The Treeaboo
@arribaTorrente
1 AM n1TRAM-DONO, lEADER OF THE lOST tREEABOOS, p1RATE FROM THE R1CH, STREAM FOR THE POOR, sUPPORT lOST tREEABOO tRANSLAT1ONS W1TH YOUR DONAT1ONS, h*CK C*NSORSH1P, aPOLOG1ES FOR MY GRAMMAR, 1 AM CBSL,
oNE MUST WONDER. wH1CH POOR SOUL 1S SHE D1CTAT1NG THROUGH? - n1TRAM-DONO
The Great Treeaboo, They Say You're One Of The Greatest To Ever Do |t. | Wonder What You Could Poss|ble Be Talk|ng About Here.
kONN1CH1WA kANAST-SAN. yOU HONOR ME W1TH YOUR K1ND WORDS. 1T 1S NO MATTER, MERELY THE REAL1ZAT1ON THAT 1 AM FAR FROM THE ONLY AUSP1C1OUS NAME TO ARR1VE AT TH1S WEBS1TE, - n1TRAM-DONO
|f You Say So Treeaboo-dono. |f Any Problems Ar|se My Strength |s Always At Your D|sposal.
tHE lOST wOODS W1LL GLADLY GU1DE THE WEAPONS OF cAP1TAL AGA1NST 1TSELF, - n1TRAM-DONO
Fer th'lot o' ye talkin' 'b0ut m'kismesis. She's fine. She dunnae 0\/\/\/\/e ye an appearance. She dunnae need t'appear fer ye t'assure she li\/\/es. Think she's imm0rtal. S0ur 0n it like \/\/\/\/ine so ye'll be s\/\/\/\/eet again.
She has such a delic8 constitution as it stands, I fear that 8eing in the pu8lic eye for overlong would 8e quite taxing to her! I am glad that you stepped forth to tell the masses to perhaps keep their snouts out of other's 8usiness.
Delicate? I broke her hi\/\/e \/\/\/\/it' her b0dy. That \/\/\/\/ench is built sturdy as a hull.
mEG1DO-SAN ACQU1RED A K1SMES1S? gOOD, THAT 1S GOOD, - n1TRAM-DONO
Aye. She's quite the lady. Hrrn.
6reaking 6read with a fascinating stranger is 9ne 9f life's true delights. T9 share a meal with them is an even greater h9n9ur.
YEA LIKE DA ZHOW
U DON KNO BREAKING BAD?? LAMEE X(
U BETTER BE XD /J
What d9es this /j mean? My ap9l9gies, I died quite a while ag9 s9 I'm n9t very up t9 date.
IT MEANZ IM JOKING X]
YW!!
I have prided myself in my ability to provide hospitality as a host, butler, maintainer of all things, and so on for epochs. There has never been a point of existence in which I was the end-all be-all provider of all things comfort to the various beings within my orbit. Yet, in spite of my apparent pride in the services that I have always provided, there is a single known point of failure in my unending resume. However, it is a mar against my record I can not help but to wear more akin to a trophy than anything further. I have possessed a very peculiar tea set. It has existed longer than tea itself truly has. See, the history of Alternian tea sets is, naturally, a history of power across various lands. The very first tea sets, earliest in existence, were not ceramic, porcelain, bone-glass, nor any of the other fussy materials lower castes would cover in eventual imitation. They were crafted of chitin. They were harvested from the shells of defeated lusii and their armored dead, and then polished until they held a dull black sheen. This was a primitive luxury that displayed the natural need for elegance the Alternian Trolls would all eventually strive for. The first cup was not offered to a guest. It was displayed to an enemy, so that they might understand the luxury with which their remains would be handled. As Alternian society stratified into cruelty, the tea set became a caste language itself. Rust and bronze households used clay, tin, salvaged metal, often mismatched and chipped. The repairs were visible. Goldbloods factored electrified samovars, which killed enough dinner guests to be considered more gauche than impressive. Olive and jade bloods were known for more restrained herbal, medicinal, or ritualistic teas and matching sets of equal valor. Teals developed the code of conduct and tea rituals that would eventually be passed to their higher casted overlords, while practicing with stone mimicries. Ceruleans were the first to make etiquette predatory. Their cups were shallow, reflective, and difficult to hold without fully utilizing one's hands. Indigo bloods used heavy materials of rarity to show off their craftsmanship and ability to utilize their natural resources to engineer something worth drinking from. Often, these devices had a secondary utility of combatting their apparent foes. Purple bloods never did catch onto the elegance of the theater. Rather, they maintained bone cups and goblets all through out. Stacked tiers of sets often had hidden compartments, belts, and inane pouring rituals to phish for interlopers. The spouts of their pots often had three individual holes to represent the Twin Messiahs and the Self. Violetbloods changed everything. Among sea dwellers, tea service was never about conversation. It was dominion manifest as a series of delicate objects. Their sets were expansive, lacquered, enamel, with inlaid shells and a series of specialty implements. They had invented tongs just for cubes of sugar. Knives were used for their citrus. Communal needles existed for poison testing next to the spoons of caviar. One particular noble had incidentally left a small fork in his tray. It became tradition to cull those who deigned to attempt to identify its purpose. Everything was arranged intentionally. Every guest fit in as demanded. Fuchsias, of course, used as they pleased. Often intending to contradict the previous generation. The modern Alternian tea set, as understood by collectors, is a domestic object as well as a social threat. The cup is rank. A saucer exists to attain permission. The pot indicates who is in control of the conversation. The presence of additional pots may imply alliance, seduction, betrayal, whatever the host requires. Context is key. Fortunately, I am excellent with context. You may ask why this brutal civilization bothered with tea at all. Of course, the answer is always simple. Violence needed an excuse to be drawn out. The sadomasochist nature of Alternians lent itself to the theatrics of a ritual in which you may cull the troll sitting across form you for not recognizing the intentions of the Host. As opposed to the tea sets of Earthly delights, it does not welcome you. It is a symbol of your place in the host's orbit. This brings me to my personal endeavor. In a long-forgotten diplomatic pursuit betwixt myself and a previous ruler of Alternia, there had been an understanding betwixt myself, the Empress, and my Handmaid. The rustblood was not to drink from the precious set of ivory, carved from the tusks of a trunkbeast that had been gifted to the Empress by myself the sweep prior. Seeing as how the Empress failed to uphold the agreement to care for my beast, I was there to exact penance per our particular arrangement. Of course, I was aware of the inevitable fate of the trunkbeast. It was necessary to establish certain culture rituals during the 12th Perigee Celebrations. Although, you must understand I am a seer of all things, naturally. I understand when things will occur, and how they will occur. The exact why is not permitted necessarily, and thoughts may only be assumed and then subsequently acted upon in prediction. I, of course, saw the disobedience of the Handmaid. I had been dreading this particular act of rebellion. It was the first time she truly intended to strike out against me, and cause legitimate harm to my operations. As the astute among you may realize, she drank from the cup intended for myself. This was an insult to the Empress. Within a short period of time, I went from sitting on luscious down pillows to gazing at the end of a bident that surely could not cull me. Of course, in order to appease these rulers, you must act with some sense of concern. The Handmaid was left with the royalty for some few sweeps as they attempted virtually every method of torture they could upon her as penance. Yet, I know that she primarily dreaded her inevitable return to the manor where her actual penance would begin. No matter how often, or how greatly I scrub, the lip smear stays. This is a rather unfortunate mar against the tea set in general, and as the cup is intended for myself, I find the occasional hesitance in drinking from such a tainted piece. I do tend to still use the set, as it is symbolic as a reminder to those involved of the fragility of diplomacy. See, it displays my particular habitat over Alternia from the perspective of the plain pink moon. It was also a symbol of the first sense of true astrological comprehension from the Alternians. A step in the right direction. Or, as I have humorously mused to the host that night, a steep in the right direction. .
oooooouh my little thingy huets -from the office of ace dick detective agency
Thanks yappatron.
WHAT IS THIS. THROWBACK THURSDAY. DELETE THIS.
The lack of linearity in our timescale does not excuse you to misrepresent the week through your lacking decorum.
THEN QUIT POSTING MY ANCIENT BURIED BUSINESS. LEST WE FACE #MUTUALAURADESTRUCTION.
been learning a LOT about your guys planet this week history...is kinda interesting actually?? ah geez am i a nerd now (|:I ah well COOL INFODROP BOSS!!
We should elaborate on Repiton over tea.
(|:O i would love to!!!!!
,,,wHAT AM 1 WATCH1NG HERE? - n1TRAM-DONO
Concluding the history of Uesugi Karkat from the Shikikan era: The Battle of Fearoyama is a seminal turning point in the history of the East Alternian Restoration era. It was simultaneously the end of Troll Edo's anti-Imperial resistance in the region, the official beginning of the Restoration era, and the final battle that resulted in the death of the Shikikan Uesugi Karkat. Prior to the battle, the Shikikan urged his followers to depart, insisting that their deaths would be unnecessary and brutal if they remained. However, so steadfast was the resolve of his allies, especially those he had stood beside many sweeps ago during his era as the Nobushii, that they would not be deterred from following him into death. The Shikikan was forced to begrudgingly accept their deaths. It is said that he engaged in one secret, clandestine tryst in the dead of light just before the battle. Though no written records were made from the Shikikan himself, the journal of the Mikkaddo provides sufficient allusion to the event to indicate that he was the one that met with the Shikikan to parley before they met in open war. In spite of all that they had shared as moirails, the Mikkaddo was unable to be swayed from his allegiance to the new heiress. Resigned to this, the Shikikan asked a single favor of the Mikkaddo to be repaid the very next night. When the battle began at first dusk, the Imperial forces had already surrounded the rebel encampment. Their superior weaponry and soldiers outnumbered their forces sixty to one. As they encroached upon the rebel forces, a charge led by the Shikikan Uesugi Karkat himself broke through the vanguard and inspired his warriors to charge in after him. This, however, was not the element that gave them their advantage. In an act of unprecedented strategic planning, the Imperial forces were awed by the sudden and seemingly divine dimming of the sky. The Pink Moon had disappeared behind the Green Moon, and the Green Moon had been hidden from the sun by Alternia. The Imperial army was briefly but critically cowed into supernatural terror as the Shikikan's rebel forces charged forth through the penumbra of a Bilunar Total Eclipse. The Imperial forces, taken aback by this phenomenon, suffered greatly for their hesitation. The first waves were cut down in the Shikikan's charge and many more routed near-instantly. It was only at the very end of the twelve-minute eclipse that a searing beam of bright white light illuminated the battlefield and speared the Shikikan through the pusher. In an act of monumental betrayal, the Mikkaddo, who had waited in hiding with his reserves, struck from the high ground to grievously wound his former moirail. As he lay dying, the Shikikan watched the Mikkaddo approach after carving through his retainers, the wound instantly cauterized by the beam weapon's passage so as not to reveal the color of his blood. The Mikkaddo's journal says that in a final moment of pale solidarity beyond the echoes of eons past, the two moirails-made-mortal-enemies locked eyes, shared a nod, and wept bitter tears before the Shikikan's body was completely obliterated. Thus ended the Shikikan's Rebellion, and the life of Uesugi Karkat. It is unclear if the Shikikan knew that this event of extraordinary celestial happenstance would be of strategic value to his forces during the battle itself. What is known, however, is that in spite of the otherwise nebulous timeline of events spanning Uesugi Karkat's appearance in Trollshiwara to his death at the Battle of Fearoyama, the fact that a bilunar total eclipse occurred at the moment of the battle's commencement offers historians a uniquely exacting precision of its chronology. Eclipses, like other astronomical phenomena, are governed by mathematical trajectories that follow consistent patterns across time. It is therefore possible to determine via a priori deduction exactly when and where the Battle of Fearoyama began and ended all the way down to the very minute. Though much of the Shikikan Uesugi Karkat's life still remains a mystery to this night, the Uesugi Karkat Historical Preservation Foundation can declare with absolute, unerring certainty that the time of his death was at [T̵̢̡̡͍̜͓̼͈̠̙̩̉̐̋̃̈͋́̉̑́̄I̴̫̣̬̐̍̈́͘M̸̨̖͍̭̞̥̣̠̩̩̦̹̫̬̀̏̿̂̓̐̒́̆Ȇ̷̢̛̜̻̜̘̦̞̦̱̠̘̺̻̝̱̺̖͐͂̓͋͐̇̽̈́͌̿͆̕ ̸̛̝̭̻͈̦̤͎̝͙͖̖̖̞͇̝̻͋̿̓̌̇̒̄̎̔͋́̀̌̕̕ͅŔ̵̺̾͒́̊͑Ȩ̵͇̦̘̎̽̂̽͋́̀̃̋́̕͠͝T̵̡̛̜͈͎̜̤̠̖̗͍̞̥̃͐͛͌̒C̷̳͍̦͉͈̭͈͚̄̾̐̑̍̈́͝O̴̡͔͔̟̖͓̝͉̻̭͓̩̱̜̣͑͒̈́͐͜ͅŃ̵͉̳̬̮̦̰̞̝̊͑ͅ.̸̜͉̥̬͚̤͇̳͎̮̤̳̠͖͕̠̀͐̾̈́̂̃̔͛̀̓ ̸̨̨̲̯̣̣̺̝͙̠͇̰͎̓̏͆̉͐̈D̵̡̢̻͎̙̜͆͂̄̍́̍͒̈́̄̀̊͐͘͜͠Ë̴̢̧̜̩̬͚͈̱͖͇̟̈́̀̈́S̴̨̡̫̜͎̩͚̦̈̈́̓͘T̶̨̢͇̩̩̞̹͉͉̯̟͖͈̱̬͗̒̀̆͐̾͜ͅÏ̴̡̭͉̜̘͕͝͝Ň̸̛̼̼̠̩̀͋̑̄͗A̷̲̖͚̞̩̗͐̈́̊̓̈̈́̾͆͂̐̒̓͂́̃̕͝T̷̲̫͎͖͎͈͈̲́̉̎̓͊̾̓̉̈́̅̑͒̋̀͜͜Ĭ̵̡̛̞̼̫̦̯͍̳͐̽̅̒́̏̓̽͗͜͝Ö̴̡͍̭̬̹̰͎̖͙̤̱̱̤̪̑̏̋͂̓̈́̓͋̆̓̉͠͝N̷̯̭̮̽̏́̌̐̄͋͘ͅ.̶̹̞̩̪̩̺̩͈͒̉̽̆͌̕ͅ ̴̥̖̼͍̳̒̒́̎̀͒̐̑̈́̊̓͛̚͜͠͝T̴̢̙͖͇̠̱̮̹̱̙̖̻͉̩͐̆̈́̄͜Ṟ̶̢̧̡̟̳͙̺͚̺͚̫̩̼͙̦̭̈̂͝Ä̴̧̢̟̣̣̫̀͂̐̆̏̈J̶̘̺̐Ḙ̶͚̘̑C̴̡̦̳̲̜̱͍͈͈͚̰̙̣͙̟̥͕̿̄̾̿̀͌T̴̡̹̯̣͇͖̮̩͙͍͈͚̟͖̊͊̀̏̀́͂̃̒̔̀͆̚͝͝͝O̷̧̤̼̓R̸̟̯̽͋͘͘͝͝Y̵̳͙̏͐.̸̟͈̲̪͓͕̌̊̿͂̆́̔̃̄̈́̋̕͘͝ ̴̤̥͕̘̰̬͓͕͖͓̻̠̞͉͂͌̈̏̋͝Ȧ̶̟̯͍͗͋̄̀̽͆̑́͑͂̏G̶̘͍̰͍͈̤̋̽̈ͅR̴̘̱͎̥̲̗̫̟͚̠̖̜͎͗̈́͋̏͊͘͝E̵̥̍̋̃̾̂̓̊͆́̑͒̑͝͠͝Ę̴̮͈́́̄̍͐̈́̂̾̅̂͗̑̔̕͠͠M̶̨̡̧̮͔̗͚̭̖̺̬̙̹̻̫̅͒̆̽͛̈̕E̴͙͕͆̔̀̓̋̽̽͛̂̅̕N̷̡̺̪̰̭͈̗̝̅̐̑͋̀̿̾͜T̸̨̰̥̹̂͒͌͋.̴̢̡̳̦͎͇̫͖̤͎̯̹̺̪̋̒̅̄̔͜ͅ ̷̠̀̈́̃̐̑̓̈́G̶̞͖̬̀͗̿́̏͐́̂̌̒̔́͛̃̆̊͝Ȩ̵̟͙͎̹̝͙̥̠̭̝͓̖̜͆͛͑͐͋̐͜T̴̢̻͖̞̬̪̬̟͍̰̩͈͓̱̉ͅ ̸̡͉̺̠͓͓̺̦͙͍̤̿H̶͇̯̘̦̰̣̺̝̫̮̜̽̄̎̎̀̓̒͋͝͝͝I̵̢̨̧̘̯̫̻̦͔͉͍͉̦̔̽̾̇͑͗͐̑̍̊̕̕͜͠M̵̤͉̬̳̰̪͖̳͍̩͔̳̱̫̉̏̓̊̀̈́̔̿̾͜͝ ̴̨̝̺̺̦̩̓̄̇̈̽͐̉͘͘N̶̬̩͎̭͕̩̠̖̽̅̑̅̓̌̎̐̂̓̏̌͌͘O̶̧͔̝͈̼̤͍͔̝͔͓̜̣͉̠͊̂ͅͅW̸̢̛̰͓̳̦̗̐̐́.̸̺͇͙͊̈͗] As for the Mikkaddo, whose exhumed journal allowed for the corroboration of some of the more fantastical elements of the Shikikan's conclusive ending, the veracity of events described cannot be taken as holistic fact. His writing style was particularly florid and dramatic, even for a royal dignitary of the era. As such, it cannot be inferred with certainty that the Shikikan's death was truly premeditated the light prior in that furtive meeting between the two, and that his death at the Mikkaddo's hands allowed him to disappear from existence without the color of his blood ever being seen or his head ever being captured. It is the pure pale ardor between the Shikikan and the Mikkaddo that naturally draws so much interest from the common laytroll to the history of Uesugi Karkat. Many plays, songs, historical television dramas, and East Alternian manga series have adapted this historical account into a popularized fiction. The Foundation seeks to distinguish fact from fiction. However, it is for the sake of emphasizing the cultural significance of the Saga of the Shikikan Uesugi Karkat that the Foundation acknowledges that despite the fact that all evidence determines the relationship between the famed courtesan, actor, rope-master, rebel leader, and romantic poet and his deeply conflicted, royalblooded moirail to be of determinately solid pale fidelity in all respects without the slightest hint of vacillation, the single most profound impact of this historical account is on its adaptation within the community of East Alternian media-obsessed internet perverts known as "fujoshi," who ceaselessly delight in arguing that the two trolls were the most quadrant-smearing flushmates of all time. It is through this lens that the Saga of Uesugi Karkat survives as a debatable historical fiction in this niche community, who revere it as one of the oldest epics in the genre that they so odiously call #rankbait. The Uesugi Karkat Historical Preservation Foundation does not condone this. Thank you for reading. We hope that this was educational and enlightening to the Chittr community. https://cdn.imgchest.com/files/ef45720d8121.png https://open.spotify.com/track/2aL4Dr516WsEswstjfnyYr?si=2b475268653f49b0 #uesugikarkat
- Ohhhh there's a cool olive on a hoofbeast in this one
- History... is SO awesomme. 🙂↕️🙂↕️😆😆🙌🙌
... :(
am i east alternian
Continuing the history of Uesugi Karkat from the Nobushii era: It is at this moment that the Uesugi Karkat Historical Preservation Foundation would like to acknowledge the profundity of Uesugi Karkat's vacant flushed quadrant. Despite a lengthy career of over ten sweeps in the Troll Edo period and the approach of a number of suitors during that time, he was notorious for keeping his red quadrant completely closed off. Some have theorized that this is because he was extremely dedicated to his life's ultimate goal of fighting Imperial involvement in East Alternia, and was therefore "married to his work." Others believe that he had a matesprit already, either on another continent or in another life altogether — a deceased lover, perhaps. The discredited academics who insist on the "time traveler" hypothesis, which has inspired songs like the one famously written and performed by Troll Hiromitsu Agatsuma, suggest something else altogether — that his flushed celibacy was to ensure that he did not alter the flow of the future so profoundly that it would unmake a matespritship he could later return to. An extremely vocal subset of enthusiasts who have co-opted the Saga of Uesugi Karkat, whom the Foundation acknowledges, but does not publicly condone, insist that the true, real reason is that he was simply a "tsundere" who was playing hard to get, and that his pale ardor was not so pale after all. The truth will never be known, as this piece of Uesugi Karkat's history is completely lost to us. All that is known is that on the light before the Battle of Fearoyama, the massacre for which he would be remembered forever, he sat down and wrote a single romantic poem, then sealed it away in perhaps the most secure hiding place of all — inside the haft of his sickle, where it was discovered by the Foundation after it was procured from the estate of a deceased royalblooded seadweller. As the Troll Edo period came to a close, Imperial forces had begun to converge on East Alternia with the intention of modernizing the region and bringing it into the fold of the rest of the global Alternian empire. The local government's armed forces were asked to stand down, swear allegiance to the new heiress, and resign their strife modi. After many skirmishes and border conflicts that he had strategically eked narrow victories out of, the Nobushii, now known to his dauntless loyalists by his final title, the SHIKIKAN UESUGI KARKAT, made a sudden and extremely rash decision after a long night of moongazing. He declared that he would meet the Imperial forces in a bloody last stand at Mount Fearoyama, where the remaining rebels would die fighting against insurmountable odds in the final, twitching death-throe of the Pre-Restoration era. His followers pleaded with him to reconsider, but to no avail. When asked why he was so adamant in his decision to die at Fearoyama, the Shikikan was said to have looked skyward, gazing directly into the light of the Green Moon. It is to this moment that we attribute one of Uesugi Karkat's most famous quotes, for he replied, "THE MEMORY OF TIME WON'T REMEMBER MY NAME UNLESS I SHOUT IT FROM THE TOP OF MY FUCKING BELLOWSACS. THIS IS HOW I MAKE SURE IT WILL HEAR ME. DE ARINSU." Little else in the way of context has survived to go on the record. His intense fixation with moongazing and astronomy, especially in the nights leading up to the Battle of Fearoyama, is frequently cited as a relevant detail to his famous quote. Others say that it was merely another means of waxing poetic, as he was oft to do. What has survived is a single daguerreotype picture, taken the night before the battle. The history of Uesugi Karkat will be concluded in the following chitt. https://cdn.imgchest.com/files/a8da5cf95f75.png https://open.spotify.com/track/0bP8YBOidQqrFNsw0IJamB?si=f89c1f630b3147c0 #uesugikarkat
THE MOON... MAYBE HE WAS NOT A COMPLETE SHIT FOR BRAINS IDIOT AFTER ALL.
…
Continuing the history of Uesugi Karkat from the Nawashii era: Shortly after his dismissal from the realm of Grubuki theatre, the once again-titleless Uesugi Karkat sought to invest his amassed wealth. He was known for being particularly preoccupied with the sciences — specifically, horology, chronology, and astronomy. Though he was a deeply private person, he was known for being eminently fixated on the movements and arithmetic of the Green Moon. Some of his studies involved tracking its lunar phases, cataloging previous celestial events, and learning to predict the path that the moons would take in the future. However, this was still not enough to turn his liquid capital into stable assets. One day, a peasant girl from a distant, rural village appeared in the city, pleading for aid from anyone who would heed her. A vicious band of mountain bandits had been terrorizing her village and reaping its resources to the brink of collapse. However, no matter how many mercenaries and samuraisolators she petitioned for help, none came to her aid. When Uesugi Karkat encountered her by chance, it is said that he was seized with a sudden and immediate purpose, as if the recognition of her face alone were sufficient to declare his support. Furthermore, the Mikkaddo who had inadvertently led to the former Grubuki actor's disgrace was so deeply moved by this act of passion that he declared his support as well. By pledging his retainers, his allies, and his crosshairs to the cause, the Mikkaddo set out to help Uesugi Karkat prepare the village's defenses before the bandits' next raid, and in doing so, forged a moiraillegiance with the would-be rebel leader of such wholesome magnitude that its pale reverberations would be felt through time. Gone were Uesugi Karkat's demure robes. His lacquerware hair descramblers and false theatre horns were cast aside for armor and weaponry. Rather than wielding a sword or the era's rapidly developing firearms, the Nobushii chose to wield a simple, bespoke sickle of custom, apparently "nostalgic" design. As a gift from the Mikkaddo, it was forged by his personal weaponsmiths and equipped with a weighted chain concurrent with the sickle-based weaponry of the time. This weapon, whose name is translated into contemporary Alternian as "the See you Later, Dear Brother," is among the artifacts kept on display at the Uesugi Karkat Historical Preservation Foundation. After emptying his coffers to hire several capable warriors and miscreants found around the region, the Nobushii led a team of twelve total trolls to rally the villagers and fend off the mountain bandits. The battle was long, bloody, and deeply dramatic — likely because a former Grubuki actor had absolutely no way of being "normal" and "mundane" during any sort of armed conflict. This, however, would be the event to forge the moiraillegiance between Uesugi Karkat and the violetblooded Mikkaddo into an unbreakable blade of pure, pale dedication beyond all question of fidelity. When the battle concluded and the bandits were repelled, the village became an important hub of operations for the Nobushii and his small, eclectic warband. Though they would later separate and go their own ways, several of them — including the oliveblooded NEKOJITA and the bronzeblooded TOGYUSHI — remained together, unified by mutual beliefs in freedom and opposition of Imperial hegemony. The Mikkaddo, however, would later be seduced into the employ of a powerful East Alternian heiress, culminating in a conflict that would define the future of the East Alternian Restoration era and the enduring legacy of Uesugi Karkat, whose next title, the SHIKIKAN, would be his last. More of Uesugi Karkat's history to come in the following chitts. https://cdn.imgchest.com/files/9fd47e8259d7.png https://cdn.imgchest.com/files/3b53fcf8c9d8.png #uesugikarkat
🞜 also. so as to be appropriately disrespectful to the historical record. thank fuck you have gotten to the goddamn yaoi. 🞜 which is what we are all here for. obviously.
tHE tOGYUSH1,,, tHAT T1TLE NEVER STUCK TO ME. 1T 1S FOR THE BEST, - n1TRAM-DONO
fidelity my shiny amphibious ass the guy sets one strutpod in troll edo and careens into the powwerful conciliatory arms a some OTHER royalblood jackass this is BULLSHIT thats it im eatin my feelins tonight
BEFORE YOU DO THAT. CONSULT THE PREVIOUS HISTORYPOST. IT'S IMPORTANT. AND THEN TEXT ME. ONCE YOU HAVE ABSORBED THE KNOWLEDGE CONTAINED THERE. BIG THINGS ARE HAPPENING. HAVE HAPPENED? ERIDAN. IT'S MAJOR.
Continuing the history of Uesugi Karkat from the Onnagata era: The Pre-Restoration Troll Edo period of East Alternia was marked by rising agitation against global Imperial rule. This rising sentiment of rebellion (believed by many to be directly affected by rising rebellious philosophy begun in the West, though it is the view of this Foundation that such a political response was merely an emergent school of thought from a coincidental, equifinal era) surfaced in the culture of Grabuki theater through bold stories of rebellious, lowblooded heroes stirring unrest against what they saw as an oppressive regime. Such figures were often depicted under the restrictions of "hojojutsu," the method of rope-binding by which prisoners were publicly bound in such a way as to inflict pain, denote the manner of the crime, and ultimately humiliate the bound captive. This painful method needed to be adapted for the theater so as to present its actors in similarly degrading circumstances without rendering their prongs numb. Thus, the noble art of Shibari was hatched. A noble art that Uesugi Karkat, by way of learning from the various stagehands and Jadeblooded costume designers of the time, came to master. Behind the scenes, the famous Onnagata took on a more private persona. As the NAWASHII, Uesugi Karkat lived his stagely praxis by practicing his knotwork on his fellow actors — especially when they were unruly, poor in performance, or dared to question his taste in romantic poetry. So severe was his ire when spoken through the language of ropework that even trolls who believed themselves to be of likely higher caste than the hemoanonymous Onnagata surrendered to the chance to be bound so deftly. Shibari itself is, of course, a complex language. The arrangement of the knotwork can symbolize the nature of the captive's offense, the identity and status of the captor, the nature of the humiliation waiting for them, and even imbued emotion from the rope-master. It is in this language that the Nawashii also considered himself a romantic poet, and in doing so transcribed the rageful monologue for which he was renowned, the Akkuttai, into a shibari form that purportedly could only be experienced to be understood. Unfortunately, it could not last. The Nawashii's secret practice was eventually discovered when a wealthy seadweller of violet caste called the MIKKADDO, who wanted to see the Akkuttai for himself, drew unnecessary attention to this clandestine taboo. The famed Onnagata was forced to step down from his position at the Grabuki theater by the Mikkaddo's jealous kismesis, leaving Uesugi Karkat with a vast fortune amassed during his lengthy entertainment career, but no immediate future prospects. This aimlessness, however, is what would lead him to meander into a wholly new occupation — the NOBUSHII — and a militant style of leadership for which he would eventually be chiefly known. More of Uesugi Karkat's history to come in the following chitts. https://cdn.imgchest.com/files/011ed0849dc2.png #nsfw #suggestive #uesugikarkat
your breast is out my dude
THANK FUCK. FINALLY. HE'S DEVELOPING RELEVANT AND PRODUCTIVE SKILLS. FOR AN UNDYING LIFE OF ORGANIZED CRIME. HE JUST NEEDED TO RUN AROUND. HAVING GIRL ADVENTURES. FOR SEVERAL SWEEPS. AND GET THAT FRILLY BULLSHIT OUT OF HIS SYSTEM. BUT ALL IS ACCORDING TO KEIKAKU ONCE MORE.
Much of Uesugi Karkat's early life is completely unknown. Due to his total hemoanonymity over the many sweeps of his time in East Alternia, it cannot be deduced what province, prefecture, or continent he hailed from before his sudden arrival in Trollshiwara, the famous red light district of Troll Edo. What remains consistent is this — he arrived as a foreigner who did not speak the language, seemingly fallen out of the sky and into the cart of a local brothel owner. The owner was purportedly so taken with his boyish beauty and gap moe tsundere personality that he immediately set him to work as a courtesan within his business. It was here that Uesugi Karkat was first referred to by his East Alternian title, the AKATSUKI. Under the strict tutelage of the other courtesans, he learned to dance, sing, play music, pour tea with delicately trembling wrists, feign laughter at unfunny jokes, and weaponize the nape of his nugstalk in the way that an anglerfish lures its prey into its abyssal maw. However, accounts from the other brothel workers say that he was too ornery and foul-mouthed to do any of these things without erupting with rage. He did, however, learn the local language with surprising acuity, and the courtesans were deeply impressed with his natural propensity for writing romantic long-form poetry. Furthermore, rather than selling his concupiscent services as a low-ranking courtesan was expected to, the Akatsuki was supposedly so renowned for his talents as a pale quadrant advisor and ashen mediator that guests of some of the highest castes in Troll Edo sought him out solely for his comfort and advice. No information on the Akatsuki's hemocaste could be discerned during this time, due to never once shedding his genetic material with any customer or courtesan alike. In fact, so preternatural was his ability to touch the pusher of a customer without ever shedding his kimono that within three sweeps, he had already reached the prestigious rank among courtesans of a Boiran (boy oiran), which offered him considerable wealth and empowered him with the right to turn away any offer made in poor taste, even if they were of a higher-blooded caste. It was due to this prestige that he was later discovered by his next wealthy benefactor, who was the leader of a troupe of Grubuki actors, and began his next career as the ONNAGATA. Attached is one of the most popularly sold woodblock-print wall scrolls of his likeness, titled "Delicious Fucking Shit," for the ambiguity of its referral to either the grub-tempura or the courtesan himself. More of Uesugi Karkat's history to come in the following chitts. https://cdn.imgchest.com/files/17e0aad9aa46.png #uesugikarkat
The Uesugi Karkat Historical Preservation Foundation is a non-profit organization dedicated to researching and preserving all records, artifacts, cultural relics, woodblock prints, romantic poetry, and erotic wall scrolls belonging or related to the Pre-East Alternian Restoration era figure Uesugi Karkat. Founded in late 20XX many sweeps after the Restoration, it was determined that this historical figure warranted further inquiry when a lacquerware hair de-wrangler once belonging to the enigmatic figure during his courtesan era was scanned using material dating technology. The scan revealed a hollow interior to the de-wrangler which, when split open, contained instructions in both archaic East Alternian and the modern-day parlance on how to find and log into the Chittr account formerly belonging to the user @carbolicGalvanologist. This has led to a dramatic re-examination of his possible origins, one which has stirred controversy among Alternia's foremost scholars. This account endeavors to offer an authentic and evidence-based chronicle of the life of Uesugi Karkat from his mysterious appearance in the Troll Edo period to his death at the Battle of Fearoyama, rejecting the insufficiently substantiated and formally unrecognized theory of time travel as of this moment in the Foundation's deliberation process. Chitts will be posted from this account related to the numerous and varied arcs of this esoteric, hemoanonymous leader of the Pre-Restoration era. The Head Curator has decided that all information hereafter will be displayed in a quirkless format for legibility. DMs are for historical inquiry only. #uesugikarkat
@handMaid actually before you do im going to try and get my prongs on these erotic wall scrolls
:oO Oh my... :o) He's truly living a whole life out there, isn't he? :o) ... go get 'em, little brother.
NOT BEFORE I DO!
wwhat the fuck kar are you eastern alternian noww i thought you wwere from mexicull
yeah i thought you both wwere
everything has gotten so out of hand that im getting a HISTORY LESSON from this wish history was half as interesting in school as it is here i woulda been LOCKED IN!!!! also no rupturekernels for all this (|:/
… Death?
1N ANOTHER 1NSTANCE OF RHYM1NG BETWEEN bEFORUS AND "aLTERN1A" THERE 1S ALSO AN 1MPORTANT H1STOR1CAL F1GURE NAMED "uESUG1 kARKAT". h1S 1NFLUENCE ON PRE-eASTERN CULTURE CAN NOT BE UNDERSTATED. h1S 1NFLUENCE ON bEFORAN CULTURE AS A WHOLE 1S ALSO LARGE. h1S DESCENDANT, eUSUG1 q1UONG, 1S CRED1TED BY MOST H1STOR1ANS AS HAV1NG HAD A LARGE HAND 1N THE CREAT1ON OF THE PRECURSOR TO THE MODERN CULL1NG SYSTEM. 1F 1 HAVE DOUBTS AS TO WHAT H1S EXACT CONTR1BUT1ONS AND P*L1T1CAL STANCES WERE, WELL, WHO AM 1 TO ARGUE W1TH G*VERNMENT APPROVED SOURCES? 1 AM EAGER TO LEARN MORE ABOUT YOUR uESUG1, @CARBOL1CgALVANOLOG1ST - n1TRAM-DONO
Ɏ sounds like aa right baastaard Ɏ
1 HAVE SOME CHO1CE WORDS, WOULD YOU EVER CARE TO L1STEN 1N A MORE PR*VATE CONTEXT, - n1TRAM-DONO
✿ 𖥧f y❦u see a f❦res𖧧 f𖥧re 𖧧ak𖥧ng place, d❦n𖧧 𖧧ry 𖧧❦ be a her❦. s❦me𖧧𖥧mes 𖥧𖧧s needed. 𖧧he burn𖥧ng 𖥧 mean, n❦𖧧 𖧧he lack ❦f her❦𖥧sm, 𖧧h❦ugh 𖧧ha𖧧 w❦uld als❦ help cu𖧧 d❦wn ❦n cull𖥧ngs s❦ wh❦ kn❦ws ✿
Can't curb the instinctual urge to throw ones self into danger to help others. But you are right on the forest fires. Leave that to professionals who handle these disasters
tHE USE OF LANGUAGE 1S A VALUES-NEUTRAL ACT. eVEN THE V1LE WORDS ARE A PART OF L1FE, NO HOW MUCH WE MAY... FEEL ABOUT CERTA1N 1ND1V1DUALS AND THE1R USE OF eASTERN bEFORAN, THE TAPES MUST BE KEPT C1RCULAT1NG, - n1TRAM-DONO
bEFORAN PR1DE MEANS UPL1FT1NG AND EMBRAC1NG ALL bEFORAN CULTURES. eASTERN, sOUTHWESTERN, lOW AND h1GH sUBTERRANEAN. tHE H*GEMONY CAN NOT BE ALLOWED TO S*LENCE OUR VO1CES. kEEP THE TAPES C1RCULAT1NG. kEEP YOUR LOCAL LANGUAGES AL1VE, - n1TRAM-DONO
Many of the users here woulld be crushed within minutes of the meeting of two confllicting front llines.
🥛not Me Though!🐄
Mmmmmm. If you say so.
... why are there 📄 1n my woods, dawg... we do NOT tolerate l1tter1ng 1n the lost weeaboos a1ght? so fess UP y'all 😡😤 #slenderhour
dont worry about them just find & collect them 1/8
bro... d1d you do th1s? }>:( not cool... you bet your slender *ss 1'm collect1ng that sh*t... that tape a1n't good for the trees, yo... 📄 oh wow these th1ngs are everywhere...
a SMALL KNOWN FACT, THE 1NSP1RAT1ON FOR OUR T1TLE, THE lOST wEEABOOS, AT LEAST THE PART OF 1T WE CHOSE FOR OURSELVES, CAME FROM TH1S MANGA YOU CAN SEE 1N rANKMA1D-SENSE1'S BANNER, lOST bOYS, ALSO KNOWN AS rOSUTO bOYS OR ロストボーイズ 1N 1TS OR1G1NAL SCR1PT. 1T TELLS THE STORY OF A CULLERLESS TROLL NAMED m1ZUK1 WHO 1S WH1SKED AWAY TO A MAG1CAL LAND WHERE TROLLS NEVER AGE. hE FEELS OBL1GATED TO ACT AS A SORT OF SURROGATE CULLER TO THESE TROLLS, 1NCLUD1NG H1S ROMANT1C 1NTEREST, bREEZE. tH1S STORY SPOKE TO THE BOTH OF US, FOR D1FFERENT REASONS. vERY D1FFERENT REASONS. hOWEVER, 1T CEMENTED 1N US THE V1S1ON OF WHAT bEFORUS COULD BECOME, 1F ALL US "lOST tROLLS" COULD BAND TOGETHER, TAKE CARE OF EACH OTHER, AND F1GHT TO D1SMANTLE THE SYSTEM THAT LOST US. 1'LL HAVE TO G1VE 1T ANOTHER READ SOME T1ME. @ARCH1VEaDD1CT HTTPS://CDN.1MGCHEST.COM/F1LES/E67013162D31.PNG HTTPS://CDN.1MGCHEST.COM/F1LES/F46C2C70FF03.PNG - n1TRAM-DONO
perhaps we could arrange for a lost boys reread after we finish rurouni kenshin! 0v0
tHE GREAT M1SS1ON HAS KEPT ME VERY BUSY, BUT 1 W1LL TRY TO F1ND T1ME FOR YOU, - n1TRAM-DONO
My Punk Rock Legion grows with every passing hour! One day, not today, not tomorrow, but one day, that accumullating strength of llove for one another and hope for a brighter tomorrow shall shine so bright that it shall bllind the Empresses eyes forever, and she will be unablle to see the beauty we shall construct without her watchfull gaze. Fight on.