gay people are good’ or ‘hey did you know that csa victims are Real and Alive and Have Interiority’— like those are all paraphrases of things that it says, but the way that it chooses to say them is so powerful and conveys so much nuance and complexity that those simplistic statements don’t. it provides an incredibly meaningful commentary on the way that systemic violence and abuse are covered up, codified, made part of our culture that supposedly resents those things. it’s examination of incest, the incest taboo and how that impacts incest victims— it’s all so incredibly considered and layered because the show chooses to convey what it’s saying through symbolism, through its metatheatrical framing, through allegory. it retains the reality of these issues; it shows them to us only when we’ve already bought into the system’s lies to make a point about how that operates, how that works to make us all complicit in that violence. nanami. nanami.

dont even get me started on how the movie uses its symbolism to demonstrate how the abuse anthy and touga experienced is simultaneously built into the world and culture they exist in, and always obfuscated and abstracted for the sake of their abusers (also specifically the way that it engenders shame and prevents people from seeking help. rgu is so damn good at understanding how and why people don’t ‘do what they should’ in abusive situations: the systems in place don’t fucking work bc they are an extension of the system built upon that abuse). anthy is the model in all the paintings, the symbol of so many undesirable things, the canvas on which they are painted. her likeness is used as an approximation for all of these awful things, many of which are a part of her in a way, but such that her interiority, her feelings, are never regarded, never seen, never understood. she’s the model. akio is never explicitly named as her painter.

[becauseplot]

Anyway for entirely justifiable reasons (<-is a glutton for angst) I need Chayanne and Tallulah to be present when the hummingbirds come around or a note about the 'wise old crow' appears in their house, causing qPhil to have one of his derealization/reality-questioning episodes. I need it. I need it to happen SO bad. Because they’ve seen Phil get roughed up in a fight, they’ve seen him angry, they’ve seen him wary and even nervous, but they have NEVER seen him doubt like that.

People have already made posts talking about how the cage-for-a-cage/child-of-the-sky stuff has been particularly rough on qPhil, who relies heavily on his constant vigilance, keen senses, and hyper-awareness of his surroundings for reassurance. He's the kind of guy who walks into a room and has already charted at minimum two escape routes by the time he takes a seat, you know? He sees and processes and stores information on everything, at all times, and he uses this to act in the best interest of his and his loved ones' collective survival.

His kids see this side of him too, most significantly in the ways that he looks after them: always keeping an eye on the back of the group, never far from Tallulah, and constantly analyzing Chayanne's fighting style to give helpful critique to optimize his attacks. Chayanne and Tallulah know that everything he's ever done was to protect them. Also, he's always there to offer them advice when they're feeling lost, and even if he doesn't have all the answers they need, he gives enough reassurances and promises to put their minds at ease. Phil is confident in what he knows. In their eyes, he is strong. He is a fortress, safe and impenetrable.

You could say that about a lot of children's perceptions of their parents/guardians/mentors. The older, guiding forces in our lives always seemed strong and infallible to us as kids. That's why it was always unnerving to see them get sick, or get stressed, or cry. Observing weakness in those people felt so, so wrong because we never considered the fact that they were capable of it; it was just impossible.

So, the situation: Phil is suffering in a way that makes him question the very same reality that he was a master of not too long ago. Whenever it happens, he goes quiet, looks around, mutters to himself, breathes shakily, fidgets. He is visibly unnerved and uncertain.

If Chayanne and Tallulah are there, they're gonna notice---they're perceptive, just like him. I'd imagine they'd try to ask him if he's okay, and he'd reassure them that he's fine, and maybe that's enough the first time. But, as more incidents arise, and as time goes on, they start to see more of this out-of-nowhere uneasiness, fear, from him, which is worrying, especially because he won't tell them why.

NOW. Phil has been upfront about a lot of things with Chayanne and Tallulah in the past. For example, during the height of the code attacks, Phil told them everything he ever learned about the codes, every single new development, to ensure that his kids were well informed and prepared. He was frank about the threat on their lives because to sugar-coat anything would be doing them a disservice. It was important they knew all of the cold, hard facts, even if it took away even more of their precious childhood innocence. He values their happiness, but safety comes first. It has always come first.

But this is different. It's not cold hard facts. Phil doesn't know what to believe anymore. When the hummingbirds come around and his reality comes into question, he doesn't know what is real, what he can trust, what is fact. His senses have been compromised. Hell, he's still trying to convince himself that he's not going crazy when all evidence seems to suggest that he's losing his goddamn mind. He doesn't know what to tell his kids, so he tells them nothing.

So now here stands Chayanne and Tallulah. There is something that is scaring their dad, and he won't tell them what is, so on top of the knowledge that their unwavering father is, in fact, capable of true, genuine fear, he's suddenly keeping things from them. Their dad is keeping things from them because he is scared. And I can't imagine a realization more terrifying than that.

[oatmealcrisp-freak]

The pattern to who saiki kusuo beats up is either

A) self defense

B) theyre in the wrong in some other way

C) an accident he seems to feel guilty for or the narrative would need to find another reason why this hasn't come up before besides, "I didn't want to remember that"

D) self defence but also that's just the way that power works for some reason

Which means that the narrative has likely chosen to make him likeable by making him morally correct, and a server of justice. Part of the comedy is him giving people their just desserts. A bulk of the remaining comedy is him either getting unlucky (ie putting him in situations that conflict with his goals) or getting his own just desserts for being an asshole himself, because narratives often seek ways to make overpowered characters likeable by bringing them down in some way.

Saiki kicking Toritsuka’s ass would work a lot less if Toritsuka wasnt Like That. Saiki kicking his brothers ass to the point Kusuke is bloody and swollen would work a lot less if Kusuke didn't attack first. Same with Kuniharu. The narrative is structuring these characters for a reason. A big part of the reason appears to clue the audience in on who we're allowed to smack.

Let's look at a joke in the first episode

Kuniharu is locked out of the house by his wife.

Kuniharu tells his son to commit crimes.

Kuniharu picks a fight with his wife.

Kuniharu is served a shoe for dinner.

The pattern implies the shoe is punishment for Kuniharus behaviour.

The narrative puts Kurumi in the position of morally correct by having her kid credit her as the reason he hasn't gone rogue, and then with her encouraging him to do good. The narrative puts Kuniharu in the position of the morally incorrect because. Well. Encouraging your kid to rob banks usually isn't considered upright behaviour. Also his eyes are censored by the text in one of the first scenes he's in?¿?? Usually thats felon treatment akdjwh

Compare to how the narrative introduces kusuo saiki himself. The first time we see him is after he saved a dogs life. It's standard shorthand for, "this is a good guy who you're supposed to like" and since he's the POV character introducing everyone, he's also the one introducing everyone. He's our key informant. How the narrative seeks to use that information matters.

How a character is introduced matters a lot. It sets the stage for them. The story then has the option to, usually, follow through on that, build on that, or subvert that. Some things end up getting subverted along the way but for the most part, Kusuos introductions stay on lock. Everyone stays pretty true to how he introduces them. Example, teruhashi is universally acknowledged to be the perfect pretty girl, therefore saikis not into it. They toy with that concept but teruhashi never wins him as her romantic partner. She is the perfect pretty girl, therefore saikis not into it. Even being in her presence is in direct conflict with his goals of not being the center of attention. Toritsuka introduces himself. He's a monk and he has a cool design with pure eyes. Turns out he's a pervert.

Then he gets his ass beat on. Kusuke is introduced spying on his family without their apparent knowledge in an ominous dark room, then he gets his ass beat on. Kuniharu is introduced as a pathetic and lazy dad, then he gets his ass beat on. Nendo is introduced as a well meaning idiot who Kusuo wants to kill and.....doesn't beat on. Kaidou is introduced as a chuuni who has an inner strength who Kusuo....doesn't beat on (well he slaps him one time in the time loop but tbh that oocness is part of what makes its so funny tbh asfgiduaushs). Hairo is introduced as a pushy but upright guy, Kusuo sorta threatens to murder him, but doesn't. A guy pickpockets a bunch of people at a festival, including Kusuo, gets his ass served to him and turned into the police. Some yakuza try to kidnap him, they're traumatized for life. Some thugs corner him and Kaidou, he curses them. Some thugs try to sneak up on them and mug them in endsville? Put through a wall. Chono is a smug street performer, doesn't get beaten. Everyone hates Matsuzaki, he doesn't get beaten. Kurumi doesn't get her ass kicked by him. He rolls the gang who tried to kidnap Aiura into a ball. A guy takes advantage of Kaidou and then he screams and then there's an ominous hole in the wall and the room is trashed so he probs got his ass, like, str8 up nuked LMAO

Like

Ysee where I'm going with this?

Kusuo beats up the nasties, not the goodies, unless you're akechi one time by accident and then hes traumatized forever. Ergo...

The stage set for Kuniharu is that of a pathetic and lazy man who relies on Kusuo for everything, and Kusuo says that he can't spoil him, making him sound like a dadlier figure than his dad. By and large, Kuniharus role in this show is not to subvert this standard. His appearances involve him meeting those standards, by and large. Him being a bad dad and getting just desserts is the point of his character.

If Kuniharu is a good dad, what the purpose? And how is he a good dad i want reciepts

It's either to lift up Kusuke (and then be the butt of the joke), or to teach his kid a lesson he wouldn't otherwise get. The latter happens, like, once, and it's the best way to do that story since it hinges on kuniharu, since it's using kuniharus birthday to set the conflict.

I mean I guess you could say he's a good dad in the non traditional role of serving his purpose in the narrative pretty well by being a bad dad but again

If he's a good dad, what's the story? For kusuo, all powerful psychic, who saved a dog in his introduction and is sad he doesn't know the joy of hard work, to kick the ass of a hard working provider for? No reason? Except a man punching you is a pretty good reason, like....idk how people say that's good dad behaviour...........the writing isn't even on the wall it's scene by scene

The exact opposite of saving an animal to show you're a good character the audience should like is to beat or kill an animal. We root for John Wick cus those motherfuckers killed his dog. A lot of us say we'd do the same. The next step up from there is usually to beat or kill a kid - double points if the kid is yours or otherwise in your care. Trunchbull is hella charismatic but that doesnt change the fact that shes one of the main antagonists whose public humiliation by the kids she abuses serves as a massive victory. A lot of anime plays by that rule too. If you're a protagonist and you have an abusive parent/caretaker they are probably gonna be canon fodder. Like. They're not gonna have a good end. Even that super grimdark happy sugar life show something killed or jailed or abused all the child abusers, including the ones who were legally still minors dhfahfshrs The only time this doesn't seem to be the case is when the narrative needs child soldiers sometimes which entails a level of neglect, or its WAY hella dark. Or you're Naruto, but the show doesn't pretend he's a good dad.

Child abuse is traditional bad guy territory. Understandably.

And u kno what?

Usually it's the same for people who beat their parents for 'no reason', from breaking bad, to that one show with the animal head mask death game where the first guy got killed cus he abused his mom, to Itachi, to lotsa others. So usually to make the kinda person who'd do that likeable, you gotta give them a reeaaaallly good reason. Itachi was sorta a victim of a coup and then he died. Guts's dad was a true piece of shit. Lelouch's parents are bad guys. Etcetc

Unless he's a cat and then it's an accident but known cat lover Kuniharu should know better than to get into a strange cat's face too tbh. Offer your hand first and ask permission :/

And thus, Kuniharu hits his kid with weapons, fists, and feet, and seeks to undercut Kusuo emotionally and otherwise to become The Bigger Man. Buddy even tries to steal his kids new years money. Kuniharu is not a good dad so morally upright by comparison Kusuo can punish him. Kuniharu needs to hit Kusuo first, or Kusuo can't hit him, and he canonically does, and then Kusuo canonically kicks his butt. If Kuniharu isnt actively taking joy in his kids suffering or beating him, Kusuo isnt picking fights with him. Kuniharu needs to be a prat so he can take prat falls. The narrative needs him to be a pathetic and lazy dad just like hes introduced as so it can punish him for it.

And how is he a good dad, I want reciepts, nobody ever brings me reciepts. You're allowed to have problematic faves you know your characters don't need to be paragons of purity for you to enjoy them in the story

This is all there in both the anime and the manga. The key difference in how this goes down is one scene with the shoulder massage. In the anime kuniharu stops hitting his kid for revenge after a pipe and wooden sword. In the manga he also gets some brass knuckles :)

[thelostgirl21]

Okay... but I've just realised (thanks to this beautiful gifset) that, when Jaskier asked "What are you doing here?" to Geralt, the question was a very direct one, as if Jaskier already knew that Geralt's presence there was obviously no coincidence.

And, of course, the answer he got wasn't: "I went looking for you because I missed having you in my life, was worried about you, and heard you'd gotten yourself into trouble. So, I came here to rescue you and ask if, perhaps, you'd want us to go get some ale and talk about what happened..."

It was: "I need your help".

Because that's what Jaskier does: care about and help people. And Geralt came back into his life because he needed his help and expected Jaskier to still care enough to agree to help him.

Whereas the only personal request that Radovid ever made to Jaskier was for him to sing a song...

And he told Jaskier:

Yet, the very first thing that Radovid ever told Jaskier about himself was:

i.e. A song very much NOT about a white-haired Witcher.

Literally, the things Jaskier learned about him, in chronological order, are that:

- He's good at randomly catching lutes.

- Oh no, he's hot.

- He's long wanted to see Jaskier in person... what?!

- His favorite song is "Song of the Seven".

- Oh! Good! He's a fan!

- His name is Radovid...

- ...Comma, PRINCE?!?!?!

So, Jaskier knew that Radovid loved "Song of the Seven" the most even before he ever knew that he was talking to the crown prince of Redania named Radovid.

And what did that ridiculous spoon of a prince do?

Ask him to pick a song of his choice while gently trying to orient said choice towards a song that others would love to hear him sing.

It may be a small detail but, even in his private quarters, Radovid is already making choices for the benefit of all in attendance rather than allowing himself to be selfish by demanding from Jaskier the song that he would most wish to hear him sing.

And, after Jaskier surprises him by choosing to be emotionally open and vulnerable with him - singing something to him directly from his heart - Radovid shows gratefulness and appreciation by making the effort of learning his song and attempting to sing it back to him.

On top, of course, of lowering his own mask and allowing himself to be honest about his feelings, who he is, and agreeing to do what he can do to help Jaskier in his search for Rience.

Radovid is all about reciprocity, taking other people's needs into consideration, and not taking anything Jaskier is willing to offer him for granted.

And, after Jaskier was hurt by the mistake he made, he literally stopped expecting or believing that he was entitled to receive anything from Jaskier anymore.

So, when Jaskier asked Radovid the question "Why are you here?", it almost feels like a question directed at Radovid, but also at Destiny, or the gods in general, because, somehow, he went searching for his family... and Radovid was the first person that crossed his path.

Like "something" was trying to let Jaskier know that Radovid is now a part of that family, too, and he wasn't meant to get rid of him the way he did that morning.

He also discovered that Radovid told the truth about having given his royal security detail the slip before coming to see him and Ciri, as all the guards and servants that were assigned to him have been violently massacred in his absence...

And now, there he is... weeping alone in a corner, defenseless, surrounded by the corpses of the people that were supposed to keep him safe but can obviously no longer do anything to help him...

The crown prince of a Kingdom that the Nilfgaardian Empire has just declared war upon (and therefore, a prime target for capture to use as a negotiation tool with King Vizimir).

And what is Radovid, Comma Prince, concerned about the most?

Taking up too much of Jaskier's valuable time...

Like, for fuck's sake, Radovid!

All you did was answer Jaskier's question regarding what had happened here, you spoon!

You were offering Jaskier your time and knowledge. Not the other way around!

There's no need for you to apologize for freaking existing, and perhaps needing a bit of support given that the reason all of your guards are dead - and you're now stuck in such a vulnerable position - is that you ditched said guards the night before to keep Jaskier and Ciri safe from them!

If you'd done as you were expected to do, chances are that you would all have been on your way to Tretogor by now.

And, okay, granted, Jaskier and Ciri would probably have been glaring at you the whole way there, trying to escape, and hating you forever (which would've been a bad thing).

BUT, you and your whole royal security detail wouldn't have been at Aretuza during the coup; so I'm sure that, at least, they would have been happy to be, you know, not dead, and helping you get back home in one piece!

So, although you had no idea something bad would be happening to your guards if you just ran off on them, you still chose to put yourself at risk by wandering alone at night in the woods, and refusing to use force to convince Ciri and Jaskier to go with you.

It wasn't a perfect plan, but I think Jaskier is starting to get a better grasp of the type of pressure you were dealing with, and seeing how you might have made choices that seemed to be "the least bad option".

I know I've seen some comments essentially going "Jaskier is such a good person to consider still helping Radovid after he's betrayed him", and I'm not denying that.

But I like to personally think that part of what was going on in his brain, in that moment, was realizing the risks that Radovid had already taken to keep him and his family safe, and the mistake Jaskier himself had made earlier, at least.

Because, when it comes down to it, I've always felt like it was a bit unreasonable for Jaskier to have expected Radovid to 100% trust him with everything he knew, and completely let his own guards down around him, when Jaskier himself couldn't do the same with him.

Each time I watch the scene in the shed, I feel like Jaskier was testing Radovid's loyalties by letting him know that the magical barrier only lasted until dawn, while utterly ignoring what Radovid was actually trying to tell him.

Jaskier might have wanted to trust him, but he couldn't - not yet. So, how could he have expected Radovid to spontaneously share with him everything that worried him, too, or every detail of what he was planing to do in an attempt to fix things?

In a way, I can't help but feel like they are both way too smart and analytical for their own good during that scene.

Like, I know we keep saying that Radovid should have told Jaskier that he wanted to go see Ciri (and I don't exactly disagree), but the problem is that Radovid, up until that point, was operating on the belief that:

- Dijkstra and Philippa were planning to expose and execute Vilgefortz and his spies before Nilfgaard had any chance to know that they were onto them.

And had that messenger not been killed and intercepted, technically, they may very well have succeeded in that endeavor.

But Nilfgaard learned of Redania's plans and were able to turn the tables on them. Something that Radovid wouldn't have known.

So, if we go with the scenario of what was supposed to happen at Thanedd, had Ciri agreed to ally herself with Redania, then every vassal state / kingdom still loyal to Cintra would have joined the North against the Nilfgaardian Empire.

With that level of support, it would technically have been enough to crush any hope of Nilfgaard ever winning a battle against the Northern Kingdoms, and thus, averted a second war between these two superpowers from happening.

At least, for the time being.

From Radovid's P.OV., knowing what he knows, Ciri agreeing to come with them would have, indeed, made everything easier for, well - pretty much everyone, really!

From a personal standpoint, he would have completed the job his brother had given him, and would no longer have needed to keep dealing with Philippa or Dijkstra.

Jaskier would also have gotten what he wanted; i.e. Ciri at the head of the most powerful army on the Continent (by combining Redania's forces with Cintra's and every single smaller Kingdom loyal to them) and able to keep herself safe from her enemies.

And with these two problems out of the way, it would have been much easier for Jaskier and Radovid to be together.

But the thing is that - according to the intel that Radovid had access to by that point- the 2nd war would also have been avoided, and countless lives would have been saved.

And I don't think that it would have been too far fetched to believe that Radovid might have hoped that Ciri's arrival at the Redanian court might have shaken things up a bit there, too.

First, because she's the granddaughter of Queen Calanthe - a headstrong, fierce warrior queen whose authority was greatly respected by her subjects. So, if Ciri has inherited some of her temperament (though hopefully not her ideals), then she wouldn't have been so easy to control and manipulate.

Whereas, from what we've seen, King Vizimir was pretty much likely to go with other people's ideas as long as they were presented to him in a way where he felt like he was the one making the decisions, told that they would reflect well on him and his Kingdom, and that there would be no annoying complaints for him to deal with.

Second, because it's doubtful that she would have wanted to be parted from Geralt and Yennefer, either; and things would likely have been much safer at court with these two around.

And if Radovid's initial plan of just "knocking at the door" had worked, then Ciri would have been in the same room as Jaskier when he would have showed up there, and she could have been able to make the decision of at least hearing out what the prince had to say, or not.

The choice would have been up to her and, had she refused, then at least Radovid would have done all he could to attempt to prevent yet more bad things from happening.

But then, the he suddenly found himself in a situation where, if he wanted to talk to Ciri, not only did it have to wait until morning - since anyone trying to enter the cabin would be blown back by a powerful magical force field (let's all give a good round of applause to Jaskier, that thought stepping out of an incredibly strong protective barrier to go investigate a potential threat with nothing to protect himself but a lute was a better idea than remaining INSIDE the impenetrable protective force that would have held until dawn...) - but he would need to request permission from Jaskier first.

Except Jaskier's job is to look after Ciri and make decisions that are the best for HER until her parents return. Not make decisions that are the best to avoid a war between Nilfgaard and the North (among others)!

So imagine, for a moment, that Radovid had chosen to explain to Jaskier everything he already knew...

That he'd told him that the Redanian spymasters suspected that Vilgefortz was working with Nilfgaard, had spies working with him from within Aretuza, and that the second war was imminent.

Imagine that he'd explained to Jaskier that Ciri, and the amount of political power she represents, might be the only thing that could sufficiently tip the scale in the Northern Kingdoms' favor to prevent another war from happening.

Imagine that he'd told him that, while he'd ditched the small army (a.k.a. his "security detail") that had been meant to accompany him while he "went to see him for information as per Philippa's request" to prevent risking them attempting to take the princess by force, he still felt that he'd had to do what he could to convince her to come to Redania with them of her own free will.

That he couldn't, in good conscience, let the war happen, knowing he hadn't done something to at least try to prevent it.

Imagine he'd told Jaskier exactly what was actually at stake...

First, there's no guarantee that Jaskier would have believed him, and there's no way he could have proven to him that he was telling the truth, either.

Second, Jaskier might have felt like he was betraying Geralt and Yennefer's trust - should he have decided to allow the Prince of Redania to attempt to convince their daughter to ally with his nation to help stop a war from happening.

And third, in the event that Jaskier had refused Radovid's request to be given a chance to speak with Ciri, then Jaskier might have felt like he was responsible for having made the wrong call should a war indeed be declared upon the Northern Kingdoms, because the North lacked enough power, and support, to stay Nilfgaard's hand.

That's a whole lot of responsibilities to drop on Jaskier's shoulders, and a lot of lives to risk on the hope that Jaskier might believe he is telling the truth.

And Radovid does not know what Jaskier himself knows, either. So, he's unaware that Geralt does not want Ciri to become involved in politics, and be forced to take sides (at least, by that point).

The two of them are both operating on the limited amount of information they both have, and trying to make decisions that appear to be the best course of action for everyone involved.

And when Jaskier asked the question "And what do you want?" Radovid clearly hesitated, then came up with an answer that I believe was 100% honest, but clearly evaded the question.

And Jaskier never confronted him about it. He didn't insist that this wasn't what he asked him, nor attempt to get to the bottom of the situation.

I'm 99.9% sure that he did notice how Radovid avoided giving him a straight answer (yes, I know, there's nothing straight about either of them), though, because he immediately became suspicious and looked outside.

But, instead, he gave Radovid the information that the force field would stop working at dawn, later pretended to still be asleep when dawn came, and waited to see what Radovid would do with the information.

One of the most heartbreaking things, to me, however, is that Radovid's answer, when Jaskier gave him that information, was to tell him "I'm scared, Jaskier"...

And Jaskier didn't ask him why he was afraid...

He didn't attempt to investigate what scared him and if - by any chance - it could be scary enough that he might be tempted to do something stupid.

I'm not blaming Jaskier, by the way... Their situation was extremely complex, and Jaskier had his own fears and issues to deal with and manage as best he could.

Radovid is not the only one breaking my heart in that scene, because I think that Jaskier has such a hard time believing that someone could genuinely love him the way Radovid does, that he's unwittingly setting him up to go behind his back by avoiding to fully acknowledge and investigate Radovid's fears.

I think it's easier for Jaskier to believe that Radovid was just so smart that he knew exactly what to say to him, and what to do, to encourage him to lower his own barriers around him and start trusting him - just so he could try to take Ciri from them...

...than to believe that Radovid really would be able to see him and appreciate him just the way he is, and that the connection between them is real.

So yes, Radovid did technically "fail" Jaskier's test. But sadly, I think that Jaskier stopped truly listening to Radovid the moment he decided to test him.

If Jaskier had been brave enough to confront him about the evasiveness of his answer and the reasons why he was scared - if he'd shown Radovid that he genuinely cared about his safety and wanted to help him face those fears, and/or for them to find solutions to Radovid's problems together - Jaskier might have been able to prevent him from making that mistake in the first place.

But, instead, Jaskier came up with his own narrative that would confirm his own fears of never being enough for anyone; and sadly, I don't think that anything Radovid could have done or said, in that moment, would have changed his mind.

And poor Radovid internalized the hurt and heartbreak he saw reflected there as if he was the only one responsible for it.

So then, when Jaskier offers to help Radovid get back to safety, he's confused that he would even wish to help him after the way he managed to so profoundly wound and disappoint him earlier.

Radovid, you may not know this, but Jaskier once told his very best friend in the whole wide world "People do stupid things when they think they're trapped in a corner. And they say stupid things. That's what friends do. They come back."

And somehow, you "came back", because Destiny apparently decided to take pity on Jaskier's own issues and insecurities, and urge him to take a second, closer, deeper look.

And it's not even being subtle about it!

Like "Oi! PRINCE. TRAPPED. IN. A. LITERAL. CORNER. WITH. NOWHERE. SAFE. TO. GO. He told you he was scared earlier, and you didn't even ask him why! He didn't need someone to tell him he was brave, and then wait for him to do something stupid come morning, Jaskier! What he needed, was someone investigating what terrified him, and offering him support. Do you get it now? Prince. Corner. Scared. Trapped. Needing help, but not even able to believe he's entitled to it or not knowing how to ask for it! So fucking help him, for fuck's sake!"

And Jaskier needs to offer, because Radovid apparently keeps putting other people's needs first. So, chances probably are that Radovid won't ask unless he knows for sure it's okay and safe for him to ask anything of anyone whose job is not to tend to him.

Because, in his world, Radovid's main survival strategy seems to have been to constantly provide narcissistic supply to his brother's oversized ego (to be "adored" and protected by the King), by cheering him on from the sidelines, while drawing as little attention as he could to himself.

In Radovid's world, he doesn't matter: he's a spare, easy to cast aside and forget about. As long as the King's pleased with him, he's safe.

(Or he used to be, before the whole Hedwig incident.)

You shouldn't have to listen to him, because he's of no use to anyone and he doesn't matter.

He's no more than a pretty reflective surface for his brother to admire himself in whenever there's no other more interesting image of himself to gaze upon.

That's Radovid's job. Letting others hog the spotlight, coming in second, and stopping to exist whenever convenient.

And when Jaskier says that he can't go with him because he needs to find his family first, Radovid immediately offers to go risk his own life, and use whatever resources he can spare, to help Jaskier be reunited with the people he loves most like it's the most natural thing in the world for a prince to do!

No wonder Jaskier couldn't figure him out... He's used to people just spontaneously dumping all of their issues on him while expecting him to do or say something about it.

While Radovid is going "you don't have to listen to me or care about my issues, but maybe I could do something to help you with yours?"

All the while being the one that would likely benefit the most from having someone genuinely listening to and helping him.

Jaskier: What are you doing here?

Geralt: I need your help.

Jaskier: *Sighs* Figures...

Jaskier: Why are you here?

Radovid: Came looking for my guards, didn't go well, now there's a war and I'm hiding in a corner... Story of my life that I don't want to bore you with... But hey! Maybe I could help you go find and rescue your family instead?

Jaskier: !!!???

[zombie-bait]

The Death of a Vampire

Lestat as a protagonist just works so incredibly well and a very significant aspect of that is him being Anne Rice's self-insert. Lived experience can be critical when it comes to writing a good story and many memorable novels will feature elements of that. Anne is built different, though. Lestat (book 2 onwards) is basically Anne's journal for dealing with her grievances and trauma, which, on its own, is a very questionable method of writing. More often than not, it causes him to be characterized inconsistently between books because Anne's own opinions have changed. But it also makes him so real.

You follow his struggles with religion, you see him yearn for forgiveness from a god that has seemingly abandoned him a long time ago and you feel it. The passage I will never get over is in the early chapters of The Vampire Lestat, when Lestat has a breakdown over his mother's (and frankly his own) mortality. He struggles and he cries and he can't get out of bed because there's nothing he can do. Eventually he starts to live again, forces himself to.

But.

"I wandered into the church and on my knees I leaned against the wall and I looked at the ancient statues and I felt the same gratitude looking at the finely carved fingers and the noses and the ears and the expressions on their faces and the deep folds in their garments, and I couldn’t stop myself from crying. At least we had these beautiful things, I said. Such goodness. But nothing natural seemed beautiful to me now! The very sight of a great tree standing alone in a field could make me tremble and cry out. Fill the orchard with music. And let me tell you a little secret. It never did pass, really."

I think about those last two sentences a lot. I think about them even more since Anne Rice passed away.

Every page of Interview is spent talking about death and yet (imo) it's only in TVL that you really feel it. Louis in book 1 welcomes death quite readily because, besides his toxic boyfriend and their traumatized daughter, he doesn't have much to live for. He's basically given up by the time Lestat appears. The greatest torture, to Louis, is the knowledge that he can live forever on the suffering of others.

But Lestat is the complete opposite. He wants to listen to music, to explore Paris, to perform on any stage that will take him, to embrace the man he loves and to send his ailing mother letters of his accomplishments. Death matters most to those who are desperate to live and god is he desperate. He's haunted by his mother's sickness, by the wolves on the mountain that threaten to end his life before he's even lived it, the witches place that reeks of meaningless suffering. And in a way, the dark gift provides opportunity to escape that. But it is still death. It takes away Nicki in a very literal way and takes away his mother in a more personal one. Magnus, like death, chose Lestat arbitrarily. He sees the cellar of blonde corpses and knows that he was only one of dozens to meet an untimely death with no explanation.

Lestat also really wants you to know that he is, truly, a good person. He must be. He swears to only hunt criminals and then goes back on that two pages later. He reshapes stories to present himself as the noble protagonist and the audience has no choice but to believe him. He wants, desperately, to be loved for all that he is, man and monster. He wants to be the hero.

He's this awful, fascinating, very human man so clearly born out of the internal struggle to find meaning and love in a cruel, unpredictable world we all tend to share. He's made up of incredibly basic and powerful human desires hidden behind a mask of bravado and I can't recalling seeing another protagonist like him.

(Quick mention: This isn't some kind of "wow Anne Rice is an incredible author who can do no wrong" piece. She's written a lot of fucked up and bad shit that cannot be easily brushed over. But I don't think I'll ever get over reading TVL for the first time. To read someone bare their soul in such a way creates a truly unique experience. A lot of characters in a lot of pieces of media face death, but it's rare to see a character face mortality in such a personal way.)

(Also odds are I've written similar posts to this before but shhhhh these sad gay vampires are all I have)

[birdinabowl]

the next person who portrays Pink/Rose as abusive is getting bitten

[luna-lovegreat]

Ok so Time’s like

Which seems really crazy when he did ALL THIS

But friendly reminder this is the same person who did THIS

He strong