#it makes you appreciate his success in mc a lot more imo

[cruesuffix]

Question regarding the ask about where Alien Mick sleeps. What was the part about Whitehorse seeing him sleep in a room full of people? Was it when he was still in Whitehorse?

hey anon, sorry if that little sentence sounded weird, im not good at really writing stuff and sometimes its just a big jumble of words…which is what this might sound like too. i hope i can explain this properly… so, while mick was in whitehorse, the band lived in one big house together, but because there were so many ppl living there, they all ended up sharing like…one room i think. so the entire band was sleeping in one big room. mick slept in the corner of the room with amps surrounding him and a sheet hanging from the ceiling to cover him.

I just wanted to add that to the au cause i find it a bit funny. that’s where the “finds him sleeping in a room full of people” bit comes from. like back home on mars, he would have never thought he’d ever have to share a whole room with a bunch of people (he thinks that’s just how humans are at first, since he’s never experienced something like this before).

(then when he joins the Crüe, he’s infinitely surprised to see the members have their own rooms -kinda sorta- and that he gets the living room all to himself.)

in fact, here’s the little factoid itself for proof. he slept in the living room, with most of the band too. love how he’ll just sleep on the floor simply because the place is nicer than his own home.

[spongeguyandlelouchvibridankia]

SpongeGuy Reviews Every Disney Cartoon Ever!: Big City Greens (1.1 and 1.2): “Space Chicken” and “Steak Night”

This is easily one of the most underrated cartoons ever because it focuses on comedy. Jesus Christ. That, and Cricket has an arc, and I’m gonna prove it here.

Big City Greens is a comedy oriented show that is sort of a sleeper hit for the network, at least, in ratings. Fan reception has been mostly positive, but not the best, and the reason seems to be a lack of story, because the 2010′s have been dominated by this, and apparently only Loud House and maybe We Bare Bears can truly succeed with such a formula (maybe Clarence? I don’t think it succeeded as well).

The show is about the green family moving to the big city, each Green slowly improving each episode while retaining their core characteristics so that jokes can still be told at rapid fire succession. And I’m gonna show you how (specifically with MC Cricket, who gets too much hate imo. Yes, this is a slightly personal review because I really like this show and I hope to work on it one day).

SUMMERIES:  Cricket enlists the help of Tilly and new friend Remy when he comes up with a plan to impress his new neighbors by launching a chicken into space.

The Green's traditional Steak Night is threatened when Cricket accidentally leaves the steaks behind on the subway.

COMEDY: 3 Out of 5 (”Space Chicken” and “Steak Night”)

While not the first chronological episode, this is very much a pilot of sorts, so you can see that just like the voices are still getting fitted for the characters, so are the jokes. The fact that they are still good jokes is pretty impressive to say the least!

As the trend of character focused jokes is at its height here, most of the jokes derive from characters being themselves and how they interact with each other and their enviorment. This leads to Cricket causing shenanigans (we’ll get to that), Bill stressing over everything, Tilly being herself (always a good thing) and Alice mostly complaining and being paranoid.

And like all comedy, execution is key; These are good character types, one just has to make them click.

And again, while the comedy isn’t yet at full strength, it’s still really funny! There are lots of great incorrect quote fodder material, lots of great voice acting, lots of exaggeration, and it makes it feel like a cartoony jumble of fun! And this is BEFORE it gets really sharp and crazy!

But, tbh, comedy isn’t the best thing in these episodes. Arguably the show’s greatest strength is that even when the episodes aren’t the show’s best, the characters shine.

CHARACTERS: 4 Out of 5 (”Space Chicken”) and 5 Out of 5 (”Steak Night”)

Again, as I said, these are the first episodes, they’re not gonna be perfect, but the characters are already almost fully realized and likable, that is an ACHIEVEMENT.

To prove this, I’m gonna go through each one and show you how the show knows with what quantity and in what role each one should inhabit in every episode!

Let’s start with the least important character for now: Alice, the grandma. Alice is right now serving only as a comedy tool, and most of the time she is just a comedy tool, as it’s rare for an episode to show other, more fragile and lonely sides to her (but since this show rules, we do get those). The show knows that right now Alice can’t impose since she isn’t important to the main story, so unlike a lot of shows who basically mandate a character must have a big role in every episode regardless of importance to the actual plot, Alice features just as much as she should, quickly showing us who she is (a crabby but deep down loving old woman) and supplying some laughs with her core personality, endearing us to her while she serves no real role.

Then there’s Bill, here really to serve as Cricket’s Superego. If Cricket is the flawed MC with leanings towards good and bad, and Tilly is his soul, Bill is his nagging concious, always worrying, stressing and disappointed. Bill is an understandably nervous man, post divorce, two wild kids, a mother who is very tough on him, things just don’t go well for him. Like Cricket he also wants to be loved, but he has a different way of doing things. In fact, one could argue that Bill is what Cricket could become if he lost his core, and Nancy, the mom (who we WILL GET TO) is what Cricket could become if he never learned a lesson (not that Nancy is a bad person, but she too is a mess). Bill is a great character since his role is the least fun, but he still gets to tell jokes and be an entertaining presence (but trust me we get to see that later in a way better way).

Tilly is the cutest character in the show and an absolute treat. But unlike other “cute” characters, Tilly has a personality, an edge, and flaws. She is a fully realized character, and she serves a special role. Tilly is Cricket’s big sister, but only in name, as she operates more as a younger sister. This is due to her childlike innocence, which culminates in amazing lines and ideas like saying “I have seen danger... And I love it” and wanting to be the queen of rats.

But Tilly’s real role is as Cricket’s soul. Nearly every character in the show reflects or contrasts with Cricket in one way or another (as said before, Bill is Cricket without his fun core, Nancy is Cricket if he never changed, and to add to that, Alice is Cricket if he was only selfish, and Remy is Cricket’s fanboy, almost enabling him and proving his good and bad sides by still showing that Cricket cares). But it is Tilly that serves as Crickey’s soul. She both appreciates his wilder, more troublesome nature, and his risk taking caring side, but she knows that balance must be maintained. She is not perfect: She screws up a lot, and can get selfish and lost. But when it comes to Cricket, she knows what he needs. The world keeps wanting to change him or to love him, but Cricket’s problem is that he needs balance most of all.

And so we get to Cricket. The fandom is quite split on him at times, seeing him either as a lovable scamp or a troublesome jerk. The fact of the matter is: That’s the POINT. He’s not perfect, or horrible, he’s both. Cricket is a boy learning how to balance childhood and adulthood, how to be fun and serious, caring and selfish in a good way, risky and cautious. He tries to launch a chicken into space because he wants attention and love, but also because his dad wants to make a good first impression and Cricket truly cares. He wants to hold the steaks to get praise for being responsible and to perserve family tradition, but he tries his best to save the steaks because again, he cares. He both thinks of himself and of others. He can be malicious and self serving at one point and genrous and loving at the other.

We as viewers love to criticize characters for being callous the moment they make a mistake. But when said character is like, 10, we need to be more forgiving. And slowly slowly, episode after episode, one can see that Cricket is learning (Season 2 will be a prime example for that, can’t wait to show you).

So yeah, Big City Greens is a show about growing up, disguised as a funny hillbilly show. Pretty impressive ;)

STORY AND HEART: 3 Out of 5 (”Space Chicken”) and 4 Out of 5 (”Steak Night”)

DAMN IT I always sum up in characters! God, what do I say now, outside of these being slow but still fun pilots with good story ideas on how to introduce the characters that manage to show contrast, fun dynamics and a loving but edgy family despite everything without sacrificing humor or fun, and that these are only the first ones and we get way better episodes after this and Big City Greens will have a way higher ranking soon?

..Oh, that might do it.

Thank you @chrishoughton​ i hope this review satisfies you! :D

FINAL SCORES: 10 Out of 15 (”Space Chicken”) and 12 Out of 5 (”Steak Night”)

Bingo bango.

Next time we have Sofia The First? OOHHH! CRAIG GERBER IS A GOD THIS SHOULD BE FUN!

https://docs.google.com/document/d/194d3gsPrhlOsFPYsXU-lJirY4sWncrBl/edit#

[fourteenacross]

ghost quartet - nytw next door - october 8, 2017

H'okay, so, this may all be a little blurry around the edges because the circumstances in which I traveled to and from New York on Sunday were not ideal and the anxiety around them muted parts of my brain more than I would have liked. BUT. Here we are.

First of all, it was humid as dicks and the house manager was very kind and let us inside the air conditioned lobby like, twenty minutes early, bless him.

Obviously "sixty-five seat black box theatre" implies that the space is small, but...man, the space is small. That was excellent, really--it added to the intimacy of the show--but it was still weird to walk into a space the size of my living room and dining room combined and have that be all. We sat in the section next to the door and, as I implied yesterday, I was directly behind Brent. If I could do it again, I probably would have sat in either of the other sections, just because that meant I really only saw Brent during "Fathers and Sons," but the place is so tiny it really hardly mattered. And, speaking of tininess/hardly mattering, the reserved seats were just the first row of each section and definitely not worth the additional thirty bucks, imo. This run is over, but if you're going to another Next Door performance that does a similar seating style, just...fyi.

The set dressing is great. It would have been cool if the seating was a little more informal, but it still felt like you were hanging out in your friends' basement, listening to them tell you an elaborate story. There were neat little touches around all of their stations--there was a little bear and a little pot of honey on the table next to Brent, as well as a mason jar, which I initially took to be a reference to his verse in "Four Friends," but it turns out Brent just takes water in his whiskey. (I mean, it might have ALSO been a nod to that, but it also served a practical purpose.)

I had listened to the music a few times last spring and a few times in August and a few times this month, in preparation, so I was familiar with the story and the songs, but seeing it live definitely adds another dimension. There were certain bits of staging that were surprises to me, and certain bits of staging that made things that pop up on the McKittrick recording make a lot more sense, heh.

Anyway, I'm gonna do this old school.

I Don’t Know - This song felt almost like a frame story, setting the stage for what's to come, except that the structure of the show is such that, with all the narratives twisting together, it was like framing a frame framing a frame. It was like an MC Escher frame, all twisted around and then turning into birds. I have theories about how this and "Four Friends" and "Any Kind of Dead Person" fit into the timeline(s) of the show, but I'm still trying to twist them into words.

Anyway, I was sitting right behind Brent and he's really good at the cello, in case you were unaware.

The Camera Shop - This opening is so interesting because of where it takes place in the larger narrative(s). Brittain/Rose comes in very, very nervous and unsettled, but as Gelsey starts behaving strangely, she starts to get more comfortable in the way you get comfortable when you assess that someone is kind of off-the-wall and you are a Rational Being and thus above them. There's still some of that nervousness as Gelsey starts to go into the story, but it comes off more as nerves from being around someone eerie than the nerves that we know Rose has around what she just did (or didn't do, as the case may be.).

Brittain and Gelsey work so incredibly well together, and this was the first time that the complexity of this piece, on an acting level, really set in. Everyone's playing at least four characters, sometimes several at once, and this is a good example. Brittain goes from Camera!Rose to Rose Red to Starchild within minutes, sliding seamlessly between them as the narrative dictates. It was pretty awesome.

Starchild - confession: I love Brittain's voice, I love her solo music, but this song didn't click with me on the cast recordings? Which is crazy, because it's super my jam, both musically and narratively. Seeing it live definitely changed that and I'm low-key obsessed with it now. She really acts with her whole body, as anyone who's seen Great Comet knows, and seeing all of that poured into "Starchild" just squeezed my heart.

Subway - This is one that I assumed worked better live than it does on the recording and I was right. The rhythm is a little clunky as a purely aural experience, but seeing the four of them perform it adds this incredible mounting tension. You can feel it in the room, the way that Gelsey bangs that drum and everyone sings over each other, the lighting flickering. (And, this is a whole other post, but I feel like that's maybe at the core of why some of Dave's stuff just doesn't click with people who are just listening to it. Fans obvs embrace his aversion to rhyme and the way he plays with rhythm in sort of non-traditional-musical-theatre ways, but when you're more a traditional-musical-theatre person and you're just listening to it instead of watching it, it's harder to grasp? idk, it's something that I've been thinking about, vis-a-vis friends saying, "I listened to the GC cast recording and it was fine and then I SAW IT and everything clicked and weird choices on the recording made sense!" and even my own feelings about listening to GQ vs. seeing it. Obviously, cast recordings are never going to substitute for actually seeing a thing in person and aren't 100% meant to, but I think that it's a particularly strong divide in GC and GQ. Anyway, I just said this needed to be a whole post in and of itself, so I'll stop now.)

Usher, Part 1 - I have not read this story since college, which was *mumblemumble* years ago, and I meant to re-read it before coming to the show, but I...didn't. Which is maybe better! Who knows! Anyway, this starts with just a light on Gelsey as she recites the opening monologue and plays the harp. It's simultaneously creepy and a little funny? She definitely plays up both sides of it, the funny and the creepy, which makes it get more creepy and less funny as time goes on, so by the time Dave comes in for the song, you're getting full-on chills.

Soldier and Rose - Gelsey is full-on Gelsey in this one. Which I say as the highest compliment, obvs. The juxtaposition of Brittain/Rose being awkwardly, desperately flirtatious and Gelsey/Soldier's utter Doneness is hilarious. Rose lays it on thick to a very impassive soldier who responds to all her entreaties by shaking a thunder tube at her.

Any Kind of Dead Person - This is just a fun number. Brittain hams it up and Gelsey gives out a succession of percussion instruments over the course of it, to people sitting all over the room, which just intensifies the feeling of this being your four weird friends telling stories in their basement and trying to get you to join in.

The Astronomer - Dave came out from behind the piano to sing this in front of Gelsey and Brittain's station and took some time to praise the other three as he got into position. He also tripped over the rug and then could not get it to lie flat. Otherwise, the patter is almost identical to the live show.

ANYWAY, I fucking love this song a lot, okay? It was my favorite song before seeing the show and remains my favorite after having seen it. I don't have much to say about it, performance/staging-wise, just lots of gushing about how much I fucking love it. The universality (is that a word) of the lyrics is just so sadly haunting, especially when you think of it as coming from the Astronomer, who's kind of a dick, but now also has this depth that I appreciate.

Family Meeting - Just as hilarious as you're picturing it in your mind, for sure. Brent and Brittain as kids are excellent, and Brittain's monologue is stellar. The transition between that little-kid-ness and flat out anger and frustration at the end is fabulous. (And the "and no Brent, it's not so perfect it's boring!" made me snort-laugh.) The "you're gonna be dead in like, thirty years" got a BIG laugh.

Four Friends - So, during this song, Dave pulled out three bottles of Evan Williams and plastic cups and passed them around, which was amazing, I would like all of my shows to come with a shot or so of liquor with the price of admission. I would prefer if it wasn't whiskey, which I don't particularly care for, but as I said yesterday, when Dave Malloy hands you whiskey, you suck it up and drink it, even if it's physically impossible for you to get over to the ice so you have to just drink it straight. Anyway, the sort of informal whiskey drinking again compounded that feeling of just hanging out with your buddies, so it was almost hard not to sing along. I was def bobbing a little. At the start of each verse, they poured a shot of the whiskey they were singing about that they handed out to the audience, which I probably wouldn't have noticed except when Dave went to hand out the Lagavulin, the girl who jumped up to get it was hilariously into it. I actually ended up standing near her when she talked to Dave after and she was like, "Uh, sorry if I was disruptive when I asked for the Lagavulin, I just love it and never get to drink it because it's so expensive?" which he commiserated with her about.

Fathers and Sons - They moved the drums to the center of the room, facing each other, and Brent and Dave moved to stand in font of them and play. Brittain and Gelsey held the mics out for them and I know I keep talking about how low-tech and "hanging with your buddies" this show is, but...I really love that aspect of it and I think it super adds to the narrative(s).

Usher, Part 2 - This was very eerie, overall, but "I'm right here" got a big laugh anyway. It's interesting, as Roxie's dying, the way that the walls of the narrative for this story, tenuous as the walls between the narratives in all these stories are, start to slip down. With Scheherazade being an "ancient" and all, it makes sense that the lines between narratives are more blurry there, and in the "Camera Shop" plot line, Pearl is already aware of what's going on, so despite a few references, "Usher" feels the most cut off from the other stories, but here that begins to fall apart.

The Telescope - This song is such an interesting counterpoint to "The Astronomer;" the dude seems like such a sleaze in this song, whereas we get him at this sort of open bareness earlier, where he's relatable and joyful. As Rose points out new stars, there's a spotlight on one of the lighting fixtures (the show is largely lit by lamps and a variety of thrift story chandeliers). Rose's intensity is breathtaking, but the music gives a very eerie quality to the shared refrain, even moreso when you take into account the upcoming split between Rose and the Astronomer.

Tango Dancer - This plotline was the one that it was most difficult for me to wrap my brain around from listening to the cast recordings, and seeing it def helped iron out some of that. I love the interactions between Brittain and Gelsey here--again, I love both of their ability to shift between these characters so fluidly and shift their chemistry just as fluidly as they change characters. The stiffness between them here is really the beginning of the end for me--Rose's awkwardness and the audience's knowledge of how these timelines are starting to come together. It's played really well.

Anyway, Gelsey really nails this, as if I even have to say that? And Brittain's awkwardness as she watches and tries to interpret all of it is excellent. "Myself didn't have time for me / didn't have time for anyone so used up" is too fucking true and haunting.

Monk - When sitting and seeing this bit live, for the first time it occurred to me that Rose's "Were they outside, in a park or something?" and Scheherazade's confirmation are Rose's past lives starting to leak through, giving her that knowledge. (Also "doesn't Lady Usher have a security system?" got a big laugh) Anyway, this is a nice little interlude before shit gets real. I was so into it that I almost forgot that shit was about to get real.

Light’s Out - It was fucking DARK. Which I did not realize was going to happen. I loooooved it. My eyes were def playing some tricks on me, the longer we stayed in the dark. Also, there was some light of something somewhere behind me (maybe the exit sign?) that kept reflecting off the inside of my glasses that was distracting me. Def a problem with my glasses rather than the show.

Anyway, this bit always makes me think of Can’t You Sleep, Little Bear?, so much so that I might ask Malloy about it on Twitter.

The Photograph - Goddamn this is creepy in the dark. And Gelsey going full Gelsey made it ninety times creepier. I want to hire her for my Halloween parties. I love the balance of the creepiness and rationality when the things that Rose believes in are rattled off. It's the sort of thing that makes me think of a horror novel, in the tense moments where the protagonist has to confront the impossible and spends a moment clinging all the more harder to their beliefs as if those beliefs will fight off something supernatural.

Bad Men - Super tense and frenetic. Rose losing it is so foreboding and perfect and intense. The confrontation with the bear as she reaches the pinnacle of losing herself to revenge and accepting that she wants this enough to do it herself. Yikes.

Usher, Part 3 - I love all the stories merging in this song, as we're all sitting in the dark with flashes of light and all of these threads are twisting together. It really ups the sense of danger and tension. Pearl's monologue at the end is so eerie. Those last few lines, shit. They are that much more intense when they're happening right in front of you.

Prayer - I think this was when the lights started to come back up? This always kind of blurs into other songs for me and I forget it's there a little?

Hero - Jesus, what a song, what a performance. I know Brittain talks all the time about how she's not an ~*~actor~*~ just a musician that got roped into acting in her friend's shows, but jesus christ, she's fantastic. This song just scrapes out whatever's left of your insides and leaves you feeling entirely hollow and shaky.

Midnight - This is such a neat way to tie up the end of the show. Again, you've got that "friends hanging out" vibe as things become clearer for everyone. Brittain and Dave dance, as Brittain's characters settle and sort of come to terms with all that's happened in all of the timelines. Malloy has excellent comic timing--his ramble about why Thelonius Monk's ghost is still kicking around and the way it breaks into Rose and Pearl's reconciliation. I snort-laughed at "Or maybe there just isn't Heaven. That's actually pretty likely." And then again with "I guess in the abstract, yeah...I don't really make a lot down at the MTA?"

Anyway, Dave and Brittain dancing was very sweet, and "You're a really good cello player, Brent!" got a big laugh.

Wind and Rain - I love this song a lot and the performance of it was lovely. As the song went on, they started handing out instruments again, but not just little percussion things--they kept going, moving up to their own instruments, until they'd given everything to the audience, at which point they walked off stage and left the audience to play out the song. I think they kept going for maybe a minute or two after everyone left before it fell apart, mostly, I think, because a couple of people were so wildly off-beat it was hard to keep on beat.

Afterwards, they came back to applause and gave a kind of informal, "thanks for coming, tell your friends, buy our merch or stick around and talk!"

We stayed to talk, though I didn't buy anything because I don't wear t-shirts and we have zero room for more glasses at this point. But I still took a moment to tell everyone they were great and the show was great and all that. I was wearing one of my ghost dresses and everyone commented on it.

ANYWAY, that's basically it, unless I remember anything else important! Maybe I will write some more of my thoughts about the narratives and storytelling and setting and all that shit a little more formally, but... probably not. Gotta finish the next ghosthunters story some time this year.

[yoosungshoodie]

Please do V, Eisuke and Nobunaga because I wanna know more about why you like your boys!! ( ˊ̱˂˃ˋ̱ )

I did V already but Rina you’re killing me dkjsdfs aLL MY BIASES. This is gonna be long so Eisuke’s is under the cut.

Oda Nobunaga

general opinion: fall in a hole and die | don’t like them | eh | they’re fine I guess | like them! |love them | actual love of my life 

hotness level: get away from me | meh | neutral | theoretically hot but not my type | pretty hot | gorgeous! | 10/10 would bang

hogwarts house: gryffindor | slytherin | ravenclaw | hufflepuff

best quality: He's cunning and calculating and he knows what he's doing. I really enjoy the fact that he's a born leader because it's so obvious in everything he does—but that also doesn't mean he's incapable of being soft, too. He's got this leadership quality to him that's absolutely enchanting and I adore it so much. He’s got his eye on taking the world and he’s so passionate about it that you believe it. You believe in his dream of ending poverty and stopping wars because he’s such a captivating person to listen to, even if you already know that there’s no such thing as a world without suffering. Slight spoilers, but if you’ve read his act two you get that enchantment pulled out from under you because the whole narrative in Nobu’s route had been driven towards making you believe that he could do it. You believed he could achieve unification because that’s what the story told you and how he was so excellent in all his endeavors, yet that ends abruptly into the grim reality which is that he can’t fix suffering when it’s universal. I love characters who are able to enchant their audience, and he definitely did that for me.

worst quality: Extremely abrasive. Even if it's an act sometimes, he's stubborn to go with it as well so it's even worse. There’s a lot of times he steps on other people without meaning to, solely because he’s just so damn stubborn. He's got a hard time understanding himself from his proud bravado because he blatantly ignores his own feelings a lot of the time, resorting to anger easily instead. A poor communicator and is troublesome love interest because he doesn’t know how to treat a relationship.

ship them with: MC, because I really like his MC. She steps the hell up and doesn’t always let Nobu gets his way; it could’ve been so easy to make MC this unmoving cookie cutout of predictable and easygoing girl meets powerful man and lets him decide everything. My favorite is when she becomes an official wife and blossoms. Oh, also... Hideyoshi or Toshiie dsjgjksdf.

brotp them with: Mitsuhide if he learns how to STOP BEING A DICK TO HIM, and honestly? I find it super funny with Hide and Toshiie.

needs to stay away from: Sweets. Sorry, honey.

misc. thoughts: My first route so I’m a sucker for him. I love him so much LOL, he had red hair and was a total brat who needs attention. Cocky and can back it up, too. My SLBP bias even though he switches with Kojuro sometimes... he’s always going to have a special place in my heart. I’m into people who can lead and can boil situations down to statistics and facts, solely because I’m one of those people too, and he’s very good at that. Definitely the prettiest boy in SLBP for me LOL. I think a lot of his draw comes with being this scary warlord who’s a bit of everything, despite being called the demon king: he’s funny and can dance like a woman and there’s so many parts of him that we get to see. He’s so multifaceted with such big dreams that you can kind of buy into when he says to “never look at things from the same place as mere mortals do”. He seems so much more because everything he does seems so grandiose, and he isn’t wrong when act 2′s modern day epilogue occurs. Iconic man.

Eisuke Ichinomiya

general opinion: fall in a hole and die | don’t like them | eh | they’re fine I guess | like them! |love them | actual love of my life

hotness level: get away from me | meh | neutral | theoretically hot but not my type | pretty hot | gorgeous! | 10/10 would bang but please fix your eyebrows honey bun.

hogwarts house: gryffindor | slytherin | ravenclaw | hufflepuff

best quality: His ability to always end out on top. He gets stumped at times but that's not a problem because he can always find a way to be on top of things. He knows how to maximize efficiency and he’s very good at being pragmatic and logical, even if that costs him some emotional growth, and he’s almost genius level brilliant with the way he can figure out things, IMO. Eisuke is also one of those extremely captivating characters for me that seem larger than life. He has a very strong work ethic and although KBTBB doesn’t delve into it, you always see Eisuke working. Whenever MC sees him, he’s working and you know he’s serious about his job. From right off the bat, we know Eisuke’s success had nothing to do with luck and it’s something he’s fought for tirelessly. I really, really, really appreciate those kinds of characters.  Fulfills the magnificent bastard trope.

worst quality: His poor relationship with MC at the beginning. I think I couldn’t tell how extreme his character development was, playing his season chronologically, until I went back to season one for something I missed reading. Eisuke gets better so the damage is alleviated a bit, but he lacks fundamental rules of relationships; he’s very used to being used and using people, so it’s not much of a shocker that he doesn’t know how to treat someone that genuinely loves him. He’s demanding at first when they finally get together, adhering to that whole “five minute” rule and shutting her out instead of trusting her and not treating her as an equal. He’s so emotionally damaged in regards to love because he’s never experienced it (literally, with a tombstone for a mother and runaway coward for a father), that when he’s even put in Akira’s care it’s too late to reverse the damage. His biological parents had no consideration for his emotional well being so he learned to disregard it as well, which becomes a big road block for him and MC. He can’t open up to her until season 2, and just begins treating MC as someone who should call the shots too in season 3. Parents are people who serve as their children’s foundation of love and what it means to love someone, but Eisuke never had that, thus his inability to have a proper relationship (despite being in love; feelings and actions are two very different things) until later on.

ship them with: MC, even if I didn’t like their dynamic at first. She helps him grow and teaches him a thing or fourteen about how to love and she learns to call him out on his shit. She’s a bit of a pushover sometimes, but Eisuke is a scary person to stand up to, so I can see where she comes from. Thank god she grows out of it, though. Also, give me that Eisuke/Luke or Eisuke/Soryu.

 brotp them with: LUKE AND SORYU!!!! I love the three of them so much.

needs to stay away from: Hotel room service. And being a dramatic ass bitch.

misc. thoughts: I heavily relate to his emotional constipation and inability to properly be in a relationship. He can’t properly express his feelings and a lot of times him and MC have sex because he has a hard time putting his feelings in words, and I love how that was addressed when it’s MC that tells him flat out that he can’t always just have sex to fix their issues.

I find his beliefs are extremely agreeable because they’re the truth; even if KBTBB sugarcoats the world to fit a romantic narrative (and I understand that they have to!), Eisuke would be seen as a perfect fit for this world. People are genuinely like that.

It’s interesting how he knows how to present himself and knows what cards he needs to play to get what he wants, along with the moves he needs to make; he’s that perfect magnificent bastard trope that I mentioned above. I live for those types, they’re my favorite kinds of people because they’re the ones pulling the strings, and Eisuke definitely does that. Also, cuteness proximity with animals even though they hate him. What a good man.