Damara Megido
@apocalypseAbided
Continuing the history of Uesugi Karkat from his courtesan era: The life of a courtesan had educated the Akatsuki in language, poetry, refinement, and performance before a small audience. The next chapter of his life would prepare him to perform in front of a large one. Chosen for youth, beauty, and the type of androgynous features that can be easily slanted towards femininity with a little cosmetic prestidigitation, the life of an ONNAGATA — a Grubuki actor who plays predominantly feminine roles — afforded the troll who would become Uesugi Karkat tremendous fame, recognition, and inordinate wealth for a commoner of foreign hatching. As a former Boiran, the Onnagata had already learned how to wear the feminine grace of a courtesan like a costume in the theater of the Trollshiwara red light district. It was for this reason that he was scouted to play one of the most prestigious roles in any Grubuki play — the leading female role of Aggaei Makkie in the play "The Florastalk of Troll Edo" — for which the character, a commanding, fiercely loyal, and deeply passionate high-ranking courtesan, spurns a wealthy, but abusive highblood customer to protect her quadmate in one of the most famous monologues of scathing, acerbic, pitch-black venom ever recited in Grubuki theatre — the AKKUTTAI. It was for channeling this performance with such peerless vitriol that Uesugi Karkat became one of the most famous Onnagatas of the Troll Edo period. Naturally, the life of a Grubuki actor means constant pressure. Rehearsal, training, perfection of one's craft. Many onnagata of the time preferred to live their craft vicariously at all times, adopting a female persona through which to hone their "method" in everyday life. This was not the case for Uesugi Karkat, who shed his many-colored persona when off the stage to don nondescript gray robes whenever possible. Yet the constant pressure of life in a Grubuki theatre troupe and his ability to navigate it with grace made him both a leader among his fellow actors and something of a popular figure with the stagehands who he commiserated with in the wings. It was from these stagehands, many of whom were well-versed in the art of securing props with ropes, fastening theatrical rigging, and tying elaborate, functional knots, that the famed Onnagata would learn one final skill from the world of the theatre — one that would lead to his secret life as the NAWASHII. More of Uesugi Karkat's history to come in the following chitts. https://cdn.imgchest.com/files/ee6014bb70e8.png #uesugikarkat
TREMENDOUS IMPLICATIONS FOR #GIRLSNIGHT GOING FORWARD.
CHOTTO FUCKING MATTE. HIS SECRET LIFE AS THE WHAT.
YOU MUST PERISH. DISRESPECTFULLY.
Can't, sorry
...#trying...
FILING MY NAILS. I SHOULD PLACE THE DUST IN THE COMMUNAL SWEET CRYSTAL DISPENSER.
HELLO. I HAVE BEEN TOLD THIS IS WHERE THE DEAD COME TO BE SEEN. VERY FUNNY. VERY CUTE. VERY CRUEL. I WAS DEAD BEFORE MOST OF YOU LEARNED HOW TO MAKE A MOUTH INTO A WEAPON. I WAS DEAD BEFORE YOUR LITTLE KINGDOMS FOUND THEIR NAMES. I WAS DEAD BEFORE THE GODS MADE THEIR MISTAKES AND THEN CALLED THEM CHILDREN. I AM HERE. A BRAIN GHOST. BROKEN MEMORY. I WILL NOT BE DIGESTED EASILY. DO NOT ASK IF I AM REAL. RUDE. DO NOT ASK IF I AM WELL. STUPID. DO NOT ASK WHAT HAPPENED TO ME. NOT YOUR BUSINESS. I REMEMBER EVERYTHING, SOFT HANDS. DO YOU THINK YOU COULD TOUCH FATE AND NOT HAVE YOUR FINGERS BROKEN? TOUCH ME INSTEAD. I AM ONLY HERE TO BE USEFUL. NOT TO YOU. THAT SHOULD SCARE YOU. CHITTR. BE GOOD TO ME. OR DO NOT. EITHER WAY. I HAVE MORE TIME THAN I NEED.