#chiako???

[trashfactorysstuff]

Toxic blorbos ;)

They are very toxic, more than I would like to admit. Somehow they make it work. They hate eachother so much that they love it. A vicious cycle none of them want to admit.

I’m so happy that you guys love Aiko😭❤️ she loves you all as well.

[trashfactorysstuff]

We love CSM au.

The current collection of CSM AU sketches I made 😔 combining two of my biggest hyper fixations

And also like fanart for @trashfactorysstuff cause they’re so Aiko Chiaki coded

[mournfulroses]

Kōtarō Takamura, tr. by Hiroaki Sato, from Chieko & Other Poems; "Desolation,"

[noodlecatt467]

Part 1

Part3

[peach-doodlez]

i love women so freaking much guys ft @nymphopod's lovely chiako <333

[madokamagicafan29]

I know this is usually used for reblogging but.. here's a few Riko icons [I used this]

[children-of-the-sun-au]

Xing:I was a fluffy cub that’s what was going thru my baby mind. >:3

Chiako: *Chuckles*

Tongbei: I remembered you ended up bouncing off my stomach and looking at me confused.

[poemshubs]

20th Century Greek Poet: Dimitris Varos

Dimitris Varos, born in 1949 and passing on September 7, 2017, was a distinguished Greek poet, journalist, and photographer. Known for his profound contributions to Greek poetry, Varos’s work spans themes of identity, history, and human emotion, reflecting both personal experiences and larger socio-political issues. He also had a significant role in the Greek media landscape as an editor and director of national newspapers and magazines. His legacy as a poet, alongside his work in the media, continues to influence contemporary Greek poetry and culture.

This article delves into the life, works, and impact of Dimitris Varos, exploring his role as a 20th-century Greek poet, his unique thematic concerns, and his lasting contribution to Greek literature.

Early Life and Career

Dimitris Varos was born in 1949 in Athens, Greece, a city that would play a significant role in shaping his worldview. Growing up amidst the political and social changes of post-war Greece, Varos was exposed to the intellectual currents of his time, both in literature and journalism. His early education instilled in him a love for Greek heritage and literature, which would become central themes in his poetic works.

In addition to his literary pursuits, Varos developed a successful career in journalism. He became an influential figure in the Greek media, serving as the director and editor-in-chief for many of Greece’s prominent newspapers and magazines, including Chiakos Laos, Acropolis, Ethnos, and Proti. His work in the media was instrumental in shaping the national conversation, and he was also responsible for creating several influential publications such as TV Ethnos, Time Out, Ergasia, New Gen, and others.

This dual involvement in literature and journalism gave Varos a unique perspective on the world, which is evident in his poetry. His professional career in the media not only influenced the content of his work but also allowed him to reach a broader audience, giving his voice weight in both the literary and public spheres.

Thematic Concerns in Varos’s Poetry

Dimitris Varos’s poetry is marked by a deep engagement with themes of identity, history, and the human experience. As a poet in 20th-century Greece, he was heavily influenced by the country’s tumultuous political landscape, particularly the legacy of war, dictatorship, and the search for national identity. His poetry addresses personal and collective memory, grappling with the notion of self within a larger historical context.

National Identity and Greek Heritage

Varos’s work reflects a persistent exploration of Greek identity, a theme that is central to much of modern Greek poetry. His poetry delves into the complexities of what it means to be Greek in the modern world, especially in the context of both the ancient past and the painful contemporary history of the 20th century. The legacy of classical Greece looms large in his poems, but Varos is not content to simply celebrate the past; he interrogates it, questioning how it shapes the present and future.

One of his most notable works, Thirasia (1997), explores the tension between ancient Greek heritage and modern Greek society. The title itself refers to Thirasia, a small island in the Aegean, symbolizing the mythic and historical ties that continue to inform the collective Greek consciousness. Varos reflects on how personal identity and national history are intertwined, suggesting that the individual cannot escape the weight of cultural memory.

The Human Condition: Love, Loss, and Existential Struggles

In addition to his exploration of Greek national identity, Varos’s poetry also delves deeply into the human condition. Themes of love, loss, and existential reflection run through much of his work, often intersecting with his broader cultural concerns. Love in Varos’s poetry is often portrayed as both a transcendent force and one fraught with pain and yearning. Loss, too, is a recurring motif, whether it is the loss of a loved one or the more abstract loss of cultural and personal meaning in an increasingly fragmented world.

Varos’s poems resonate with the existential themes of the 20th century, exploring human life through a lens that blends both individual suffering and the broader struggles of society. His works evoke a sense of melancholy but also an undercurrent of resilience, as his characters wrestle with both internal and external forces.

Memory and Time

The passage of time is another central theme in Varos’s poetry. Memory, often portrayed as both fragile and unreliable, serves as a medium through which the poet explores personal and collective histories. The poet’s relationship with time is complex: the past is never fully accessible, and memory often distorts or erases parts of it. Through this lens, Varos captures the ways in which individuals reconstruct their pasts, and how these memories shape their present selves.

In We are Greeks (2012), Varos reflects on the passage of time and the collective memory of Greece. The title itself suggests a reckoning with both the historical narrative of the nation and the ongoing struggle of defining what it means to be Greek in the modern era.

Varos’s Influence on Greek Poetry

Dimitris Varos’s contributions to Greek poetry are significant, and his work has had a lasting impact on the landscape of modern Greek letters. His poems are characterized by their lyrical quality, rich with vivid imagery and philosophical introspection. His exploration of national identity, history, and the human condition speaks to the concerns of both his generation and subsequent ones.

Varos’s poetry also intersects with other key figures in Greek modernism. While his style differs from that of poets like Giorgos Seferis and Odysseas Elytis, he shares with them an engagement with the complexities of Greek identity and the nation’s place in the modern world. Varos’s work, however, is more directly influenced by the global literary movements of the 20th century, particularly modernism and existentialism.

His poetry continues to inspire contemporary poets in Greece, who find in his work a bridge between the classical and modern, the personal and the national. Varos’s ability to blend deeply personal themes with broader cultural concerns has made his poetry timeless, resonating with readers who continue to grapple with issues of identity, history, and memory.

Major Works and Publications

Dimitris Varos published four major poetry collections during his career, each exploring different facets of the human experience and Greek identity.

Thirasia (1997): This collection is often regarded as his magnum opus. Thirasia explores themes of personal and collective identity, drawing on the ancient Greek heritage while confronting modern societal realities. It was also set to music by renowned Greek composer Giannis Markopoulos, which further cemented its cultural significance.

Phryne (2000): In this collection, Varos addresses the complexities of love, desire, and human vulnerability, using the myth of Phryne, the ancient Greek courtesan, as a symbolic framework. This work reflects the tensions between historical narratives and contemporary human experiences.

We Are Greeks (2012): A meditation on national identity, this work tackles the role of memory, culture, and history in shaping the modern Greek self. It speaks directly to the challenges facing Greece in the early 21st century, especially in the context of economic and social change.

Andromeda (n.d.): A more recent work, this collection continues Varos’s exploration of human relationships, love, and existential reflection, framed within the context of mythological references and contemporary struggles.

Varos in the Media: Beyond Poetry

Aside from his contributions to Greek poetry, Dimitris Varos had an equally influential role in the Greek media industry. As a journalist and media executive, he helped shape the landscape of print and electronic publications in Greece. His involvement with major Greek newspapers such as Ethnos and Acropolis allowed him to engage with the broader public, addressing both cultural and social issues that resonated with the Greek populace.

Varos was also instrumental in the creation of numerous influential magazines, including Time Out, IQ, and Pame Athina, among others. His work in the media demonstrated his deep understanding of the importance of communication and public discourse, skills that he seamlessly integrated into his poetic voice.

Conclusion

Dimitris Varos was a multifaceted figure whose work as a poet, journalist, and media executive left a lasting mark on Greek culture. As a 20th-century Greek poet, his exploration of identity, history, and the human experience continues to resonate with readers today. His poetry, while rooted in the complexities of Greek heritage, speaks to universal themes of love, loss, and existential reflection. Through his literary and journalistic contributions, Varos bridged the personal and the collective, the past and the present, and his legacy endures in both the world of Greek poetry and the broader cultural landscape of Greece.

[storjmije]

IL SOPRAVVISSUTO

Ok… ok ok

È nascosto sotto una specie di mobile. Una pistola gli trema tra le mani.

Ok… ci siamo (scoppia a piangere)… ok… gesù se esisti ti prego perdonami…

Oddio. Se la mette in bocca

Poi si inquadra uno sparo, e un altro.

Il prot guarda al foro che ha soarato sul fianco del mobile sotto cui era mascosto. Ha sbagliato mira, perché lo soaro di un eroe lo ha distratto. L’eroe uccide diversi zombie, poi si erge su di lui e gli da la mano.

“Non perdere le speranze!” Lo prende in braccio, su un cumulo di zobie morti. Ti salvo io! Urla, e viene attaccato da altro sombie, facendo precipitare il prot a terra, tra budella e sangue.

“No, non di nuovo, no, basta!”

Poi arriva un altra eroina, e lo salva , scontro con suber boss uccidi zonbie di prima, e poi lo porta fuori con una liana, lo porta con altri sopravvissuti, prima di morire, era stata morsa.

So che sarai difficile, ma dovete sparar- soaro.

Piccoletto è sconvolto, ma cone uno che ci si è abituato.

“Altri morsi?” Chiede lo sparatore. Silenzio.

Bene, dice. Mi chiako Riccardo, sono il vistro leader, militare hobbista cacciatore, conosco un rifug-

Uno del gruppo si trasforma e lo morde, insomma vengono morsi tutti. Ma lui si salva sempre.

“Ooh uffa, perché non muoio e mi trasformo come tutti gli altri? Perché ho così tanta fortuna.

Intorno a se zombie mangiano altre persone o lo mancano e si urtano cose così.

Hei piccoletto, vuoi un mio dito? Lo vuoi, il mio dito?

È in un parco giochi e parka ad un bambino su una giostra zombie. Il bambino si gira (era di spalle, non ha la mascella).

Tenta di morderlo ma lo sporca tutto.

Piangendo, lecca il sangue del bambino infetto dal suo braccio.

Lui ha una camicia, scorciata, da impiegato, è evidente che l’apocalisse è iniziata da non poco.

Piangendo, va a casa sua. Mamma, papà, sono a casa. Si sente make, salendo le scale. In salotto, ci sono i suoi genitori, con la testa sfondata.

Che puzza, apro un po’ le finestre.

Si affaccia, su un mondo al collasso.

Vado in bagno a farmi un ultima sega, poi un bagno, con un bicchiere di vino ed tot grammi di xanax.

(In una scena prima era davanti una farmacia)

Tossisce, si copre la mano con il braccio soorcodi sangue leccato, rimandando al momento, sembra malaticcio.

Si alza “mamma ti perdono, papa ti lerdono, spero voi mi abbiate perdonato, e bla bla bla, gia lo sapete”lo doce con poco entusiasmo, lo ha chiaramente gia fatto.

Va in bagno. Prova a farsi la pugnetta, ma piange, con i pantaloni abbassati, sulla tazza.

Ok, l’importante è che nella vita ne abbiamo goduto in abbindanza. Dice, guardandosi una mano e tirando su i pantaloni, aria afflitta.

Riempe la vasca, un calice di vino, e svuota le pillole in un panino col tonno, che inizia a mangiucchiare, guardandosi allo specchio.

Si guarda allo specchio, e dice

Io lo sapevo, lo sapevo che veniva l’apocalisse. Da quando ho visto quel video di quella matide che viene controllata dal parassita nel cervello, quello che esplode tutto quando va in acqua. pure quell’altro video, quello col parassita che governa l’animale MORTO.

Perché nessuno ha pensato a prendere provvedimenti. Che mondo malato.

Dice, mordicchiando il panino.

Non è stato troppo male essere me, dice, dando un bacetto allo specchio.

E lo lascia un po’ sporco di sangue. Lo guarda sgomento, apre la bocca nel suo riflesso, e quella sta sanguinando.

Spalamda gli occhi.

Oh no

Dice.

Il sangue… del…CAZZO! E sbrana il panino, ne tura vuori le pillole e le inghiottisce. No, no, no.

Si mette nella vasca.

Tira su col naso, sospira, morirò annegato. Ma almeno è finita. Dice, con gli occhi che gli si chiudono sempre di più.

Scivola sott’acqua, chiude gli occhi. Dopo un po’ li riapre, e poi li chiude.

Vimita, nella vasta, una sagima controluce, e poi scompare nel nero.

E poi li riapre.

Si rialza dalla vasca lentamente.

Esce.

Si mette a testa bassa di fianco lo specchio, ha paura di guardarsi.

Vede già che i suoi piedi sono un po’ strani.

Poi si gira.

Si porta le mani alla faccia, alla testa. Ha un colorito verdognolo. Un colorito da zombie.

Si sporge sulla vasca, prende m una cisa che galleggia in suoerficie, e se ne tira via un intero reticolato di roba.

E poi ha un flesc di quella roba che gli uscida dappertutto, in acqua.

Lo lascia cadere, disgustato.

Si riguarda allo specchio.

Si guarda allo specchio. Si mette una mano sul cuore , e aspetta. Per un sacco di vignette, aspetta. E poi si conclude, con un “oh cazzo”.

[spagetticircle]

OMG another OC as out of context quotes post?! And this time with the Dangonronpa OC’s? Hell yeah!

Ren Ikeda (Ultimate Sleuth): “I’m not an alcoholic, I just like drinking hand sanitizer.”

Chiako Suzuki (Ultimate Journalist): “Me when I see Walt Disney’s decomposing body in the cryo chamber.”

Itachi Furukawa (Ultimate Musician): “If god didn’t want gay people to exist, then why did he put a g spot in the ass?”

Hatsu Hamada (Ultimate Architect): “I saw 9/11 coming”

Suzume Morimoto (Ultimate Makeup Artist): "I feel the pain and sadness Oedipus felt that pushed him to stab his eyes out."

Kyoshi Magai (Ultimate Male Model): “I am a trans inclusive radical mysoginist.”

Misako Koike (Ultimate Honors Student): “You’re at the juice bar, sipping your…green drink, and you see that sexy semicolon across the bar and go ‘hey girl.’”

Azami Chibana (Ultimate Botanist): "So apparently you can fit a watermelon up your ass...who's down!?"

Kamiko Amai (Ultimate Actor): “…define terrorism.”

Kichi Sakurada (Ultimate Prankster): "Paradise Lost is my favorite fanfic."

Deidara Hidaka (Ultimate Artist): "CORRECTION: You ready to not be pescatarian every day of the week soon?"

Maru Izumi (Ultimate D&D Player): “Here’s Billy, the six foot tall tiefling twink.”

Naoki Hachisuka (Ultimate Scientist): “My favorite yaoi ship is Jesus x Judas.”

Rikuto Takahashi (Ultimate Shape Shifter): “It’s a living piece of gyoza. The gyoza fairy.”

Lusamine Sakai (Ultimate Fanboy): "Where were the other two bullets that were DEFINETLY fired by the same gunman in such a short amount of time?"

Saburina Ōkami (Ultimate Occultist): “We smell of heathen.”

[news-24gr]

ΧΙΑΚΟ ΠΟΛΙΤΙΣΤΙΚΟ “ΞΕΣΠΑΣΜΑ” – ΣΤΟ ΠΡΟΣΚΗΝΙΟ ΚΑΙ ΟΙ ΒΡΟΝΤΑΔΟΥΣΟΙ ΝΑΥΤΙΚΟΙ

ΧΙΟΣ : Εντυπωσιάζει πάντες το φετινό Παγχιακό πολιτιστικό “ξέσπασμα”. Εκδηλώνεται με ευφάνταστους τρόπους τόσο στη Χίο όσο και στις Οινούσσες και τα Ψαρά. Συμπολίτης το παρομοίασε με την “εκτίναξη” συμπιεσμένου ελατηρίου που, στην προκειμένη περίπτωση, είχε υπερπιεσθεί επι δυόμισι χρόνια λόγω κορωνοϊού.    Είναι απολύτως φυσικό, στο πολιτιστικό αυτό “ξέσπασμα” να συμμετέχει και ο Βροντάδος. ΦΟΒ, ΠΕΚΕΒ και “Σύλλογος Αποφοίτων και Φίλων Ανδρεαδείου Γυμνασίου και Λυκείων Βροντάδου” έχουν φροντίσει ώστε να μην υπάρχει δεκαήμερο χωρίς κάποια αξιόλογη εκδήλωση.    Από κοντά, για πρώτη φορά, και το “Σωματείο Συντ/χων Ναυτικών  Βροντάδου”. Επί μήνες ετοιμάζει τη δική του εκδήλωση, που θα γίνει το απόγευμα της Πέμπτης 17 Αυγούστου στην πλατεία του “ΑΦΑΝΗ ΝΑΥΤΗ”. Προβολή βίντεο και παρουσίαση βιβλίου με δεκάδες διηγήσεις ναυτικών μας, (που βίωσαν και συμμετείχαν ενεργά στα θετικά και αρνητικά του μεταπολεμικού “ΘΑΥΜΑΤΟΣ” της Εμπορικής μας Ναυτιλίας) αλλά και μουσικοχορευτικό πρόγραμμα, έκθεση έργων Βρονταδουσίων καλλιτεχνών, περιλαμβάνει το όλο πρόγραμμα, το οποίο θα αρχίσει στις 7,30 μ.μ. με τρισάγιο που θα τελέσει ο Μητροπολίτης μας κ. Μάρκος στη μνήμη των απολεσθέντων, εν πολέμω και ειρήνη ναυτικών μας.    Η Ελλάδα συνολικά και ειδικότερα η Χίος και ο Βροντάδος, οφείλουν πολλά, πάρα πολλά, στους ναυτικούς μας, “ζώντας τε και κεκοιμημένους”.    Ραντεβού λοιπόν όλοι και όλες στην πλατεία “ΑΦΑΝΗ ΝΑΥΤΗ” το απόγευμα 17 Αυγούστου προς απόδοση του οφειλόμενου φόρου τιμής και ευγνωμοσύνης στους “ανδρείους των θαλασσών”. του Αριστείδη Ζαννίκου Υ.Γ. Χαρά και συνάμα υπερηφάνεια μας προκάλεσε η πρόσφατη βράβευση, από τα “Ναυτικά Χρονικά” του αγαπητού Αντώνη Δ. Φαράκλα ως “καλύτερου ναυτικού μάνατζερ” έτους 2022. Απολύτως δίκαιη βράβευση ενός (χαμηλών τόνων) πανάξιου τέκνου του Βροντάδου. https://news-24.gr/chiako-politistiko-xespasma-sto-proskinio-kai-oi-vrontadousoi-navtikoi/

[trashfactorysstuff]

Part 1 of the many Aiko drawings I have, just showing the ones that explain a bit of her lore.

Aiko at some point Aiko disguised herself as a man to get an idea where Chiaki was, Taisei just helping her even though he thinks the whole idea was useless and stupid.

Taisei and Aiko are not a couple. Taisei have very mixed romantic feelings towards her but he knows that would be never responded. He just opted to help her in every way he can, a very “I’m happy if you are happy” situation.

Aiko really hated that from the fact that she needs to bind herself (which was painful for OBVIOUS REASONS), to the uncomfortable feeling of getting flirted by women around and in general having to pretend to be a man to just have a chance, an opportunity that seemed nonchalantly to men. Aiko hates that injustice feeling.

Also, she has a bunkaru puppet that she turned into a doll. She is 25 and having that inner child go around whenever she is alone. She really needs it.

Aiko gets pregnant at some point, not really elaborating.

[tiny-flower11]

Trong cuốn “Mùa thu của cây dương” mình đang đọc có đoạn cô bé Chiako viết thư gửi cho bố ở thế giới bên kia.

Tự nhiên mình nghĩ nếu giờ mọi người quay lại viết thư tay cho nhau thì sao nhỉ? Không phải viết tin nhắn gửi cho nhau trong tích tắc, có chuyện gì kể cho nhau biết luôn rồi kết thúc cuộc trò chuyện. Rồi sẽ có cảm giác mong ngóng chờ ngày nhận được thư, đếm ngày thư đi-đến, tưởng tượng cảnh đối phương đọc thư, rồi lại hồi hộp lúc mở thư ra đọc. Cũng có nhiều thứ thú vị đấy chứ.

Và nếu mình nhận được nh��ng bức thư tay thì sao? Đầu thư sẽ là “Gửi Giang,” hay “Giang thân mến,”. Tiếp đó họ sẽ phản hồi lại những câu chuyện mà mình kể, rồi lại kể những thứ họ gặp trong thời gian vừa qua.

À không, chẳng cần thư tay đâu. Giờ mà bỗng dưng có người gửi mail cho mình, viết “Dear, Giang” rồi kể về câu chuyện của họ xảy ra trong ngày, hay trong tuần thì cũng thú vị quá rồi.

[kyomiji]

chiaki hagino 🌷🎭

anime: hinako note

[noodlecatt467]

Part2 of Chapter2

Whatcha you heard there Macaque?👀

Pt1

Pt3

[starya-art]

Today is the tododeku middle birthday so here is my Chiako. :)