#he doesn't wear hats often in official arts

[ssaraexposs]

Just SKKs wearing hats

[lexezombie]

REFERENCES?? IN THIS ECONOMY??

yuhh <3 + some new hc info: (I may have projected on Mabel 💀)

Mabel Pines: 15

Always sewing, knitting or crocheting; likes making her own clothes (lil fashionista)

Has beads on her shoe laces that remind her of family and friends!

Spends most of her time on ebay looking for vintage fashion pieces

AuDHD

Paints her nails daily

Has an extensive nightly routine

Her room has an armoire, closet, vanity desk + dresser

Her vanity is overflowing with accessories

She 100% likes Vocaloids, MLP + Undertale lmao

Still has a huge amount of sweaters; ones that don't fit anymore get recycled or donated <3

Still arts and crafts QUEEN and she will never be dethroned!

Recently gave Gideon a chance at long distance dating; they've been together three weeks and it's going alright so far

Ford gave her the 2nd fit (her 'hunting gear') as a birthday gift

Still has the grappling hook and uses it often

WILL bareknuckle box school bullies -- LEFT HOOK SOLVES EVERYTHING!

---

Mason 'Dipper' Pines: 15

Constantly wearing Wendy's hat

Started his own journal (with Mabel's input)

Prefers wearing boots with thick soles after stepping on a nail at 14

Autistic

Likes FNAF + Undertale

Runs a DD&MD group with a few friends (it's been going for months)

Mabel made his sweater vest <3

Still wants to apprentice for Ford but he's waiting til after high school

Has been in a long distance relationship with Pacifica for a year now

Built a tree house with Mabel + is usually found in there

Is less bothered by liking girly stuff + will openly join his sister in singing girly pop songs during karaoke night

Has WAY TOO MANY PINS!!

That Freddy shirt glows in the dark (he was bullied for it once and doesn't wear it anymore; at least not in public lmao)

Extra stuff to note for both in this AU:

Parents are officially divorced, though they live with their dad (agreed upon by both parents. it's not that messy a divorce tbh lol)

They visit Gravity Falls every summer

This AU IS the one with Cluhsandra Puzzles in it, so they do get to interact with both her AND probation Bill lmao

Both have trauma from the events of weirdmagedon but are doing MUCH better with it after therapy (bill could use pointers)

Out of the two of them, Mabel's the one that'll need glasses first

[complexsaviour]

Milgram 4th Anniversary Art Analysis Part 2/3: Haruka, Es and Yuno

Haruka

Haruka's pose sort of reminds me of Mikoto's, but it's a little looser, less organised. Similarly to Mikoto, he doesn't want to come across as a threat — wants to appear open — but he doesn't quite get it right. Like Mikoto and Shidou, his suit is fully done up. His tie is a little loose too, but I'd hazard that it's because he doesn't know how tight it should be, or hasn't noticed. His pose is largely open but one leg is still slightly bent and he's facing sideways — subtly somewhat mirroring Muu's pose, just as he does in his Trial 2 sprite art. I think the way he is holding his bouquet, in front of himself and upside down, mirrors the way he is largely quite open about and accepting of his crime, but also him as a person in the sense that he is blatantly unconventional and takes an unusual and confusing approach to things. The flowers in his bouquet are actively slipping out of it, falling on the floor, but he either doesn't care or hasn't noticed, perhaps reflecting how he has a sort of reckless approach to things and often ends up inadvertently causing damage and chafing against the status quo. He seems to know more or less how he should hold the bouquet but manages to bluntly get it the wrong way around. His hold isn't quite as secure as Mikoto's, though similar — as if he wants to similarly come across as unproblematic but isn't really sure how. He's the only male prisoner smiling with his mouth open, but his smile is sort of uncomfortable and awkward, coming across as more nervous than genuinely at ease. There's a visible small gap in the wrapper of his bouquet, which Amane's also seems to have. This is interesting to me. I'm not entirely sure what it represents...perhaps some sort of metaphorical 'crack' in their lives or their relationships with their victims, since, at least as far as I'm concerned, they were both family members?

Es

Es' demeanour is very much in fitting with their Buddhist monk garb. At first glance I wondered if their hand gesture was perhaps a Buddhist mudra, but it doesn't seem to resemble any in particular that I came across. They are wearing a Japanese Buddhist monk's regalia, complete with yukata and kasaya, as well as traditional tabi-style (thonged) shoes. It's as though they are the officiator of the funeral that everyone is dressed up to attend, which is quite fitting — as, in a way, it's their duty to put the souls of the victims to rest. Meanwhile, I believe Jackalope's outfit is more in line with the attire of a Shinto monk or clergyman. It's sort of hard to tell, but the hat at least is much more in line with Shinto clothing.

Yuno

Yuno's pose is open and relaxed, much like her attitude to her supposed crime. She's been quite open and blunt about it from the start, after all. Her outfit is a tidy school uniform, a lot like what she wore in her first music video. Like Shidou, she holds her bouquet a bit like a baby, similarly very much in view of the spectator and without pretence, but she doesn't seem quite as concerned with trying to properly support its weight as he does, and I think her pose is overall less personal and more detached — like she's only holding the 'baby' in passing. It doesn't feel like she feels any particular tethering to the 'baby' or her supposed crime. Instead, one hand, while still technically supporting the first, also holds her own arm — perhaps as if to unconsciously seek warmth and support for herself — a bit like the way Yuno supports and comforts herself in her Trial 2 music video. This pose also sort of feels to me like her way of perhaps creating a pastiche of how society expects her to be — the gentle and polite picture of a youthful mother which she so adamantly rejects.

[misteria247]

Some more random silliness from the Muppets concept (Welcome Home) au yahoo-

After the vase incident Barnaby doesn't let you live it down. You're constantly bombarded with little jokes about your strength and smashing the poor vase into pieces. It embarrasses you each time because it really was an accident. Other than teasing you with the violent yet embarrassing first meeting, Barnaby also tells you jokes and puns, often times earning a laugh or a groan from you. But all in all you enjoy being around him.

You figure out quickly that Julie is a ray of sunshine, but she's also extremely chaotic. There was one time when you'd come home from work only to find her sitting on top of your fridge. Just cuz she'd come up with a new game involving climbing said fridge. Took you awhile to get her down but you had fun doing it. Even if you had to replace a few things that had gotten broken in her more erratic moments. (You made sure to keep bowling balls hidden from her afterwards).

Eddie likes to go get your mail and just sit down and chat with you. Since he can't exactly be a mailman anymore he's taken to telling you about all of his deliveries he's done in the past. You always find them incredibly interesting and are always asking him questions much to his delight. You'd even began to give him your letters you're planning to send out so he can take them to your mailbox. Often times joining him on the walk to just enjoy the morning air with him.

Sally has officially overtaken your spare room as the new theater room. She'll often be found in there practicing for her shows or writing a new play. She'll drag you into some of these sessions, asking for your thoughts and even including you in some of her plays. You always have a blast. And the costumes she gets her hands on are always a delight to try on and parade in them.

You and Frank surprisingly take a bit of time to get used to one another. Mainly because Frank is still lingering in the aftermath of their last home and what had become of their last caretaker. He's a bit distant with you however eventually he comes around like the others and talks to you about his bugs. Especially his love for butterflies to which you enjoy immensely. Seeing Frank light up about them makes you incredibly happy, knowing that he's warming up to you now.

You come to learn that Poppy is a bit of a worrier and it doesn't take long for her to start mother henning you as well as her beloved friends. She'll make delicious food and treats, help keep the house tidy and clean and has even made you a few hats, scarves and sweaters. You wear them all with pride and in return you try to help her out wherever you can. From chores to helping cooking dinner it becomes a special bonding time between the two of you.

Howdy keeps trying to persuade you into starting an online shop once he'd learned about the internet. It's an ongoing discussion between the two of you, mainly cuz you have no idea what he'd even sell. But eventually you do give him the reigns to get an online shop going and he becomes successful in no time at all. You learn not to question his unique abilities in selling things. Howdy just seems to have the magic touch and charming charisma that many salesmen wish they had. You also purchased a few things from Howdy's little shop much to his giddy glee.

After finding a few doodles here and there in your home, you'd come to realize that they were made by Wally. The smallest puppet was an artist and always seemed to be fiddling with pens or pencils he found around the house and draws on any scraps of paper he could get his hands on. He doesn't ask you for it, but you get him his own little art kit, with paints included. Let's just say he clung to your leg in happiness for a good half hour before gifting you a painting he'd made sometime later. It currently hangs on your wall.

[iwritenarrativesandstuff]

hi! was the anon with the whole dazai chuuya outfit thing. i went ahead and checked every single chuuya panel i could look into and yeah he actively loses/takes it off with dazai which? is? interesting :) ive also compiled some intances where hes dealing with other people just to compare!

infamous dungeon scene- he grabs it by his hand over the shoulder first, before tossing it away. he also just...takes it off when kicking dazai's chains off

guild arc where dazai and chuuya work together- same deal with the dungeon where he grabs it with his hand so it doesnt fall off but later loses it because of lovecraft (also included the last image of him talking about plans with dazai like the ye olde days just because)

now him doing "im grabbing my coat so it doesnt fall off" thing is just....not in the panels where hes dealing with anyone else. like you would think hed do that while hes kicking kenji but he just. doesnt. you would also think that he would use gravity to keep it there? like he CAN do that. but its just...off when hes with dazai, even theres only like two whole instances in the manga. and now that hes "dealing" with dazai again, hes just straight up not wearing his usual outfit.

much to think about!

Op????? You actually went through each panel oh my god. You beat me to it!

I am really fascinated by this now. I'm unsure, due to Chuuya's inconsistent appearances in the manga, whether this was or was not intentional but either way, it's still worth noting.

While there are scenes where he's not wearing the coat (drinking with Kajii and Hirotsu, celebrating with Mori and Kouyou, as examples off the top of my head), these aren't the same since he enters the scene without the coat and the setting is more casual.

But yeah there's definitely more contact - and lack of - with the coat in the scenes with Dazai. Again, I'm unsure if this is intentional but it is nonetheless interesting.

In official art, I've noticed that Chuuya occasionally does the coat hold, but while Dazai is often featured, it lacks the context of the manga to be able to discern whether or not this is part of some trend.

I love the idea of it being symbolic in some way. I also love the idea that Chuuya touches his hat and coat more around Dazai because he used to use his nullification power to steal them and run off with them kjdfndkj

I imagine Chuuya has to use gravity to keep his coat on while he's fighting (someone teach these characters how to wear a coat properly hhhh) and because Dazai tried to steal his stuff so often when they were younger, it's now an automatic impulse to hold onto them whenever he's around hahaha

...that said, that doesn't explain the unusual loss of the coat in the Lovecraft fight. In the first scene, Chuuya kicks the shackles chaining Dazai to the wall - that contact could've released the hold he had on the coat... maybe. In the other, he just gets thrown into a wall and didn't come into contact with Dazai at all. Could it represent a return to just the two of them and their old bickering dynamic against a common foe, bare of the context of traitors and opposing sides for just one night? Maybe, maybe not. Again, it's hard to say.

Nice to (sort of) meet you btw! Or at least to be able to put a blog to the thoughts you sent earlier, haha.

[petermorwood]

An interesting painting, one of the many whose story can vary depending on what it's called.

Here's the biggest version I could find:

And here's what I mean about different titles: officially it's "The Competitors", which puts the two men on a equal footing even though their clothing indicates they're not of equal status.

*****

Now call it something like "The Drunkard", and all of a sudden Brown Suit is in the wrong. The way Black Suit is sprawled with his shirt-front popped, his sleeve torn and his "What just happened?" expression suggests he's been on the receiving end of an unprovoked assault.

Look at the policemen making an arrest (a resisted one at that, one cop has lost his helmet) as well as the way the lady is glaring. It all suggests that instead of being an equal competitor for her affections, Brown Shirt acted in some offensive way, was told where to get off by her gentleman friend, and responded by taking a swing at him.

*****

But call it something like "Honour's Defender" and things change yet again. Now noble middle-class Brown Suit has seen, let's say his sister, in company with a notorious upper-class rake and been unable to restrain himself.

While the police are still doing what they do about fisticuffs in public, her expression might now be more along the lines of "You said you wouldn't DO that!"

There's the fascinating thing about art (it extends to photography as well): its title can play a surprisingly large role in telling you what to see, and by changing that title, you can tell your own story.

:->

*****

"The Irritating Gentleman" by Berthold Wolze also differs between viewings, though not by changing the title, more by looking at an easy-to-miss visual detail.

Any first look at that painting mostly sees the Big Picture (cough) as a tearful young woman in mourning being pestered by a smarmy lecherous nuisance with a cigar.

And what's someone so well-dressed and apparently well-off doing in a starkly furnished Third Class carriage anyway? Up To No Good, that's what.

However it's also been pointed (cough) out that her expression, directed at the viewer, can be read as, "I've had enough of this. Apologies in advance for what you're about to see..." and she's going to take matters into her own hands.

Specifically her right hand...

...because a closer look reveals she's reaching for a hat-pin.

If he doesn't back off, in a few seconds this masher * is going to be sorry he got creepy with her, sorry he got into this railway-carriage, sorry he even got out of bed.

*****

Discworld fans will already be familiar with hat-pins - Granny Weatherwax wears a lot, putting them in place "like a warrior strapping on weapons".

For those less well acquainted, their (official) function was to help hold a woman's hat on.

The pin went through the hat, through the braided or bunned-up hair inside the hat, and often out through the other side of the hat, where it might have a safety-cover for the point but often didn't.

They looked something like this:

Yes.

Quite...

*****

* I thought "masher" (a male sex-pest, often foppish or dandified, who made unwanted verbal or physical advances to women he didn't know) was Victorian-era slang, but Web searching suggests it may still be current in parts of Australia, Canada and the USA.

Can anyone confirm this as Y/N?

*****

Here are several articles on hat-pins vs mashers: One; Two; Three; Four; Five. Interesting stuff, and adaptable as a worldbuilding element in fantasy or AU fiction.

For use by a female assassin, perhaps?

Besides active use as a stiletto, accidental jabbings did happen IRL with hat-pins, so how about a non-accidental targeted jab from a pin treated in advance with slow-acting poison?

Just a thought... :->

Erik Ludvig Henningsen (Danish, 1855-1930) - The Competitors

[apieceofsushi]

heyyyyyy remember when I did that card art analysis back in June for the mafuyu event on the jp server? yeahhhhh totally wouldn't dare attempt that again yeah noooo wayyyy

been staring at these cards all day, so jokes aside, let's dive in! feel free to share insights/opinions, I really want to understand every side of these cards as much as possible....*sobs* I love them so much

From Now On And Forever - Toya Aoyagi

if you have been following my blog, then surely you know that I have been in a frenzy the past couple of days, starting with the untrained art for this toya card. if you didn't already know this was like, THE akitoya event, then this card is how you know. first off, we finally have official art of the boys without their jackets (thank god, Japan gets really hot y'know let them breathe). secondly, THEY'RE DOING THE GAY FIST BUMP THINGY AAAAAAAAA--so proud of them :')))

thirdly, I love how akito is in the trained art as well! it doesn't happen very often that a second character is in trained art (I now have the obligation to dig through all of the trained art that does and post it here lol), so...it really does scream akitoya event! but....about the trained art.....

HOW. and I repeat HOW is toya not like. screaming and clinging to akito for dear life?? (I will draw to make a joke out of this and post it at some point) if you didn't already know, toya is scared as hell of heights, so I find it hilarious that they chose the theme to be high up in the sky...

also, while obviously I need to read a few more of the vbs event stories, I'm curious to know what the broken cage means...is it Toya's freedom to be his own person, and not be forced to play classical music? the ability to be able to sing with his partner that he truly values? Clearly, the boys are sitting in the cage because even if they can leave, they're still in midair (it seems, anyways)....lots to unpack here!

Midnight Making - Kohane Azusawa

aaaah...this kohane card is so cute......wheqgfqygufhijo it's rare to see kohane in glasses....AND WITH HER HAIR DOWN TOO! she looks so different...and kaito there while she dozes off is a cute touch :D the pink theme is really nice as well, considering that untrained art never really has a theme compared to other's in the set, this one is really pleasing, in my opinion...

now. now. the trained art is absolutely stunning--she looks even cuter in this one, which I didn't know what possible...kohane's innocent little face, looking up at the birds...

OH YEAH. THE BIRDS. so in toya's(+ akito if we're being technical) and kaito's trained cards, the birds are black. (crows, maybe?) but in an and kohane's, the birds are white (doves, most likely). surely, there has to be a deeper meaning to this, right? when you take a second to look it up, no matter what species, white birds are always pure and represent everything good. but black birds are typically the opposite...but I found it interesting that they could represent "change". maybe it'll make more sense when some translations come out for this event, but hmmm....

also, I love kohane's bucket hat. so much. she wears one in a few card cameos + one three star I think (I will now make a collection of this and post it dw), and it's just soooo cuuutteeeeeeee! they really know how to make her look adorable, huh?

You're Particular, Aren't You? - KAITO

damn, I never thought I might become a kaito simp, but this might be the turning point. the untrained art is cute, obviously I don't have context for what's going on there, but seeing street sekai kaito all confident always makes me laugh...I love how rain and meiko are just there. in shock. at whatever is going on. dang it I really need those story translatioooooons--

the TRAINED art is what I can't stop looking at, which is expected. kaito is just standing there and he looks amazing iwqfuhgqeojpwjfie

it's interesting thought, as he isn't in a cage, but on solid ground, near... construction? there's clearly some stairs there, so he appears to be high up...it looks like the empty sekai, if you look closely. strange...

and again, there are the black birds, which surely symbolize something...I just can't put my finger on what, exactly. this whole set just looks really pleasing, I'm not sure what else to say lol

Nuanced Language - An Shiraishi

ah yes, the three-star card. I swear, three-star cards never disappoint, do they? they always look just as incredible as the four-star ones...

for the untrained art, I like the atmosphere a lot, for some reason! it's nice seeing An do things that you'd expect one to do while working...it's simple, it's cute...what else do I need to say?

the trained art, ofc is super pretty... she doesn't appear to be in a cage, like KAITO, but she still seems rather high up. when I saw this card, it made me wonder if all the characters are looking at something in particular...like say, if An was looking up to Kohane...

it's also interesting how she is holding flowers, could that be a reference to the last vbs event? are the birds, like, going to carry them up to Kohane, like how people spectated that Akito's and Toya's art was related in some way for the previous event? I'll never know...

also. An in a hat. not just any hat, but....qjwhfvhaihdfvjkwafefe hang on lemme get over the heart attack I'm currently experiencing right now--

How To Spend Our Days Off - Akito Shinonome

ah yes. YOU. the one who's been part of all of the chaos...this card is what fully convinced me that this event is a "snazzy jazzy" one.

don't ask how I came up with that. I don't know either.

I'm honestly really happy about the card line-up this time around. For the past two Toya focused events, it was with Akito and An both being in the Gacha (and in the same places too, mind you). so having them both in the shop was actually relieving. and Akito did get to be in the trained art!!! WITH TOYA!!!! so it all works out.

there's probably a lot more I could say, but I didn't want this to sit in my drafts for much longer...enjoy my ramblings uwegfyuewfiew :)

[toshima-division]

"Small opportunities are often the beginning of great enterprises."

Introduction

Mei Yu is the second member of the Toshima Division rap battle group, Inner Circle. She is known by her MC name, Zhurong. A mercenary hailing from Southwest China, Mei came to Japan to escape the ghosts of her past. Though she has no loyalty to Chuohku or Toshima, she nonetheless decided to join the organization and group in order to fight and defeat the man whom has always been one step ahead of her, Vito Koi.

Mei is a Chinese woman hailing from Southwestern China, which explains her appearance. She has natural red hair that is in a retro with hammer buns near the top. Her eyes are crystal blue. Despite her tanned skin, which she attributes to her time in the sun. She has a C-sized chest and long hips with a slim waist.

Her attire consists of a red Cheongsam dress with gold highlights and a pair of black heels. On her arms, she wears a pair of red arm warmers. On her left wristband, she has a silver circle wristband. She also wears a white feather shawl from time-to-time.

Name Meanings

Mei (美) - 'beautiful'

Yu (愉) - 'pleasant, delightful'

Aliases

"The Sanguine Flame"

"Daughter of Fire"

Mei-san - Kaori

Biographical Info

Gender - Female

Age - 25

Birthday - Aug 19th

Ethnicity - Chinese

Hair Color - Light Red

Eye Color - Crystal Blue

Height - 168 cm/5'6"

Weight - 59 kg/130 lb.

Star Sign - Leo

Piercings - N/A

Markings - Several faded scars on her arms, and a tattoo of the sun god, Zhurong, covering the entirety of back.

Family

Biological Mother, Deceased

Biological Father, Deceased

Voiced By - Vinida (Rapping)

Fun Facts

MC Name - Zhurong

Occupation - Bodyguard/Chuohku Official

Division - Toshima

Team - Inner Circle

Position - Second Member

Favorite Food - Roasted Duck

Least Favorite Food - Tofu

Likes - Being on top, victory, success, fire, humidity, wild animals, elephants, the sun, the god, Zhurong

Dislikes - Defeat, Vito, pity, weakness, cold climates, bad memories, perverts, dry water

Hypnosis Microphone

Mei's Microphone is a ribbon microphone on a stand that is bright orange and red. The windscreen looks like the sun and has eight lines around it, pointing in different directions.

Her Speaker takes the form of a Chinese war elephant standing up on its hindlegs. In its trunk is a yellow and red speaker that strongly resembles the sun.

Her rap ability, Rising Sun, has a reddish hot shield appearing around Mei which deals damage to her opponent whenever they attack her. She can use this ability infinitely, but the longer it is active, the more stamina she uses up.

Mei's rap themes revolve around domination. She often sings about her desire to be on top, being #1. Her lyrics come off as arrogant and overbearing, but she doesn't care. This shows just how confident she is in not only herself, but also her rapping.

Personality

Mei is, in a word, powerful. She desires to be respected and recognized, and will do anything she can to achieve that. As stated, she has a very arrogant personality which, more often than not, puts people off, not that she cares. She hates to lose, believing that 'history only remembers the winners.' This quote was instilled in her by father, and she has always held it close to her heart.

An aggressive and beautiful woman, Mei finds content and laid-back attitudes to be offensive and a hinderance, preferring people to always be on the move or working. Instilled the art of working by her parents, she is passionate in everything she does, and settles for nothing less than 110%. The motto she lives by is, 'Victory, victory, and more victory.' That is enough for her.

Besides that, the one thing Mei hates more than anything is to be looked down on or pitied. When they worked together, she admired her partner, Vito Koi, for his strength. But overtime, her admiration turned into jealousy. And after he refused her challenge, it soon turned into hatred. After betraying and seemingly killing him, she was appalled to find out that he was still alive. It is for this reason that she throws her hat in with Chuohku to face him and prove herself better than him, once and for all.

Background

Mei Yu was born in Nanzhong, which is present-day Yunnan in southwestern China. Her community was more like a large tribe that were congregated together to make a small city. Everyone knew each other, which made them tight-knit. Outsiders and foreigners were looked upon with suspicion, and for fear that they would bring trouble and new ideas with them, they were seldom welcome.

Mei's parents were the chieftain and chieftess of the tribe. Though they loved their daughter immensely, they did not coddle her, and expected her to pull her weight, as befitting of the daughter of a chieftain. From an early her father instilled in her the passion of winning, and that to accept anything less than victory would bring shame, not only to herself but to her tribe. And her mother bestowed upon her the blessing of their god, Zhurong, the god of fire and the sun, whom she would come to idolize and emulate. She was taught to hunt wild animals at the age of six, and achieved her first kill by herself at eight. By the time she reached 13, she had already become a full-fledged hunter.

As Mei got older, she started thinking more and more about her future. Though she was grateful to her family for everything, the young heiress realized more awaited her outside this city. Leaving a note behind, she bid her family farewell, and began traveling to see other parts of this great nation. Using her skills, she began selling herself out as a mercenary, which proved effective.

Unfortunately, as her name grew, so too did her infamy. Mercenaries were regarded as not knowing the meaning of loyalty as they were quick to sell their skills and services to whomever offered the most coin. As a result, several angry corporations hired countless mercenaries to find and kill the female mercenary. Though they were unsuccessful, they found a much greater prize: her home village. Hearing of the attack, Mei desperately rushed home to save her people, but arrived too late.

Everyone she ever knew was killed, and her city burnt down. Burying the dead's bodies, she departed her now-lost home. Realizing that there was no reason to remain in China, she departed for new horizons. ...But not before she sent her own message to the killers of her family. She is now wanted throughout almost all of China, for arson and burning down several key buildings.

Arriving in Japan by hitching a boat across the sea, the Chinese mercenary affiliated herself with Mafuyu Enterprises where she quickly worked up her way to become Head of Security, alongside a new hire, Vito Koi. Though she, at first, enjoyed working with the man, she gradually began to feel insecure in his presence, due to the fact that the CEO of the company, Master Mafuyu began to rely more on him than her. To make matters worse, he refused her invitation to duel her, which was an insult to her pride, not only as a woman but as a warrior.

Fortunately, aid came in the form of an invitation from the Deputy Prime Minister, Ichijiku Kadenokoji, who offered Mei to join Chuohku and be rid of her rival. All that was in needed in return was the assassination of the CEO of the company. For Mei Yu, who desired victory above all else, this was an easy decision to make. To add insult to injury, she also had Vito framed for the crime, putting the final nail in the coffin for him.

With her work complete, the former security guard joined Chuohku. Her work, for the most part, included acting as a guard for some of Chuohku's high-ranking officials, including the Prime Minister, herself, Otome Tohoten. Eventually, she began to grow bored with this position, and asked for a new assignment, which the Prime Minister was happy to give her.

It included joining the D.R.B. as one of the members for Toshima Division's rap battle group. At first, Mei refused, not interested in joining some tournament. But after the Prime Minister revealed that her former rival, Vito Koi, was still alive and was also joining the D.R.B., the Chinese bodyguard quickly changed her tune. She is now part of the Inner Circle, and is eager to meet Vito at the D.R.B., so she can settle the score with him once and for all.

Trivia

Despite working for Chuohku, she doesn't wear their uniform or have their brand anywhere on her body.

Because she grew up in a hot, humid climate, she is not used to cold regions or climates.

Because of her obsession with victory and her anger with losing, its believed that she suffers from atychiphobia, which is 'fear of failure'.

[sanstropfremir]

ok this took way longer than i expected because i got sidetracked looking at paintings and reading poetry and just admiring the mv, but it's finally finished!! let's talk about

higher

✨

i'm going to draw your attention to a few things.

firstly, these verses from rime of the ancient mariner by samuel taylor coleridge, published 1834:

The harbour-bay was clear as glass,

So smoothly it was strewn!

And on the bay the moonlight lay,

And the shadow of the Moon.

The rock shone bright, the kirk no less,

That stands above the rock:

The moonlight steeped in silentness

The steady weathercock.

And the bay was white with silent light,

Till rising from the same,

Full many shapes, that shadows were,

In crimson colours came.

A little distance from the prow

Those crimson shadows were:

I turned my eyes upon the deck��

Oh, Christ! what saw I there!

Each corse lay flat, lifeless and flat,

And, by the holy rood!

A man all light, a seraph-man,

On every corse there stood.

This seraph-band, each waved his hand:

It was a heavenly sight!

They stood as signals to the land,

Each one a lovely light;

This seraph-band, each waved his hand,

No voice did they impart—

No voice; but oh! the silence sank

Like music on my heart.

secondly, this ivan aivazovsky painting, chaos (the creation), c. 1841:

and thirdly, the memorial of percy shelley, who drowned in a boating accident at age 29, in 1822:

there's a common conflation between the romantic and the pastoral in the general cultural consensus because the pastoral a) has been around as an art term longer than romantic, and b) romanticism does use some similar imagery. but there is a key difference: the pastoral is specfically an idealization of 'the simple shepherding life,' often for high class and urban audiences who have no conception of the details of this life includes. one of the more famous examples is christopher marlowe's a passionate shepherd to his love, published in 1599:

Come live with me and be my love,

And we will all the pleasures prove,

That Valleys, groves, hills, and fields,

Woods, or steepy mountain yields.

And we will sit upon the Rocks,

Seeing the Shepherds feed their flocks,

By shallow Rivers to whose falls

Melodious birds sing Madrigals.

And I will make thee beds of Roses

And a thousand fragrant posies,

A cap of flowers, and a kirtle

Embroidered all with leaves of Myrtle;

A gown made of the finest wool

Which from our pretty Lambs we pull;

Fair lined slippers for the cold,

With buckles of the purest gold;

A belt of straw and Ivy buds,

With Coral clasps and Amber studs:

And if these pleasures may thee move,

Come live with me, and be my love.

The Shepherds’ Swains shall dance and sing

For thy delight each May-morning:

If these delights thy mind may move,

Then live with me, and be my love.

whereas romanticism is a more pointedly specific movement that was active from around 1800 to 1850, primarily focused on intense emotion and catharsis as the primary experiential output of an artwork. which most prominently manifested in a deep fascination and glorification of the natural environment and historical nostalgia. the movement sprung from the german sturm und drang (literally storm and drive/stress) period of the late 1760s to early 1780s, which was a direct reaction to rationalism and enlightenment. romanticism had similar impulses; it was also a revival of medievalism and a reaction against the looming urban sprawl and mechanization of the industrial revolution. a typical romantic poem from one of the originators of the english movment william wordsworth, composed upon westminster bridge, september 3, 1802, originally published 1807:

Earth has not any thing to show more fair:

Dull would he be of soul who could pass by

A sight so touching in its majesty:

This City now doth, like a garment, wear

The beauty of the morning; silent, bare,

Ships, towers, domes, theatres, and temples lie

Open unto the fields, and to the sky;

All bright and glittering in the smokeless air.

Never did sun more beautifully steep

In his first splendour, valley, rock, or hill;

Ne'er saw I, never felt, a calm so deep!

The river glideth at his own sweet will:

Dear God! the very houses seem asleep;

And all that mighty heart is lying still!

this romantic fascination with nature was underpinned by the philosophy of the sublime, generally agreed to be first treatised by edmund burke in 1756, the theory was also written about by kant and hegel. in the simplest of terms, the sublime is a quality of greatness beyond calculation, imitation, and human comprehension. the sublime is twofold; the greatness of the ocean is beautiful, but its power is also terrifying, and the experience of the sublime is to feel those two at once. to be in awe and also to be horrified of its ability to sink ships and drown a life in a tempermental change of tide.

let's take a quick detour to talk about

clothing

in the present day we have become much more lax thanks to the aesthetic movement in the late nineteenth century, but back in the early victorian period there are still highly structured rules about when and what clothing one can wear in public. and the clothing itself is also highly structured. anyone with a passing understanding of the victorian era knows about the whole flashing of the ankle thing and corsets galore, and it is true that the general day to day garments cover a lot of area. for men in particular, this manifests in no less than three layers in public at all times: shirt, waistcoat, and suit jacket, with a coat or mantle overtop in colder temperatures. this also includes a variation of a neck tie (depending on what year), hat, gloves, and any other decided upon accessories (this can also include a corset and other padded structural underpinnings). an important tangent to mention here is that this is the uniform of the upper classes, although the rules do apply to the lower classes if they wanted to appear 'sophisticated.' the working man's uniform was also shirt, waistcoat, trousers, but the difference here is in the textiles themselves; the colours tended to be much more drab, with less complicated patterns. obviously due to the price fabric itself, but also due to the labour of laundry. an indicator of class here is the white shirt itself and its pristine implications. (there is a longer conversation here about the invention of neckties and detachable collars and cuffs, but that's for another day). the silhouettes are very important to note here in the higher mv, as they are directly referential to the 'romantic poet' archetype of loose shirt and tight pants that we see in popular culture. but as i've just said, the reality is that men of the era were not dressed like this out in public. this look is essentially underwear; the implications are salacious. so where did this come from? well, we can blame it mostly on lord byron, who by all accounts was the first western 'rockstar.' notoriously called 'mad, bad and dangerous to know' by lady caroline lamb (a married women he publically had an affair with), byron was openly bisexual and deeply hedonistic with a lot of questionable habits, but his poetry was so popular that he was known to have women following him in the street and gathering in large quanities to see him at salons. and this was close to three decades before lizstomania. his close friends and contemporaries included percy and mary shelley, with whom he lived with abroad in italy for some time (this living arrangement resulted in the writing of both frankenstein and john polidori's the vampyre). byron's reputation was so eclipsing that the image of the lush poet lazing in his undergarments has become its own genre of romantic, slightly removed from the movement byron was writing in. it's also worth it to point out that there are no official portraits of byron dressed like this from the time. the visual assumption is somewhat apochryphal. now let's get into some specifics. a.c.e is not unfamiliar to this silhouette; as previously mentioned in this post i wrote about their styling, the boxy loose upper and fitted lower is their general mode for their styling because of its emphasis on legs. cactus was the most extreme example of this, and to prove my point, this specific silhouette is extremely common in classical ballet:

1. vaslav nijinsky, giselle, 1911 2. nehemiah kish, george balanchine's ballo della regina, 2011/12

higher fits very neatly into this same category: we have an emphasis on the legs through tightly fitted garments and also through light reflective textile, as well as a secondary emphasis on arm and shoulder movements with looser fit shirts. plus, the shirts are made from fabrics that have good drape and flow, and mimic the visual effects of water:

there are also several instances of scale patterning and wetlook hair styles, further elabourating on the siren theme. and the jewelry is the same, purposefully cut clear stones for oceanic sparkle or pearls, the gem directly born from water, as highlighting accents to specific parts of the body - namely eyes, hands, and torso:

the body jewelry also serves a double purpose in addition to being sparkly; it gives a semblance of shape to their torsos so their movements aren't totally lost in the shroud of their shirts, and it also invokes some of that salacious element that us as a modern audience doesn't necessarily perceive in the same way when we see a man wearing only a shirt. all of these points are especially prominent in the stage costuming. concerning the veils, these are an aesthetic choice following the theme of depicting water without actually using water. the song has a very breathless quality to it, and the lyrics directly make reference to water and breathlessness, so it only makes sense to have a physical manifestation of struggling to breathe.

now let's talk about

mise-en-scène

unlike most kpop mvs, I would argue that higher is not a spectacle in what we normally see spectacle to be. the overwhelming visual saturation of goblin (and the goblin remix) is more in line with what we expect, but how do you follow that, top it? the answer is that you don't. you aim for something with a completely different feel, which is exact what they did with higher.

the performing arts did not escape romanticism. the very start of the movement, sturm und drang, is actually named from a specific play written by friedrich maximilian klinger that premiered in 1777. the plays of the brief period are characterized by extreme and passionate emotions, and were siblings to one of the most famous genres of theatre, the melodrama. meant to appeal directly to the emotions of the audience using sensationalist plots and stock characters, the melodrama was the predominent form of entertainment in victorian england and gradually developed a specific form of its own. in this period we also start to see the development of 'stagecraft' into the recognizable form that it takes today. footlights, limelight/spotlighting, the separation of house and stage lighting, fly galleries, elevator platform mechanics, and the first (purported) western use of rear projection are all innovations of the late 18th and 19th centuries, as melodramas were known to have very intricate and spectacular stagings. and to go along with these stagecraft mechanics we see the rise in designated stage crews, which were predominantly off-duty sailors looking to make money. the rope systems that made up the fly galleries were very similar to that on ships, and much of the terminology and supersitions crossed over: this is the origin of the term 'rigging' being used for suspending set elements, and also the origin of the 'don't whistle in a theatre' superstition. as sailors communicated with whistle patterns on ships, the same system was adopted for changing scenery, and therefore whistling a random pattern could potentially drop a setpiece on an unsuspecting victim.

so with all this backstory out of the way, what is the very first full location we see? a stage, complete with forced perspective via the painted fabric legs (the side panels) and borders (the wavy upper panels). we even have a flat painted backdrop with a projection screen and hanging overhead lamps. there's also a second interior set, a desk in what looks to be a study of some kind. bit self explanatory on this one, taking the poet notion on the nose.

the locations have a bit of an obtuse arc, but it's there when you look for it. it starts interior spaces, where the ideas of sublime attempted to be recreated for the viewer. then it moves to transitory spaces; portions of nature isolated from a whole environment, interjections of human architecture into natural spaces:

(the white hut structure in the greenhouse is reminiscent of a skene (literally hut/tent), which is the structure at the back of the stage in ancient greek theatre used for the actors to change their masks and costumes. it was originally temporary, but slowly transformed into permanent stage architecture)

and then finally outdoors, into the sublime itself:

jwm turner, crossing the bridge, 1815

lastly,

lighting

there's a very clear lighting pattern here, primarily in light and dark. the base colour story is fairly simple complementary pairs; there's a lot of purple/red and green, and blue and yellow/amber, with everything relatively on the same tonal level. there are deliberate interjections of heavily saturated red for specific effect. there are also, most notably, a 'dark' version of all the sets. obviously as a reference to the eclipse that we see in the mv and in the concept photo series, but also as a reference to that darker undercurrent of the sublime, the upsetting, the uncanny, and the terrifying:

And the bay was white with silent light/Till rising from the same/Full many shapes, that shadows were/In crimson colours came.

[teacherintransition]

The Ugly American...who? Me?

My wife an I have become avid travelers and the closing of countries due to Covid-19 has hit us in the heart...

The time at home has given me chance to read about travel and given me pause to re-evaluate my behavior while abroad in the past and for the future...

The Ugly American, a novel written in the late 1950’s and which was a The New York Times Best Seller, was written by political scientist Eugene Burdick and writer and former U.S. Navy captain William Lederer. The book took a much needed look at the behavior of Americans traveling abroad; from the rugged backpacker hiking India to the field State Department personnel actually presenting the “official face” of our country in the international community. Prior to World War 1, most international travel by Americans was done by the wealthy elite among society. The “common” man through the tribulations of war, was given the opportunity to experience European culture and a yearning for seeing the world was fostered. If fact, there was a saying after WWI, “how you gonna keep Johnny on the farm after he’s seen Paree (Paris)?” The travel bug... wanderlust was born in the hearts of the middle class and gave rise to this phenomenon in film and in books written by Jack Kerouac, Cheryl Strayed, Ernest Hemingway up to contemporary writers like Anthony Bourdain, Andrew Sean Greer and Elizabeth Gilbert. Even Rick Steves who has become a knowledgeable source of traveling information with his travel guide series, has presented an informative open minded view of travel abroad.

All of these written treasures of traveling the world unveils to readers the magic that is to be found by stepping out your front door. The Ugly American presents a scathing look at how the “American” while overseas, displays an arrogant , intolerant, dismissive view of cultures far older and in many cases, more refined than ours. Burdick and Lederer’s book is set within the intrigues of international diplomacy and how that uniquely American view creates failure in the establishment of effective foreign policy. The authors listed and many more besides, instruct their readers to varying degrees to take more note of the intricate nuances a traveler should pay attention to and to show respect and admiration for the centuries of history and culture that exists all around us and that is not American. There is a common thread throughout all their works about what is missed when we stand outside and dismiss the uniqueness of every nation we might visit, instead of immersing oneself and appreciating it in a culture not our own. The “ugly American” has become a mythos of how Americans respond critically to anything that is not “MURICAN!”

Several other factors besides short sighted American foreign policy have contributed to the yoke placed on Americans traveling: cutthroat business practices while dealing with European, Asian and African countries; missionaries whose demonstrate a dismissive view of spiritual practices that have existed for millennia and, quite honestly, the behavior of tourists while abroad. Many experienced travelers draw a clear distinction between the tourist and the traveler. Kathryn Walsh differentiates the two in the following way:

Tourists

It's usually easy for locals to spot a tourist among them. A tourist may carry a camera, guidebook and map at all times and wear the same clothing he'd wear at home. Tourists tend to stay in their comfort zones a bit; they may speak only English instead of trying to learn phrases in the local language; stick to major cities instead of venturing to smaller towns or off-the-beaten-path locales; and stay in areas where the amenities are similar to what they have at home.

Travelers

Generally speaking, someone who considers himself a traveler will try to immerse himself in the local culture rather than standing out. If you're a traveler, you may try to explore the less-traveled areas and explore locations where tourism doesn't drive the economy. You'll interact with locals. Your goals for a trip will be to learn and experience new things, rather than to take a relaxing break from everyday life. A traveler may consider a trip a journey rather than a vacation.

The traveler presents a deferential, respectful and admiring view of the nations they are visiting and adopt the wise phrase from antiquity: “when in Rome do as the Romans.”

There is nothing wrong with being a tourist, often it is the less expensive approach to travel, unless you become the arrogant American tourist then perhaps you need to reassess. Travel is a big part of my retirement plans and goals, but you know what they say about the best laid plans. Two highly anticipated trips with two years involved in planning were rescheduled due to the Covid-19 pandemic, a disappointment we shared with thousands of tourists and travelers alike; and further postponements may continue to confront us. Perspective is needed in such a situation as being denied travel is far below other struggles this event has presented all of us. That being said, it has been a terrible disappointment down to my bones. We’ve missed much needed fellowship time with great friends, the excitement of seeing new places, the immersion in the culture and history of the locales, and, for me personally, our yearly travels have been my muse and inspiration for so much of my art. It’s akin to being very thirsty and having only a few drops to suffice. Introspection is the course of action when hopefully contemplating the possibility of the trips occurring.

To satiate the urge, we’ve read and watched travel programs in the interim and have evaluated our connection to the Ugly American concept? Are we ...them? In our past travels, have we appeared at all dismissive of the people and practices of the places we’ve visited? My wife and I have always been in awe of our travel destinations, so I feel fairly confident that we have not displayed the aforementioned arrogance of many American travelers. The thought that then arises is how much we have not allowed ourselves to be immersed in the culture; which, in the long run, is a detriment to us more than anyone. Our minds are open and willing to become part of the places we visit, but if we eliminate the brusque nature of so many Americans while overseas, what is the stumbling block that draws such distinctions when traveling? I fully concede that most Americans feel they have little to learn from many places on this planet, more is the pity, and there is much flawed thinking that goes into this mindset; but what fundamental differences exist between the cultures? I came across a very enlightening blog article written by Alain Veilell that was spot on in identifying the differences. Veilell simply observed that we run on different clocks. Not literal clocks but a “clock” obsessed with structure and deadline.... hello Americans! Veilell notes that Europeans start late and end late, while American and many Asian cultures start early and end early. Americans tend to view the un-regimented approach as being akin to laziness. I coached soccer and baseball for many years and many of my Latino players would not be as punctual as my other players. They were as talented and competitive, but their homes weren’t ruled by the seconds on a clock. Dinner started later, lasted longer, the dishes could wait... the priority was the quality of interaction with the people your with... ah, there it is ... sort of.

The average American meal last twenty minutes, while the average meal in Spain, for example, lasts two hours. They certainly don’t eat as much as Americans so why all the extra time? Why should time even be a factor so often? It’s the conversation and fellowship that is the priority not timing. While without question, the structured regimentation is a contributing factor to the American commitment to financial success, it also contributes to hypertension, stress, anxiety, depression and conflict that might be avoided with having an extra glass of wine and talking and not worrying if dinner is on schedule. Taking a little more time, enjoying the moment, letting serendipity reign may not be part and parcel of the Puritan work ethic; but it plays a helluva big part in realizing “La Dolce Vita.” This perception of time throws the rhythm off for many American tourists and makes us the ones to call the front desk complaining that the folks in room 210 are just too loud at 9:30 pm. The local population may just be getting ready to start dinner at that time. Remember, “when in Rome do as the Romans?”

While traveling, often American tourists view differences as a personal affront. “ I have to ask for ice?’ “What, no air conditioner?’ “They call the restroom the toilet?’ “Ugh how vulgar ... and a bidet? You must be kidding?” Truth to tell, Americans also suffer from mischaracterization from travelers from abroad as well. If I had a nickel for ever foreign exchange student who thought that all of Texas was a giant ranch with everyone riding horses and wearing cowboy hats. I think though that visitors to our country more often than not allow themselves to be pleasantly surprised than to have their feathers ruffled. It seems that we allow the “ours is better than yours” mentality to outweigh the magic of the unknown and the different. Every spiritual guiding ethos advocates living in the moment, treasure what is happening right now, greet the unknown with hope not hostility. The ugly American leaves no room for such an upbeat approach. Superiority mentality leave very little to treasure in this magnificent world other than what is yours and that limits learning, excitement, growth and just the pure joy that comes from trekking this world.

Is this assessment of mine a blanket judgement? No, not at all but there is some truth to it and there is something to be learned. As I self analyze, I found that I may harbor some of these traits and it’s good that I have time to stand back and look ...to learn. The worthy goal of being an affirming member of this global community is a purpose that I seek; and the rewards are far beyond just being intrinsic but rewards the cultures you visit with an admiration and respect they deserve. As these thoughts have been put down, it reignites the hopes that the planned journeys come to realization with the anticipation of more to follow. No more ugly Americans, British, Japanese or what have you, just eager travelers wanting to see and experience all that this world has to offer. Happy travels my friends.

Burdick, Eugene Lederer, William; The Ugly American ; Norton Publications; 1958

Veilel, Alain; “Why don’t Europeans Travel to Cancun?;” Quora; October 8, 2020

Walsh, Kathryn. "Differences Between a Tourist and a Traveller" traveltips.usatoday.com, https://traveltips.usatoday.com/differences-between-tourist-traveller-103756.html. 5 April 2021.

Photo from https://www.myheritage.com/

Photo from https://openlibrary.org/authors/OL13640A/Ernest_Hemingway

[jamiebluewind]

Fantasy High Characters 2.7

As always, let me know if I need to edit or add anything and tag/ask/PM me about art and stories so I can check them out!

*****

New Characters!

Rolands

Ancient hunched over pirate with long gray beard, thick sash, long rings on spindly fingers, tri-corner hat, and a holster at his side with a spellbook chained and buckled.

Wizard and a whisper of a man who works the desk at the Compass Points Library

The massive tome at his side has a jolly rodger on it and says "Here be pirate spells" scrawled in red ink.

The spells within his book can only be conjured by the most powerful pirate wizards (including turning 5 parrots into a banana and 10 bananas into a gold coin). Has eaten two parrot and eight bananas made from parrots.

Turned Fig into a horned parrot and states that he commands the 7 winds and the 9 stars, learned the secrets of the deep, can summon the ancient krakens of seas long gone, that spirits of wind and wave will answer his call, but reduced to bones if you take his book.

Has to be put back together by Ayda more than once as taking his book and immediately returing it doesn't automatically put him back together the right way. 

Ayda Augefort

Mistress of the Library, Quartermaster of the Knowledge of Leviathan, and head librarian at Compass Points Library.

Divination Wizard

She is a 6 to 7 foot tall resplendently beautiful half phoenix woman with a strinking resemblance to Arthur Augefort (how!?).

She has 2 foot long yellow talons (that are almost metallic gold) from the knees down and digitigrade ankles, wings that start at deep red and change into orange as you approach the edge and eventually yellow that flicker like flame at the edge of the wing, human arms covered in orange rune tattoos, a short ploom-like shock of short red hair and eyes with pupils, but are otherwise roiling balls of flame

Dressed in white linen pants with a pirate's sash on them, a vest (no color given), 2 scrolls in her bandolier, and a leather harnesses that would normally have guns, but carry 2 small books strapped under each arm.

Naps on a perch with her wings wrapped around her.

"Yes, when it comes around, my mother is a full phoenix She's an adult most of the time and becomes a kid every so often. It's complicated. If you're weirded out by it, join the club."

Always scribbling notes in her book and asking questions. Socially awkward, curious, paranoid, very honest, and takes most things literally. Fast jerky head movements and squawks at the end of her laugh.

Admits that her father lies often. Found it unlikely that he would ever speak of her, but found it moving. Told them to tell her father whatever they want as it was no concern of hers.

Sells the party a modified sending spell for pirates where curse words and swears don't count against the 25 word limit and willing to sell other wizard spells to them for 50 gold per level.

Finds the group bothersome but is transfixed by their strangeness.

Thinks Gorgug could be the greatest wizard of this age due to being a clean slate unburden by study. She forbids him from ever reading a single word of wizardry to keep his mind like the serene lake unburdened by study. Says that Gorgug is beautiful to her.

Thinks Adaine is the other greatest wizard of their age. Desperately wants a friend and bonds with Adaine. Showed emotion when Adaine handed her Boggy. Her eyes went wide and she showed excitement at the idea of him having a backpack.

Elves from Fallinel: 3 beautiful elves in long flowing robes surrounded by motes of silvery white light. At least 1 has a will-o'-wisp in their ear that is used to communicate.

*****

Changes To Existing Characters!

Boggy: Got a backpack

Fabian: no letter jacket, very sick, and very shaken, but at the end of the episode he has his sword and eyepatch back.

Cathilda: full outfit change and is now wearing seven league boots, black dress with a high white collar (like a widow in mourning), and black tri-corner hat (WE NEED NEW OFFICIAL ART!). May or may not have gotten her shoulder length hair dip dyed for an ombre effect.

*****