Utsukushii Kare + Textposts (3/?)

Utsukushii Kare  + textposts (3/?)

“And when he wakes up, what are we going to do? Let the time decide.”

the persistent and the cute

Over the last few days, there’s been a really interesting discussion in the comments of my reblog of the gifset @tinngun​ put together of the Utsukushii Kare season 2 finale kiss. I’m transplanting it here because 1) it seems like @tinngun​ could use a break from all those notifications and so forth 2) the conversation was totally getting buried and I think it might be interesting to folks who probably wouldn’t see it without it being brought back out into a main post. So, first, here’s a quick recap of what I posted when I reblogged the gifset post in the first place. Well, the part that’s pertinent to this conversation, at least. I commented on the tropeyness of the scene, including allusions to Hira and Kiyoi’s sexual relationship, which (from what I hear) gets quite a bit of time in the novels but by virtue of TV as a medium, is mostly not portrayed in the series. In other words, since this part of the relationship isn’t shown directly the vast majority of the time, it has to be sketched out through these allusions, including what I’d consider coded language. 

With regard to the coded terms, I brought up something @bookittyboop​ had mentioned to me previously, that “persistent” and “cute” have specific meanings in BL/yaoi/other related genres. Basically, someone labeled as “persistent” is more active/forceful sexually and someone labeled as “cute” is yielding/more passive, with these roles being mutually reinforcing (i.e. the more yielding the “cute” person is, the more forceful the “persistent” person becomes).

Then I talked about the way Hagiwara Riku’s voice shifts in the line, “Sorry, Kiyoi. I can’t wait any longer tonight.” I had checked out some clips of other roles of his and noticed that among other things, he really seems to use his voice to differentiate between characters. This helped me to notice how distinct his “can’t wait” voice was, and I thought this was probably a voice belonging to the “persistent” part of the character. And I was less sure about this, but I thought Yagi Yusei was playing into this as well by reacting to the voice by kind of melting/going all floppy in response to it (he’d been fairly swoony before that, but it definitely seemed to be going up a notch there).

Then @xnoel, perennial fountain of information, pointed me to this quote from an interview translation (highlighting added):

So yeah, this seems like confirmation! I mean, what else would Yagi be referring to when he talks about “Hira’s ‘dark’ side” than this authoritative husky whisper thing?

Then I got some really great comments which I’m going to share here with permission, in part because I asked if anyone could point me toward more information on the “persistent”/”cute” thing.

The ever-helpful @nieves-de-sugui​ said:

a little bit of translation notes for your analysis! Hira is saying, literally, “I can’t hold back (anymore)” and it’s a very tropey sentence to say in BL (and shoujo) right before getting it on.  It’s also the main indicator of taking over/taking charge of the sexual encounter. There’s a lot of one taking over and the other giving in. (I think there’s a lot here about how Japanese people relate to sex and how it should be done).

(I said I’d run into this trope in Kdramas before as well.)

And then the kind and knowledgeable @bookittyboop​ pretty much took me to school on the whole persistent/cute dichotomy! They left comments in two clusters at different times so I’m putting a little dinkus (the line of asterisks or symbol that marks a transition between sections) in there to show where that was. Oh, and I took out some greetings/closings and stuff like that for flow purposes. Here we go:

The best source I can think of (because otherwise this is the kind of thing your get through osmosis once you’ve watched enough Japanese media) is @absolutebl’s post [link added by me] on the whipping boy trope, though there is more to it. I would classify Hira as a whipping boy/attack dog/service top and Kiyoi as more of a kuudere than a tsundere as well as a spoiled prince/pampered princess.

Their characterization and dynamic (and derivatives) is a staple not only in bl but in Japanese media. You’ve got a male character (Hira) who is the unassuming or even the loser archetype but unearths or shows a “manly” and protective side in benefit of his loved ones (many times after his “cowardice” or “uselessness” has let them be hurt) and slowly makes something of himself.

Then you got a (normally female) character who is  a combination of cold and aloof (kuudere) or prickly and explosive (tsundere) but actually wants to be cherished and uses the gruff exterior as a way to protect herself from heartache/rejection.

The first archetype normally admires the second and wants to be at their service while the second sees the potential in them and the adoration makes them feel safe. In normal circumstances the first character has a submissive personality and the other a domineering one. The second character is also going to find emotional vulnerability extremely difficult to express. But in certain circumstances, there is a “mom friend hack” button.

* * *

When character 2 opens up/shows vulnerability, character 1 identifies a need in the other to be cared for and takes confidence from being  chosen to provide that. There’s also gap moe (duality cuteness) and horny “I’m gonna worship you so good you will forget everything else,” "gotta get top marks at satisfying you,” and “you’re so cute I wanna eat you up” buttons.

The second character in turn feels attracted, safe and tethered by that show of confidence and let’s themselves (their barriers) go more and more . Those energies feed into each other and that’s how you get to our kiss scene. Sometimes(Kiyoi’s case) they add coyness and shyness (“no, that’s too much you beast”) because God forbid the tsundere/kuudere lacks plausible deniability when they go back to their senses. (there’s a “baby it’s cold outside"element too)

This is where @absolutebl​ chimed in to say they thought @bookittyboop​ was doing “a GREAT job” with this explanation.

And I agreed, and thanked them for the time and effort involved in such a useful explanation, but asked about the “mom friend hack” because it was new to me. Here was their explanation:

The mom friend is the responsible, caring one, prepared for any eventuality. If you’re a generally anxious person but also the mom friend, you’ve got a hack where you handily navigate  situations which would normally be embarrassing or anxiety-inducing if it’s for your loved one’s benefit.

For example:

-Buying condoms, pregnancy tests, emetics or other "embarrassing” stuff

-telling waitstaff they got an order wrong and to please change it

-asking a teacher to explain something again or revise an exam score

-giving a jerk a piece of your mind

Basically, you may not be able to stand for yourself or even make perfectly mundane, normal requests for your own sake, but the power of love lets you rationalize things, be brave, and do it for others.

I just realized I probably didn’t clarify enough. Hira’s thing is not exactly a “mom friend hack” but it’s similar to it in the sense that “being needed” lets him overcome a mental block.

And they added, re: my theory about Kiyoi’s response to the Persistent Voice:

As for the kiss voice and Kiyoi’s reaction, I too am convinced that was all on purpose. Bl drinks from yaoi manga, which has a treasure trove of visual cues and tropes. If there was a manga version, we’d probably have seen Hira suddenly get wolfy ears and shiny eyes + Kiyoi blushing like a maiden (maybe a fade to black with the dirtiest onomatopoeia known to man) to signal someone’s getting railed within an inch of his life 😂. This is the real life equivalent.

So, yeah. Lots to think about here. I’m glad to know I seemed to be on the right track. It’s funny how there is so much material out there about some tropes and genre terms (googling seme and uke will get you more results than you know what to do with) while other tropes are harder to find anything about. (If only because of the vagaries of search terms, which might be a factor here.) If nothing else I’ll have this post to refer back to and I hope others will do the same if they find it at all useful.

Thanks again to @bookittyboop​ and @nieves-de-sugui​ for their thoughts! And to the illustrious @absolutebl​ for chiming in with praise (for @bookittyboop​) and confirmation.

postscript:

There are a couple of things I keep noticing about that kiss scene since this discussion that I wanted to point out. I guess the fact that, due to both of my reblogs, I had a gifset of the scene at the top of my profile for three days probably has something to do with it.

First, I hadn’t noticed how much Kiyoi really is slipping into a “cute” persona even before the Persistent Voice is used–just in response to Hira’s first kiss. His eyes get very soft and he does that affectionate head-bonk but the pièce de résistance, to my mind, is the rather childlike way he sticks out the end of his tongue. So, yeah. The first stage of cuteness comes before the Voice is even used.

Second, I hadn’t even reckoned with just how floppy Kiyoi gets after the Voice. He’s swaying around so much that Hira keeps having to grab him so he doesn’t just keel over. He’s gone almost boneless.

I guess it’s just really fascinating to me how this set of tropes can be so pervasive in one culture (or at least noteworthy chunks of it) and yet almost entirely novel to me. I mean, I was aware cultural differences existed, of course, but sometimes getting hit by the reality of them is still startling.

You know, it always stayed with me, when I first read “The Vampire Lestat”, the end, when Lestat reveals what happened to him in Paris with Armand, and reading it once again, I’m reminded of why it never left me.  It’s maybe the most heartbreaking thing in the whole book, and that’s saying a lot, considering all the tragedies of Lestat’s life up to that point.  Armand’s cruelty to Lestat here is breathtaking, the way he manipulates him, and then imprisons and starves him in order to place him in a desperate enough state to give testimony against Claudia and Louis, when already Lestat was in such horrifyingly dire straits.  Making it all the more heartbreaking is the way Lestat holds no ill will or grudge towards either Claudia or Louis for what was done, how he even feels he deserved what they did to him, and the way he had no intention of revenge, or even knowledge of their presence in Paris, but how Armand uses him to exact his own revenge for Lestat’s rejection, a thing Lestat never even conceived, and a thing even if he had understood, he couldn’t have given to Armand anyway.  It’s just so awful, and sad beyond words, the final blow being when Armand pushes Lestat from the roof of the tower.  God, it’s brutal.

And the sadness of it is really driven home all the more when so many years later, Armand finds Lestat again, and Lestat is rotting away, cut off so completely from life and the world and humanity, with no real will to live, and we see the tragedy doubled in Armand’s own loneliness and despair, the way he’s wrought his own ruin too, deserted by Louis, his duplicity and manipulation and assault of before rendering any kind of genuine reconciliation with Lestat impossible.  The way he tries one last time to win Lestat’s love and companionship, only he uses the same methods of deceit as always, conjuring illusions to win the love he craves.  And it’s far too late, too much bad history between them, too many mistakes made, and Lestat is too far gone at that point for it to have ever worked.

I think what really drives these scenes home in their tragedy too is the kind of juxtaposition of Lestat and Armand, the way their roles have in a way reversed, with Armand decked out in the modern finery of the 20th century, moving among the modern world, while Lestat lies in ruin beneath the foundations of a rotted out relic of a house from the 18th century, clothed in rags and lost in despair and physical degradation.  But both of them are totally alone still, cut off and outcast in their own ways.  Armand’s strange obsession with Lestat, continuing to hang about near to him, and Lestat’s consuming despair at last driving him under the earth.  It’s just such a powerful and poignant and heartbreaking study of loss and aloneness and what it means to be truly outcast.  I felt so deeply for both of them while reading this, even with the horror I felt at Armand’s cruelty. 

I think the paragraph that got me the hardest was this:

“The earth was holding me.  Living things slithered through its thick and moist clods against my dried flesh.  And I thought if I ever do rise again, if I ever see even one small patch of the night sky full of stars, I will never never do terrible things.  I will never slay innocents.  Even when I hunted the weak, it was the hopeless and the dying I took, I swear it was.  I will never never work the Dark Trick again.  I will just… you know, be the “continual awareness” for no purpose, no purpose at all.”

It speaks so hauntingly and with such sadness to Lestat’s true tragedy.  That he feels so lost in the world as this being with no purpose, no use, no point. 

His one and only consolation in life was this idea that he could give his life meaning through doing good in the world, and he’s left now an immortal who can give his eternal life no meaning at all.

Ah, I weep.

How can one not feel for Lestat?  How can one ever accuse him of being a shallow or frivolous person?  I’ll never know.  He’s anything but.