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makotonaegiunderstander · 6 months

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something I’ve been thinking abt is how many people think Makoto is immune to despair. I don’t think he is. I think becoming the ultimate Hope was BECAUSE he felt despair. He wouldn’t have fully reached that point without Junko. Makoto becoming such a beacon was his last attempt to avoid completely falling and it wasn’t because he didn’t feel despair, it was because he was too damn stubborn to allow everything to go to waste and he refused to sacrifice his beliefs for someone else’s. His inner monologue tells me he DID experience the same new low the other suvivors did in the final trial, but at the point where he had the choice to give up and die, he looked at the others and he looked at Junko and he couldn’t allow it to happen, not out of self preservation, but because the idea that Junko would have control over their lives made him FURIOUS. and that utter refusal to die kicked in, wether luck or otherwise, and he made the concious effort for one last push while something in him was breaking. He had to be broken in order for the Ultimate Hope to come through so aggressively, bc it could only exist in the face of the Ultimate Despair. He snapped the same way she did, but in the other direction. In what could have been his final moments he chose to embody everything Junko wasn’t, and every single optimistic and luck fueled ideal in him suddenly charged forward and pushed him. It was a combination of the final straw and a choice. Makoto isn’t immune to feeling despair, he’s just too stubborn to fall into it of his own volition. I think that’s why I like that scene in DR3 so much. People were SO SHOCKED Makoto actually fell for the tape, that he actually became despair for a moment. I saw people getting mad or disappointed, saying it was pathetic and Makoto seemed to fall from some sort of pedestal for them. Honestly part of me wonders if that sort of mentality, which clearly people had in universe, affected Makoto a bit. Like he started to see himself as less of a person, subconsciously. Prompting him to take more risks, less self preservation, act way more bold. It seems he has to be reminded a lot not to put himself in danger by his friends, to not do something too reckless. All over the place I would see in regards to that scene either this frivolous ‘oh this was just angst drama with no meaning behind it’ or ‘he can do better than that. he’s so weak’ or ‘come on, there’s no way he’d fall into despair, he’s the Ultimate Hope!’ This kind of mentality, which was kind of ironic considering Ryota was there the entire time saying the same thing and treating Makoto the same way. Like Makoto was superhuman. Like Makoto didn’t feel despair the same way ‘normal people’ did. In a way that was also how Munakata saw Makoto. Makoto stopped being a PERSON to the world when he became Ultimate Hope, he became a concept, a belief system, much the same way Junko ascended beyond herself. But the difference is that treating Makoto that way is the opposite of the reason Makoto became such a representative for hope. He wasn’t doing something no one else could. He was doing something everyone had the chance to, he just… was a little more optimistic, a little more stubborn, a little more ‘gung-ho’ about things. He just took the lead where no one else did, where no one else knew they even COULD in the face of Junko’s unstoppable force. She had overcome the biggest threats and obstacles in the world, what could one person do? And the answer Makoto found was, anything. Everything. It doesn’t all rest on Makoto, he’s just the one that was inspired to try to do what seemed like the impossible. But as evidenced by the change in his friends after that trial, it’s clearly not something only Makoto is capable of. The others pulled out of despair thanks to Makoto, but it was their choice to do so.

“But… this world is so huge, and we’re so small. What can we do…? No, we can probably do anything. Yeah! We can do anything!”

#makoto naegi #Danganronpa character analysis #Danganronpa #danganronpa thh #danganronpa future arc #I fucking love Makoto Naegi man.#I think there’s a fine line of nuance to Makoto that’s easy to miss bc he doesn’t really make it known #he’s not a pushover and he’s not overpowered. he’s a people pleaser but he will say what needs to be said #he’s an immovable object and the exact opposite of Junko but he’s also just a normal guy who’s optimistic and (un)lucky #he isn’t invincible but he has immense power to his words the same way Junko did #if anything his superpower is being kind above all else. he’s compassionate to some of the worst people in the world.#he was even conpassionatr to an extent to Junko. he didnt want her to kill herself despite everything she’s done #and he still acknowledges that for years she was a classmate and friend.#I do think the more he learned abt what she did the more he’s come to actually hate her though #post the first game he always refers to her without a suffix to her name which is one of the most subtle rude things you can do #it means you have zero respect for the person you’re referring to #and he speaks about her with some venom he doesn’t use for anyone else in the future arc #he’s not incapable of feeling negative emotions #I really liked the future arc scene bc it showed that Makoto DID experience enough despair to have overcome him if he didn’t refuse #and that it still affects him deeply. people treat him like he’s either this perfect ideal Chad or this baby chick who’s so delicate #and no one really focuses on how makoto shoulders so much and yet is still vulnerable.#honestly that guy was DUE for a mental breakdown even without the tape. it would have happened eventually #I actually wrote one based on him finally hitting a breaking point after giving so much of himself away and keeping nothing for himself #that his issues that he shoves down constantly finally can’t be held down anymore. Hajime helps him bc he knows how that feels #it was a LONG time ago that I wrote that but honestly if I can remember where i was going w it I might finish it #it was initially an rp but I could make it a fic #anyway. the point is Makoto is SO much more complex than people give him credit for #the most fundamental thing about him is that he’s normal and that’s ok! that’s what helps him rise!

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whumble-beeee · 6 months

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The Man in the Sweater Vest

The (Un)Official Guide to Hero-Keeping | Cont'd from Part 7

Content: attempted noncon, threatened mouth whump, disabled whumpee, trans whumpee, scissors, tied up/handcuffs, noncon unshirtening, noncon touch, past captivity references, graphic threats, blood, crapton of whump. As a treat :)

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Excerpt from: The (Un)Official Guide to Hero-Keeping; a self-help guide for villains and bounty-hunters

[Inevitably, there will be disagreements on how you should treat your captured hero. One villain might want to just hold the hero hostage long enough to finish their dastardly plans. Another will want to break the hero’s will entirely! Or anything else in between!

But when working together with other villains, bounty hunters, henchmen, etc, it is crucial that everyone is on the same page about how your captured hero is to be treated, lest your hero end up with a few less limbs than you meant them too, or your months of breaking down the hero's fragile mind is undone by a single nice gesture.

Always communicate effectively, your hero will thank you for it (or curse the day you were born)!]

* * * * * * * *

Sweater-vest stumbled back, reeling from the punch and clutching his face before pulling his hands down and gawking at the blood staining his hands.

“STAY AWAY FROM ME!!” Stan screamed.

An intense elation washed through his chest despite the surprisingly sharp exploding pain that crackled up the very bones of his arm when he punched the man, and the now freshly ripped open scabs and bruises from where he’d forgotten to account for the handcuffs and yanked on them violently, streaming new ruby red over dried light brown that already carved down his arms;

Because he'd got him. He'd got him! Punched him, made him back off! Stan did that! He'd finally managed to actually do something about the atrocities being committed against him and it was so, so sweet.

Relatively short-lived, though.

Vaughn, the sweater vest man, started to giggle to himself as he wiped the blood streaming from his nose onto his sleeve. Elation gave way to tentative confusion. Then a sinister seed started to take root in Stan's gut, the roots already reaching out and tightening around his body.

“You-...” Vaughn giggled some more. “You– you think–?...”

He started fully laughing, speech overtaken by an apparent hilarity that Stan must’ve just been too shocked by the sudden mood change to understand. He was cackling. Then practically shrieking, crazy, loud, heaving laughs.

He must be crazy.

Insane.

Well and truly insane, the way he was shriek laughing into his shining red-stained hands.

His gaze snapped up to Stan, and Stan could practically hear the horror movie crackling effect with how fast it snapped up, crazy maniacal shudders still overtaking his body, piercing gaze turned wide, animalistic.

“You think you can HURT ME?! HURT ME?! AHAHAHAHA!!”

Suddenly Stan slammed into the wall, cuffed wrists pinned above his head, chest to chest with the crazy man and staring up into his crazy bloodshot eyes.

“You can't hurt me,” he growled into Stan’s ear through gritted teeth. ”I don't feel pain. I carved that weakness out a long time ago, my brain doesn’t register it anymore! And I did it so I could deal with horrible little brats like you–” he slammed Stan's wrists into the wall, “--however I see fit! So I could do whatever I wanted to them. So that even if they fight back, they always, always, always lose.”

He pulled back and leaned into Stan's face, staring the captive directly in his glaringly defiant, wide and shining eyes. Hot shaking breaths misted surprisingly minty breath onto Stan’s cheeks, nearly overpowered by the metallic tang of blood that still poured down his face.

“Always submit. Just like you're going to.”

Stan pulled down hard against Vaughn's grasp, struggling and wiggling and tugging and screaming and kicking and doing every single little thing he could to, if not escape, at least make this as difficult as possible.

“Get away from me!" He cried. "GET AWAY FROM ME, get OFF of me, I’m not gonna let you do this you sadist, you can’t do this to me!! LET GO–!”

A punch to the gut. Stan tried to double over and wheezed as much as he could with his arms pinned up, which delivered him right into another punch to the face.

Then something cool and sharp stabbed into the soft underside of his chin, straining his neck with how far his head pushed back into the wall.

“This is why I like to keep my victims gagged,” Vaughn gritted. “That bounty hunter of yours never does it, no matter how I tell him to. Always has to do stuff his own way, never listens. All he does is talk talk talk, always has a retort for everything. So defiant, and so is every single subject he brings in.”

A dull aching throb emanated from where Stan’s head pressed into the wall. Black spots dotted his vision.

“You–... y-you can't–”

The scissors pulled back and dove toward Stan's mouth, eliciting a loud cut-off scream of revolt as he cowered and squeezed his eyes shut from some vain, animalistic instinct to protect himself.

Then he pried open his eyes again, confused when no cutting metallic pain ripped through the fragile flesh of his face.

The handle of the scissors were fuzzy, too close for his eyes to focus.

They weren’t that far into his mouth.

Just enough that if Stan tried to close it, his teeth would clip on the tip of the metal blades instead.

The scissors lifted slowly, tapping on his top teeth, tilting his head up until he stared into Vaughn’s metallic blue eyes once more.

“I could always prep your throat with these if you like,” he drawled softly, letting go of Stan’s cuff chain and instead lightly grasping his thumb and forefinger under Stan’s chin, forcing his mouth open further. A small sob crackled out from Stan’s throat.

“It would be so easy… I could just–”

The scissors lurched further into Stan’s mouth, and Stan let out another involuntary squeak and an open-mouthed, unintelligible pleading of “no, no, no, no…” as tears started to sting at his eyes.

But he let him do it.

He even still held his arms up, because surely if he tried to fight back now, with the scissors in his mouth quite literally pinning him to the wall… He didn’t even want to think of the consequences.

“Careful, dropje. Wouldn’t want to cut yourself. Be quiet, be still, be good for me, right? You can be good for me? You can finally shut the hell up. No more fighting.”

He let go of Stan's chin and let his hands wander lower, caressing Stan’s sides, the curve of his waist, making his entire body tense and shudder. His breathing turning loud and shallow as he cringed away.

Vaughn just giggled.

“See? Isn’t this better? You’re not getting hurt, you’re doing what I say…” His fingers slipped under the waistband of Stan’s pants again. Slower this time. More deliberate.

It took all of Stan's willpower to not start hyperventilating at what he knew was about to happen. He knew. It was always this, wasn’t it?

Vaughn’s voice lowered as he leaned closer, pressing his body into Stan’s. He could feel the fibers of the stupid damn sweater vest against his stomach, deceptively soft, almost pleasant. The hard blade of the scissors tapped on the tip of his nose. “Because you physically have no other–”

BANG!!

Stan screamed.

Vaughn screamed.

The ghost of the gunshot echoed off the cinderblock walls.

Vaughn also nearly fell backward, pushing off of Stan just in time for Stan to fall to the floor in a duck-and-cover position and pray to whatever gods would listen that his last day on earth wouldn't have been spent dealing with two of the worst people he'd ever had the displeasure of being kidnapped by.

Wait, scratch that, his knee reminded him. He'd had worse.

His heart threatened to jump out of his chest completely, but he finally realized that in fact, he was still alive. So he opened his eyes to what he never thought to be one of the most beautiful sights in the world;

Deeby.

Gun pointed to the sky and streaming a light grey smoke into a small puff of explosion that hadn't had time yet to dissipate.

“What in the ever-loving SHIT are you doing?!” he shouted.

He was completely maskless, face now on full display, fiery eyes matching his equally fiery sneer. The sudden absence of the mask almost scared Stan more than the gunshot, the sight making his heart beat in his throat.

Then, for just a split second, Deeby's enraged eyes met Stan's stare. His eyes scanned down his body, looking him up and down, his face changing ever so slightly when his gaze caught in Stan’s chest. A slight crinkle of the eyebrows, a small tilt of the head. Then his eyes widened in some sort of realization, and Stan felt his heart turn to ice.

Recognition.

No.

He couldn't have realized who he was.

Just because of the binder?!

Stan choked on his own throat as the collar suddenly constricted once more and he was dragged violently forward to his knees.

“Your fucking dog punched me in the face!” Vaughn shouted, jangling Stan around enough that he had to grab the collar just to gain back his breath.

“Just because–!”

Vaughn jolted Stan's collar back hard and cut him off with a violent gag.

“I was disciplining him.” Vaughn narrowed his eyes at the mercenary. “Like we're supposed to.”

Deeby’s jaw set. And still, he managed to find a slight smug smile within his fury. “That why your face is gushing blood, then? Disciplined him too hard?”

Stan didn't even realize when they started, but tears were practically streaming down his cheeks now, chest heaving in panic. “Deeby, Deeby, he was gonna–”

“Shut up!”

A kick this time, straight to the back of his spine, and Stan's throat strained hard into the collar before breaking free of Vaughn's grasp and nearly face-planting into cold concrete. He scrambled to get up, but the same foot planted on his back and slammed his chest right back to the floor, grinding the heel of its shoe into the captive’s spine. Stan clutched at the ground, screams barely bit back by force of sheer willpower.

“Christ, man! Stop it, get off!” Deeby yelled with uncharacteristic urgency.

The force pinning him down suddenly released, followed by the scattered footfalls of someone catching themself from nearly falling over.

Stan just lay there limp. Heaving and shivering. He couldn't move. His limbs felt like heavyweights, the world tilted on it’s axis, and he was sure that if he lifted his head up, he would lose every last morsel of that protein bar he'd shoved down earlier.

But at least now no one was methodically turning him into a fine red mist anymore.

Deeby stood between the two of them like an impenetrable stone wall, hand resting on the unlatched holster of his gun and pointedly ignoring Vaughn’s stuttering disbelief as he patted at the pockets of his jacket, pulling various probably very sharp things out and shoving them into his pants pockets.

Protecting him.

“You– You just–...” Vaughn finally composed himself. “You pushed me off! You're saving him? He needs to be taught a lesson!”

Stan tried to push up despite the dizziness. “Only–... D-Deeby, he was trying–”

“Shut up, Stan, I know, let me handle it! Here.” Deeby slid his jacket off and dropped it practically on top of his captive’s head, never once letting his gaze slip from Vaughn. Stan shakily pulled the brown leather of the jacket over his shoulders before he had time to think better of it, doing his best to just enjoy the show and not think about the implications of what was currently happening.

“Because he wouldn't let you put your dick in him without a fight, right?” The bounty hunter said sarcastically. “Or– or– or because he wasn’t gonna let you mouth-gore him without complaint? Let you ‘teach him a lesson?’ Yeah, I am stopping you. Piece of shit.” The bounty hunter grabbed the scissors off the floor where they landed when Vaughn dropped them after the gunshot. Then he used them to point sharply at the door.

“Get out.”

Vaughn scoffed and melodramatically rolled his eyes.

“You got the message from Lana then? Is that why you're acting like such a belligerent wittle babeee?” Vaughn posited in his most obnoxious baby voice.

Deeby bristled. Stan could've sworn for a moment he could see the man shaking.

“Yes,” he said, slowly. “I talked to Lana. Your useless job is done. You can go back to being an even more useless sidepiece now.”

Vaughn’s shoulders tensed, and he laughed.

“Good! And I’ll make sure to tell Lana all about you taking the side of the disobedient dog of a test subject–”

“Yeah, go cry to your girlfriend about it, he's under my jurisdiction and I'm not gonna let you fuck that up because you feel the need to live out your perverse power fantasy with the helpless people you kidnap and torture. As if it isn’t torture enough to have to be in the same room with you at all.”

Vaughn clenched his fists at his side and forced on the worst imitation of a smile Stan had ever borne witness to.

“You better watch your tone, Deathberry,” he said, sickly sweet voice doing nothing to mask the hissing rage. “I could have you in the same spot as him in ten seconds. Don't ever–” he jabbed Deeby in the chest. “–forget that. You're only allowed to be out here roaming around with your fancy gun and your fancy cowboy boots because you're useful, otherwise you'd be locked up with the rest–”

Vaughn had just started to reach for the holster on Deeby's belt when, faster than Stan could perceive, a flurry of movement between the two men, a cry of surprised fear, the shuffling of feet and spinning of bodies and suddenly Vaughn was pinned back first to Deeby's chest, a wire that Deeby pulled from somewhere stretched taut between his fists and pressing a hard line directly under into the skin of Vaughn's throat.

Vaughn's hands quickly flew up to the wire to try and pull it off his throat, then just as quickly let go when he realized the wire would sooner cut through his hands before it would be pried off.

Stan couldn't help but stare.

“You're just about at the end of my rope, Verhulst,” Deeby growled, accent fully presiding now as he stepped backward and pulled Vaughn toward the door. “Don't you ever put your filthy hands on my gun.”

A slight rasp to Vaughn's voice was the only thing that denoted anything was amiss. “You sure this is about the gun, Deebs? Sure you're not taking your frustrations at Lana out on me?”

“Trust me, if I was takin’ my frustrations at Lana out on you, bud, you'd be dead.”

Vaughn's eyes shot to Stan, and his smile broadened.

“Ohhhh, I see. So what then, you are falling for the captive? I'm sure Lana would love to hear about how you're going soft, how you miss her, and how spectacularly you're failing at finding someone better so you have to–”

A small gurk finding its way from Vaughn's throat as he was pulled to a sudden stop.

“You know what, maybe I am. And maybe you should use your mouth to do something not completely useless for once.” He spun the both of them around to face Stan again.

“Apologize to ‘im.”

What?

Vaughn stared at Stan, apparently more stunned by the notion of apologizing than the motion of having a garot wire to his throat. Stan… honestly had to agree.

“Come again?”

“Apologize to Stan. For tryin’ to rape him. It's the least you could do.”

“You want me to… apologize?? To the test subject? You really are losing it, Deathberry, let me go.”

The wire dug into his throat more. “Say sorry, doctor.”

Vaughn glared at Stan. Stan glared back as well as he could.

“I can't feel the pain of this, you know,” Vaughn's voice came, even raspier. “You're not doing anything.”

“You can still bleed out from a slit throat. Still drown to death in your own blood as it slowly fills your lungs,” Deeby dismissed lightly. “Still bleed out. Very quickly. I wonder what would happen if I hit your carotid–

“And I wonder how Lana would feel about you slitting her head scientist and boyfriend’s throat.”

“Probably call you a little bitch boy for invoking her name every time you need to defend yourself like a spoiled toddler ‘steada bein’ a man about it and defending yourself. Or maybe not. You’d never know, you’d be dead.”

“You wouldn't–”

Deeby twitched the wire across Vaughn's throat and a line of red bloomed across the light tan of his neck. Vaughn's face grew just a little bit paler. He brought his hands up to graze across the wire and felt the warm wetness smear across his fingertips.

“Apologize.” Deeby growled. “Now.”

Vaughn's eyes flitted back to Stan, fully appraising the wonderfully wide-eyed mess he'd had pinned against the wall only moments before.

He narrowed his eyes.

Took a deep breath.

Stared daggers directly into Stan's soul.

“Sorry.”

Oh you bastard.

“Go jump off a cliff!” Stan yelled, erratically reaching into the jacket pocket he'd seen Deeby pull the protein bar out of earlier and luckily finding many more, one of which was immediately thrown directly at Vaughn. He couldn't even attempt to dodge it, and it hit him directly in the chest.

The mercenary let out a singular loud laugh and spun Vaughn back around, letting the wire retract into what Stan now realized was a little housing box on his weird arm sleeve thing and shoving Vaughn at the door as hard as he could.

“Guess he doesn't forgive you. Better luck next time!” he laughed. Stan genuinely thought (and hoped) Sweater-vest would fall flat on his face, but he managed to grab the door and right himself before that happened. Shame.

“Now get out.” Deeby said.

Vaughn glared with a literal snarl, jaw half a second away from cracking in two. Right before he took a slow, deep breath and reset his features to a forced neutral. Then an easy smile. “As you wish, my liege.”

He bowed exaggeratedly low in a show of mock respect, retrieving his scissors from the ground in a surprisingly graceful sweeping motion as he went. Deeby just rolled his eyes.

“Oh, and Stanny?” He drawled, peeking back from the door as he left and pointing his scissors directly at Stan's face with a flourish. “I look forward to seeing you soon~.”

“Get outta here!” Deeby yelled with a threatening stomp toward the door, at the same time Stan stuttered out a very surprised and agitated “In hell!”

The door slammed shut.

Stan could swear he could still hear Vaughn's deranged laugh echoing through the room even as an eerie silence fell over them.

He was finally gone. Finally.

See you soon.

He didn't completely understand why his breath continued to quicken. He'd won that encounter, right? Or… well, Deeby had. But still.

I look forward to seeing you soon.

He felt dizzy. More than the concussion could have caused. This was different, made him feel like he was suffocating, even though Vaughn was no longer here to strain the collar against his throat. Yet he could still feel the knuckles digging into the back of his neck.

I look forward to seeing you soon. In hell.

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#whump #heroes and villains #whump writing #whumper #whumpee #hero whump #defiant whumpee #kidnapping whump #captivity whump #trans whumpee #disabled whumpee #(un)official guide #attempted noncon #noncon undressing #IT'S BACK BABYYYY #GAH I've been so excited to post this #I missed this so much #extra long and extra whumpy for all your waiting #whos idea was it to let me go on an accidental month long hiatus #WHO WAS IT #anyway I'm going into tech week irl for the musical i'm in #so I might not get to the next chapter next weekend #I'll definitely try to tho #I genuinely missed writing and posting this story too. I've got so much more of it to tell #anyway I hope you like this chapter it was a bitch to wring it out of me but I did it #and its glorious #Also vaughn is such a cringefail I love him so much #and we've got some secret hidden Deeby lore sprinkled in there!#making this like an easter egg hunt #did you find it?

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overleftdown · 8 months

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saltburn and lo real maravilloso

bare with me.

lo real maravilloso, in its direct translation, means "the marvelous real." in english language, this is more commonly said as "magical reality." magical reality is (arguably) a genre of fiction.

lo real maravilloso is a genre which defies definition. it is the inexplicable, the absurd, the ironic, the whimsical, the manifestation of dream and abstraction. lo real maravilloso is also the mundane. if this is confusing, that's entirely understandable. let me quote alberto rios; "first things first. nothing so important and nothing at all unimportant." this is the essence of magical realism. the absurd and unbelievable in a constant dance with the mundane, creating nothing so important and nothing at all unimportant.

to quote un señor muy viejo con unas alas enormes (a very old man with enormous wings) by gabriel garcía márquez, "his huge buzzard wings, dirty and half-plucked, were forever entangled in the mud. they looked at him so long and so closely that pelayo and elisenda very soon overcame their surprise and in the end found him familiar." in the story about un señor muy viejo con unas alas enormes, the absurd and unbelievable (a winged man crashing to the earth) becomes the mundane (the winged man is flightless, and those that found him are quickly annoyed by his pathetic presence). a winged man becomes nothing so important, and the drag of every-day life is nothing at all unimportant.

now, saltburn. i'm fascinated by emerald fennell's choice of using the aristocratic english as her metaphor for the untouchable. in a lot of ways, i'm grateful this is what she chose. while the ultimate inspiration for saltburn was less the materialistic class commentary that it came to be, the aristocracy becomes so many things throughout the movie. what i wanted to talk about is how the aristocracy, the cattons, are lo real maravilloso. the essay i quoted before by alberto rios is spectacular, because it delves into not just the ironic nature of magical realism, but the rhetoric, as well; what it means to think we understand something, how language deludes us into believing we know something, how our own reality is mistaken for reality itself. saltburn and the cattons live in their own reality, which to the outsider, is absurdity. when watching the film, what we find ourselves thinking throughout it is essential to understanding the rhetoric of the movie.

when we see the grandeur and wealth and think how impractical, how unreal, how hilarious. the humor that saltburn taps into is near-identical to the core of magical realistic irony. "to use classical terminology, tone so often derives from the delivery of the narrative as litotes—understatement—in the middle of hyperbole-- overstatement. If it is not humor, then it comes off as flatness of treatment, non-reactivity, deadpan almost, which is the great comedian’s trick..." (rios). think back to the casualty of the cattons' absurdity. the sincerity in which elspeth delivers the most appalling, unreal anecdotes and additions. magical realism places culture, sincerity, normativity uncomfortably close to what we could hardly fathom. a winged man falling from the sky, kept in the chicken coup because it is quickly understood that he is hideous. finding your winged son dead in the middle of an elaborate maze, sprawled out beneath a minotaur statue, and the knowledge that lunch is about to begin.

the longer we experience the world emerald has created, the more we understand the reality in which the cattons live, the more we find it familiar. the absurdity is forgotten, until it's once again realized, until it's once again forgotten. this is the act of interacting realities; ours, and then another, and then back to ours. what's so fun about exploring wealth is this clashing of reality. believing that it's so absurd to be so rich, then succumbing to the normativity of richness, then once again finding yourself laughing at the idea of it. "what do you mean it's almost lunch? how could you say that? your son is dead. and beyond that, he's dead in the middle of a maze. he's dead in the middle of your estate maze, with your estate statues and your 179 bedrooms, one of them being the king's." and when lunch begins, we're dragged back into foreign reality. we feel the grief that pollutes the air, pulls at each of the cattons. we understand that our reality is not reality, nor is their reality. we're submerged in the tone of the film, the tone of the writing. a well-written character is a character who has their own reality; not that they're right or wrong, but that they are.

there is also the clashing of culture. the aristocracy is more familiar to the english. the emotional repression visualized throughout the movie is more familiar to the english. the culture of british boarding school is more familiar to the english. the longer we experience, the longer we stare at the unreasonable, the more familiar it becomes. our reality is not reality. we stand amidst billions of others, who have millions of preconceived notions, derived from millions of alternate cultures, experienced through thousands of languages, interacting with another billion people. what this all boils down to is how little we understand.

how does oliver interact with this foreign reality? how does farleigh? how are felix and venetia interacting with each other, as well as this life that so little experience? how do we understand it? how do we react to it? how do we react to the sex throughout the movie, which exist in its own absurdly real world? at what point in watching saltburn did you forget how stupid it was? at what point did you forget that having a maze in your backyard is ridiculous? having gargoyles? having footmen? having 200-person parties in your own house? at what point did you lose yourself in this foreign reality, and when did you remember that it's all ridiculous? have you remembered? have you realized that the sex was absurd? have you realized that felix catton is absurd? have you realized that oliver is blind to the absurdity as well? hm. hmmm.

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revasserium · 1 year

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the unofficial ultimate bungo stray dogs reading list

this is mainly for myself bc i rly do want to read most if not all of these and i'm sure it's already been done by someone somewhere. but, i thought why not post it lmao; most if not all of these can be found on anna's archive, z-library, or project gutenberg! (also, consider buying from your local bookstore!) for those that are a bit harder to find, i've included links, though some are from j-stor and would require login to access.

detective agency:

osamu dazai:

no longer human (novel)

the setting sun (novel)

nakajima atsushi:

the moon over the mountain: stories (short story collection)

light, wind and dreams (short story)

fukuzawa yukichi:

an encouragement of learning (17 volume collections of writings)

all the countries of the world, for children written in verse (textbook)

yosano akiko:

kimi shinitamou koto nakare (poem)

midaregami (poetry collection)

edogawa ranpo:

the boy detectives club (book series)

japanese tales of mystery and imagination (short story collection)

the early cases of akechi kogoro (novel)

kunikida doppo:

river mist and other stories (short story collection)

izumi kyouka:

demon lake (play)

spirits of another sort: the plays of izumi kyoka (play collection)

tanizaki junichirou:

the makioka sisters (novel)

the red roof and other stories (short story collection)

miyazawa kenji:

ame ni mo makezu; be not defeated by the rain (poem)

night on the galactic railroad (novel)

strong in the rain (poetry collection)

port mafia:

mori ougai:

vita sexualis (novel)

the dancing girl (novel)

nakahara chuuya:

poems of nakahara chuya (poetry collection)

akutagawa ryuunosuke:

rashoumon (short story)

the spider's thread (short story)

rashoumon and other stories (short story collection)

ozaki kyouyou:

the gold demon (novel)

higuchi ichiyou:

in the shade of spring leaves (biography and short stories)

hirotsu ryuurou:

falling camellia (novel)

tachihara michizou:

in mourning for the summer (poem)

midwinter momento (poem)

from the country of eight islands: an anthology of japanese poetry (poetry collection)

kajii motojirou:

lemon (short story)

yumeno kyuusaku:

dogra magra (novel)

oda sakunosuke:

flawless/immaculate (short story)

sakaguchi ango:

darakuron (essay)

the guild:

f. scott fitzgerald:

the great gatsby (novel)

the beautiful and the damned (novel)

edgar allen poe:

the raven (poem)

the black cat (short story)

the murders in the rue morgue (short story)

herman melville:

moby dick (novel)

h.p. lovecraft:

the call of cthulhu (short story)

the shadow out of time (novella)

john steinbeck:

the grapes of wrath (novel)

of mice and men (novel)

lucy maud montgomery:

anne of green gables (novel)

the blue castle (novel)

chronicles of avonlea (short story collection)

louisa may alcott:

little women (novel)

the brownie and the princess (short story collection)

margaret mitchell:

gone with the wind (novel)

mark twain:

the adventures of tom sawyer (novel)

adventures of huckleberry finn (novel)

nathaniel hawthorn:

the scarlet letter (novel)

rats in the house of the dead:

fyodor dostoevsky:

crime and punishment (novel)

the brothers karamozov (novel)

notes from the underground (short story collection)

alexander pushkin:

eugene onegin (novel)

a feast in time of plague (play)

ivan goncharov:

the precipice (novel)

oguri mushitarou:

the perfect crime (novel)

decay of the angel:

fukuchi ouchi:

the mirror lion, a spring diversion (kabuki play)

bram stoker:

dracula (novel)

dracula's guest and other weird stories (short story collection)

nikolai gogol:

the overcoat (short story)

dead souls (novel)

hunting dogs: (i must caveat here that the hunting dogs are named after much more comparatively obscure jpn writers/playwrights so i was unable to find a lot of the specific pieces actually mentioned; but i still wanted to include them on the list because well -- it wouldn't be a bsd list without them)

okura teruko:

gasp of the soul (short story; i wasn't able to find an english translation)

devil woman (short story)

jouno saigiku:

priceless tears (kabuki play; no translation but at least we have a summary)

suehiro tetchou:

setchuubai/a political novel: plum blossoms in snow (novel)

division for unusual powers:

taneda santouka:

the santoka: versions by scott watson (poetry collection)

tsujimura mizuki:

lonely castle in the mirror (novel)