hubert is objectively the funniest character
- just listen to any line of dialogue he has
- “von Vestra” is the absolute rawest surname I can think of. It sounds perfectly ominous and suitable for a character who looks Like That. but like … his first name is HUBERT
- Me: “Oh, maybe it’s pronounced the French way!” Edelgard: *very much not the French way* Hubert
- His entire deal is his obsessive and steadfast devotion to Edelgard. Edelgard is a character who can throw axes around like they’re nothing. Hubert, meanwhile, is made out of tissue paper and will die from a single hit.
- Threatens Byleth, a trained mercenary, in their C-support. Has to attend class the next day.
- seriously listen to any Edelbert support
- Felix has hilariously edgy lines too but Hubert does it in a more theatrical way? Like to me Felix is Shadow the Edgehog and Hubert is Scar Lion King. or like, Felix is Simple Plan and Hubert is MCR (no shade to Felix btw, I laughed at all his lines too)
- I forget who the op of the post was but someone said “Hubert is the Evil Advisor trope except the person he’s advising is 100% in on it”
- He killed his father. this is mentioned once and is never brought up again. nobody reacts to this
- I’m obsessed with El’s Hubert impersonation but on my second CF run I got to remember that Hubert impersonates his father and I am. OBSESSED with these dorks.
- He acts like he’s too good for school events and then goes “Lady Edelgard I hope you save one dance for me 🥺”
- DO YOU NOT LIKE THE SCARLET PATH I HAVE PREPARED FOR YOU
- “Hey Hubert is this your NOXIOUS HANDKERCHIEF?” “Yes, that is mine. Thank you.”
- He’s genuinely one of the more complex characters (if you look beyond the surface) and I am so so passionate about his character development but I mostly like him because every line he has sends me
- Hubert only blushes for two characters in the game: Byleth … and Ferdinand.
- he likes board games
- when you feed him something he likes he’s like “i don’t particularly care for food, but i will admit weakness for this one dish” which i take to mean that hubert is so edgy he thinks he’s too cool for EATING
- or alternatively, he is an actual vampire
- the evil laugh
- my best friend conceptualized the Byleth/Hubert relationship as a dad trying hard to impress his angsty teenage son. she calls him Hugh and I demand that this catch on please can we make Hugh happen
- by giving him traditionally “scary” facial features he actually gets one of the most interesting and unique character designs. this means that a lot of fanfic writes him as “sexy, but in a rat way”
- WOULDN’T IT BE TERRIBLE IF THE ARCHBISHOP GOT MURDERED
- he’s afraid of heights
- that one existential horror advice box question where he’s like “I used to fear the goddess. Now I fear the living” or something
- he is a massive edgelord to everyone else but he deliberately stops laughing around Bernie bc it scares her
- when Jeralt dies in Black Eagles Part I, Hubert gives you dry facts about the enemy’s position as his own odd way to comfort you. however, in any other route, he says “I’ve never been one for condolences” and leaves it at that
- he is 2 years older than his classmates. that fact alone makes everything he does 100x funnier
- the Hubert Stanning Experience is just laughing at this emo man until he’s wormed his way into your heart and soul and now he’s stuck there as your weird murder son
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ART NOUVEAU PORTALS
1. Salvador Valeri i Pupurull, Casa Comalat, 1911, Barcelona, Diagonal 442D; 2. Josef Maria Olbrich, Glücherthhaus, 1901, Darmstadt, Mathildehöhe; 3. Gottardo Gussoni, Casa dei Draghi, 1918/20, Torino, Corso Francia 23; 4. Firsch Mausoleum, 1917, Eire Cemetary, Eire Pennsylvania; 5. Jules Lavriotte, Hôtel Lavriotte, 1901, Paris, 29 Avenue Rapp; 7-9. Ixelles, Bruxelles; 10. Hector Guimard, Castel Béranger, 1895/98, Paris, Rue de la Fontaine 14; 11. Strasbourg; 12. E. André, Maison Huot, Nancy, Rue Claude Le Lorrain 92; 13. San Sebastian, Calle Prim; 14. Alfred Wagon, 1904, Place Etienne Pernet, Paris.
Art Nouveau was the first pan-European style since Neo-classicism. Easily imitated, content free, and highly adaptable, the style was particularly appealing to private patrons uninterested in the politics of national styles that had characterized the various historical revivals of the 19th century.
The signature serpentine, coup de fouet gesture could devolve into spineless dither and filigree, however, and by the end of World War I, everyone agreed that the fin-de-siècle was over. In Europe, the various manifesto modernisms prevailed; Americans contented themselves with Art Deco, or, as Roy Lichtenstein put it, “modernism for the home.”
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