someone: [says something]
me: oh my god, that’s absolutely right
someone else: [says the literal opposite]
me: oh shit that’s true!! yeah you’re right
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“why is there no wlw gt :(“
because a decade ago gt circles were so volatile and misogynistic that most wlw and giant women deleted their blogs and stopped making things. because to this day you can’t draw a giantess without someone assuming it’s automatically fetish art. because gt wlw art is seen on the same level as graphic sex. because angry or suggestive or flirty giant male content is okay, but a giantess in those same roles is immediately 18+ content.
because people in this community are still weird about women.
turns out if you dehumanize and oversexualize an entire group of people, those people usually leave.
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Kafka Hibino
Kafka Hibino.... with visible salt and pepper side burns.
Kafka Hibino.... wearing glasses and has salt and pepper side burns.
Kafka HIbino.... in that black turtleneck and a dark brown leather jacket and also wearing glasses and has salt and pepper side burns.
Kafka Hibino.... wearing that outfit and is an Animal Biology Professor in an College Au.
Kafka Hibino..... asking out Hoshina who is an Advanced Mathematics Professor working at the same college, to have an after-work drink with him.
Slightly DRUNK Kafka Hibino... becoming very forward with an also slightly drunk Hoshina
Slightly Drunk Hoshina... immediately matching Kafka's freak tenfold and Kafka is very much fine with this.
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If I hear C-Side's music again I'm gonna loose it. I've heard Clickbait and Splattack and the like too many times over the past year. Now or Never is the only exception to this but it would be nice to hear some variety there too.
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I've been rereading more slowly through SGRS since I binged through the whole thing in one day the first time, and god.
In Kikuhiko's first rakugo performance after he and Sukeroku do their play, he does a story about a woman searching for someone to commit double suicide with her. Specifically, the only bits of his longer performance that are transcribed into the manga are snippets of this central character picking out and beginning to seduce the man she wants to target.
Kiku finds himself when he does the play with Sukeroku. He finds something fundamental in both the female role he puts on and the way he's able to command the audience's attention to him. And that's what becomes his connection to rakugo—it's a place where he can find belonging and adoration showing off that aspect of himself. So as the first performance after that, Kiku's performance of Shinagawa Shinjuu is a beginning of sorts. It's the start of his true love affair with rakugo.
And in that moment, we're shown Kiku performing a scene of a woman choosing the man with whom she'll commit lovers' suicide. Kiku—the man who decades later muses constantly about taking rakugo as an art form to death with him—starts his career in earnest performing as a woman who's just decided who she wants to take to death with her.
Then the scene goes on, and we get a little snippet of Kiku as the woman beginning to seduce her lover to death. In the same way as Kiku is seducing his audience into his story, and just as rakugo is truly seducing him. Kiku is the seductress in the story and in his performance, but by nature of the art form, he's also the naive man seduced to death. He's playing all roles. If Kiku wants his love affair with rakugo to end in death, then equally, rakugo leads him to his own demise.
As an old man, Kiku sets fire to the theater and just about makes that double suicide a reality. The building is eventually rebuilt, however, and Kiku's family and friends carry on the torch of rakugo. It's only Kiku himself who dies not too long after. He's saved in the moment by his chosen family and connections, yes. He says that he was ultimately denied his lovers' suicide. And yet, his final performance to the dead seems to mark the beginning of the end for him.
Kiku's first performance after the play is, in every way, a brilliant moment of intertextuality. Kikuhiko is Osome deciding she wants to die, implicitly tying his discovery of what rakugo means to him to suicide. He's Osome choosing who to die with as he truly chooses his art form. He's Osome entrancing the audience like they're the foolish Kinzo. He's Osome seducing rakugo itself to die with him—taking the first true steps down the path that will lead to him becoming the be all end all of the art (emphasis on the potential for him to end all). He's Kinzo being seduced by the offer of suicide with rakugo. He's Kinzo being entranced by the adoration of the audience like Osome's so-called love.
For this moment of Kiku coming into his own and entering his doomed love affair with rakugo, there's no narrative that could have suited him better.
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insane fucking rhyme scheme
every action has an equal opposite reaction
thanks to hamilton, our cabinet’s fractioned into factions
try not to crack under the stress, we’re breaking down like fractions
we smack each other in the press, and we don’t print retractions
i get no satisfaction, witnessing his fits of passion
the way he primps and preens, and dresses like the pits of fashion
our poorest citizens, our farmers live ration to ration
as wall street robs ‘em blind in search of chips to cash in
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