#a bit of insight about her

[recent-rose]

yknowwww there is something... deeply uncomfortable about the way mel never speaks directly to viktor in the 'build hextech weapons' scene. she really only speaks to jayce. plenty of people have pointed this out already but like the one scene they actually share a meaningful interaction and she treats him like he's beneath her. all this after jayce has emphasized how important viktor is, that hextech is theirs, together. she unequivocally ices him out, there's no other way to interpret this scene. the way it's shot too - from viktor's perspective, looking up at her, as though to reinforce the same belief in him. like he doesn't even bother expecting respect from her - or anyone from the upper echelon of piltover. he's fully accustomed to being dehumanized by everyone around him at this point. sometimes even by jayce, despite the trust they clearly have in each other.

then of course after this scene is viktor experimenting on himself. it's pretty clear that he has internalized his own dehumanization. crazy.

[beaulesbian]

how it feels playing da4 tbh

[radioroxx]

funny thing about aus in which another one of the party joins the loops with siffrin is that, while the others are 10x more likely to mention the loops, i cant imagine any of them would go to siffrin first.

[theology101]

I know this is a joke in Adventuring Party and probably isn’t canon but this is like… the best?

Fabian LOVES Honey and Bees, he’s just a spoiled fucker used to Fallinel Willow-Rose nectar honey or whatever - Solace stuff doesn’t compare tbh. He’s showing up, he’s attending meetings, having conversations about Honey.

Also, Step-Sibling solidarity between Fig and Fabian. Always a classic

[loveselenade]

Crisis of the family in n25 (Part 1)

The case of the Daughter’s talent erasing the Father.

Right from the very prologue, Nīgo's story presents us with the idea that Kanade’s family life has been obliterated— with that of her father’s hospitalization and her mother’s demise. The literal, physical absence of her parents serves to map her (more abstract) experience of child abuse through neglect into something visually concrete, as well as highlighting the precarity of her position as a child within the private (heterosexual) couple-based family.

Categories in crisis.

The segments in the main story detailing Kanade’s backstory center her relationship with her father, apparently long after her mother has passed away. Mr. Yoisaki’s status as a widowed freelancer complicates his position in relation to hegemonic masculinity[1]: while he still is the ultimate authority of his household and carries the responsibility of financially maintaining it as the head of the family, he goes from the very image of success— being a heterosexual, married man who’s the sole provider for his family to a certain degree of financial security (if we’re to judge by his equipment)— to a single father struggling to both secure work and successfully complete his client’s requests. As a freelance composer, his ability as a Father is predicated on his talent, and his struggle for this talent to cover his family’s needs threatens his masculinity.

Even after becoming a widow, Mr. Yoisaki rarely participates in domestic life due to work commitments— “the couple-based heterosexual household (is) built upon a gendered division of tasks, not least via the naturalization of particularly intensive mothering[2]”. The gap in reproductive labor (in the form of caretaking and housework) left by his wife’s demise then falls onto his middle-schooler daughter to fulfill. Kanade’s efforts underline her quality as a child: her attempts at cooking involve using pre-made ingredients and food from the convenience store, evidencing her status as a beginner cook. Her efforts to ensure her father’s well-being through cooking and cleaning, monitoring his needs are met and tending to his dejected moods often are politely declined and/or ignored. Even though she’s taking on the (invisible) labor a wife would undertake, she has no real way to influence her father or affect their family life. Furthermore, in the absence of her mother, there is no one left to ensure Kanade’s own needs are met, and she will often spend long periods of time ignored by her father and trying to come up with ways to earn his attention and love.

The place of a Daughter.

The ideal of the family promises the “grasping at a chance of guaranteed belonging, trust, recognition, and fulfillment[3].” This promise keeps Kanade and her Father motivated to continue their beleaguered maintenance of their household. For Mr. Yoisaki, to secure his place in the world as a parenting man that provides for his family and wisely guides and nurtures Kanade; his role as a Father is meant to secure him love, care and fulfillment. For Kanade as a Daughter, to have her material needs provided for and her future potential properly guided and eventually realized. Familial love is supposed to instill in her a sense of security in her place in the world and her agency in it.

What we see in the time the main story takes place is quite literally the opposite: her parents’ literal absence means that she will often neglect herself through denying herself food and rest for as long as possible, not to mention the fact she's a hikikomori whose only source of companionship are her online friends. She is single-mindedly dedicating all her energy and resources to redeem her existence through “creating music that can save anyone.” This attitude didn't originate from her Father's hospitalization, however. During the flashback segments, Kanade is weighted down by the sense she's burdensome: after all, she is the reason her father has to work himself so hard (nearly to the point of karōshi). So, she attempts to ease the burden she represents through being a dutiful daughter dedicated to caring for him and to her studies; she feels responsible for his happiness as the sole other member of their household. Post-hospitalization, she's haunted by the fact she is the reason he can no longer enjoy music (untrue), that she has killed his passion and reason d'etre, robbed him of his place in the world. Rather than fulfilling her role as his Daughter to ensure his happiness and fulfillment, she has failed and made him miserable.

Kanade’s status as a virtually parentless hikikomori highlights two things: 1. The precarity of children's position within the private household, and 2. The untenability of the Family Ideal. With regard to the former, one only needs to remember that there aren’t viable structural alternatives to child care, in Japan or globally. When Japanese children cannot be cared for/live with their parents, they’re more likely to end up institutionalized in state child care institutions[4] than to be fostered or adopted (98% of adoptions in Japan involve adult men)[5]. This is because “parental rights trump those of the child’s even when there is evidence to suggest the child is being abused or neglected by their parents(...);”[6]  “parents prefer ‘to have their child placed in an institution than they are for the child to be fostered or adopted…as it allows them [children] to maintain a link with birth parents’.” This facilitates the parent to disengage from “the stresses of child-rearing without giving up their child or their legal rights over their child.[7]” So even in the case of Mr. Yosiaki being unable to care for Kanade due his hospitalization, it’s considered preferable for him to retain custody of her; Kanade’s living situation as a child that lives completely alone with no one to care for her represents the reality of many neglected, virtually parentless children.

(On this topic, the only thing that prevents Kanade from being homeless or institutionalized is the narrative convenience of having someone covering her expenses so that she can remain in her family residence. I might be the only one who cares about this, but I do wonder if it’ll come up more in detail eventually. Also, for more information on a contemporary issue with regards the structural lack of support for neglected and abused children, check this article on Toyoko children. Abusive or neglectful families, bullying and harassment, impossibly high academic expectations, are all considered to be the shared causes behind the phenomena of Toyoko children and hikikomori).

Having it all.

“The hegemonic cultural ideal of the man as husband, father, and provider (...) has traditionally been embodied in the image of the daikokubashira— literally the central pillar of a house, but applied metonymically to the male breadwinner “supporting” the household. (...) (This) ideology (...) defines and determines hegemonic masculinity primarily through work.(...) This notion (can impart) a sense of strength, empowerment and achievement to (...) masculine self-esteem.(...) The “fundamental” qualifications for shakaijin masculinity—becoming a daikokubashira, (are) supporting and looking after a family.”[8]

Even though Mr. Yoisaki’s position as a freelance composer, an artisan with no regular, full-time work hours, complicates his engagement to hegemonic masculinity, that his sense of self and achievement is predicated on his ability to complete his work is undeniable:

Mr. Yoisaki’s diary: “30th. I won the competition. But it seems that I’m not entirely happy about it. It was Kanade’s phrase that was highly evaluated. It’s her song. I cannot say it’s mine.”

His growing discontent over his (in)ability to secure and complete work is not solely predicated on practical concerns about securing their livelihood, but on the growing disruption of his sense of self and his certainty in his masculinity; his confidence on his talent becomes eroded:

Mr. Yoisaki’s diary: “They all laugh that the music I make belongs to the past. Even though it was so refined in that commercial, they say. What am I missing?”

This insecurity is what sparks his jealousy over his daughter’s talent. While he does not express his feelings directly to her, they drive his need to reaffirm and express his ego through his music— and his long hours at work. Despite being a freelancer that, in theory, can define his own working hours since he’s not bound by any company, he still pulls in the typical salaryman work schedule in order to validate his own sense of masculine identity, nearly driving himself to an early grave. However, upon being confronted with the enormity of Kanade’s talent through her gift to him, he becomes convinced he has no place in the present, and like his daughter, loses his sense of place in the world:

Mr. Yoisaki’s diary:  “8th. Kanade gave me a song as a gift. Now I finally know. What is missing in my song. Why they laugh that my music is old-fashioned. What I create is merely an imitation of music I heard in the past. But Kanade’s music is different. It touches the hearts of the people who live in the present.”

However, despite his engagement with his own masculinity being very in line with trying to fulfill the image of the daikokubashira, he’s far from the image of the typical domineering father[9]. He shows himself gentle and supportive of Kanade whenever they speak, in spite of his insecurities. His diary confirms his commitment to looking after her despite the sacrifices to his ego this signifies:

Mr. Yoisaki’s diary: “But I still must keep on creating. To make a living. And for the sake of Kanade. I must create music that makes money. Yet is that… the music I want that makes someone happy?”

Even if his words try to establish his daughter, his family, as his reason to continue living, this falls in line with Ueno’s statement “that even today, some men mistake money and success at work for love for their family”[10] (and given Kanade’s grandma ends up supporting all of her expenses after his collapse, it further cements the ego component to his financial struggles). This inability to successfully negotiate his embodiment of the daikokubashira ideal and a redefinition of his masculinity to be more centered around being a Nurturing Father is what drives him into a nervous crisis where his poor health ultimately catches up to him. Narratively, his stasis is portrayed through his partially-amnesiac, convalescing state in which he can only remain himself through limited, sparse recollection of Kanade (and I have to wonder if the resolution —or lack thereof— to his identity crisis will play a role in the climax of Kanade’s own conflicted identity).

"In Everything for Everyone, Abdelhadi explains how (...) “you were supposed to still do all the things everyone was going while also raising the kid or kids, and everyone kind of questioned your work if it wasn’t 100-percent true. If you couldn’t do it all or have it all—which no one could.”[11] This passage captures the heart of the conflict in the Yosiaki household— that is that the couple-based family unit is “overburdened with work and worry about financial security and children’s unfolding lives[12]”, and such an overwhelming amount of labor and needs easily overtook both Father and Daughter’s capacities.

[1] “(Ryōta) is depicted as successful, ambitious and accomplished: an architect at a Tokyo firm, he leads a large team and works long hours. (...) The film establishes the Nonomiya family as a model of conventional gender roles and relations, within which the father rarely participates in domestic life due to work commitments while the mother takes the majority of responsibility for childcare and housework (...). Ryōta is also portrayed as an embodiment of the hegemonic model of masculinity in Japan, the salaryman: the heterosexual, married, white-collar office worker.” Christie Barber, 2018, ‘Beyond the absent father stereotype: Representations of parenting men and their families in contemporary Japanese film’. in Fabienne Darling-Wold (ed), Routledge Handbook of Japanese Media, pp 230.

[2] Sarah Brouillete (2023), Domestic Heteropessimism, as accessed in 06/01/2025 https://post45.org/2023/07/domestic-heteropessimism/

[3] Brouillete (2023)

[4] Alyssa Pearl Fusek (2018a), Life in Limbo: How Japan is Failing its Institutionalized Children. Unseen Japan, 2018. As accessed on 06/01/2025.

[5] Alyssa Peark Fusek(2018b), Why do Adult Adoptions Abound in Japan’s Business World? Unseen Japan, 2018. As accessed on 06/01/2025.

[6] Fusek (2018a).

[7] Idem

[8] Dasgupta, Romit, 2005, ‘Salarymen doing straight: Heterosexual men and the dynamics of gender conformity’, in M. McLelland and R. Dasgupta (eds), Genders, transgenders and sexualities in Japan, pp168,170-171

[9] “Ryōta’s conversations with Keita recurrently consist of instructions or admonishments about such things as table manners or learning piano—- an expression of Ryōta’s general judgement that Keita is unable to meet his expectations and therefore deficient. In these depictions, Ryōta conforms to a model of masculinity that Michele Adams and Scott Coltrane (2005) argue demands that a man not only be in a position of authority and responsibility, but also autonomous and uninvolved with his family.” Barber (2018)

[10] Quoted in: Gordon Matthews, 2003, ‘Can ‘a real man’ live for his family?: ikigai and masculinity in today’s Japan’ in James E. Roberson and Nobue Suzuki (eds), Men and masculities in Contemporary Japan: Dislocating the salaryman doxa, pp 110.

[11] Quoted in Brouillete (2023)

[12] Brouillete (2023).

[acebytaemin]

I want to hear about your fave recent scientific discoveries, Ana!!

what do i know abt science though LMAOFIODJF

[oysters-aint-for-me]

if i were a better playwright id write a one-acter in which lord byron and ada lovelace, having been buried next to each other, confront each other as father and daughter in the afterlife

[beheadedcousins]

I seriously think about farrah's parents divorce kinda a lot like:

does farrah think it's her fault that her parents got divorced?

how many years have they been divorced? and why?

was it messy? was it amicable?

how long after the divorce does farrah's dad get with annleigh's mom (after annleigh's dad passed away, obvi)?

how old was farrah?

does farrah think it's her fault?

who is farrah actually close with, and if she had a say in who she lived with after the divorce?

does farrah ever stay at her mom's (cause it seems like she just lives at o'daniel house)?

does farrah think it's her fault? and does she get told why her parents got a divorce?

[bumblingbabooshka]

One of the best Voyager scenes to indicate Tuvok & Neelix's dynamic and how I think Tuvok is just as if not more 'annoying'(positive) than Neelix is when Neelix pours Tuvok a fresh squeezed glass of a fruit juice blend and Tuvok's like (paraphrased) "I don't want to drink this." and Neelix is like "Can you please try it?" and Tuvok's like "I don't want to, you're really bad at this sort of thing. It's going to taste bad." and Neelix says that Ensign XYZ said she LOVED it, she even had a second glass! And Tuvok says Ensign XYZ could drink poison without a second thought and Neelix is like "Tuvok could you please just TRY it? Just try a little SIP of it PLEASE??" and Tuvok sighs and rolls his eyes and sniffs it before taking a sip and it turns out he loves it. Turns out it tasted good actually. And then after all that Neelix tries to talk to him over eggs (which he's again cooking fresh for him) and Tuvok tells him he doesn't wanna hear "the life history of his breakfast." Absolutely insufferable this man I would have burned his eggs on PURPOSE!!!!

[ya-what--ya-erster]

ppl thinking we as a musical fandom invented cherrycola because we got bored with marbit….

babe I would die for marbit

I have like 17 wips of them and every picture and art I can find of them saved into my camera roll and tap about thes so much that every time I open my mouth my family has to tell me not to talk about them and you’re saying that we as fans of the musical are bored with it???????

I would shoot you down for them. Stop trying to find ways to hate on fans of the musical!!!!

[daily-whistlebreeze]

daily whistlebreeze until spo becomes PoV day 1398

I like seeing how different I can make gray cats by throwing Whis at them; anyways, Spotfur's been on my mind tonight

[kingofmyborrowedheart]

I can’t wait to hear Taylor talk about this album during these upcoming shows.

[whitestopper]

Very sad to see Naomi tell Elle that she could always talk to them about the transphobic interview. That's very true and it'd be nice to see trans people (and kids at that) discussing the impact that transphobia has on them, Naomi.

Unfortunately, we're shoving a year of story into 8 episodes and you are not even in the main squad, let alone Elle's love interest.

[phantom-overdose]

((If anyone ever wants to write with a scruffy, kind of (unintentionally) goofy, sweet but still totally animalistic, former prisoner, werewolf-esque, character (complete with wolf tail) who has read a bunch of self-help books and who is super committed once he falls in love, and who also just so happens to be from a post-grand-fairytales fairytale realm full of magic and chaos and all that good stuff... just, ya know, let me know <3))

[arolesbianism]

Finally got around to designing this girlie! Her name is Compound, and she’s the leader of a goddess bless party of adventurers! Which is to say she is a huge suck up and absolutely unwilling to acknowledge that she and her party are completely and utterly unqualified for any of the missions they’re being thrown at

[delightfuldevin]

Been seein some rather cold takes about Daisy lately…

I’ve seen some people say that she has no personality outside of fanon, but that’s just not true. There is a very very common misconception among the fandom (at least that I’ve noticed) that if a character doesn’t appear in a “mainline” game, then they have no personality. But I’d argue that the spinoffs actually offer waaaaay more in terms of looking into character personalities. And no, I’m not talking about the RPGs ala M&L and Paper Mario as those are obviously full of personality (and Daisy isn’t in those). I’m talking about the Party, Kart, Tennis, and other sports games.

Yes, Daisy hasn’t appeared in any mainline game since her debut, but she’s been in nearly every sports game and her traits, stats, abilities, victory/loss animations, and various other tiny details add up to her personality. The fact that she’s nearly always yelling or just speaking really loud in general (noticeably more than any other character), the fact that she constantly feels a need to say her name and make herself known, how she loves flowers and considers even a small patch of flowers worth protecting, how she’s easily bored by tasks that don’t excite her and isn’t so reliable for them. She tends to jump around a lot, and spin and dance around when she’s excited! She’s apparently a rather fast runner and that is considered her specialty! These are all traits that are displayed in the spinoffs, and there’s probably soooo many more that I just can’t remember right now.

Now, I do think her tomboyish nature is probably fanon, as I don’t really remember seeing anything to show that she acts that way in the games. I think people probably think she’s tomboyish due to how loud and energetic she is. But hey, there’s plenty of fanon for just about any character from any fandom out there. And what’s so wrong with that? Isn’t the whole point of making fanworks to expand on the framework already provided by canon? If we want to stick to what’s actually “canon” then nearly everything the fandom has created would have to be tossed, because there really isn’t much to work with. Fanworks and fandoms thrive on what fans can create based on the canon work, not just sticking to it perfectly.

It’s fine if you think the “fanon” Daisy outshines the “canon” Daisy and you dislike that. But to say that she has no personality aside from fanon interpretations just tells me that you have a very narrow idea of what counts as “canon” in an already rather simplistic world. The Mario games are very simple and straightforward without much consistent lore that actually makes sense cohesively, but the characters are what keep everything tied together despite that. The characters are nearly always consistent, and that includes Daisy. Even when the setting is completely different and some random new villain shows up with some random new power source to steal or species to torment, our same well-known lovable characters will be the center of the story and that’s what makes it fun!