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I always forget that sometimes I get medically sick in a way that makes no sense but is also dramatically debilitating. Dramatically. Like, I sleep sixteen hours at a time, I have all the symptoms of a high fever with no fever, my stomach is ruined, I become moderately delirious, my anxiety spikes, and my whole body breaks out in a rash that looks a lot like measles. This lasts anywhere between four days to five weeks.
I dunno, I figure at some point I just kind of accepted it happens and that no one would ever help me. But I also kind of just put it in the back of my mind all the time because there doesn't seem to be any fixing or predicting it. Heat seems to, if not bring it on, at least make it significantly worse as I begin my Agonies ( I call this phenomenon my Agonies) by sweating so constantly that I am stickier than a lint roller and twice as miserable. There are chills, of course, there are always chills.
But the thing is that, through the joint pain and the extreme exhaustion, through the sweat slick fever mist, I always make sure my dog gets her goddamn walkies.
At the end of the day I'm the sort of a thing that's just going to feel bad rather a lot of the time. Much of this is no one's fault. But Rose doesn't know any of that, she just wants to sprint through the hot July air eating all the moths she can catch. And what I know is that, before she came to me, she was dumped in a crate full of her puppies which means that the most important reason for me is to make sure this stupid little animal is happy and loved no matter how terrible I feel. And I have felt terrible. I've missed two weeks of appointments, only barely made it to the pharmacy today (and my pharmacist had worried about me), and just kinda got by with the groceries I had on hand. But I'm not letting down my dog. I can't do shit to look after me, but I can haul my miserable corpse upright long enough to take care of dog.
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the art you made of plushie machete and vasco is SO CUTE, would it be alright by you if i tried sewing them?? I’d tag ya if i posted pics of ‘em anywhere, of course ☺️
If you like them that much, sure! Tag me/send me pictures if you do, I'd love to see.
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Honestly, I think that if Kotoko doesn't have any kind of tragic backstory or deep-ridden trauma and did have a relatively normal upbringing like she says she does, it will probably heighten my enjoyment of her character and her narrative even more.
I've said it before and I'll say it again, my favorite thing about Kotoko's narrative and role in the story and why she is my favorite prisoner is the fact that she is the perfect encapsulation of what I think Milgram is trying to teach.
It is unfair to put her, or any of these prisoners into boxes of good and bad because both are cruel oversimplifications that only serve to dehumanize them regardless of if the audience's intentions are good or bad. By dehumanizing them and partaking in the fucked up justice system that is Milgram, you are emotionally distancing yourself from them. When you emotionally distance yourself from these people, you become more ignorant to the possibility that you could do the very thing that they're doing. That Haruka, Yuno, Fuuta, Muu, Shidou, Mahiru, Kazui, Amane, Mikoto, and especially Kotoko could all be you and you won't know it before it is too late.
That is why even within this system that pushes black-and-white nuance-less thinking, the narrative itself encourages you to look beyond the surface depiction of these prisoners that we are presented with. Because in the words of one Will Wood -
"If you were in my shoes, you'd see I wear the same size as you"
But what does any of that have to do with Kotoko and her backstory? Well, @/archivalofsins / Gunsli made a very good post that explains exactly what I'm going to talk about in more depth, but I'll give it a rundown nonetheless.
It would be very easy for someone to look at a person who has gone through tragedy or trauma who has done bad things, and say in response: "See, I can't become like that because she is abnormal. I could never do that, that would never happen to me.". Now I would hope that you don't need me to tell you that this way of thinking is a white lie cake rich with ableist frosting, but that is a discussion dug into by Gunsli's post. And I do believe, if Kotoko is revealed to have a tragic traumatic backstory, this will happen to her. Because it happened to Amane.
And that is why Kotoko having a 'normal life' would be so important to me and, in my opinion, heighten her already amazing narrative and writing. Her role in the story is to be a audience parallel, she is an embodiment of the system and mindset Milgram as a story criticizes and her actions are a direct consequence of our involvement in it. Milgram is already not subtle about this fact, but Kotoko's ordinary upbringing is the thing that fully hammers the nail in the wood.
Anyone can become like Kotoko Yuzuriha, trauma or not. Her beliefs, her bigotry, her fascism, her violence, and her fantasy to be the chivalrous hero who protects the weak are not things that are alien or only things that form within an "abnormal" brain. In fact, they are very normal things that a lot of normal people across the globe perpetuate wholeheartedly whether they realize it or not. Kotoko isn't some one-of-a-kind individual
She is literally just a girl
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kabru and rinsha are so fucking cool man. their whole party is during the falin fight but especially those two. like they build them up as being kind of jobbers, but in all of their fights that we do see, especially this one where *everyone* is on the back foot, they always come off as exceptionally well coordinated and show off a series of skills that are totally different than the main party in a lot of interesting ways. ultimate narrative foil gang
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i had a very important realization while i was out walking today. out of the main four vnc characters, noé is the one we know the least about. he fits into a category of what i would call the glass protagonist–a guy who basically exists only to narrate the story, joining the ranks of those like nick carraway and richard papen, except he's just like way more mysterious.
see, part of what makes a narrator like nick work narratively is that we know just enough about him to 1) understand his perspective on the events of the story and 2) know what his role in the story is. nick is able to give his insider/outsider view of gatsby because he is neither part of the buchanans' world nor part of gatsby's, and his role in the story is to serve as a kind of mediator between the two of them. he's daisy's cousin in long island, but he's also a working man in city, etc, etc.
the funky thing about noé is we just...don't know anything about him. we're told a couple of things about his childhood; that he was adopted by an old couple in the human world, that they died and he was somehow on sale in altus, and that the comte took him in. but really, the time before and after louis's death is uncannily empty for the guy who we're following through this world. yes, of course it's fair to say that we know the most important things about noé, but we honestly know way more of vanitas's childhood than his, and that's a big part of the central mystery of the story.
(there's an element to this, of course, that comes from both of the examples i gave before, the great gatsby and the secret history, being novels. as readers, we get an extra level of introspection from nick and richard that is very difficult to translate directly into manga as a medium. however, i would argue that it's not impossible, and all that being said it does sometimes feel intentional on mochijun's part just how little of noé's background she's shown us.)
both nick and richard narrate their respective stories onto the reader from their position as outsiders, which we know is noé's role in vnc from the get-go. i mean, he says this explicitly in chapter one: "this is the tale of how i met vanitas, and how we walked together, of all we gained and lost, and of how, at the end of that journey, i would kill him with my own two hands". he's the narrator and this is his story, just like nick and richard, right?
but while nick and richard are the narrators, and give us, the readers, an excuse to look into their worlds, they are not exactly essential players on the board. both the great gatsby and the secret history give the impression that, without their narrators, they would have continued nearly exactly as written; the characters were doomed to fail long before the story began, and the intervention of some white guy isn't enough to either stop that. and yes, vanitas is doomed as well, but we are introduced to his death as an event that is intrinsically tied to noé himself.
"with my own two hands", noé says. he is not only an actor in the saga leading up to vanitas's demise, he is a starring player in it. (and yes, we ofc later learn that vanitas is going to die with or without noé's intervention but i think it's important to understand that this is our introduction to noé, vanitas, and the story itself) in this way, noé differentiates himself from his glass counterparts, in that he inserts himself irrevocably into the plot. he is both a character in the story and an observer, a chess piece and the one playing the game. this is why the gaps in his backstory feel so jarring, at least to me, because we are not meant to view him as solely a window into the world of vnc, but as a character all on his own.
anyways, all that being said, i'm hoping with the introduction of lady archiviste we're finally going to learn more about noé and his time with the comte, just because it's like a HUGE gap in the story.
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