#Also can i just day I really appreciate the original Japanese has it's own unique subtitles rather than lifting from the dub script

[cyberpunkboytoy]

For anyone wanting to get into the Dungeon Meshi anime who only knows English, especially if you're uncertain whether you want to watch it dubbed or subbed, I'd like to recommend the dub.

Both jp and eng performances are really good, but unfortunately the subtitles for the sub are...lacking. While not inaccurate, they're missing a lot of the clarity and nuance (such as: set up and punchlines for jokes) and make it seem much less like a comedy series.

But the dub translation makes all the comedic beats much more explicit and obvious, and it's easier to follow along with the story too. Especially if you haven't read the manga, dub gets you the intended viewing experience if you need English.

[raven-at-the-writing-desk]

hi raven !! do u have any moots who are people u looked up to before u became moots with them? just curious :-)

Hmmmm... 🤔 A good question!

When I first started out writing, my two inspirations were twstpasta (Mac) and panacea-wishes (Lily). Mac had a very clean and simple interface and a whimsical way of writing, whereas Lily edited together her own banners and focused more on pretty descriptions... I wanted my writing blog to have its own unique flavor like Mac's and Lily's did!

You'll notice that I wrote the last paragraph in past tense, and that's because both of those writers have since terminated their respective blogs and moved elsewhere💦 but to this day, I still really love them and the work that they do! If you’re interested in continuing to follow them too, you can find Mac at @mcdonaldsnumberone and Lily at @fairlyabookie. However, please note that they no longer take writing requests; they only write what and when they wish to.

Another predominantly text-based blog I enjoyed (and still enjoy!) reading is @pianostarinwonderland. It's mainly a dumping ground for TWST thoughts and theories, which I do also sometimes share on my own blog. It's a place I go to when I need to get my brain juices flowing, and sometimes the things they point out make me develop more of an appreciation for the details of TWST! (I also used to be an Azul stan, so I'd run to a fellow Azul stan to feel validated in my screaming, ahah~)

Back around the start of my TWST journey, I mainly relied on @kibadreams and jmee for story translations and rough summaries, respectively. Kibadreams does their best to retain the original “voice” of every character when they translate, and they’re very open about the potential translating mistakes they may have made and they’re striving to improve! Jmee really goes in on the details and the deeper meaning behind character relationships and TWST lore. I really appreciate the work that they have done for the community!

Special shoutout to @mysteryshoptls, whom I first got to know as a friend before they initially set up their translation blog. They’re a great source for vignettes and character lines; their translations really retain the spirit of the original characters in Japanese.

There are also a lot of artists in the TWST fandom that I admire! Seeing their posts always puts a smile on my face, and it inspires me to work hard at my own things too. I especially like seeing their own OCs and takes on certain scenes and characters from the game. It gives me confidence to share my own original works~

@4nimenut (They use very delicate brushstrokes that remind me of watercolors or traditional Chinese paintings! The lighting in their pieces is also very atmospheric~)

@airin-queenz (A very bright and cheery art style! The colors and the shading really pop out.)

@beth-lau (I love how they draw expressions! The arrangement and details... they really bring out the emotions that every character is feeling.)

@k0ushii (Their sketchy art style and color choice is very soft and easy on the eyes! They've also done gijinkas for Cookie Run and FNAF characters, which I absolutely adore the designs for!)

@lolitsleia (I love how dumb their OC Alex and Ace are together! lolitsleia really does a bit of everything, from nice fully rendered pieces to funny little sketches and comics of the characters interacting with each other!)

@myuunji (Their Yuu is really adorable and clumsy! It's lots of fun keeping up their shenanigans in the little doodles and comics they make.)

@pearlwhitecats (Their love for Silver is really pure! I can feel it come off in every Nahime x Silver work they make. I'm also a fan of their cutiepie OC Neviah~)

@renniecirque (Ren has a really unique art style! It almost looks like traditional art instead of digital because of how soft the colors and the line art is. It gives me cottagecore vibes! Very soothing to look at~)

@shimmeryspark (Kana's art is both cute and detailed! While their fully rendered pieces are a treat, I also really like their chibis--they look so round and squishy, I just want to pinch them with my fingers! Their shrimp-based OCs and Kana (the Yuusona) with Floyd and Ruggie are also adorable and pure~)

@stupidneko (I like how big and expressive their eyes are! I also really love the little details they add to accentuate various pieces, like tiny sparkles or little tuffs of cotton.)

@suiiseis (We share a mutual appreciation and intense brain rot for J word I like how dainty their style is, from the lithe forms of their characters to the way they draw eyes and hair!)

@teuffels (Their vibrant, bouncy colors really bring pieces to life! They also get really experimental with poses and compositions, which always keeps you guessing. Plus, their love for Lilia and Xiao is just so wholesome and endearing!)

@tinyfantasminha (I adore their OC Vic's sass and their breakdowns over Jack Howl! They're very talented with drawing poses and coloring in a way that mimics the TWST style!)

@yttrocen (An artist with a very soft and pastel color palette, mainly doing comics and doodles. If I'm not mistaken, they mainly do Tweels, which I can appreciate~)

@zariyen (Yuu Yumehara my beloved he's so cool and hot and-- I'm a huge fan of zari's work on alternate outfits for Pomefiore! Everything they do is really gorgeously detailed; I could stare at their pieces forever and ever!)

It feels like a really big honor when someone you look up to follows you back! It's like one of those "wow, senpai noticed me" moments you see sometimes in anime or manga. Of course, I'm not super close to everyone that I listed in this post, and I’ve also met a lot of amazing people and made friends that I didn’t include here (since they didn’t quite fit the parameters of the ask)!!

Please consider checking out their socials and supporting them!! Let’s keep exploring this twisted wonderland together 🎵

[jostenneil]

Hello! I saw your post about the well-written female characters so i would like to know if you have more suggestions? Any genre would do! Thank you! ( ◠‿◠ )

sure! i am going to assume you'd still like it to be anime / manga since that's what the original post centered on as well

ooku by yoshinaga fumi (manga) → this series basically operates by a reworking of jp history wherein the shogunate is largely female and served by harems of men, due to a disease several decades prior that nearly wiped out men and left women needing to fill their roles in society. the way it subverts gender roles and explores how women act when they saturate positions of power is pretty engrossing to read about!

asahinagu by kozaki ai (manga/film) → the dynamics between the girls in this are so endearing and inspiring! the protag is a timid girl who decides to join the naginata club (think japanese fencing) when its strongest member saves her from a pervert, as a way to build up her own confidence and strength. it's rly nice to see that she isn't bullied into "manning" up, rather the positive but stubborn reinforcement of her teammates pushes her to change

tokimeki tonight by ikeno koi (manga/anime) → follows the daughter of a vampire and werewolf who has the odd power of being able to change into a carbon copy of anything she bites lol! ranze has to navigate a normal life around this ability, all while falling for a human pretty boy, despite the fact that she's not allowed to fall for a human. great shenanigans, later serious arcs that are engrossing and divine, and ranze is just a rly easy to love character whom i think a lot of girls can relate to

emma by mori kaoru (manga) → good one if you're a fan of historical romance novels, although not as much wish fulfillment. follows two protags, emma and william, who fall in love in victorian england despite class differences. emma's a maid while william's part of the gentry, and obv, that complicates things. really love this one bc i think it grounds itself in a lot of realism. emma's a very well built protag, and it's interesting to see the interplay between her desire to be with william and her recognition of society's reality

skip beat by nakamura yoshiki (manga) → i mean, ok. this is a no brainer, but i'll put it here anyway since it's been running so long, there's bound to be newer audiences unaware of it. kyoko imo is one of the most awe-inspiring shoujo protags at present. she's stubborn and relentless in terms of work ethic but also very humbled by the fact that she's a newcomer to the entertainment industry with much left to learn in order to succeed. the slow burn between her and ren is Agonizing and why i ended up dropping the manga, but nonetheless, she's a wonder to watch evolve

guardian of the spirit by uehashi nahoko (novel/anime) → the protag, balsa, sets out to atone for eight deaths by deciding to save eight lives. she becomes bodyguard to a prince in the process, who's targeted for murder by his dad. balsa's very much the maker of her own life and someone who stands by her decisions regardless of others' influence, which i rly appreciate! it's also rare to see a female warrior protagonist so that's nice too lol

eureka seven (anime) → [plays days by flow and cries] i watched this over a decade ago so my memory is shite but eureka and anemone are my complicated DAUGHTERS whom i would die for please just take my word for it. it's crazy that eureka is kinda the forgotten mecha series on the western side of things bc it became so popular in japan there's like multiple animes and movies and everything idek

the ancient magus' bride by yamazaki kore (manga/anime) → aside from the fact that the anime for this is gorgeously animated and has one of the best osts i've ever heard, chise is a really unique protagonist to watch grow. she's a bit subdued in demeanor due to prior trauma from people treating her poorly due to her lack of control over her magic, but being under elias's (the ancient magus) tutelage allows her to build confidence, control, and a love for the world that she nearly lost due to people rejecting her

claymore by yagi norihiro (manga) → haven't read this in years so my memory's hazy but if you're a fan of berserk or the dark fantasy genre in general, and would like a full female cast, hello! also fun little piece of trivia but when claymores reach like peak power the feeling is likened to a "climax" and the series posits that only women were good at this so. male claymores are no more. idk it's just hilarious to me like yes men are bad at sex!

oresama teacher by tsubaki izumi (manga) → by gsnk's mangaka! about a girl gang leader who gets expelled and has to restart at a new school where a teacher encourages her to head the public morals club, which aims to reform delinquents and improve the school's enrollment figures since it's doomed with drop outs. super funny and from what i remember not rly romance focused so if you're looking for a female mc with slightly different priorities and a less standard personality in terms of shoujo, it's pretty neat

[mobagehelllocal]

“lucky ending” extra notes i & iii

Hi, I said I would do it but then I released ver i so long ago that I felt I shouldn't do this unless I had another version out at least so yay! finally! ... I'll add ver ii here when I get around to writing it... *shifty eyes* So as usual, this is just my thought process and ideas while writing lol.

*please do not read if you haven’t read “lucky ending” ver i (dorm leaders) & ver iii (rook & lilia).

It was inspired by an anon ask and the button tradition from Japanese schools.

The anon ask went like this: First at all, I like do much your writing and I hope you are doing well. Second, I was wondering what would happen if the MC (Fem!s/o I guess) decided to not go back to her world, like she decide stay with her villain? Can you do make headcanons of this for the dorm leaders? Thank you very much. – from Anonymous

The button tradition, as narrated by the first years, is done when one person confesses and the other responds by giving them the button closest to their heart. In most Japanese uniforms it’s the second uniform, but in Twisted Wonderland--I looked at the ceremonial robes and the closest button should be the fifth. Maybe. I could be wrong. 

The songs I listened to while writing this! 

The original dorm leaders (and Rook) was written while listening to “Lucky Ending”, the ending theme of Fruits Basket. The English lyrics (translated by otenkiame!) are: 

“Change is important. I want to do it well,/ but I wanna cry. It's still bad. I wanna cry” 

“The word "goodbye" has disappeared completely from this world/ All that remains is me fooling around next to you/A day you don't laugh won't come anymore”

“I've understood it since being here/ These feelings of wanting to protect you aren't a misunderstanding/ If we can call what connects us bonds,/ everything changes/ everybody changes/ Even if in a different world, it'll never be different/ everything changes/ everybody changes/ Don't change, ever/ Stay here, stay here”

I think it’s obvious why I chose to use this as the title of the series. It’s a story about change but it’s also a story about the things you don’t want to change... And I think it’s not wrong to want to hold onto things. 

I also listened to the same playlist that I listened to while writing “wendy?” “hello peter pan”:

“Can’t help falling in love” cover by Annapantsu, “If you’re not the one” by David Beddingfield, “Who Knew” by P!nk and “All Too Well” by Taylor Swift. 

For Lilia in particular, I was listening to three Beauty and the Beast songs on loop. “Evermore” by Josh Groban, “Days in the Sun” by the live action cast and, of course--”How does a moment last forever” by Celine Dion.

“How does a moment last forever?/ How can a story never die?/ It is love we must hold onto/ Never easy, but we try/ Sometimes our happiness is captured/ Somehow, our time and place stand still/ Love lives on inside our hearts and always will”

Also for Lilia, Tolerate It by Taylor Swift.

“You're so much older and wiser and I/ I wait by the door like I'm just a kid”

“I made you my temple, my mural, my sky/Now I'm begging for footnotes in the story of your life”

Malleus was definitely the first piece finished. Closely followed by Vil’s. I believe there was a gap inbetween them before I did the others? I wrote bits and pieces of Leona, Idia, Kalim and Azul’s. I think I finished Leona, Idia, Kalim then Riddle because I distinctly remember saving Azul for last. 

One of the most important things for me, is that each story stands distinct of each other. So I gave myself a really hard time trying to figure out how each one uniquely belonged to each of the characters.

For the Prologue... I think because it’s set at the graduation of certain characters, I used that to my advantage and implied the stronger bonds between the Yuu!Reader and the entirety of the cast. Because a lot of time has passed and I feel like--regardless of what other people believe, bonds will be made and relationships will have strengthened enough for it to happen. 

Riddle is honestly another really difficult character for me to write. I generally do love him and I enjoy his story, but something about him is difficult and I’m not sure why. 

I think a part of me is also really miffed because from Heartslabyul-Savanaclaw, you could feel that Riddle really cared for Yuu on some level but then he just straight up disappears come Octavinelle chapter. I feel like there was potential to develop their relationship even more. 

He WENT UP AND TIED YOUR RIBBON I REMEMBER I WENT DOKI DOKI OVER THAT. 

I feel like because I’ve established that it’s a Yuu!Reader, it’s impossible for this story to not include both Ace and Deuce. So of course they featured in really big roles for this one, being responsible for telling Riddle the story.

I have to thank my friend, Mes, for bouncing ideas with me. They were the one who suggested what I could do with Riddle’s story by having ADeuce play such a big part!

I also tried my hardest to include Trey and Cater, and I’m pretty happy with their cameo. In a way, they definitely helped Riddle figure out his own feelings for you. 

My favourite lines are: “I think you earned that much. I don’t believe anyone’s ever been in your situation before so—there’s no right or wrong about what you’re doing. It’s all about what you want to do.”

I wish someone would tell this to Yuu in general though. They’re the only one who has ever been in their situation (to our knowledge at least) and like... they’re definitely allowed to be even more selfish. 

Leona is someone who I used to dislike a lot. I never hid that. It’s primarily because of how disappointed I am in the story of Savanaclaw probably. But like, I was always concerned about writing him properly because I thought that it was only right that I did right by him, because there would be people reading these stories who loved him. And I felt like I had to do right by that love. 

I think... it’s wrong to believe that characters... villains... cannot fall in love or “won’t fall in love.” I think it’s wrong also to think that “people don’t change for love.” 

In fact, people do change. You definitely shouldn’t change yourself to be loved, but... people change all the time to be their “better” selves. So whose to say that a good person, who you love, will not make you want to improve yourself? Isn’t that what we want when we meet people? To fall in love with someone who will ultimately make you better and never worse. 

Or so that’s how I try to write the Twisted characters when they fall in love... With an understanding that “morally” the person they are falling for is “kind” and “good” and how a part of them might just want to be better just for that person. (Especially Leona and Azul). They don’t necessarily have to be nice to everyone, but if they can be better for one person... We stan healthy character growth.  

But yeah, Leona is driven by understanding that he’s a very selfish person. But that he’s also very unfortunate and he doesn’t want tie you with someone who, he thinks, is actually worthless. He probably, deeply, thinks you deserve more.

Though his selfishness eventually wins out and well... Won’t you forgive him for it? :) For tying you down to this worthless second prince? 

I think his own self-awareness does make him try harder. Not for everyone or everything... but for you. Just for you. I think that would be Leona’s love language--spending time with you, trying for you.

He’d appreciate if you didn’t call him out on it though, that would be very embarrassing. 

Looking back, I’m surprised that it was the only version where none of the other boys from his dorm showed up lol. Which means Ruggie is the sole character who has yet to appear in the “lucky ending” series, huh.

My favourite lines from his story that still leaves me breathless and patting my past self in the back: ““I’m home—” you said—even if a part of you felt that home should have been two green eyes, a cocky smirk, and a warm patch of sunlight on the grassy ground.”

Like honestly, what was I on? Who was she?

Azul is, like Leona, someone who is so keenly aware of the things he’s lacking. In fact, he’s someone who thinks he’s lacking when he’s probably perfect in some aspects. He might act proud but a part of him--I think--thinks its not enough. It’s never enough. He can certainly do better still.

In that light, it’s why he thinks he’s undeserving of a partner. Especially one who is “kind” and “understanding.” While ultimately, Azul deserves people in his life who are that and “accepting” of him--I think he still thinks he doesn’t. 

And thats why he lets go of the Yuu!Reader. It’s why he doesn’t “chase” after her like Leona did.

It’s because he’s selfish, because he wants her--that he forces himself to let go. 

Azul needs someone who’ll tell him that he is worth something and that he’s definitely worth the effort. So please praise him a lot until he’s crying in happiness. I’m sure it’s the one thing he’s always wanted to hear from people around him.

Also my Poly!Octavinelle Agenda has never died and I am pleased Past!Ai got away with so much Poly!Octa hints in this story lol. But honestly, regardless of wht Octavinelle says... god, you can tell they genuinely care about each other.

I recently rewatched Octavinelle’s chapter and... by god, the amount of things I missed out on first watch. Jade’s concern when he realized Azul wanted to get rid of that photo... The fact Floyd was so willing to drop the fight to return to Azul too... Anyways, Poly!Octa Agenda for life.

Favourite lines: “Azul’s pathetic whimpers turned into guttural sobs. His fingers spread to cover his eyes—and his glasses slid off his face, down to his lap and then to the ground—at his actions. His whole body shook as he cried his heart out.”

It’s not as poetic as a lot of my other favourites, but for some reason these lines always get me when I reread them. There’s something so visceral about it. 

Azul’s piece is probably the least visually stimulating out of all these stories? His was so emotionally driven compared to the others and I worried a lot about that.

I think I remember I was crying so badly as I was writing this. 

Kalim is really hard for me because I feel like I struggle a lot with finding conflict in his character? He’s such a genuinely nice person, I find it hard to believe that the Yuu!Reader would feel alienated from him or something. So I brought in “environment” to get in the way. 

My use of celestial imagery for Kalim is because of the Scarabia trailer! I really loved how it put Kalim as the sun and Jamil as the moon. I definitely will take advantage of that when I get around to writing for Jamil.

So because I wanted to use the sun, I chose to use the idea of comets for Kalim? I think I remember something about how meteors are drawn to the gravitation pull of the sun and can “escape” it or “be destroyed” by it. Haha, hot. 

Jamil is someone who ultimately cares about Kalim too and I had fun writing his banter with the Yuu!Reader. I think I wanted to decribe the shadows licking his face reminscent to the marks from his Overblot but... I felt like doing that would give Jamil too much focus so I ultimately decided against it.

It would’ve been hot though. 

Oh yes, one thing I wanted to talk about is Kalim’s rushed proposal. I remember people talking about it in the tags, comments... even in asks at that time. The reason he does it is because he’s someone who didn’t realize his feelings until you spelled out your own. It was a sort of: “Oh. Right. That is the word I’d use to describe my feelings.” 

My favourite lines from his story is: “How does one bid goodbye to the sun?” and “No one ever willingly bids goodbye to the sun.They spend the rest of their lives trying to find the right way back to it.”

My god, who was this genius.

Vil is probably the most visually stunning out of all these stories. I feel like my stories go from super vivid imagery and setting to just complete emotional disasters lol. (Vil being the former and Azul’s being the latter... not that it’s bad, it actually suits the characters). 

Oh man, I remember thinking that Vil is such a hard character to write because we don’t know what his motivation for perfection is. All we knows is that he wants to be the best but, why? 

It’s like, for example, Idia. His motivations could be otaku-related. He doesn’t want to go to class because he’d rather go play or something. That sounds in character--but Vil was so hard because he wanted perfection.

But we already see him as such a perfect character, so what else did he need to be even more perfect? In that light, Chapter 5 did a really good job on presenting Vil’s motivations. 

But honestly, I think I can comfortably say that the Vil I’ve written so far is pretty accurate? To his character. I’m really grateful I read his chat lines because his comment about intelligence really got me thinking about his possible motivations. It made it really easy to understand that Vil wasn’t like majority of the real world’s influencers. 

One other thing that I was really happy about with his story is the use of the flower language. It’s something I hope I can use more because it’s so beautiful. 

Oh! And the roses the Yuu!Reader talks about are double delight roses. They are specifically bred to have two colors--yellow in the center and pink on the outside. I thought it fitting that the Yuu!Reader breed special roses for Vil.

They can be called... err... Vil Roses?

My favourite lines from his story is:  ““My happiness will not be dictated by others—no, Vil Schoenheit is a person who will grasp happiness with his own hands.” [...] “I’m giving you this button because I’ve already found happiness by your side.”” 

This line was actually inspired by Zelda C.W.’s MYth series. Specifically Hera’s story, Will. 

Idia ...for him, I somehow had a very hard time imagining him trying to tell the reader to stay. Like that didn’t compute for me? I felt like his version was better approached in a more comedic light somehow. 

I also felt that it would be cuter if the Yuu!Reader had already chosen to stay and Idia would need to hastily retrack his confession... Unfortunately, Yuu!Reader won’t let him. 

Honestly looking back on it, I wonder how much of Chapter 6 is going to make me scream and want to rewrite Idia’s part? 

My favourite lines from his story is: “He was never particularly good at lying—nor was he good at keeping secrets from you. You were a person he considered a dear friend—and he was always the type of person who ended up spilling everything to you. He liked being able to talk about the things he enjoyed—he liked that he had found someone who wanted to hear him out.”

A lot of my interpretation for Idia is closely linked to personal experience as an anime, manga and gaming fan. It was just a couple of years ago where people would actually be bullied for liking these things--but nowadays its become a norm. It’s... stunning actually but it makes me happy to know that maybe nobody will be judged for loving anime.

That being said, Idia’s longing to find someone he can talk to is something I really relate too--back then, it was so difficult to find someone to talk to about my interests... So I interpreted Idia as much the same. That what he enjoys about the Yuu!Reader is their ability to simply sit and listen to him talk. 

Malleus... man, recently I’ve been starting to fall in love with him all over again. He was my first oshi ever... Anyways, moving on. You think I’ve talked enough about immortal x mortal but nope, we are not done. I love this theme in general, romantic or platonic. 

I will never shut up about it you can’t make me. 

Sebek having a good enough friendship with Yuu!Reader is such a delicious concept. Like mutual respect and Sebek understanding that Yuu!Reader gives Malleus a different type of companionship that Sebek, Silver or Lilia couldn’t... 

And also, ultimately, Sebek and Yuu!Reader do love Malleus. In different ways, but I like the thought of Sebek respecting that and respecting the Yuu!Reader.

Me realizing just now that Silver joins Ruggie in the: “has never appeared in a lucky ending fic club.”... Sorry Silver, I swear soon. Once we get more content on you.

Celestial themes for Malleus are primarily, again, because he only ever seemed to meet you at night. And I thought it would be wonderful, if you were a bright spark to him. 

Favourite lines are definitely:  “Oh, bright light… I would prefer to live the rest of your life by your side… rather than spend centuries contemplating what it could have felt… to hold you in my arms.”

I am, always, going to be such a big sucker for the idea of immortals constantly remembering and loving mortals. Always holding them close in their memories, because in that way--their lovers have become immortal with them. 

I also like to imagine that he eventually figures out a way to connect your worlds together so you can still talk to your friends and family from that world. He is one of the most powerful magicians around, I’m sure its possible.

Rook was honestly the most difficult piece for me to write because he’s so hard(?) for me to understand. He’s a mess of contradictions honestly and I... guess I’m excited to see what he’ll do come Chapter 6. 

I actually rewrote his story so much. I got about 500 words with a different idea/plot in mind before deleting that completely and restarting from scratch. 

I feel like Rook is someone who talks big and talks about love without actually knowing what it truly might feel like. He’s someone who doesn’t understand it and ends up mistaking it for his fascination. 

Aside from me enjoying inserting other characters from the same dorm as much as possible, I felt that Vil was the perfect person to snap some sense into Rook.

Epel’s appearance there is basically to reflect how much I really hope the first year kids get really close to one another. 

Rook is also someone who I think, doesn’t try to explain himself too much. He’s someone who I think talks a lot, but if people don’t understand him then he doesn’t need to be understood? That’s my impression. Lol, when “lucky ending” became a character study. 

I also really loved the idea that Rook was fine with people running from him--to him that makes it all the more thrilling. But then you start running away from him and that just ends up making dread pool in his stomach. 

My favourite lines from his story: “‘When something ends, it must be sad. So, tell me then, how an ending could be so beautiful?’ [...] .‘But there was one ending that was beautiful, non?’ [...] ‘That’s right. ‘They lived happily ever after’—are those not the words that define a beautiful ending?’”

I used the dusk metaphor for Rook. My idea is that he starts seeing dusk as an ending and how he can’t fathom how any “ending” is beautiful. When a story ends, it’s not beautiful to him, humu. But when that ending is the happily ever after then... That makes all the difference. 

Lilia was actually easier than Rook’s but also fairly difficult. I had written the middle of Lilia’s piece while stumped on Rook’s actually. Lilia’s was probably easier because I love the idea of immortals and mortals.

I don’t really like the idea of mortals becoming immortals. Like, yes, it’s certainly sweet and spending eternity with a one true love is definitely the best possible ending but... I think there’s so much weight in an immortal choosing to love a mortal while knowing that they will ultimately lose them.

The biggest theme for Lilia is definitely time.

Thinking about it now... There’s been a lot of things in real life that’s just... Made me think about how we have less time than we actually think we have. And I think I ended up channeling that through Lilia... Though I feel like it is ultimately things Lilia would think about though. 

The most important imagery would probably be the stars.

I honestly wanted to avoid it because I used celestial imagery for both Kalim and Malleus but the words just flowed out in a way that I felt that I couldn’t replace. So I went with it. 

Lilia is no stranger to loneliness. One of the reasons he feels less alone is because he has family now and he doesn’t want to rob you of that. Family is so important to him because they are people who are meant to be with you--they are people who will make you less lonely--or so thats how I think? he thinks. 

My favourite lines from his story: “He would relish in the way—You made the world pause. You made a moment extend into an eternity. You made an immortal crave just a little more time.”

I’m so immensely proud of this one? I don’t really have much else to say. There’s something so raw about it that I love. Also the part where it continues on to say that  “Because there is never enough time.”

Me realizing my extra notes is just half me simping over these characters, half sharing headcanons, have actually giving good advice? perspective?, half song lyrics, half character study/analysis?

“lucky ending” is about change. Whether we want them to happen or not it’s... the human condition to change. For better or worse, we change--day by day. I think we all operate under a small panic about how everyday things are changing...

But “lucky ending” is also about the things that don’t change. Won’t change. Will never change. The things worth holding onto, the thing worth fighting for... or so I’d like to think.

[thoughts-on-bangtan]

a poem for small things

by Admin 1 & 2

The time has come, the first proper post for this segment we’ve settled on calling a poem for small things, a nod toward BWL and its Korean title. Like we said in our call for submission post, this is supposed to be something like a place full of positivity for vminnies (and perhaps the occasional namjinist) where you (and us) can share whatever we’d like in connection to vmin, both as vmin and as Jimin and Tae the individuals, and have something to raise our mood and also strengthen our vminnie confidence. We’ve gotten several wonderful submissions and quickly realized that for this first post the theme is mostly how I became a vminnie, even if three submissions talk more about vmin moments they enjoy instead.

I think it’s a really interesting theme, especially since everyone’s story is different, and everyone seems to find something else about vmin that captured their attention and hearts so sharing these memories and experiences is a great way to start off this segment. We’ve said it many times before, though I don’t think you can say it enough times, but this bond that Jimin and Tae share is truly special and so one of a kind, it’s wonderful to see how we all relate to and resonate with it in our own way and find something in it that makes us fall in love with their loves, regardless if we see it as platonic or romantic love. Love is love after all. 95z is love.

For the order of these submissions, we’ll simply go in the order in which we’ve received them. Most of them came from anons, which is more than okay. We’ve also opened the possibility of submitting posts for those who would like to submit wordier posts/asks, should we do another edition of this. It all depends on how much you’ll enjoy it and if you’ll come through with more submissions that could be gathered for future posts.

Anyway, enough talking from our side, let’s dive into these submissions below the cut, shall we? Like we said in the original post (and demonstrated in the preview post), we’ll add some of our commentary and observations along the way, too.

From anon: This is going to be long winded story but Vmin is like a Serendipity to me. I've heard of BTS mainly from my hubby when he complains that times sq is packed because of BTS (when they’re in town and doing their rounds of morning shows). I knew they were very popular but it was a great surprise that i discovered them after watching ILand during lockdown. Their songs were great and i started playing their classics like Fire, DNA Fake Love etc. Then they did an appearance in the show...

I love how you heard about BTS because of your husband and Time Square being packed, this is honestly the most original and unique version of how I’ve come across BTS I’ve read over the years. Amazing!

I was drawn to Taehyung's beauty during their appearance in Iland. And my first Vmin ? moment was when Tae commented about being handsome and attractive are 2 things and being attractive weighs more - along those lines... then JM made a comment that its unfair that he's both and Tae was like Im talking about you... I went like ok he thinks JM is attractive- theyre good friends.... then Jimin did the FakeLove choreo and the camera focused on Tae and he had this wide smile...The Iland Tae/Jimin clips made me do a double take but I dismissed it since it was just only a few seconds worth of screen time but still...

I-Land vmin was really something else in both episodes. 

Fun fact: I-Land was the first Korean survival show I’ve ever watched, mostly because it had something to do with BH and since it was streamed online with subs in real time. Unfortunately, my faves—Daniel and Taki—didn’t make it into ENHYPEN, though I’m happy that Taki will be in a future Japanese BH group.

But, going back to vmin, that moment with Jimin dancing FAKE LOVE and Tae looking at him with that boxy smile as though Jimin hung the stars in the sky? I melted, even if it was just one of those brief moments, yet still it’s so cute! And it was all over sns being shared by vminnies and non-vminnies alike. What a great time that was.

Then VMAs Dynamite perf happened- both Vmin looking good. I saw a lot of their promos especially the Jimmy Fallon interviews... and I noticed in hindsight how JF was so careful when referring to Jimin ... Since Tae was my first bias, I searched YT for Tae related content eventually saw in my YT feed Vmin moments. Theres a lot of Vmin content in YT or maybe the T*ek*ok ones didnt really register as extraordinary to me. But defo the Vmin moments were extraordinary to me,,,the BV4 sleeping together, kitchen role play & BV3 JM excited to see Tae and them holding hands and then Tae crying and then Tae's busking with Jimin cheering him on were all amazing to see. Up to this day this specific YT vid stood out to me first 

I actually went to check what video this is, and also looked at the comments where my favorite was this one: The staff member went straight to Jimin to tell him V was crying. That's all you need to know. They’re not wrong with that one, are they? That is pretty telling. BV3 vmin were a work of wonder, truly. Jimin watching Tae sing that Sam Smith song during the dinner in the sky looking all soft and endlessly fond?

Jimin encouraging Tae to busk and gently petting his hair was just such a pure moment and showed how much Jimin appreciates Tae and the talent he has, how in moments when Tae might brush aside wanting to do something, is a little hesitant and unsure, Jimin will stand up for him and give him strength/encouragement, which reminds me of Tae’s vlive in April 2020 and the fact that Jimin had told him that he wants to be his source of strength. Beautiful. And it shows that it wasn’t just pretty yet empty words, but something he truly meant. They both do.

Then i came across vid trans of Friends & cried first time hearing it especially when it got to the part "One day when the cheer dies down, stay hey.." It felt raw and honest to me. Then there's MOT:E concert and that part in Dynamite where they bumped their heads seemed bizaare to me - i was like were they fighting? because JM looked really fierce(or maybe emotional) then i saw the close up. i couldnt remember the exact moment I became a Vminie but it made quarantine easier...

This, I’ve noticed, seems to be a recurring theme among quarantine ARMY and vminnies, the fact that becoming ARMY and vminnies made it easier, and it fits with what we’ve been saying about BTS for years: they will find you when you’ll need them most. And in these trying and uncertain times, it’s certainly proven true once again.

Thank you of much for your submission and sharing your story with us, and I’m glad they could make quarantine a little easier for you.

From anon: I've been following BTS on and off since BST, but only really consider myself a true fan late 2019. I can't recall having a bias at first, but I was captivated by Jimin's everything when I binge-watched all their content. I must admit, my first OTP is T*e/k*ok, where I fell down the route of considering Jimin 'an interfering 3rd party' in their relationship, and it shamed me. Since then I've been cycling through Jimin ships, namely yo*n/m*n, j*n/m*n, m*ni/m*ni, and I even thought that j*/k*ok was real at some point. Strangely, Vmin never struck me as something extraordinary. I don't want to blame anyone, but Vmin caught my eye after I watched official BTS content without filter (presumed bias/judgement) all in their glory. I realized that while other ships may go up-and-down as in one day there's a frenzy and another day quiet af, Vmin has been and is still going constant. That's what makes me love Vmin, and for the first time in my fandom life, I have no qualms about whether they are real or not. Their bond, whatever it is, is already precious and something to be cherished forever. Thank you for providing us vminies a special corner to speak up about our experience 💜

You’re very welcome! I hope you’ll like how this turned out as well. Thank you for sharing your story with us and personally I find it fascinating how, despite Jimin being the one who captivated you most at first, you still fell into the “he’s an interference for my ship” trap that’s quite popular with that particular ship. I’m glad though that that never ruined your love for Jimin. It’s also really interesting for me how you went through different Jimin ships yet it took you the longest time to notice vmin. I feel like, because vmin and vminnies are more “low key” than the other bigger and louder ships, as well as Tae and Jimin simply being quieter in their interactions (not always but you get the point) as compared to, for example, Jimin’s interactions with Hobi, Jungkook, or even Namjoon, it takes people a while to really notice them.

This is my favorite part of what you wrote, and I think it’s a great way to describe vmin in general and what makes them different from other ships in the grand scheme of things: I realized that while other ships may go up-and-down as in one day there's a frenzy and another day quiet af, Vmin has been and is still going constant.

From vminot7: So i fell into BTS hole after watching blood sweat and tears mv casually on youtube. Jimin immediately stole my attention with his unique voice, graceful moves and handsome features even though i didn’t know their names at that time. I watched more MVs and jimin continued to hold my attention but i was also extremely drawn to taehyung's voice and facial expressions. So i started looking for more content such as RUN BTS and other compilations and realized my love for all 7 of them. I also noticed how jimin always had a soft spot for taehyung and was curious about their dynamics. I started looking at more of vmin content and i was really surprised to see how in the early days they were nowhere near as soft with each other as they are now. I think they have a unique bond and i have never come across anything quite similar. Now vmin are both my biases and my bias wrecker is hoseok.

I admire jimin for being a hardworking, passionate perfectionist but also a caring soul who is always ready to offer love and comfort to people in need. I love taehyung for how he looks at the world in his unique ways and how he has a childlike awe for things and how he is so passionate over the things he loves. The thing i love about vmin together is how they are so different yet work so hard on their relationship when it would be easier to just not try that hard.

Ah, another mention of the queen that is Blood, Sweat and Tears. The MV truly is such a masterpiece so I’m not surprised that it caught your attention, and especially Jimin since he was…something else in that MV, or like Tae said, his eyes were temptation (this boy, I swear). Since you mentioned how in the first years they were nowhere near as soft with each other as they are now, I think watching their dynamic and relationship change and evolve over time showcases the one thing I think a lot of people (as well as movies and TV shows) forget or gloss over, despite it being so incredibly important: in order to make a relationship of any kind work, especially in order for it to grow as deep and strong as the one between all members and especially vmin, you need to put in the emotional work to make that happen. You have to make an effort, have to learn to understand the other person and teach them to understand you as well, learn to appreciate and love their little quirks and how to accept others. And it’s so clear that that’s what vmin did, continue to do, and it more than paid off in the long run. I’m glad you highlighted that in general but also as something you love about them.

While the overall bond between the members is a class of its own, I think especially what vmin have achieved is a whole masterclass in relationships and fostering strong ones, in and of itself. There is a lot I think we can learn from them and I’m so happy that people recognize how special they are.

Thank you so much for your submission!

From anon: There’s this small moments in Dear Class of 2020 that i just adore! I’ve watched it at least 20 times this past month

It starts with “Spring Day”- tae and jimin laugh and look at each other and it’s just so sweet!

Also, maybe it’s my delusional mind but after tae’s and jin’s small and adorable moment- it seemed that jimin did the same with junkook right after maybe out of i duuno if jealousy but like “pay attention to me too” kinda way- dont know really and maybe it’s me being extra🤷🏻‍♀️

I agree partially, in that Jimin watched Tae’s and Seokjin’s adorable moment, obviously must’ve thought of it as cute just like we did, and thought he could do the same with JK. I don’t think it had anything to do with jealousy, especially if we work off of the idea that vmin are a thing, but also because it’s a performance and these things primarily serve the purpose of being cute and entertaining use, in other words, it’s fanservice (which isn’t the evil word some portray it as). Also, within that same performance, Tae and Jimin actually sang some of the lyrics toward each other, therefore they, too, had a cute moment they shared with big smiles and everything, just like you mentioned.

But we’ve gotten to see much more of Tae’s friendship with Seokjin in 2020, and especially the second half, so it was really sweet to see them interact during that song. Their friendship and dynamic is really a beautiful one, just like JKs bond with Seokjin, which I feel we’ve also gotten to see more of in recent months. Part of me (and that part can very well be wrong) feels that perhaps once the members caught on to Seokjin feeling the way he said he did/does, they decided to give him an extra dose of love and affection, off camera but also on where we can see it. That isn’t to say that they didn’t show him any of that before, but maybe they increased the intensity a little, a reminder that Seokjin truly is loved, that he deserves all of this, that it’s just his imposter syndrome (or at least what sounds like it) lying to him.

I’m still so touched and moved by the fact that he trusted us enough to share his feelings with us, to gift us Abyss and how it came to be, and that Bang PD was on his side and coaxed him into pouring his feelings into music, even if it would be “bad”, that the fear of it potentially being “bad” shouldn’t hold him back (and Namjoon helping in even if just a tiny bit with the lyrics). It was one of those times where I feel like we were all reminded that regardless of our opinions of BH and their doings, the members are surrounded by kind people who have their best interest in mind. After all what’s good for Bangtan is also good for the company, a win-win for everyone.

…wow, okay, I kind of went off on a tangent, I’m sorry…

Either way , then we have “Mikrokosmos” where we have a sweet moment at their part and towards the end where they switch mic and hear each other

I love this performance overall and especially “spring day”- jin’s and j-hope’s lovely voices and of course tae’s!! This song fits them so well and all the members of course

Well this is my rent , i love your blog and always wait for another post! Also i love the new idea and look forward to it!

Thank you so much for your submission and for bringing up their Dear Class 2020 performance. It was a truly magical one, and after reading this the first time, I did go and watch it again. To this day I’d still very much like to know how and when and why the mic switch between vmin happened, and I kind of hope that we might get a Bangtan B*mb or EPISODE about this eventually and it might shine some light on that question. Overall it was one of my favorite performances on 2020.

From Sky: While I enjoy cute, physical moments with VMIN, I really do value how emotionally attached they are to each other. For example (I don’t know if it fits as vmin moment but), I love how Jimin asked V to take the Promise cover photo, and how he ended up putting V’s name for credits on the cover. (Special Thanks to V, Best Photographer) This really shows a lot. Coz he can easily choose any Bighit photographer to take it. He could have chosen JK because we know how he takes good pics and vids too (and also apparently alot of people say that vmin had a falling out and that Jimin and JK were much more closer, lol). Or he could’ve asked Suga too bec he’s into cameras too. But he didn’t. He chose V, and chose to shout it out to the world how thankful he is for V’s help. RM co-wrote Promise, and maybe had offered more help in this project, but he didn’t put it in the cover. I’m not saying Jimin is ungrateful for not crediting RM in the cover. The difference is that he and RM had a vlive regarding the making of this song, a lot of people already know RM’s participation, he was officially credited as co-writer and Jimin really showed how thankful he is to RM. But no one knows of V’s participation (except for a snippet in that Run ep), so Jimin felt the need to tell it to everyone. I’m sure it’s not only the photos, I think he wanted to acknowledge how V helped him through the process, whether directly or indirectly. Also, remember this is Jimin’s first non-album solo single. By putting V’s name in it, he is sharing this very special song with his soulmate. How endearing it is! V also included Jimin in his first full English song. He used the two bears given by Jimin as Winter Bear’s cover photo and he included the photo Jimin took (sleeping V in the plane) in the MV. Like, seriously, they are trying to consciously imprint each other in their life’s milestones, openly or subtly. I’m crying. 😭

This was lovely, and yes, Jimin could’ve asked whoever to take those pictures, could’ve chosen any other ones, and yet he wanted Tae to be the one to take them, wanted those specific ones as covers. It’s very sweet and creates this subtle connection between Jimin, the song, and Tae. Sure, it isn’t the first time a picture Tae took is the cover for a SoundCloud song (the picture of JK on the 2U cover was also taken by Tae if I remember correctly), but it’s the fact that Promise is Jimin’s first non-BTS song, his first solo release, that makes it that much more special. Even more so when you think about how meaningful that song is to Jimin, and by having Tae as cover picture photographer, he’s in a way forever attached memory wise to that song as well, right?

The same also goes with Winter Bear and the two ceramic bears. Remember how excited Tae looked when I kinda spoiled that gift being a thing happening in an upcoming RUN episode during Jimin’s vlive during the summer 2019? Adorable. It’s also curious how though the title is singular—winter bear not winter bears—there’s two ceramic bears. One for Tae, one for Jimin? Maybe, or maybe I’m reading too much into it. Either way, it’s really cute, and it was a very thoughtful gift, even more when we think about just how much Jimin loves that song.

From anon: Love this idea it's super cute!! 1st thing that came to my mind is a rather simple moment, jimin bopping taehyung's nose and making a lil game out of it

Taehyung asking for more and that dazed smile 🥺 he had the same expression in that concert when jimin placed his face just above him, tae's smile afterward... it was so pure u could almost read "love" in his eyes lol

What a lovely note to end this post at, thank you for that. I don’t know what got into them during that photoshoot for Season’s Greetings 2020 but this was so disarmingly adorable. I remember when that moment appeared all over every sns and everyone just melted, myself included. Their smiles, the cute clothes, Tae’s head on Jimin’s chest, the softness and innocence of it, just all of it. It truly was so pure and like this sweet visualization of ‘love’.

And with that, we’ve reached the end. Did you like this? I had a great time reading your submissions and adding my little comments to them. If you’d like for us to continue this, same rules as last time, send in a submission marked with “VMC” and once we’ll have enough of them gathered, we’ll do this again, if you’re interested in more, that is. Send in whatever positive vmin you have, a thought, a moment, a memory, whatever you’d like.

Thank you once again to everyone who participated! :)

[themelodicenigma]

I’ve seen a lot more talks recently going around about Ultimanias, Benny Matsuyama, Maiden, etc. Here, on the Twitter...If there is one thing I’m genuinely curious about, is what exactly sets everyone’s understanding about epitexts? For supplemental materials like guidebooks or reference/fan books and how exactly they’re produced? How much do you understand about the history of Studio BentStuff and their way of making said materials, or even about anything related to authorship and publication?

There are just too many things thrown around so easily on the internet these days, not enough productive conversations about these things man. It’s...weird.

It’s easier to have a conversation with someone if I understand their foundational logic for this stuff, because a lot of the things I see are very strange. Or at the least, isn’t practical for what goes behind the production of these types of materials. Authorship and production knowledge is important—having a pragmatic approach for having a sense of what happens “behind the books” is a must have for decent conversations about guidebook/fan book making. Whether it’s for materials that are purely informational, for entertainment and uniqueness, or the sweet spots between—right where BentStuff typically specializes in.

There are SOOO many companies, SOOO many writers and editors, that exist and create this stuff, obviously going way beyond just Japanese related companies like that of the Famitsu, Dengeki, or V-Jump brands. But, obviously given the tags, FFVII or Square Enix games are the topic for today, along with BentStuff. For this stuff (heh), there has always been more than just Studio BentStuff, and even for them, the foundation of how they make their books is what makes them, I’d say, one of the best companies that do what they do. And what they do, how they get it done, was always set before the Ultimania series. If you don’t know about how they made their ALL ABOUT series or their Kaitai Shinsho (解体真書) series, then you don’t really know about the Ultimania—the former two being the heart of the “research and analysis” and “project”-minded approach they use to create that series. I know many don’t understand Japanese or don’t want to go through the trouble of working out translations, but....there is SO much information out there, on their website, in their books. And to be honest, so many of these misunderstandings start to not make sense to me when we have had whole online communities for decades dedicating themselves to translate stuff and provide information.

We can regurgitate the same quotes from the same books for 20 years, making circular arguments, but not talk about this in-depth?

I’ve been planning on releasing this huge thing, this “archive” essentially, of information about BentStuff, but I’ve realized that it’s honestly easier to talk about these things on a more case by case basis with interested people. Because there’s a lot, and I want to be able to talk to people about this stuff so people can really get where I’m coming from. Maybe I’ll post something at a later time to get something started, but this would definitely be a thread where it could start.

But, like, I gotta cover something I saw recently.

Honestly what set this off for me is someone saying that Matsuyama is a “rando writer” (as in being external to BentStuff) or was “commissioned” to write the Diary Entries or Maiden....

It’s just...so interesting the amount of confidence one has when saying these things without any of the proper evidence or understanding on the subject. I’m not trying to be harsh, but, it’s just weird. I just want to throw this out there, real quick:

Matsuyama essentially co-founded Studio BentStuff along with a few other writers from the BASIC magazine company, the lead in that being Akira Yamashita, who is the CEO. Matsuyama is one of the Directors of the company, along with Ichiro Tezuka, a name ya’ll probably recognize from FFIV stuff. This company was built by writers and lead by writers, but many others (some from BASIC too) eventually joined them to create what we have now. He ain’t no “external” nothing, though when it comes to their published books, it is true he didn’t do much until the FFVII Kaitai Shinsho. 

Also, BentStuff write and edit [proofread] their own books, even if there are others who will supplement this, typically the publishing editors. e.g. like with Kaitai, those in the Famitsu editing department (whoever published Famitsu at the time) or for the Ultimania, editors from SE. Naturally that is to say, they get whatever they need if they can from the developers of what book their making—this is the same for any company who makes guides, really, if they have the opportunity to be in further contact with them. However, that caption of a picture you keep quoting from the book? A line from the character profile? Story Playback? You can literally see in the back of the book who was in charge of writing that—go read their staff comments on their website (if you don’t feel like translating like I did, just use Google, you can at least get a general gist for most comments). There’s a lot (they stopped including comments around the FFXII Battle Ultimania), with Ultimania being the latest series, but check out ALL ABOUT and Kaitai Shinsho stuff, too, but there’s even stuff for Dragon Quest. It’s a treasure trove, and the staff say some funny things too a lot of the time. Either way, you’ll appreciate what it is they go through to make these materials.

On that note, of Matsuyama’s writings (particularly of the Diary Entries and Maiden for this discussion), he was never commissioned specifically to write what he does—his own staff comments on the BentStuff website and the peritext (or lack thereof) in the books counteract this alone. Not to mention, it isn’t practical in how the process of their book production works.

Yes, BentStuff as a company can either get the license or be hired to write a guidebook, but in determining who does what for the book, this isn’t done the same as, say, Jun Eishima being hired by SE to write the FFXIII or FFXV novels. Or, even, what Matsuyama would’ve had if he was able to write the originally planned novel for Lightning Returns. The decision of who does what is mostly internal of that of BentStuff, for example, who does the Scenario section, or the maps, who writes the prologue if included, who does the character profiles, boss data, speedruns, time charts, technique tables, etc. Whatever. Matsuyama, just like everyone else, does his decided part, and we can’t any more say he was specifically “commissioned” to write his creative materials than we could for all the other members doing their roles. At least, not without the proper evidence. (get into more below)

Either way, don’t create the wrong idea by using "commission” to describe the reasons as to why Matsuyama included these materials—the most practical and rational reason being, you know outside of him co-founding the company, that many companies allow creative freedoms or projects to be had about their works. Canonical or not—this isn’t new. If a company founded by writers gets the opportunity to write guidebooks, it makes sense for them to seek the opportunity to work in their own “projects” to make their books unique, and the idea of this started all the way back in their ALL ABOUT series, precedent to both Kaitai Shinsho and Ultimania.

There of course, has been other things, like “Square Enix said” when it comes to anything written in the Ultimania books, the notion that certain presentations within a guidebook suggest canonicity, that the more creative materials [their “projects”] Benny or other BentStuff members create are canonical simply because they’re in the books, etc.....oh boy. 

He isn’t a “rando”, nor was it “commissioned”, and most of his creative works are limited to the books for entertainment purposes by BentStuff, for the book, and typically nothing more like being officially a part of the respective series canon. Unless evidence supports his or other’s authenticity as author’s for the series in question, I believe the default thought for ALL his materials should be that of fun readings for the books, expressions by BentStuff. That honestly goes into a different conversation about the canonicity of any of Matsuyama’s or others materials in the guidebooks and about authorship/authenticity, but the important thing to note is the two emphasized points above. If you want to get into canonicity, we definitely can as, honestly, it isn’t really too hard to cover with the proper evidence, which is also from in-book peritext or Benny’s own comments. Other observational stuff too. There are only a handful of materials that can really be discussed based on evidence of Matsuyama’s authenticity as a writer for the respective series. At the top of my head, included would be the short stories for Brave Fencer Kaitai Shinsho, the FFXIII Omega story, and maybe, his materials for the series SaGa—some like Beender just setting-wise aren’t canonical, but the value of his interpretation for this series can be discussed considering he has worked on one of the games scenario at a later date.

I digress.

Like I said, I’m just open to discuss this stuff without having to write a huge informational dump of like, their entire history, though I know people who are researching themselves would find that useful. It’s just a lot. But if any of that above is something you believe or disagree with, please, feel free to tell me why and we can get this ball rolling. It’s fun to talk about, at a certain point, I didn’t spend all my time researching just to be miserable. 

Eh, sort of.

Misery loves company, so....

[fatesdeepdive]

Entry 8: Rinkah’s Burning Loins

My Castle

After fully dedicating ourselves to Hoshido, the game finally really begins. We’re given access to a customizable castle in the Astral Plane where our army waits between battles. We can talk to our units, giving them minor stat boosts or new weapons. Right off the bat, we have a farm and spring to give us resources, rooms for Corrin and Lilith, and a Hall of Records.

In Lilith’s spring, we can feed her to make her level up. Different foods affect her stats in different ways. Note that, although Lilith now has stats, she isn’t usable in battle. Other players can invade our Castle through spotpass, which I’ll discuss in a later entry, and Lilith is only usable in those battles.

Lilith

Lilith is a weird squirrel dragon thing that floats around clutching a random ball. She used to be our stable girl and is now our pet. I think she has a crush on Corrin. Her design is unique and cute, I like it. Gameplay wise, she can only use a modified Physic staff. I don’t dislike her personality, but she feels like a throwaway character added at the last minute. She raises a ton of questions that I doubt will ever be answered.

In the Hall of Records, we can see descriptions of all the units we’ll ever recruit, rewatch cutscenes, read unreadable poems, and play around with a relationship tester. The relationship tester is randomized, by the way, which kinda makes it pointless. That said, it told me that Corrin expects betrayal from Rinkah, while Rinkah’s loins are set afire by Corrin. This is now canon, I have decided.

In Corrin’s room, we can change their hairstyle and invite an ally over to chill. I chose Kaze. He complimented Corrin’s piano skills, which she apparently has, then stared at us, blushing, while thanking us for saving him from Garon.

So, let’s talk about the elephant in the room. In the Japanese version you get to rub units while in close up mode. Like Pokemon Amie except...with people. This was removed in the English version. A lot of Fire Emblem fans were pissed, crying about censorship because Nintendo of America had the gall to remove the minigame where you rub Camila’s tiddies while she moans. And I’m going to say a hot take right now: they made the right call. That stuff was weird and indulgent. It was the living embodiment of the fanservice focussed design that plagues modern Fire Emblem games. Good riddance.

Inviting allies to Corrin’s cool sex treehouse boosts our support levels. I suppose it's time I mentioned that. In Fire Emblem games, units form bonds from fighting next to each other, unlocking short conversations that flesh them out as characters. Units also fight together better when they have high supports. Now, here’s the fun thing about supports:

There are more than 600 supports in this game. Not support conversations, support lines, each of which is made up of three or four conversations. And, because God has cursed me for my hubris and my work is never finished, I’m going to read all of them.

Admittedly, I’m not going to unlock all of them. S-Rank conversations result in marriages and each unit only gets one. It’d take a few dozen playthroughs to get all of Corrin’s S-Rank conversations and I don’t hate myself that much, so I’m reading the transcripts from the wiki. I think I’m going to do four supports per Entry; that’ll leave me with a few extra by the time we reach the end, but I’ll just do a support grab bag entry or something.

Before we do supports, let’s finish up improving the castle. I built a weapon shop and a statue of Corrin that boosts her max speed. We are limited on the number of buildings we can build, but that isn’t a big deal yet because the only other option was to build a stave shop.

Support: Corrin/Rinkah

C: Corrin attempts to discuss battle tactics with Rinkah, but Rinkah blows her off and tells her to stop trying to be friends. Rinkah does acknowledge that Corrin’s authority and that Corrin saved her life, but tells the princess leave her alone.

B: Corrin pesters Rinkah until she explains why she’s so aloof. Rinkah explains that, the Flame Tribe keeps a great flame burning in the center of the village to honor the God of Fire. In the past, outsiders have extinguished the fire. One such instance was followed by a volcanic eruption that decimated the tribe. As a rule, the people of the Flame Tribe are wary of outsiders. Rinkah also explains that she’s working for Hoshido because her father commanded her to, much to her chagrin.

A: Rinkah explains that she would have preferred to die an honorable warrior’s death than be captured and resents Corrin for sparing her. Corrin says that she’s glad Rinkah is still alive, because it means Rinkah and her can be friends. Corrin also says that, despite the chaos of war, she believes in fate and its ability to bring people together. Corrin encourages Rinkah to use this opportunity to learn more about the outside world and bring that knowledge home with her. Rinkah begrudgingly agrees.

This is how the conversation will end on my playthrough, but if Corrin has a penis, you can get an S-Rank proposal conversation. I’ll be listing all of these off along with the normal conversations.

S: Rinkah comes to Corrin, blushing, and tells him that he has been a constant reminder of her shame and regret over being captured. But, over time, these feelings were replaced with love. Love that she hated, because Corrin is an outsider. Corrin says that he’s loved Rinkah since the day they met and only told her to be friendly to other people as an excuse to spend time with her. Rinkah states that, from now on, she will remember her capture as the happiest day of her life and the two get married.

Review: I really like this support line. It expands Rinkah’s backstory and culture, ties it into Corrin’s own isolation and belief in fate, and deals with the tumultuous meeting they had in Chapter 2. The confession comes out of nowhere, admittedly, but I do like Rinkah grappling with her mixed feelings of hate and love. Solid support.

Support: Corrin/Jakob

C: Corrin comes to Jakob to ask for a favor. Jakob interrupts her by humorously listing off the things he would do for Corrin. Things like slay dragons for her, which is actually kinda offensive now that I think about it. Corrin begs Jakob to allow her to be independent and Jakob refuses. Corrin explains that she’s his boss and he tells her that servitude is his reason for living. Jakob explains that, when he started working for Corrin, he was incompetent, and her kindness towards him made him indebted to her. The two compromise on the agreement that Jakob will teach Corrin how to make tea. After Corrin leaves, Jakob mumbles to himself that things might get apocalyptic.

B: Corrin repeatedly tries and fails to make a decent cup of tea. Both of them get some funny lines in, with Corrin telling Jakob that she can’t hear him because she’s ignoring him and Jakob saying that, saying that they’ll run out of leaves before Corrin makes decent tea. They meaning the nation in this case. Corrin eventually makes a passable cup, after Jakob secretly adds in sugar.

A: Jakob admits to Corrin that he messed with her tea and she laughs it off, admitting that she knew all along. She apologizes for being stubborn and accepts that she still needs Jakob’s help sometimes. Jakob says that he falls apart without Corrin. Corrin says that the two of them are alike in that way and Jakob literally faints from joy.

S: Jakob is acting more distant than normal. When Corrin asks him about this, he admits that he’s fallen for her and resigns from his duties as butler, because it is improper for him to have feelings for his mistress. Corrin begs him to say because she needs him and admits that she loves him too. The two of them get embarrassed and Corrin fires Jakob, giving him the new job of husband.

Review: This was a hilarious support that really made me appreciate Jakob’s snarky yet loyal personality. He is the perfect butler. The conflict of Corrin wanting to be independent and Jakob wanting to take care of her is a good dynamic that made me appreciate the relationship between these two characters. I do like them more as a platonic couple than a romantic one, but Jakob quitting his job because falling in love with Corrin is improper is a nice character moment.

Support: Corrin/Kaze

C: A villager gives Kaze a bunch of radishes because he’s super hot. And I mean, he is. Kaze apparently doesn’t realize that he’s hot until Corrin explains it to him. Kaze mentions that he dislikes the attention because he isn’t a good person before running off.

B: Corrin asks Kaze to follow her around so she can figure out what’s bothering him. Kaze says no, so Corrin annoys him until he agrees to hang out with him. Then he runs away again.

A: Kaze admits to Corrin that it was his fault that Garon kidnapped her, because when he was a child, he noticed the Nohrian soldiers that killed Sumeragi were in the city but said nothing about it. I don’t know how that makes Corrin’s kidnapping his fault, you’d expect there to be soldiers guarding a king. And the fact that Kaze was there means that there were also Hoshido soldiers, which means there was no reason to be suspicious of the Nohrians. Also, Kaze was a teenager at the oldest, so he should probably get some leeway. Whatever. Kaze apologizes to Corrin and Corrin, in turn, apologizes for making him live with guilt for fifteen years. Corrin also points out that Kaze led her home, meaning that they’re even now. Kaze compares Corrin to Mikoto because of her kindness and pledges to serve Corrin as her loyal retainer.

S: Corrin and Kaze joke around about Corrin’s kidnapping. It’s cute. Corrin mentions that, now that she’s spent so much time offscreen with Kaze, she likes him even more. Kaze blurts out that he loves Corrin, despite being her bodyguard, and the two propose.

Review: I found this chain a bit lacking, to be honest. The first two conversations were filler and the origin for Kaze’s guilt complex is kinda dumb. Kaze’s relationship with Corrin defines him as a character. He is so guilt ridden over her kidnapping that he would betray his country and his family to protect her. Later parts of the game hinge on this relationship. But, three of their four conversations are dull. I do like Kaze’s guilt complex as a concept, and think becoming Corrin’s retainer alongside Jakob and/or Felicia and a way to repent, but it isn’t enough to save this support line.

Support: Kaze/Rinkah

C: Kaze gets a bunch of candy for being hot and shares it with Rinkah, who secretly loves candy.

B: Kaze continues to give Rinkah candy.

A: Kaze continues to give Rinkah candy.

S: Kaze reveals that he’s been giving Rinkah candy because he’s in love with her.

Review: This one was a big let down. The fact that Kaze and Rinkah are introduced together made me think it would be about their capture, but no. It’s just Kaze giving Rinkah candy for four conversations straight. And it’s cute fluff, but it’s nothing more than that. There is something interesting below the surface with Rinkah hiding her love of candy to protect her image, but it’s never really explored.

So, off to a mixed start with the support conversations.

Birthright Chapter 7: A Vow Upheld

Team Corrin heads to a Hoshidan fort where Sakura is tending to wounded soldiers. We are introduced to Sakura’s retainers, Subaki and Hana. Suddenly, the fort is attacked by Nohrian forces. Corrin and Azura point out the ridiculousness of them attacking immediately after they arrived. Sakura freaks out because the fort is being used as a hospital and has no military value. So apparently Nohr is now being evil just to be evil.

Subaki and Hana agree to help Corrin defend the fort and argue over who’s more important to Sakura, much to her annoyance. Subaki and Hana give me a good opportunity to discuss a few interesting things about classes in this game. First off, unlike in most Fire Emblem games, classes are NOT gender-specific, as demonstrated by Subaki being the first male Pegasus Knight in the series. Secondly, the classic Fire Emblem classes were divided between the two nations. Nohr got Mercenaries, Hoshido got Myrmidons. Nohr got Wyvern Riders, Hoshido got Pegasus Knights. Etc. I really like this, it gives the two countries different feels in combat both aesthetically and mechanically. Finally, a lot of Hoshidan classes were renamed to be more Eastern, shown by Hana being a Samurai instead of a Myrmidon, or by Sakura being a Shrine Maiden instead of a Cleric.

Subaki

Subaki is a Sky Knight, this game’s equivalent of a Pegasus Knight. He can fly over terrain and has good speed and resistance, but is decimated by arrows. His personal skill buffs his hit and avoid when he has full health. Design wise, I like how ridiculously smug he looks. Personality wise, he seems over-competitive yet fiercely loyal to Sakura.

Hana

Hana is a Samurai with high speed and skill. Her personal skill damaged nearby enemies when she scores a kill. Her design is fine, if a little bland. Personality wise, she seems over-competitive yet fiercely loyal to Sakura.

Starting with this chapter, we have a prep menu, where we can choose which units to use and rearrange them on the map. We can bring our whole team in with us, so it’s a little pointless, but it's nice. Worth noting that you can have units start in pair up via this menu, unlike in Awakening where you had to pair them up after the battle started.

At the start of the battle, the chapter’s boss, a Cavalier named Silas, shouts out to Corrin that he’s her childhood best friend. She does not remember him even slightly. Okie dokie.

This map is decent. It’s a bit short, but it features a lot of good bottlenecks. The Dragon Veins can be used to open heal tiles, which is a bit pointless because you have two healers. When Silas and Corrin fight, he reiterates that they used to be friends. Corrin says that she can’t remember her past. And that confuses me, because I was under the impression that she got amnesia when she was taken to Nohr, which would have been before she met Silas. Unless he’s lying.

After the battle, Corrin refuses to kill Silas. She interrogates him about why he was so hesitant to attack them and he explains that, when they were children, he helped Corrin sneak out of the walls to have a picnic. The guards tried to execute Silas for this, but Corrin stopped them, because apparently guards listen to small children. Because of this, Silas feels he owes a debt to Corrin.

Question. Why was this random child allowed to play with the super secret hostage princess? Whatever.

Corrin eventually recovers a vague memory of Silas and asks him to join the gang. She explains that Garon is crazy and evil and that’s enough to make him swap sides. Silas is now officially the most sane character in the game. I mean, he should have probably realized this stuff before being sent to destroy a hospital for shits and giggles, but still.

Also, Silas mentions that Corrin’s favorite food is surf and turf. Perhaps this symbolizes how Corrin is stuck between both kingdoms? Or maybe it’s a random throwaway line. You be the judge!

At the end of the chapter, Saizo and a new character named Orochi show up, wounded, and report that Takumi and Ryoma have gone missing. Uh oh.

Team Corrin decide to help search for the missing princes. Sakura decides to come along, despite Corrin and Kaze’s objections. Silas also decides to come along and Saizo points out that he totally could be a spy or traitor. He’s a dick, but he is infinitely smarter than Kaze.

[heccapeach]

Since it’s Valentines Day, I guess it’s time for me to share the fictional crushes I’ve had on characters throughout my life:

My Fictional Crushes Throughout History:

Shadow The Hedgehog

Shadow was the first fictional crush that I had as a kid and the one that I can mention at the top of my head with some bravery and expectation of confusion and humiliation from others. I guess after learning of his existence in Sonic Riders (my first Sonic game) and onwards into the Sonic series (and a bit of Smash), I started to develop a crush on Shadow thanks to his design and personality after learning more and more about him. I believe that his portrayal in Sonic X especially had an effect. I mean, I wasn’t the only one to have a fictional crush on Shadow, considering how many fan girls he’s had over the years.

Mephiles The Dark

And then after Shadow, I eventually developed a fictional crush on Mephiles from Sonic ‘06. I believe I was 12 or 13 at the time that I did. I’d say this one is even weirder than the Shadow crush. But if it wasn’t for my interest in Mephiles and well, Solaris as a whole, I probably wouldn’t have discover my interests in the sources that beings like Solaris is based off of, like biblical mythology and other forms of mythology, space-time itself, and the sun and the moon. Therefore, they have been an important and influential character to me as unique as that may be to others. Delving more into Solaris in ‘06, I started to believe that he wasn’t the true villain of Sonic ‘06 as he was an entity whose power was being misused in the wrong hands of a very desperate and selfish human. That being the Duke of Soleanna, who wanted to save his wife from whatever presumed death that she had by harnessing Solaris’ power over time itself and even find a way to give humanity the power of time-travel in order to correct their past mistakes which mind you, is a bullshit and an absolutely dangerous, selfish, and idiotic idea. Perhaps one of the worst ideas I have ever heard in my life. Humanity absolutely does not deserve to be in possession of such abilities at all, PERIOD. Imagine all the recklessness, greed, bickering, fights, and just flat-out stupidity. Ugh, you’re just giving humanity the ability to not only make more mistakes, but potentially worsen their past mistakes. LIKE, WHAT THE HELL WAS HE THINKING?!?! I mean, when you learn that, it’s absolutely no fucking wonder why Solaris got all pissed and went batshit crazy throughout space-time. I mean, I would’ve too if some fucking idiot tampered with my power and form like that. And it didn’t help that Eggman was obliviously trying to repeat the same stupid action that the Duke did. I swear mad scientists tend to be the true evil and the creator of evil in existence. They’re one of the archetypes that do a great job at pissing me off. Well, they’re not called “mad” for nothing.

Solaris is just a misunderstood entity who just needed better guidance and treatment in existence. It’s why I even imagined the possibility of Solaris being saved and given a better chance towards redemption and understanding. After their backstory, I felt so sympathetic towards them as a character. Sure, Mephiles plan could’ve made more sense in the script by being less convoluted and more simple in the script alongside the time-travel plot itself, but we can’t forget that ‘06 was indeed rushed in development so it’s no surprise that writing for the game’s story was also rushed and didn’t have enough time for some scenes and decisions to be reconsidered.

But regardless, Solaris holds a special place in my heart and the inspiration they have given me has been a gift. So even if they’re outside of the existence of the Sonic universe, I shall never forget about them.

Crazy Hand

There was a time where I got really interested in Master Hand and Crazy Hand from Super Smash Bros. After discovering Crazy Hand’s existence in Melee, I suddenly started watching more videos featuring him and Master Hand, even if it was the same few videos. Like I was deeply analyzing the two hands in action. I was so fascinated, yet pretty intimidated by them. I believe that Crazy Hand had fascinated me the most, given the way of how he parallels Master Hand and his personality. Then all of a sudden, I started crushing on him...How utterly weird of me to be crushing on a giant floating disembodied hand of chaos and destruction....

Daxter

Daxter was my top favorite character of the Jak and Daxter series. Not to mention how much the series is a childhood icon to me. I also loved the design of ottsels/precursors. It inspired me in terms of anthro designs. I know, I’m pretty much a furry at this point with these crushes. I guess that I can now relate to Tess, who eventually became an ottsel/precursor just to officially be Daxter’s girlfriend.

Joker (P5)

Back when he was announced to be included as a fighter for Smash Ultimate. It was my first exposure to Joker and Persona 5 itself. And back when his Smash fighter self was still in development, I felt interested enough to research Joker then eventually look into Persona 5. I started to adore his design and silent protagonist self. His fluffy looking hair, glasses, phantom thief design, and personality, and that smile made me develop a crush on him. He’s pretty much the only fictional human character that I had a crush on out of all the crushes here and that’s saying something.

A Fan-made Genderbend Waifu Nightmare From Kirby

Okay....how the hell do I explain this..? So back when I had a peak interest (and fear) in one of the most underrated Kirby characters and final bosses, Nightmare, I looked up fan art of him and discovered this sorta genderbend waifu interpretation of him on the Internet. I was interested in the design, enough to make an original character of mine have their design inspired off of it and that’s mainly where my crush was targeted on. Knowing that this had to do with Nightmare from Kirby of all characters, this is perhaps the weirdest and most embarrassing crush of them all. This would just be the beginning of me getting invested into oneiric (dream) characters.

NiGHTS

When I was starting to really invest into the NiGHTS universe and NiGHTS themselves, I started to appreciate their design and personality to the point where I found it attractive and relatable at times. This crush hasn’t been a constant nor lasting one though, so I see it as a small crush instead.

Wizeman and My Own Fan-made Gender Bend Waifu Parallel of Him, “Wize-Chan”

Ah jeez, here we go again. So, um, like Nightmare, I had a notable interest in Wizeman as a character and was also greatly intimidated by them at the same time. I eventually started thinking that he was a bit cute in the first game. Seriously, why I do I eventually develop crushes on the same characters that I get scared of? Am I a psychological masochist or have Stockholm Syndrome or something? In order to ease my fear, I made the jokes on this platform on Wizeman and the other NiGHTS characters. Sometimes, fear can be a great motivator and that already scares me alone. One of those jokes involved redesigning Wizeman as a Waifu named “Wize-Chan”:

When humanizing the design, I wanted to maintain the surrealism of Wizeman’s design, so I made sure not to humanize it too much. That’s why the shadowy legs are phantom-like and the robe acts more like a cloak than a robe with a presumed shadowy phantom body underneath. Probably think of it how Darkrai from Pokémon has these slim legs that it can make to stand on something. Idk. Jokes aside, I felt that this was an embarrassing thing to make. But recently, I’ve looked back on the design and I started to develop a fondness over it. She was just too adorable to ignore. It motivated me to draw more of her and establish a personality. She still maintains Wizeman’s personality and god complex, but with a tsundere touch to it. She also uses the insult “degenerate” occasionally since I imagined Wizeman in Journey of Dreams using it. (Example: “Eh? You want me to step on you? Ugh, DEGENERATE.”) She can get accused of being a furry, but she gets offended and denies it. There’s never a place for violence in a relationship, but Wize-Chan differs. I suppose Wize-Chan here can be compared to Bowsette, since it’s taking a villain and turning them into a Waifu character. You could look at it that way if you wanted to. Wize-Chan also likes to bully Owl whenever she gets the chance.

Speaking of Owl, I recently designed a Waifu form of him—

Arceus

Just a little bit. It was a minor crush. Afterwards I changed my mind and started seeing them as a mother figure instead. I like to refer to them as “mom”, “mommy”, “Mama Llama”, "o-ka'a-san" (Japanese for mom), and “Mother”. Arceus just naturally feels like a mother figure to me, as weird as that sounds. I mean, it makes sense, considering that they’re Pokémon God and God is always interpreted as referring to his creations as his children. That’s been interpreted the same for Arceus. I mean, it’s okay for your mother or father to be your valentine, right? That, and why am I so invested in creator entities/deities so much?

So over the years, I’ve had fictional crushes on 1 anthropomorphic artificial hedgehog with alien DNA, an anthropomorphic otter and weasel hybrid that also belongs to a race of ancient beings that run the universe as its god, a sun god of time, a giant floating disembodied hand that’s the destructive god of the Smash universe, Pokémon God itself until I started seeing it as my Pokémon mother, a Waifu form of a personification of nightmares, a disobedient nightmaren then eventually just their creator as well as a Waifu parallel of him, and 1 human..huh.

[fayewonglibrary]

Wong’s Way (2011)

An anomaly in the cookie-cutter world of Cantopop, FAYE WONG has paradoxically found success by playing against the rules. Prestige Hong Kong follows her down the road less travelled

FIVE YEARS MAY not seem like that long, but it can be a lifetime in an entertainment industry that feeds off the right-here and the right-now. So it came as a surprise when, half a decade ago, Faye Wong decided to step back from the limelight and resume as much of a normal life as might ever be possible for a woman whose music has sold in the millions and who has combined that side of her existence with an acclaimed acting career.

From an existence playing before tens of thousands, what the Beijing-born Wong longed for at that point in time was a life tucked away in the peace and tranquillity of home – and after almost 20 years in the spotlight, and with her every move followed by a fan base that can be tallied in the millions, who could really blame her?

But as an artist who in an age of corporate conformity flatly refuses to play to any predetermined stereotype, Wong has always preferred to play by her own rules. It may come as a surprise, then, to find out that Faye Wong was not always “Faye” – diehard fans will remember a period in which the artist was known as Shirley Wong Ching-man, an affectation suggested by her record company early in her career, because of the stigma associated with the hip factor (or lack thereof) of mainland Chinese artists and names.

Even Wong’s early hits weren’t what you would call “original” – her first few albums were filled with formulaic Cantopop: collections of saccharine, predictable tunes that failed to properly utilise her delicate, lilting soprano. When she broke out of that shell in 1992, after a short travel hiatus, she finally found success, initially with a cover of a Japanese chart-topper in Cantonese, “Fragile Woman.”

Despite her disinclination to be impacted by her local contemporaries, Wong was not without her influences. She covered songs by The Cranberries, took quirky style cues from Björk and collaborated with the Cocteau Twins. The further she strayed from Cantopop, the more fame she found, penning her own songs and admittedly self-indulgent lyrics. She rapped on “No Exit,” yodelled through “Di-Dar” and even won the hearts of nerds by wailing the English-language title track to the hit video-game Final Fantasy VIII, “Eyes On Me.”

Even when her albums weren’t critical or commercial successes, her fame continued to grow, exponentially and uncontrollably. Her handful of acting roles, including in Chungking Express and 2046, showcased a curious, simultaneous aloofness and magnetism, an infectious, ravishing oddness.

In 2005, two months before she married actor Li Yapeng, she announced that she would take a break from show business. And so for five years there have been sightings, the occasional public appearance and the work for her own charity, but otherwise it’s pretty much been silence from Wong, as her fans – and the world at large – waited.

With that in mind, we should not have been surprised at the reaction to the news that Wong would finally be reemerging, to stage comeback concerts that started in Beijing last October, then took in Shanghai and Taipei before coming to Hong Kong, the place where Wong’s career was launched, for a series of shows in March. Tickets – for all nights, at all venues – sold out in a matter of days and the critical response has been overwhelming.

The headlines said it all: “The Diva is Back.”

What the Wong faithful have found is that their idol has lost none of the passion for the music that forms, as she puts it herself, part of her fate. They’ve been treated to nights filled with the songs that have formed the soundtrack for the lives of a generation here in Hong Kong – and beyond.

When Prestige Hong Kong found the interview-shy 40-year-old, she was in between shows and letting that fate take its course. What Wong wants the world to know is that throughout her storied career there has, she says, never been any real plan. She’s simply a woman who lets the cards fall as they may.

Can you talk a little about your return to the stage and playing live? What brought about the decision to play your recent concerts? I consider this a natural move for me. I’ve been doing several commercials as well as releasing some new singles over the past few years. So this was a natural progression back to live performances. It’s all part of my career.

How did you go about deciding what form the concerts would take and the songs you played? There’s no special form or arrangement that’s deliberately conceived for my concert. I believe my singing is the main source of interaction between the audience and me. Every show is unique and my mood is different, depending on the atmosphere. It’s not my practice to talk much with people or have any planned speech in my concert, because I don’t want the conversation to ruin the whole integrity and mood of the arrangement of the concert. I hope my audiences can indulge themselves with my music, while also digesting the message my show is delivering.

After the recent concerts in Shanghai and Beijing, what’s your feeling about coming back on stage? It feels so good to see all my fans again.

Do you have any plans to work on a new album? If so, will you be writing songs yourself? There’s no plan to work on a whole new album. But there is a possibility to release singles, and maybe I’ll write some songs myself.

How different to you is the experience of playing live now as compared to when your career began? What have you learned and how much has the experience for you changed over the years? I’ve been working with different sets of crews, composers, producers etc since the beginning of my career. Each of these collaborations has opened up a whole new experience and been an amazing inspiration for me. Call it a fireworks feeling.

What was it that initially drew you to the music business? What was it that you found most exciting? I believe singing is my destiny, and it’s fate that this became my career. I find it gratifying that I’m able to touch people’s lives with my songs. It’s a form of good karma.

Have your musical tastes changed or evolved as you matured as a person and as an actress? I admire different types of music and things depending on the different stages of my life.

Did becoming a mother change how you approached both your singing and your career? There was no change. I still sing with the same commitment and feeling, and it’s the same with my career.

And how much, do you think, did this change you as a person? The process of raising a child is part of my evolution as a human being. If you’re not a parent or don’t fully involve yourself as a parent, you’ll never realise this traditional, fulfilling role of parenthood. As a parent, it’s natural to want to show your best side and provide the best example to your child. However, sometimes it’s hard to break habits that may surface from time to time. It’s a painful cycle, because even though you realise your own faults, to change yourself completely requires a lot of courage and determination.

We’re curious about a typical day for Faye Wong. What’s your routine when you’re not performing? What time do you go to bed, what’s your favourite meal and what activities do you share with your kids? Basically, I go to bed and wake up the same time as my kids do. I got used to enjoying the regular pattern of a healthy lifestyle, but that won’t happen coming back to work.

Frankly, there’s so much to do when you take charge of a whole household. My life in the past few years was completely occupied by family and there was no time for me ever to feel bored. Sometimes I feel that I was even busier than when I was working as a singer.

Do you think your children share the same character as you? When I look at my kids, it’s like looking into a mirror and seeing the deepest side of myself.

What are the things that make you most happy now, compared with when you were younger? What do you now cherish most? I cherish everyone and everything. I’m fortunate to appreciate what I have and the people I know.

How do you see your image now? Are you an artist who is careful to control her image, or is it more a case of come what may? The most effortless style suits me best. I aim to be the most natural, honest in my approach. I want it to be pure, not something that seems too contrived or created just to fit the latest trend.

What are you most passionate about? To find the real meaning of life, and share it with lots of people.

What about acting? Is this something you’re keen to pick up again as well? If so, what kinds of films and roles might interest you? Right now, I have no plans on filming.

What are the challenges you see ahead in the next few years? What can your audience expect? My life has no planning, and I’m not a person who conceives everything in advance. It always depends on what’s being offered and what I feel like doing at that moment. There’s no pressure on myself – I leave everything to chance and fate.

The Smile Angel Foundation was founded in Beijing in 2006 by you and your husband, Li Yapeng, after your own child was afflicted with a cleft lip. It’s helped a lot of other children suffering from cleft lips and palates. Has the foundation changed your life or your character in any way? My contribution to Smile Angel Foundation is not as much as my husband’s involvement. He’s very busy working on plans to support the foundation. For me, basically, I’ll attend annual charity events and activities to lend my support.

On this project, we started everything from scratch and are very gratified to see how much it has accomplished. My husband is definitely the driving force behind the foundation, and I really admire his passion, courage and capability.

At your current stage, do you think you have evolved in your perspective of things compared with when you were younger? Can you share your road of growth a little bit? I was a bit stubborn, objective and capricious when I was younger. I’m now more willing to be open-minded and flexible, and always try to remind myself about this. It’s quite difficult to stop old habits surfacing from time to time. But I’m trying hard to accomplish it.

Do you have any advice on how to maintain a woman’s beauty and charm after the age of 30? First of all, you have to accept your age. I believe everyone has their own unique way to create their own charm and maintain their beauty, which is sometimes a very personal approach. One should find one’s own best way; there really is no standard formula for everyone to maintain their beauty. I believe the most natural side of a person is the most beautiful.

You’re acclaimed as a pioneer of alternative music. Does that mean you won’t compromise with the commercial market? I never define my music as “mainstream” or “edgy” or “alternative.” I just do what I like.

Photography / Shameless Eye Production AG Styling / Titi Kwan Hair / Alain Pichon Make-up / Zing Wardrobe / Céline Spring 2011 collection

------------------------------------------------------------------  

SOURCE:  PRESTIGE HONG KONG

[enormous-moose]

Hope you're having a nice day! Just wanted to tell you something Re: Shinto, a layperson cannot make ofuda or omamori, laypeople can make yoshiro though : ). Anyone can practice Shinto and it's great that you see the beauty in Shinto and Inari Okamisama too, but please learn a bit more about it because there are very, very few "rules" to follow to practice Shinto sincerely and one of them is that laypeople cannot make ofuda or omamori.

Shinto is not pagan, while pagan faiths of all kinds are beautiful and special, Shinto is not one of them because Shinto is uniquely Japanese, so it's important to see it from its original perspective to really understand it. There may be things that a pagan faith and Shinto have in common, but it's important to keep them separate because that is most respectful and most accurate way to practice Shinto. There is a lot of diversity in Shinto practices but it's important to treat Shinto respectfully as a new-comer. I really recommend Living with kami (here on tumblr), she's really knowledgable and kind and has great resources.

It's ok if you weren't aware of that before, I just wanted to let you know because I would want to know if I were you. Also please add Inari Okamisama's honorific when you talk about them, those are really important because healthy respect is a key element of Shinto. Hope you have a good day, thanks for reading!

Couple of things first before we dive into this anon: I never ever want someone to use TUMBLR as a place to learn anything except other people's opinions and experiences. You can find resources on here all you want, however, if you want to learn something you need to do your own research about everything and you cannot use tumblr as your go-to method for knowledge. There are good sources on here, but interpret your own beliefs and your own thoughts. I do not believe in having other people interpret things for you.

Now let's get on with responding.

While I always appreciate people willing to teach others aspects and it is never my desire to offend anyone's religions I do expressly and kindly disagree with a few statements. I do not believe that religions should be separated. What rings true to people is fine as long as it harms no one. My way of practice is expressly for myself and never ever meant to be used for anyone else. I have posted multiple times about the intentions of my blog. This is just in my experience and my opinions. I do not expect anyone else to follow or do anything like me. Learn what you will from what I do, if you discover you don't like what I do then don't do it and use me as a guide for what not to do. Honestly, this is a blog about my own journey. I'm learning along the way and I build on what I find while sticking firm to certain beliefs.

The way I practice is different from others and I do not follow orthodox guidelines in ANY capacity.

Thank you for your information though. I have been studying a few different aspects and have seen where some things are meant just for priests, and thank you for your concern. This is not in any way meant to dishonor anyone who does use a priest or religious figurehead. In the most respectful way possible I do not believe in priests as being the only way. Again, this might go against other people's beliefs but I am not in any capacity conventional and I hold it against no one who decides to block me or does not want to see my posts. It is my firm belief that religion and practices can and should be self-guided.

Much like the catholic church once forbade certain people from being preachers/cardinals etc... other religions follow the same exclusions. We see this in marriage rituals and spiritual gatherings. There is always an elected person who "knows more than others" or "who has studied most of their life" or who "meets certain qualifications." I do not buy into this and I do not find it offensive for anyone who is willing to do the work and make the sacrifices.

On a side note because I've noticed this a lot in other things that I do:

There's a lot of things I would not do because people say that I look "white" and they yell cultural appropriation, dishonor, etc... Here's the thing I won't say where I come from ancestrally. Why? Because they have spent a great deal of time hiding who they really are. Am I African, Middle Eastern, Hispanic, Asian?

I'll tell you a few things people have thought wrongly about me: I'm weak. I'm dumb. I'm crazy. I'm exotic. I'm christian. I'm hateful. I'm not qualified. I'm naive.

Let me tell you the truth:

My fiance thought for the first month that I was from Japan. We laugh about it still. My parents hate me because I'm not christian. I am a self-guided pagan who practices many different things and incorporates many different practices just to try things out. Will I be so heavily leaning on Thor in a few months? Probably not, but the big guy did me a solid. Will I be so interested in adding other gods to my pantheon in the future? Who can tell? I am one of the kindest people you will ever meet because why show someone you're evil until after they've deserved it. Do not follow me blindly, I think I've already gone into enough detail in other posts about why that is absolutely not a good thing. I make sure that whatever I am doing I do with nothing but my own respect for the gods. In my own respect, I am qualified to do things that others cannot especially in my own religion and practices. They are my own and I make them my own.

Please choose to think of me as being in another universe than the one you are in. I am over here doing things that are true to me and me alone. y universe has its own laws and does not seek out to harm your universe in any way because I am my own thing. Now my universe decides to share its laws with others because maybe others would like to read them. If others don't that's fine. My universe doesn't care one way or another. My universe loves to read others' information about their universe but sometimes others' laws don't work in my own universe. Doesn't make them wrong all over, it just means that in my universe they don't work. Other universes can still have those laws work, or even have laws that mean their laws can always change to make newer laws work.

I choose to follow many different paths and practices, so thank you again for your information I do love hearing that there are people who are spreading how they practice. I believe in socializing in religion and I do love to see what others write about. As you can also see in my posts there are some things that I do where I will absolutely not talk about how I practice. My way of practice is my own and there are some things that I will keep to myself because I want that relationship with my gods to be just that: my own.

I'll hardly ever talk about the Shinto aspects of what I do you'll find that most of my blog is me being a bitch and loving humanity. Humanity has gifted so many things and I will not let the people aspect get in the way of my own spiritual journies. I've gone over this in other posts, but I do not trust people nearly enough to place my religion/practice/ritual/alters/talismans/what have you in their hands. For many reasons, I keep my practice my own in my own universe. Feel free to continue to read what I do, but please never think that my unwillingness to write about certain things means that I am in any way disrespecting deities. If anything my own silence offers me a respectful boundary away from other people.

[chixibrown]

Upon finishing the Stardew Valley comic

Since the Stardew Valley comic has been released by Fangamer, I am now able to write about what I had been doing in secret for one long year.

■ Gratitude

First of all, to the original creator Eric-san who entrusted the task in my hands, to Kari-san who helped me from early development all the way to printing, to Ryan-san, to Steven-san who did the translations, to Kari-san's mother who assisted in the creation of the envelope, to Erica-san for product photography -- And last but not least, everyone at Fangamer and FangamerJP.

It's thanks to the support of many people that I was able to finish the comic, and I wish to extend my sincerest gratitude towards everyone involved.

■ Chronology

"Chihiro! Big News! Let's create a new merch together!" was a request that I received around autumn of 2018. At first I was wondering if I was going to be asked to design a T-shirt, but turned out to be an invitation to draw a comic book!

At that time, I was posting comics on Twitter at random. Not even in my wildest dreams have I thought that my little comics would be appreciated so, and thus I immediately burst into tears.

I'm very honored and thankful for the opportunity to pen Fangamer's very first comic.

■ Contents

I'll try not to spoil anything about the story in this section.

The content requested by the original creator Eric-san for the comic was: "The story before the farmer comes to the farm" "With focus on the community center and Joja" "And the protagonist should have no set characteristics"

These were really the ONLY information that we received from Eric-san throughout the whole process (whyyy).

I was definitely worried. In reality, for around six months when I did my preliminary research, I played Stardew Valley every day, took countless pictures, and absorbed myself in collecting materials.

I I ended up taking a little over 20 thousand screenshots total (lol).

I wholeheartedly agree with Eric-san's guideline not to give the protagonist any set characteristics. I think one of the keypoints of this game is that "Anyone can be the protagonist".

The story is set from a few years before the prologue of game, so I was rather careful not to show my own personal interpretation. In principle, the actions of the characters were mostly taken from their in-game dialogue where they mention having done something in the past (For example, the reason Sam got in trouble lmao).

It took a lot of effort outlining the story, which involved things such as "Which characters would be in contact with each other?" and "Which characters may not be present at the valley at the time?". This is the reason why the preliminary research took around six months.

By the way, I was the one who proposed to include a "letter" with the comic, both as a bonus and major spoiler, in a way. But uh, many fellow Japanese may not be able to read it, so... I'll secretly tell you the what's actually written on the letter:

It's the handwritten version of THE letter you receive in the English version of the game's prologue. It's in your hands now. So in conclusion, it's probably exactly what you think it was.

I was quite adamant about how the letter needs to be handwritten. And as who wrote it... I shall keep it a secret here.

The reason why the comic had little to no dialogue is because it was the style I had back from the time I was drawing Stardew Valley fan art. Since Stardew Valley is a media not originally from Japan, that style serves to fulfill my two wishes: "I want people all over the world to be able to read my work" and "I want to cherish the feelings of each individual player" -- That sort of idea, really.

To summarize,

"I want people all over the world to be able to read my work"

"I want to preserve the unique interpretations each individual player might have"

"Anyone can become a Stardew Valley protagonist"

I drew the comic with these concepts in mind.

■ About me

I would like to talk about my experiences throughout the development of the comic.

My name is Chihiro Sakaida (a.k.a. Brown Junimo), I was already working for a game company, so I took advantage of that experience to work on game design and illustration.

Of course, while I was working on the Stardew Valley comic, I was a freelancer and had other jobs to worry about as well, so I ended up spending a lot of time working on the comic at night after work. I also studied digital art for a month for the sake of the comic, and I think it helped improved my work efficiency.

Those were truly, very fun days for me. The only thing that did bother me was the fact that even though I was working on my favorite Stardew Valley content day after day, I couldn't really share it with anyone.

I didn't want to take the risk of accidentally running my mouth on Twitter, and I no longer had the time to draw and post online like I used to -- So I had to resort to posting only low-risk tweets, so to speak, and to be honest, it was quite disheartening.

As such, I felt truly supported by the trusted individuals who knew about the comic. Tori-san, Aki-san, Kari-san, and Ryan-san, thank you so, so much.

■ Those who supported me

Tori-san is my partner, and also a person I respect as a novelist and screenwriter. She kindly and carefully reviewed and summarized my messy story.

Aki-san knew about the comic existed, but also knew next to nothing about it. Because of that, I think it was more than a handful to support me. It must've been really hard on Aki-san, who didn't know the contents of the book and thus had no way to accidentally spoiling the surprise, but whom also probably held even more feelings of shame than I did in regards to social media... I'm sorry that you've had to put up with so much. I was very proud to have you be the first reader of the finished book.

Kari-san is the illustrator of the Official Stardew Valley Guide Book, and I respect her a whole lot.

Both her work are her personality are very kind and easy-going. Together with her partner Ryan-san, she's managed to assist and encourage me many, many times.

No matter what I drew, I was sure to be greeted with her "Chihiro, you're so great!" or "Chihiro, you really did your best!" (Even my own mother have never praise me this much!) Overall, she feels just like an older sister I've always longed for, and it makes me very happy.

No matter what merch was in the process of being created, she would say "Let's make a brown one!!", solely because it's my signature color. It makes me very happy, although probably a tiny bit embarrassed as well to have her value my one schtick this much. She's even came to Japan many times, and listened to me talk all day long. After all, I wouldn't have been able to get this job to begin with if it wasn't for Kari-san, so she's a real lifesaver.

I didn't get to talk directly with Eric-san, the original creator and developer of Stardew Valley. Obviously I received some feedback via Fangamer, but I was refraining from being in contact with him as much as possible. I didn't think I could convey my full sincerity towards him before the comic was completed. I strived to be able to earnestly understand the feelings he wanted to convey via his own words -- Whether it was the game dialogues, his words on the developer blog and interviews, etc.

There was, by the way, no revision whatsoever to the comic. Eric-san did, however, carefully check all of my ideas and always provided words of appreciation; which made me happier than anything else. Those words became my motivation to live, in a sense, which in turn allowed me to freely and happily work on the comic.

■ Going Forward

While I've been talking about how proud I am to have finished the comic, I also would like to talk about what's coming next. While I certainly plan to continue working with Fangamer for the foreseeable future, at the same time, I have also decided to work for another game development company, and I plan to devote my time working on game development for at least the next year.

It has been my dream for the past 15 years to work for this particular company, and I'm elated to see it come true.

However, as a result I think I will have less exposure to social media. I don't think it's going to be easy to recreate that warm and wondrous time where I could interact with people regularly, but my memory of that time is something I will treasure for the rest of my life.

I'm really sorry that I have absolutely nothing to give back, but I sincerely hope the comic has brought a smile to everyone who's read or even merely noticed it.

■ Finally

I'm such a fortunate person -- I've come this far due to everyone's support, and for that, I would also like to extend my deepest gratitude. Thank you so much, for everything, always.

It would delight me if all of you could stay with me from this point on.

As I try to polish my skills and improve myself as a whole.

PS: Thanks to my best friend Ryou-chan for translating this!

[dereksmcgrath]

In order to talk about this episode, we have to talk about how manga publishing and anime production does (and does not) work.

And before we can get into this episode, and its originating storyline that comes not only from the My Hero Academia manga but also its spinoff Vigilantes, I have to talk about three things:

The challenges of adapting more than one manga series.

An imaginary Vigilantes co-production (an “Imagine If,” to steal a phrase from a writer better than I) between Studio BONES and Studio Trigger.

But first, another franchise Studio BONES adapted the same year as MHA: Bungo Stray Dogs.

(Bear with me–this is all going somewhere.)

“More of a Hero Than Anyone,” My Hero Academia Episode 107 (Season 5, Episode 19)

An adaptation of Chapters 253, 254, and 255 of the manga, by Kohei Horikoshi, inspired by My Hero Academia: Vigilantes, Chapters 59 to 65 by Hideyuki Furuhashi and Betten Court. All translated by Caleb Cook with lettering by John Hunt and available from Viz.

My Hero Academia is available to stream on Crunchyroll and Funimation.

Spoilers up to the My Hero Academia Chapter 324, Vigilantes Chapter 108, and the film World Heroes’ Mission.

There are also spoilers for Bungo Stray Dogs and Gurren Lagann.

Created by writer Kakfa Asagiri and illustrator Sango Harukawa, with additional spinoffs illustrated by Kanai Neko, Ganjii, Oyoyo, and Shiwasu Hoshikawa, Bungo Stray Dogs is about a world where characters, who happen to have the names of real-life authors of Japanese and other literature, also happen to have superpowers based on the titles of works by those same famous authors. For example, Herman Melville can summon the giant battle fortress Moby-Dick, Nikolai Gogol can transport items through his overcoat, and Motojiro Kajii has the ability “Lemonade,” which prevents him from being harmed by bombs shaped like lemons.

(…Bungo Stray Dogs is weird. The first anime doesn’t even have dogs in it.)

Studio BONES premiered an animated adaptation of Bungo Stray Dogs in 2016, the same year the studio premiered the MHA anime. What makes Bungo unique compared to some other anime is that each season adapted from not only the manga but one of the franchise’s light novels as well. While some of the light novels take place concurrent to the manga, most take place in the past–which made Season 1 awkward, re-setting some events from the Azure Messenger Arc in the present and hampering some characterization for what was supposed to be the very first meeting of the characters Osamu Dazai and Doppo Kunikida.

The next light novels adapted for the Bungo anime all take place in the past, with Season 2 giving what I think is the best of the adaptations, The Dark Age, as we learn more about Dazai’s time with the Port Mafia and his relationship with fellow mafioso Sakunosuke Oda. This arc set a high standard that I don’t think the next light novel adaptations have reached, as it not only fleshes out the characters and builds the world, but it also has two important accomplishments. First, on its own, you could watch the entire four-episode arc as its own movie. While some details will gain more significance if you watched the first season, and will become more important as you watch the rest of the series or read the manga and light novels, by itself, The Dark Age is a thrilling narrative of intrigue, deception, betrayal, and heartache. Second, thematically, The Dark Age ties in very well to the rest of Season 2. Some of it is cheap shorthand: the Lupin Bar matchstick container becomes a visual indicator for Dazai helping Atsushi Nakajima save an ally when Dazai couldn’t. But even as cheap as that may seem, it enhances the overall season, giving Dazai more to do in a story where he is otherwise on the sidelines and playing everyone like chess pieces. Plus, you kind of needed to see The Dark Age to understand who Ango Sakaguchi is in Season 2 and why Dazai hates him.

Season 3 gave me high hopes for where the next light novel adaptation could go. This season focuses on a third party attempting to destroy Dazai and Atsushi’s organization, the Armed Detective Agency, along with the Port Mafia. When Agency founder Yukichi Fukuzawa is poisoned, we see the usually lighthearted and arrogant Ranpo Edogawa become momentarily silent and devastated by Fukuzawa’s hospital bed. I blame myself for reading theories online that this moment would lead the season to do a flashback arc to one of the light novels, one that shows the origins of the Agency, how Fukuzawa first met young Ranpo, and explains what that cat was doing all throughout The Dark Age and Season 3.

Instead, as soon as I started Season 3 and saw the premiere was beginning with a lengthy adaptation of a light novel centered around Dazai and his former Mafia teammate Chuuya Nakahara, my heart sank. Nothing about that story thematically tied into the overall season as well as would Ranpo and Fukuzawa’s light novel, a story that reveals how much Ranpo has lost in his life and why he clings onto Fukuzawa for approval and why the dissolution of the Agency would not only deprive him of family and friends but also the very meaning to his existence. That is a heavy story to tell, one that would make the audience better appreciate the lengths the Agency goes to for Fukuzawa. By comparison, there is next to nothing about Chuuya’s back story that accomplishes the same. If anything, all that light novel adaptation tells us is that Dazai and Chuuya’s partnership mirrors that of Atsushi and the Mafioso Ryunosuke Akutagawa–and that detail was already established well enough in Season 2, so we’re just retreading the same old material.

Adapting Chuuya’s story is like explaining Aizawa’s back story: as I’ll explain in the moment, all you really learn in either case is why Chuuya hates Dazai and why Aizawa is a lone wolf–and it’s the reasons you already see in the present day, Chuuya hates Dazai because he’s annoying, and Aizawa has always been a loner, end of discussion. The choice to give these two characters the spotlight doesn’t really do anything new for the audience. I’ll say more about Aizawa later, but for now, I’ll say, nothing against Chuuya as a character, but the decision to adapt his light novel seemed very much like a marketing strategy by manga/light novel publisher Kadokawa and Studio BONES: Dazai and Chuuya’s relationship is popular with fans, there’s a lot of back story to mine, and the light novel that gave us this anime adaptation already set up a sequel that itself could serve as a Season 4 adaptation or even a feature film.

(Honestly, that Chuuya sequel novel in Bungo is more entertaining: there’s a cyborg named Adam Frankenstein. Re-read that sentence: a cyborg named Adam Frankenstein, who treats Chuuya like a little kid, offering him candy because he read that young people like candy and the serotonin from sugar can help with dealing with times of stress. Chuuya’s babysitter is Frankenstein: it’s so absurd that it just works.)

So, why am I talking about Bungo Stray Dogs instead of the other anime Studio BONES makes, My Hero Academia? Because I’m seeing a set of mistakes and Band-Aids repeat themselves all over again.

I profess ignorance about how the anime industry works: there are better people than I who can speak to it. As far as I can gather, just by looking at the evidence in that industry, and the evidence of just about any industry, the goal is to make money. I don’t think the goal to make an anime is necessarily to get people to watch it, especially now that streaming makes the cost of entry very low or even free if you wait long enough for Crunchyroll and Funimation to put it up with commercials. I don’t think it’s to get you to buy the manga: even if you get hooked like I am to read ahead to see what happens next, why read something you just watched? Instead, I think the goal is to buy merchandise, like how musical groups have switched from record deals to selling individual songs online and getting merch sold at concerts (pre-COVID). The conundrum for the anime and manga industries are not dissimilar from those in comic book publishing in the United States: DC and Marvel can have all the crossover events in the comics that they want, but those don’t always get someone who to read a new series just because Spider-Man or Wolverine pop up in it. I have not looked at sales for Vigilantes, so I don’t know whether Aizawa, Midnight, and All Might popping up in there boosts its sales. Rather, the comics are testing grounds for what works. Marvel uses its comics to test what can work in films and streaming, where money now is, while maybe Vigilantes was testing the Oboro story to see if there was something there to put into the anime. Sure enough, the fan art out there for Oboro has increased since the episode, merchandise can’t be far behind.

But let’s move on to actually looking at the episode itself. “More of a Hero Than Anyone” centers on Aizawa and Present Mic being brought to the prison Tartarus to interrogate captured League of Villains member Kurogiri. As I have complained for most of this season, BONES has made confusing choices regarding which chapters of the MHA manga it is adapting first: this story comes from manga chapters that were the last before the big Pro Heroes vs Paranormal Liberation Front Arc, and we haven’t even gotten to the Meta Liberation Army Arc yet. True, this episode ends in a way to set all of that up, showing us Shigaraki getting his power boost, but it has been a befuddling choice of what to adapt first. Making matters more confusing is that, while this episode introduces Aizawa and Present Mic’s classmate Shirakumo, someone alluded to during Shinso’s arc this season, that story doesn’t really originate in the main manga: it started in an MHA spinoff.

The manga My Hero Academia: Vigilantes is to My Hero Academia like the Bungo Stray Dogs light novels are to its main manga: it is largely a prequel that fills in back story for major characters and some worldbuilding details while telling its own story with its own protagonist and plot. Chapters 59 to 65 are the first major departure for the series, as it shifts from the usual protagonist to a plot about Aizawa, showing his time as a UA student and setting up why he ended up returning to UA as a teacher.

The first time I read Aizawa’s arc in Vigilantes, I hated it: it is a cynical attempt at giving us an origin story to explain how Aizawa got to be the way he is–without actually showing us anything we could not have figured out ourselves. It tries to set up this idea that, if Shirakumo had not died, Aizawa would not have been the lone wolf.

That idea butts up against two details. First, we already see Aizawa keeps up the lone wolf appearance anyway in the present, so imagining an alternative timeline doesn’t make sense, especially when, in its own flashback arc, Aizawa was already a lone wolf–that was his entire dynamic with Mic, Skirakumo, even Midnight, so it’s less that Shirakumo’s death made him this way when he was always this way. Hell, this was a gag in the supplementary material of the manga that got adapted into the anime, when Mic had to come up with a Pro Hero name for Aizawa because he was that checked out–and, again, that was before Shirakumo died.

Second, we know Aizawa’s lone wolf persona is just that, a front he puts up that belies his pragmatic willingness to work with others. Just because he is annoyed by the antics of friends like mic and Skirakumo, just because he bristles at Midnight trying to rope him into teaching at UA throughout most of Vigilantes, and just because he is overly serious when dealing with his students or with newbie heroes like Vigilantes’s protagonist the Crawler, none of that ignores that, despite everything, Aizawa, maybe more than anyone else, fulfills the collaborative spirit of Pro Hero work that other characters do not.

Aizawa’s strengths as a teacher center around his understanding that people have to work together. That detail fails when remembering he is still the one who is not properly reprimanding Bakugo to stop being a bullying, violent dick to Izuku. (Seriously, this episode is yet another moment of him being awful: how many times in the anime alone has he kicked the shit out of Izuku for no reason, as if any reason would justify it?) But otherwise, Aizawa understands how to work with others, and that has set him apart for so long from other prominent Pro Heroes. All Might doesn’t really collaborate–he’s been trying to hold up the peace of the world on his own. Endeavor may run an agency with sidekicks that enhance his abilities, but as seen in the Endeavor Agency Arc he would rather rush ahead to save the day on his own, in this pathetic desire to catch up to All Might. Aizawa, though, knows his limitations and is willing to work with anyone else to help him achieve his goals, something we have seen him learn to embrace more and more, whether hanging back to be the face in front of the camera to distract the League while the other Heroes rescue Bakugo, or when he accepted Izuku joining on the Shie Hassaikai mission. And you can pick up on all of this from just reading the main manga–so why bother reading Vigilantes if all it’s going to tell you is,”Aizawa’s friend died and that’s why he’s sad”? Even little details get lost in the shuffle: while I should appreciate Aizawa bringing up the cat Oboro rescued, that’s such a big part of the Vigilantes plot that it feels like a nod to the story rather than getting fully into it. (Trivia: That cat, Sushi, is adopted by Midnight. Enjoy feeling awful that Sushi may have passed away by now or is going to be without an owner when Midnight dies.)

I had thought I could put that frustration with that Vigilantes arc behind me. Then the main manga revealed Shirakumo’s corpse was used to create Kurogiri–and I rage quitted. Okay, that’s exaggerating: I didn’t stop reading the manga, but I did take a long pause in keeping up on it, seeing as the next arc got to be so bloody and depressing that, on top of enough real-world concerns, that wasn’t the kind of escapist reading I was looking for. I needed some time to sit back and process how annoying this revelation was. That means, for all of Vigilantes, this detail, that Kurogiri was Shirakumo all along, was just waiting to be revealed. To again repeat the SpongeBob meme I used last week, this series used me for plot contrivances.

(Vigilantes also seems like one long troll. After the main manga shows the Hood Nomu used to be an underground fighter, he gets a backstory in Vigilantes. And Vigilantes give you the last bit of Midnight you’re going to get before she’s killed off–which, now that I think about it, makes her exclusion from this episode even worse: she was friends with Shirakumo, too, so bring her into this episode before we fridge her!)

It doesn’t help how ignorant I feel for not realizing this sooner: Skirakumo’s name and abilities are the white-and-black opposite of Kurogiri’s. The cover to a collected volume of Vigilantes made that all the clearer. But if that’s the case, why wasn’t this hinted at when Aizawa and Kurogiri first encountered each other way back in the USJ Arc? I know it’s a lot to expect the audience to track throughout the series, and I appreciate the story trying to explain that away by Aizawa asking the same question I have, before someone tells him that maybe Kurogiri’s reprogramming made Oboro’s personality disappear. But Horikoshi’s creation of Shirakumo seems more like a late addition rather than something always there since the earliest chapters. And that’s fine–it’s just disappointing compared to other comics creators like Oda who sets stuff up years in advance before payoff in One Piece. And it’s more disappointing it didn’t come up in the anime adaptation: I would have hoped, if Horikoshi had that idea so early, he would have told BONES so they could throw in a hint early in that fight. I don’t know, maybe Aizawa has a flashback to the last words Shirakumo told him and that motivates him to use his Quirk one last time to save Tsuyu and Izuku, or maybe Kurogiri pauses before Aizawa just long enough that you think that’s a weird choice, then upon rewatch now you realize, “Oh, shit, Kurogiri was remembering his classmate and trying to process that information!”

It doesn’t help that the Shirakumo story doesn’t feel like something Studio BONES should handle. Granted, that story is from Vigilantes, not the main manga, so I anticipated BONES would not adapt it here–even as I held out hope for an OVA or, as I hinted earlier, something akin to Bungo Stray Dogs: start the season with this three- to four-episode adaptation of Aizawa’s back story to introduce this season. I’ll say more about why placing that story at the beginning of the season in a moment, but there was another reason why I didn’t think this was a Studio BONES story: it always felt like a story suited for Trigger, the studio behind Kill La Kill, Little Witch Academia, and more, built by people from Gainax of Evangelion and Gurren Lagann fame.

The Shirakumo arc in the Vigilantes manga felt like a visual love letter by Shueisha to Trigger saying, “Please adapt this!” Betten Court’s illustrations for Vigilantes emphasize diagonals, even when adapting MHA characters originally designed by Horikoshi, as well as facial expressions with sharp lines rather than curves, all visually reminiscent of some Trigger and even Gainax anime. Characters’ facial expressions look more like Panty and Stocking than Studio BONES. Aizawa’s final fight in the arc is against a stories-tall behemoth with laser powers that, if not visually, then narratively invokes similar fights in Gurren Lagann, Gridman, and Evangelion. Speaking of Gurren Lagann, in this arc Midnight is sporting Kamina’s shades, and Skirakumo’s last words to Aizawa come through an intercom, after he supposedly died, similar to Kamina’s death. Also, Midnight is running around in a nudist beach outfit from Kill La Kill–so, yeah, the Trigger allusions are that in your face, in all senses of that phrase. Again, I’m not saying I personally would like Trigger to adapt MHA: it’d be different, they are not the first studio I would go with or one whose output I would like, given a lot I don’t like about their output, but when you look at the manga-based evidence, going in that direction makes sense.

I don’t know what plans Shueisha, Toho, and BONES had for this episode, but the style of it already feels so different and off-kilter anyway, due to Aizawa’s nostalgia, that I can’t help but think that someone at some point did have an idea to go with a different studio to animate it, or at least a different approach. I appreciate how much they changed Chapter 254’s opening, re-staging Oboro’s agency talk to be outdoors instead of a walk-and-talk scene as in the manga. Even if I can’t quite say the street walking and outdoor sitting under a bright sky is indicative of Trigger exactly–if anything, the fixation on centering the scenes Wes Anderson-style (the hallway walking in Tartarus, Aizawa and Mic and Oboro hanging out under the blue sky) looks more like something out of Shaft or BONES’s Bungo Stray Dogs–that difference tells me there was something more ambitious in mind than what we ultimately got. It’s the same when we get Kurogiri’s point of view as Aizawa and Present Mic get through to Oboro.

Imagine how gutsy it would be to start Season 5 with an entire Oboro flashback arc. Imagine moving forward in time to this moment of Aizawa and Present Mic interviewing Kurogiri, disorienting the audience asking why we’re skipping the Classes 1A and 1B fights, the League of Villains vs the Meta Liberation Army Arc, and the Endeavor Agency Arc, to show this moment that was supposed to come later. Imagine how gutsy it would be to start with Aizawa and Present Mic learning all of this at Tartarus, setting up the finale for this season, the Pro Heroes versus the Paranormal Liberation Front–then not actually showing that fight start until next season. Why do all of that? Because, if you’re going to delay the LOV vs MLA Arc for that long, you might as well start your season assuring the audience that, no, we have not forgotten the Villains, they will be relevant this season–because, since Aizawa and Present Mic’s high school years, they have been the Big Bads all along and were toying with these two for so long. Imagine how gutsy all of that would be.

Instead, all of that is reduced to just one episode. It’s all so cliche. Aizawa points out, towards the beginning, that this power of friendship trope won’t work–then it does work, negating the entire point of calling it cliche. (Well, it does work, for now: given often we’re told rather than shown how All For One is a chessmaster, it wouldn’t surprise me if he let Kurogiri spill the beans like this knowing it would help him break out of prison later when the Pro Heroes foolishly take on the PLF all at once with little back up plan.) If we had had the full story of Oboro, like did readers of Vigilantes, the slow revelation that Nomus are hardly puppets but, more than that, are reanimated Frankenstein’s monsters capable of agency and personalities, would make this hurt more. We would have seen Oboro, we would have been as horrified as Aizawa and Mic are to learn he was resurrected–but, instead, it is already upon our first meeting with Oboro that suddenly we learn he is also Kurogiri, and it’s just too fast.

How disappointing, but sadly realistic.

It feels like BONES has made a lot of safe choices this season, and while that helps sustain the studio during the unpredictable times of COVID and does what works already for MHA, it doesn’t feel very adventurous. It makes me wonder whether BONES should have put in that time improving Season 5 than trying to make another MHA film. I have not seen World Heroes’ Mission, and while I’ll reserve my review of it until I see it, and will limit as many spoilers as I can, based on just the plot summary I have read, I fail to see how putting in the budget on that film makes sense in terms of narratives, even as I understand how it makes sense in terms of increasing an audience and getting box office sales (in a pre-COVID model, of course).

But speaking of COVID, yeah, I do see why World Heroes’ Mission is necessary right now: it is a globe-trekking film, from what I read it includes beautiful scenery as characters travel vast distances–it is a film needed right now when many of us are still social distancing and still staying at home in the hope that our contributions limit the spread of this deadly virus. (Get vaccinated, mask up, stay at home when possible, and stop being a jerk, people.) Still, I can’t say I’m not disappointed that, with a season whose animation has depended a lot on flashbacks, even if that makes sense given how much ground to cover and how far along the story has come over more than 100 episodes, it is disappointing to not get something more stylistically out-there.

I’m also not saying it’s realistic that Trigger would ever animate this arc. I don’t even necessarily want them to: I find most of their productions to be so light on story while heavy on themes, message, and the animation that, while I appreciate people getting into how visually stunning the artwork is, I find the story so empty that I just can’t get into it. And I’m not expecting Shueisha, Toho, or Studio BONES to cut some kind of deal with Trigger to give them the rights to adapt part or all of Vigilantes: Trigger is animating Star Wars stuff next, that’s a wider market than My Hero Academia (regardless how many Star Wars references Horikoshi puts into his series).

I know I’m being very critical of the production choices behind the episode. Granted, the recap to the last episode was needless–and seems like it’s just there to remind us that we’re somehow supposed to see Aizawa, Mic, and Oboro as analogous to Izuku, Bakugo, and Todoroki–which does not work at all. And somehow BONES made the unfunny All Might part from the manga even longer and even less funny: we already got comedic relief off Iida to accent how much a contrast there is to the Aizawa stuff, and that has a more personal connection as he is Aizawa’s student, while All Might’s Dad Joke is as painful a pun as it looked to be for the students.

Otherwise, I thought the episode was good, just not meeting expectations I set that are not fair. Present Mic’s extended pause, then the long pause before Aizawa has to hold back from crying, when realizing Kurogiri’s concern for Shigaraki means he is indeed Oboro, is more powerful than it was in the manga. Aizawa letting loose the tears at the end while claiming he has dry eyes is very much Roy Mustang complaining about the rain. I do think the ambition for the storyboarding hints at something bigger they had planned, and largely the animation and tension, especially trying to reach Oboro, did work. Wrapping up this episode showing that Kurogiri was just the start of an experiment that would lead to Shigaraki’s transformation only creates a more foreboding tone.

Furthermore, the voice direction and acting in the English dub was very good. Ever since David Trosko replaced Sonny Strait as Present Mic, he has upheld all that works in the character, and while I feared that kind of loud acting would disrupt any pathos for this episode, it worked incredibly well, putting up so much bluster that shows how powerless he feels facing this madness and how this is as heartwrenching for him as it is for Aizawa. I especially appreciate, in the English dub, how much Oboro sounds like Izuku: while the series has never made Aizawa see a bit of Oboro in Izuku, that casting lends a new way of interpreting why Aizawa sticks with that masochist after everything he lost when Oboro died.

(You know that if things had worked out differently, Vic Mignogna would’ve ended up cast as Oboro, given his roles already as the dead friend of the hard-ass teacher in Naruto, and the presumed dead Sabo in One Piece, and his dynamic acting against Kurogiri’s Chuck Huber in other productions).

So that takes care of all the stuff about Aizawa: what about his students? I don’t just mean the class he failed–which, no, that detail doesn’t really work for me, that Aizawa failed a class as we were told upon his initial introduction, and now we reveal it was an empty threat since, while that is on their record, it was to reset matters with his class, not so they would take him seriously but so that they would value their lives. That’s not how that works. I don’t pretend that students, myself included, took our education so seriously that a failing grade or a career setup felt awful–but not the same kind of life-threatening that is literally dying. A poor mark on your report card does not typically result in that kind of same mortal fear, and I hate this story for trying to compare the two, especially when it positions teachers like us to have a fatal power we don’t have: we’re not the Grim Reaper, this isn’t Soul Eater, this is real freaking life. I can’t imagine any good teacher wanting that kind of power to think they are the difference between life and death. We don’t want our students to think these are mortal matters–especially right now, in this context, where I don’t think it’s at all appropriate to re-start in-person teaching and learning (without masks and without social distancing or remote learning opportunities) at a time when not enough of us are vaccinated and the threat of COVID remains too dangerous even when vaccinated. This takes me out of the story. Granted, it’s not the rest of this story is somehow like real life: this is a school where Nezu somehow has a ton of money, so applying real-world matters to a work of fiction is foolish. The only bar this story needs to clear is believability, and it’s not unbelievable that Nezu made that money and overlooked Aizawa’s behavior.

(It’s also why I wish Midnight was in this episode: she recruited Aizawa to UA as a teacher–it would be fascinating to hear her say she chose him for these reasons, that she knew the school needed a hard-ass like him.)

But like I said, I don’t just mean the class he failed: I mean his current students. Re-reading Chapter 253, I now understand why Iida doesn’t pop up in the third film: if he had his new desire to loosen up, then it would make a lot less sense seeing as he just came off a mission to save the world like Ochaco and his classmates did.

And that again leads to a paragraph of me repeating that I don’t give Ochaco enough attention. I promise, I will say more about where her character stands in this series at some point, if not when talking about Chapter 324 tomorrow. But even as this story keeps insisting she is important, it feels like it’s hanging her up like that All Might toy from Izuku. I appreciate putting in the budget to animate her dive-and-hide on Izuku’s gift, something not as obvious or visually impressive in the manga–but we couldn’t have put that budget into doing something more creative with the Aizawa story? Building her characterization around Izuku, at this point in the anime, remains frustrating–until the manga gives that a good payoff and seems to be sticking the landing on it. That’s one of the challenges of reviewing the manga as it goes on, and why reviewing the anime is in some ways easier: I can see where the pieces fit in and what is being set up. It doesn’t change that it’s annoying right now in this moment, but it fits in the overall scheme of her and Izuku’s story. But When it comes to how Toga is going to tie into this, I’m less convinced, but we’ll get to that in the next few episodes and in tomorrow’s manga review.

Oh, and Bakugo remains the worst. I’m so grateful he is tolerable in the manga right now, because the fact that he was getting away with this nonsense up to Chapter 253 is an indictment against teachers like Aizawa and All Might.

I apologize for how much this post seemed like a long college lecture (a college instructor leturing–shocking), or a Rachel Maddow monologue–only far less repetitive than Maddow’s condescending “I’m going to repeat the same point five times and treat you like you haven’t been paying attention”–and far less financially profitable. This is basically a joke I told a friend after posting last week’s review:

“Show me you’re an academic without telling me you’re an academic.”

“I wrote nine pages reviewing an episode without actually reviewing the episode."

[shekissesturians]

Animes Watched Since Quarentine Started ~

So I just sat down and realized... I have developed a problem X’D  BUT it could be worse! So I figured I would share for those looking for something new to watch! Also, what have y’all been watching!?

Full list below the line + reviews! * No spoilers, I promise! I wouldn’t do you dirty like that! *  ;-*

1. Kakegurui 

This show took me by surprise, I had no idea gambling could be so thrilling! Plus let us take a moment to appreciate the facial expressions animated in this show! Beautiful, just beautiful. Beware though, this anime gets dark, and sick, and you will definitely forget to breath at times. It is a thorough joy.

2. Steins;Gate

3. Steins;Gate 0

Honestly, Steins;Gate + Stains; Gate 0 is one of the best animes I have EVER seen. Legit. Also, It is one of the best stories of time travel I have ever encountered. The way it is explained in the anime is brilliant! Compelling, thrilling, emotional, so much amazingness. I watched in chronological order instead of season order which I really enjoyed. Also one of the most moving anime endings I have seen. All the characters you will fall in love with, and their character development is one heck of a ride. A must watch, 100%.

4. Fullmetal Alchemist

This was a nostalgia back flash for me! It was been years and I felt like reliving it all over again. Which I am glad I did, cus boy was there a lot of heavy themes and topics I did not pick up on when I was younger! One of the biggest themes was this existential undertone throughout the whole show that explored the ideas of humanity, authority, morality and race.

5. Fullmetal Alchemist Conqueror of Shamballa

A must follow up to the original FMA series. It just ties the whole story up in a pretty bow. I remember when I first saw this movie, it was my first encounter this the idea of multiple dimensions and it just blew my mind. The whole this felt so exciting and surreal, and I loved the addition of our timeline playing a part. Watching FMA + Movie over again leaves me a bit torn on which is better, Brotherhood or first adaptation. I think both should be watched for a full understanding of the lore. The first anime series definitely has some holes and details missing, but it’s also so nostalgic and they really give you a better development of characters and feels than Brotherhood does, as they rush through that to get back to the main plot.... so grab some popcorn and watch both and just enjoy the ride :)

6. Angels of Death

This anime has such a unique premise!! And morally it is just all sorts of twisted, which I love! The music is fantastic in it and all the characters you encounter are very unique and fun... it’s dark though, don’t get me wrong.. and twisted. BUT a fun ride if you are down for that kind of adventure!

7. Another

WHOOOO BUDDY! If you want to go on a journey THIS IS ONE! It’s a mind bending premise and each episode ends in so much suspense. I literally could’ve watched the whole thing in one day. This anime is like a jar of Pringles, once you start you just can’t stop!

8. Death Parade 

This anime gets the prize for the most misleading opening ever! X’D But it is such a BOP Please watch if you can. The anime overall is a joy, its very thought provoking and touches on the darker topics of death and mortality. Who is really good? Who is evil? Where do they seamlessly blend into each other? Besides the premise being so unique and tantalizing, the artwork is breathtaking! The background and environments the characters exist in are gorgeous. As an artist and a writer, I appreciate this anime on so many levels.

9. Sekkou Boys

Oh god, this anime is a joy. Just pure, clean joy T.T The episode are VERY short so you could finish the whole thing in an evening. But if you are an artist, a Renaissance history lover, or a J-pop fan, you will especially appreciate this joy of a creation. Watch it for your soul, you will feel better afterwards.

10. Kokoro Connect

This is a very intriguing coming of age story to say the least. There is an element of fantasy/science fiction that comes into the picture that stirs all sorts of trouble for our dear group of friends. It makes you really reflect your own intra- and interpersonal relationships and how we perceive and interact with one another. Overall a fun trip to go on.

11. Occultic; Nine

HOLD ONTO YOUR HORSES CUS THIS ANIME IS FAST! Omgsh, if you watch in Japanese like I did, get ready to have tired eyes cus the pace and speech of this anime is like nothing I have encountered before, but it is soooo much fun! It is mystery combined with the supernatural. It’s one of those animes where there is a lot of characters involved and some how everyone is connected in some way, like Baccano! if you have seen it. I would say to watch this AFTER you watch Steins;Gate if you have any interests because it is written by the same writers and there is little things that reference back to Steins;Gate which are really fun to pick up on.

12. School-Live!

I didn’t know what to expect when I started this series. It is not the kind of art style I am normally drawn towards but I am soo glad I watched. The characters are all really fun and cute! Especially the puppy!! <3 You deal with psychological stress as well as a nice mix of slice of life all in the midst of a zombie apocalypse! It’s a combination I never knew I wanted in my life, but now I am glad I have it. Don’t let the cute animation style fool you... it gets DARK. I was full out trying not to sob at one point, but I think that just shows how many levels are involved in this story. Have fun with this ride my friends <3

13. My Hero Academia

GUYS ARE YOU FREAKING READY!? This was the story I never knew I needed in my life, but now I don’t know how I lived without it. Dear god, I binged this one so hard I think I forgot to breath for a week. All of the characters are so dynamic and the overall tone of the series is so uplifting and positive. If you are in a depressive slump just turn this one on. I promise you, you will be smiling and feeling better in no time! It is so motivational as well. Humor, action, suspense, thrilling, emotional- I don’t think there is anything they don’t touch on. Uhg gosh, I could prob write a dissertation on all the themes and undertones expressed in this work. I promise you, this is a journey you will not regret taking <3

14. My Hero Academia: Two Heroes

I’ll be honest, I think sometimes series’ movies miss the mark, or just feel lackluster, like a power hour of filler. This one my friends.... DID NOT. I was really glad I watched it too, because I felt as though it added so much to the main story line. Plus you get to see college years All Might... so bonus! X3 But seriously, it is a very fun movie and it gives you more background to the world you wouldn’t otherwise get.

15. Shiki

First off... THE ART. This anime’s art is so unique and fits so well into the overall narrative. But honestly, I feel like this anime is a work of art, it feels like an old folk tale/dark fairy tale you would elders talking about in a pub late at night. The narrative never went where I expected it to, and by the end I was so morally conflicted I didn’t know what to do with myself. It’s a dark fantasy that really explores all the little nitty gritty grey areas that are often passed over in stories. There were definitely a few scenes that made me so uncomfortable I was squirming. Human nature is truly a sight to behold, and this anime shows it to you.

16. Kabaneri of the Iron Fortress

The Feudal Japan- Post apocalyptic- Steam punk journey you never knew existed! Gosh this anime is amazing. First off the art is breathtaking and many scenes reminded me of Miyazaki. Second, the music is SO GOOD. It’s a concept on the undead that I find to be very unique and truly thrilling. Most of the anime takes place on a train which is such an intriguing element. You also go into human fear of the unknown and how our nature can truly be our biggest hindrance. The characters are great and you get to the point of really rooting for them. Get ready for this feast for your senses!

17. Kabaneri of the Iron Fortress Movie: Battle of Unato

After watching the series I felt like my heart was still missing something. Honestly the whole thing felt like it went by too fast. I still wanted more! This movie helped fill the void in my heart. You get to see relationship begin to form between characters as well as more insight into kabane and all their abilities. Standing alone, this movie is a really fun adventure and gives more insight into the state Japan is in overall.

So THERE YOU HAVE IT! I hope you might have found some new things to watch. I would love to see others lists of things they have watched, feel free to leave in the comments! Or if you have watched any of these, I would love to hear your thoughts! Let’s chat <3

[askkrenko]

Krenko’s Guide to Pokemon: Geodude Line

DESIGN:  Geodude is a rock with arms. And yet somehow it’s really cool about it. The fact that they’re really realistic arms and not just goofy arms really helps it, because it means that the purpose of this rock is to punch you in the face. And he looks like he’s ready to punch you in the face, too. Alolan Geodude looks mostly the same, but with big bushy eyebrows and spikey hair made of what I can only assume is some sort of highly magnetic metal.  Probably the Iron Ore “Magnetite.”  Also, Alolan Geodude doesn’t have fingers which I guess is just to conserve detail and make them look a bit different. It works. 

Graveler is mostly great but kind of confuses me. I like how it’s rounder and clearly designed for rolling at things, like something you’d want to push down a mountain or throw out of a catapult. I also appreciate the little stubby legs for better motion. What I don’t get is the two extra arms. They just sit there, hugging itself. I suppose they could be useful in helping it climb, but Geodude doesn’t seem to need them and, more confusingly, Golem doesn’t have them.  I do generally appreciate Graveler’s design as bigger badder Geodude. The second arms just confuse me.

Alolan Graveler changes in much the same way. It gets more Magnetite pieces, and sort of a moustache to go with its bushy eyebrows, but also picks up chunks of Amber, which I literally just learned can acquire and hold electric charges.

Golem never struck me as the final form of Geodude, and the fact that the three Pokemon aren’t near each other on the internal list tells me it wasn’t really planned. In fact, Golem and Graveler both appear in the stage of design before Evolution existed, suggesting they were entirely different monsters, with Geodude, created very late along with Nidorino and Nidorina, built as a way to flesh it out into a three-stage line.  Golem itself seems to be some sort of rock turtle, and really doesn’t feel like a Golem in the traditional sense. In fact, it’s Japanese name isn’t just Golem, but a mix of the words Golem and Stone, aiming for the idea that it’s a Rock Golem rather than a Clay golem. 

But name and origin aside, Golem’s pretty cool. It’s a big rock with just enough body parts to look like it can fight, but not so many that you’d think you can attack it without just punching stone.  And I love the way the rocks on it look like armored plates. Come to think of it, I’m starting to get Black Tortoise vibes here.  Maybe he needs to form a party with Moltres, Gyarados, and... uhh...   Pokemon needs a Wind Tiger. 

Alolan Golem gets a similar treatment to Geodude and Graveler, but winds up looking very, very Eastern European. Big bushy beared and moustache, huge aggressive eyebrows, the way the magnetite on top looks like a little hat from the right angle... Oh also it’s got a rail gun built into it now for shooting rocks at high speed, and its arms are really withered and tiny.   Frankly, I think this thing just looks ridiculous. I can’t take Alolan Golem seriously at all. For a fully evolved Pokemon, I’m not sure that’s a good thing.

EVOLUTIONS:  Geodude evolves into Graveler at 25 no matter where he is, and Graveler to Golem is a Trade Evolution. Pretty standard, not much to say here I haven’t already said. TYPING:  Kantonian Golem is a Rock/Ground type, which is not actually that good defensively. Five resistances and an immunity is decent, but it’s also got six weaknesses, two of which are double weaknesses.  On the other hand, it gets STAB super effective against eight types, and no single type resists both Ground and Rock type attacks.  Alolan Golem is the unique Rock/Electric which only has four weaknesses (though one is a 4x weakness to ground), and has five resistances.  Unfortunately, its attacks are only supereffective against five types, and Ground resists both of its STAB options.

STATS: Both Golem forms have identical stats: Average HP, Great Attack, Great Defense, Poor Defense, and just abysmal speed.  This means Golem can be a very good physical tank, but has to constantly be wary of getting ruined by a special attack. There’s a lot of attacks it can safely switch in to, and its got enough Attack that switching into it is usually going to be risky. Still, with no speed, any time Golem does get a kill it’s going to get revenge killed immediately if you don’t switch it out. ABILITIES: Both Golem forms can get Sturdy, which is honestly quite useful for inhibiting the Revenge kill, catching a Sweeper, or otherwise just surviving when you shouldn’t be able to. Obviously plenty of things can break it, like Hail, Burn or just not being taken out in one shot, but it comes up often enough.  Many Golem players like to combine Sturdy with a Custap berry,  allowing it to go first the turn it should be dead. Kantonian Golem’s other abilities are Sand Veil and Rock Head. Sand Veil is fine, but requires a dedicated Sandstorm team. A Sandstorm does patch Golem’s poor special defense, but it’s still a specific niche strategy. Rock Head prevents recoil damage from Golem’s attacks, but unless Gen 8 gives Golem access to Head Smash, it has no way to leverage this. Its only Recoil move is Double Edge, which isn’t STAB and thus isn’t as strong as just using a Rock or Ground move.

Alolan Golem’s secondary options are a bit more interesting. Magnet Pull prevents Steel types from switching out. This can provide a lot of tactical power, but Alolan Golem has to go off-STAB to get a supereffective move for Steel types (though Earthquake is great), doesn’t resist Steel type attacks, and  Aegislash, one of the best steel types, is immune to Magnet Pull because Ghosts are immune to being Trapped. Alolan Golem’s other ability, Galvanize, turns all its Normal moves to Electric moves and increases their base damage by 20%.  This is potentially very useful as Alolan Golem’s Normal type moves are just outright stronger than its Electric type moves.  Wild Charge has a base power of 90. Double-Edge has a base power of 120.  Return, though missing in Gen 8, has a potential base power of 102, without recoil.  And then there’s explosion. A Galvanized Explosion by Alolan Golem is one of the most powerful moves in the game, if not the most powerful. MOVES: Golem learns Earthquake. On its own. You don’t even need a TM.  Alolan Golem doesn’t have STAB with it, and does need a TM, but Earthquake is Earthquake and Alolan Golem might still want it, especially if it’s using Magnet Pull. For rock moves, Stone Edge is the obvious STAB move for both forms. Alolan Golem’s electric options are not great. It’s a physical attacker with 120 Attack and only 55 special, but its best electric attacks are all special attacks.  A Magnet Pull Alolan Golem is going to have Wild Charge as its best electric option, easily.  A Sturdy Alolan Golem, though, can’t afford the recoil without shutting off its own ability, and has to rely on Spark. Thunder Punch technically does more damage, but Spark’s higher paralysis chance is generally going to make it better.  Galvanize unlocks options, with the major one being Double Edge at base 120 power. Coverage isn’t really something either needs to think about- nothing Kantonian Golem can learn doubles to being better than a STAB Earthquake or Stone Edge, and nothing Alolan Golem can learn is super effective against Ground types.

What they can both learn, though, is Stealth Rock, getting a bit of damage in ahead of whatever’s coming in next. AND THEN YOU EXPLODE!

With Golem’s high attack stat, Explosion is going to do serious damage to anything that isn’t immune.... and with Alolan Golem’s Galvanize, a STAB +20% Electric Explosion is entirely capable of killing even things resistant to electric attacks.  And consider this line of play: With Sturdy and a Custap Berry, they attack with Surf, one-shot the Golem, but it stays at 1 HP... and the berry means it goes first. So you explode and kill the enemy at once despite being slower nearly dead.  And then whatever they switch into gets hit by Stealth Rock.

Look, Golem’s not a sweeper, and it’s not the best tank, but if it can take something down with it and set up a bit of extra damage with Stone Edge, or set up a Sandstorm or Sunny Day for the rest of your team, it’s doing its just just fine. OVERALL:  Golem is entirely fine. It really suffers from x4 weaknesses and low speed,  but its stats are overall decent.  Its abilities in both forms are all pretty mediocre, and it’s not really working toward some overarching strategy, but it’s numbers are decent and it can reliably kill things by Exploding.  And its ability to Explode is actually pretty impressive. It’s the strongest base power of any attack, and Alolan Golem’s one of only three Pokemon that can get STAB to it, the other two  having significantly lower Attack stats. I’m never going to call Golem one of my favorites or rant about its usefulness, but it’s got things it can do better than others, and it’s got ways to fit into teams. Turn one: Sunny Day. Turn two: Explosion. There, you’ve made a valuable contribution. It does really need and deserve Head Smash, though.  Getting Rock Head and then only learning one move with Recoil that isn’t even STAB is just a waste of everyone’s time.  Or consider this: Give Rock Head to Alolan Golem instead of Sturdy, then let it use Wild Charge AND Head Smash with impunity. 

[necroalx]

My problem with P5R new ending (spoilers)

I’ve been asked in my curiouscat about why I have problems with P5R ending a bunch of times by now, and honestly, I can't really put it in a way that wouldn't sound personal since my dislike over the matter comes from a personal appreciation of how the themes were handled in both versions.

With that being said feel free to ignore my POV:

First I would like to mention the things I loved about P5R (with spoilers ahead):

-The gameplay improvements were just perfect.

-Akechi's character arc was top notch for me, exactly what I wanted from him and I feel very satisfied with his new interactions.

-Sumire characterization during the first 8 ranks of her confidant were pretty cool.

-The individualization of the thieves until December, I loved the showtime attacks If anything I would have wanted they added more of those between more of the thieves too.

-Maruki is an incredibly well written character and Daiki Itoh's direction for relatable antagonists shines through him, he was really what P5 needed, the timing of the new semester events may be debatable for me, but I loved everything about him.

-Also loved Jose even we didn't get that much of him.

-The final boss fight was amazing!

Anyway My problem with the P5R ending is (Also, obvious spoilers for P5 and P5R):

-Retroactively diminishes the meaning of the original ending:

P5 vanilla original ending was in a way, the ultimate message about changing the world in the most healthy way possible, seeing it as the way it should be FIRST.

There were theories about this being an altered reality, and this is proven right by the events of the last semester in P5R.Also, with the mere existence of the events of P5R new content, the original ending becomes now an inconclusive story. Which makes it ultimately a lessened ending, because "this isn't the way the story should end".

-The theme of rebellion against an unjust society gets pointlessly messy and lost in transition:

Yes, I get the subject of facing reality is a way more important topic and way more down to earth, the thieves disbanding the way they did and going their own separate ways is indeed thematically fitting and shows some growth coming from their experiences in the new semester. Still, the game being written by a different person, plus having a scenery of "kids dreaming about their perfect world given to them by a overprotective father figure" seems to in a way tarnish and overwrite their experiences gained through the whole story.

I understand this is not the message meant to be conveyed by this new ending. I know and for sure love that in Royal the thieves don't exist just for Joker's sake was their whole characters aren't defined just by his actions anymore. BUT with those things mentioned above, all these change feels like a "correction" made to express how "japanese societal expectations were ultimately right all along things are not always like how we want and you have to deal with that" instead of the original ending's more positive outlook towards the future, that's now seen as a naive handled view of how things should be, and ultimately as I mentioned before, inconclusive.

Things are clear in that regard for me, (In the original, without Maruki's existence in the plot, the thieves were granted a world were they could do "whatever they wanted", between the limits of their own cognitive knowledge of how the world worked, after defeating Yaldabaoth and getting the holy grail treasure to basically "grant them that wish" as a reward after the fusion between mementos and the real world is finished. In P5R new ending, the change is made evident by having Morgana not steal the plug from the man in black chasing the thieves Van and the thieves not taking Joker home in the new ending to give the "more realistic" approach to that matter.)

This conclusion couldn't exist until P5R came out. Since now the entirety of the new Semester concept lies on the basis that the Phantom Thieves subconsciously granted Maruki his power and caused the whole "actualization event" through wishing someone could make those ideal realities for them, with Maruki being the only one capable of seeing the world the way they would've wanted to be because of their interactions with him. I actually give them credit for this since this is a brilliant detail and makes his tragic antagonistic role even more appealing.

But that leads me to my real and biggest problem with P5R new ending:

-The phantom thieves becoming secondary characters after being the main characters and vehicles to the story in the original game and through the 80% of P5R's story.Now people would call Kasumi waifu bait and other things, hell, even I memed about it before, the reality is, she's the most important tool Itoh and the new writers used to built this new ending, she is the most important character (besides Maruki himself obviously) to make the player empathize with Maruki's motives and actions, she is a victim of her circumstances just like the rest and she's "rescued" by this overprotective father figure character found in Maruki, but he was taking away her freedom as a consequence, thus making her relevant to the game's theme of rebellion. But then she faces that reality and she has to grow out of it by... "insert Itoh favorite writing trope of the protagonist beating the crap out of the heroine to make her come back to her senses" (Same thing he did with Marie in golden). Which is ok I guess, it can be a forgivable writing sin since the built to this was pretty well done. But then... there's nothing.Kasumi is presented and forced into scenes and moments so the player realizes "this character is important, more important than the rest" from very early on, it goes from scene to scene while the original events of the vanilla game still happen, and she was not the only one of coruse, Joker Akechi and Kasumi having their little arcs separated from the rest of the cast was obviously building towards something. But then going against everything Joker did in the original game, (and through 80% of P5R since those events are still in the game obviously) he chose both Kasumi and Akechi (twice in his case) over his other friends. Yes, the thieves were trapped on their fake realities, yes they came to the rescue in the end FOR Joker. But at this point they were: Not fully aware of who Kasumi really was and her involvement with these developments, not aware of the alliance between Joker and Crow, not aware of the weird palace that's been there the whole time. ALL because Joker and Mona kept these things secret from the rest, why? What's the sound logic behind this? Why would Joker not trust his friends with such important information after all they went through? Why are they reduced to convenient sidekicks after they saved his life and proved themselves capable of doing the impossible when they all decided to work together? Why? It makes no sense. They all have been through so much with him, just days before they all were inside the velvet room alongside Joker, finding out about his most intimate aspect and sharing an irreplaceable moment of realization and conviction of together. Just for them to become anticlimactically trapped on their dream worlds and completely forgetting about Joker and their true bond with him. Sure they come back to their senses AFTER Joker triggers their true memories with some words, but this SHOULDN'T have happened after all they went through after their fight with Yaldabaoth. Call it bad timing in the writing sense, but it was a testament of how separated they become from their original role in the new story, all for the sake of these new additions. And still, we can ignore that, I can see over that and say "well it's the ultimate tentation they were never tested through", but here's were the problem lies, besides the fact of Joker never telling his friends about the things I mentioned before, he is now a fully self insert character, when 80% of the original story (which is just the vanilla game honestly) he was written as Joker being his own entity, with his own sense of justice very clearly defined and a focus towards his friends as his most precious part of his life. This is suddenly thrown to the garbage in the new semester.

Why? Because now the player has to make a choice that the original Joker wouldn't make in the original, chose Akechi over the other phantom thieves. It honestly feels like a huge regression.Don't get me wrong, I appreciate Akechi's new confidant and his amazing dynamic with Joker being exploited the best way possible. I do, I am a fan of Akechi's character archetype and his characterization in both vanilla and his new scenes in royal. I am a sucker for antagonistic villainous characters getting a proper redemption arc in convincing ways. But the price was too high for my liking.

By the price I mean; You literally CAN'T get the new TRUE (complete) ending without choosing to keep your promise with Akechi, which means, you can't see the full extent of the story conclusion, Maruki's and Kasumi's arcs won't get any closure and you will only get a now "diminished" ending (the vanilla original ending), if you don't chose to keep your promise with Akechi. A "personal" promise and one you never told your friends about. The worst part of this decision is, the whole reason Joker and Akechi's dynamic works so well is because they were originally written as pretty oposite characters with their own unique distinguished quirks morals AND sense of justice. But then, suddenly, at the climax of the story, Joker is just a self insert blank state? That just does not work.

As for Sumire, once she's brought back and awakens again, her character arc ends, she becomes just another sidekick like the rest of the thieves, which makes all the built her character was used for... what? It's not really pointless, since it brings the story to this point, but what's left for her? What's her role now? She goes back to being Kasumi in the metaverse and the optional aspect of her confidant makes this transition to her going back to being Sumire feel kind of ambiguous and also inconclusive. Yes I know she is honoring the memory of her sister and that she has accepted her reality, that's true, but the development comes to a sudden turn when she suddenly becomes just another one in the crew behind Goro and Joker. All the phantom thieves had their roles cleared out beforehand soon after their insertion arcs were finished, Ann was the conscience of the team, always asking "are we doing the right thing?" Yusuke was the same, always second guessing every choice with a worst case scenario since as he said in his awakening "in order to see true authenticity, one has to be dispassionately realistic", Ryuji was always the one going for it and wanting things getting done he's the focus, Makoto is the advisor, so she became the clear headed tactician, Futaba was the tool device, she became the medium to the ends always finding ways to work around towards their goals, Mona is the heart and the hope representing their wish to inspire society through their actions, Haru was the kindness, a reminder of what are they trying to inspire and a source of tolerance the thieves were missing until she joined in. Sumire was... what? This honestly bothered me, made me feel the whole journey was just a bad joke, because now not only the phantom thieves were reduced to mere sidekicks, so was the one character with most promise in the story while Goro became the player's beating husband through Joker, a testament of the choice he made of choosing the image they made the player have of Akechi, the one person Joker couldn't save, the one who's beyond saving at thins point over the friends and family he did saved. By the way, as contradictory as it may sound, I loved the twist, having Akechi's life depending on the final choice for true freedom, it was clever, it added the right heart wrenching moment right before the climax, what I didn't like was how clear it was made at this point how little the other thieves mattered. Why? Have the phantom thieves ever sent a calling card without having giving their full agreement? Especially when a new important development could come up from their actions at the last moment? Not until this point, Goro's life was on the line here, he was an ally now, he was a phantom thief member, they all agreed to this. But were they informed of this last minute development by Joker, you know, so they could all agree to what was the right thing to do like they all had swear to do every time? No, because Joker made that decision himself, because all that mattered was the player decision the self insert decision. Hell not even a cheap text group chat scene, nothing.You can say "this is a personal thing between Joker and Goro and a personal choice for Akechi". Well sure, yet they were all about to put their lives at risk for this, like they've been doing this whole time. They would've argued they deserved to know this, even if they had reached the same conclusion at the end, but with this, in a story that focuses so much on details, whatever oath the phantom thieves had before this, became meaningless. The player can once again just like with Yaldabaoth chose to ruin everyone's chance for true freedom by choosing a selfish self inserted reasoning out of the blue to get a "bad end". Honestly, I also felt the original bad end in vanilla P5 was bad but this? This was worst, this took things to another level, sure the angst was well written and the suffering masked behind this fake happiness was very clever, but its also so cheapened because at this point, why would the player care about those other characters if you make this choice? They were sidelined so bad that their "happiness" becomes just flavor to the story and to be honest, the good decision was just as selfish because of this. I have no problems with the final boss fight, it was honestly amazing and almost made me forget all that happened before when I first played it because it was just so over the top and emotional, I honestly loved it. But then comes the final cut-scenes. Skip Joker going back to prison (why even bother with that though? He literally went just for 10 days and every value of the sacrifice he made in the original was now lost because of the new semester events), skip the the decisions the thieves made about their futures, their display of individuality was great but they don't matter at this point anyway. And here's the final insult, yes I am salty because the "main party" didn't take Joker home, but not because they didn't go through the action of taking him home, but because they weren't really doing anything relevant if anything at all after being the main characters the whole game (except for the new semester) No closure for them just quirkiness and flavor for the sake of a "reality" based message, felt cheap and dismissive, like someone not wanting to go through the trouble of writing something for characters they didn't create or even like. Why did I called the P5R ending lazy you ask? Because they didn't bother making an ending at all, but just to rewrite the original in a way the message of "reality" is settled over, sure their individuality is highlighted by not taking joker home and them being focused on their own different things on their lives, but so they were in the original, this ending and them being sent away was made at the price of the relevance of the thieves bonds with Joker once again, I would've been ok if we at least got to see more of THEM as individuals through the ending or even just as a group, hell this was the final time we'll see them and they were our most precious allies, maybe give us some time with them for the sake of the experiences we had, they did that with Golden's epilogue after all, why not here? But instead, we just see them just go around town being quirky and sneaky distracting the corrupt policemen while Joker gets his new cut-scenes goodbyes with the new characters in the game, because they deserve closure as well for sure, yet they do so over the others? In my opinion, at this point, no. But they did just that, they declared with this change that, the phantom thieves members weren't needed and their futures and story were irrelevant, it was all about Joker, Goro, Maruki and Kasumire, the rest were just sidekicks and these scenes were more important so the player can get what happens to these new favorites, all at the price of the original team relevance. That, was my problem with the new ending. Of course I'm happy to know about their futures and choices through the credits, but that's just lazy, they were more relevant than that in the original, but now they're just afterthoughts shown through credit scenes. No relevance whatsoever in their final moments in this story. It certainly hurt seeing them being this diminished after the original made me care about these characters so much.You can say to me "well, there's still the vanilla ending for you" but no, I said it before, retroactively that ending has become irrelevant and inconclusive, which means this is now how the phantom thieves are represented as, Joker's sidekicks, not a team of bandits and misfits working together as a unit like it was in the original. Again, this is my very personal take on the game new ending, feel free to disagree and call me a clown, but the original made a huge impact on me, the events of P5R ending wounded my appreciation for this story, not it's characters, not the theme, just the future they'll write for these characters from now on. That is all.

Sorry about this Essay lol, but this is the only way I could fully communicate everything It made me feel wrong about this new ending. It was not just a matter of preference for me.

[recentanimenews]

INTERVIEW: Rajorshi Basu on Creating Studio Durga and the State of Anime in India

All images via Studio Durga

  What constitutes “anime” is a topic of much debate. The general public associates the word “anime” with a particular visual style. Purists, on the other hand, believe that only animation made in Japan can be considered anime, regardless of whether the visuals are on the K-On! end of the spectrum or the Panty and Stocking with Garterbelt end of the spectrum. This is, to an extent, understandable. But can such a strict definition continue to hold weight in an era where anime is becoming increasingly global? Can a production from outside Japan that possesses all the traits we have come to associate with anime be called anime?

  The members of Studio Durga — an independent animation studio based in New Delhi, India — certainly seem to think so. They proudly claim to be India’s first anime studio. While India has worked on anime in the past — in the form of co-productions with Japan (such as Ramayana: the Legend of Prince Rama) — what sets Studio Durga apart is the fact that they work without any foreign assistance, be it from Japan or elsewhere. Their debut work Karmachakra — an 80-minute Bengali-language film, the first in a series of films — is an entirely independent film, made by a core team of only seven members for animation production. Karmachakra is pending release, but the first 20 minutes of the film have been uploaded on YouTube as a “pilot episode” — which won awards at the Independent Shorts Awards 2020: the Platinum Award for Best Animation Short, and Honorable Mentions for Best Web Series/TV Pilot and Best Original Score. Karmachakra is a supernatural mystery-drama, aimed at an older audience — something that is rare in India, where animation has long been seen as a medium for younger audiences only. The Indian anime community has reacted very favorably to Karmachakra, with many heralding it as a step forward for animation in India.

    I reached out to Studio Durga founder and CEO Rajorshi Basu, who was kind enough to answer my questions. We had a great discussion, not only about Karmachakra, but about anime and 2D animation in general. Here’s what he had to say:

(The following questions and answers are lightly edited for clarity and content.)

How did you get into anime and manga?

  Rajorshi: The first anime I recall watching was Ninja Robots on Cartoon Network — way back when I was three or four years old and didn’t really know it was called anime. There was Heidi, Girl of the Alps, also on Cartoon Network, a title from the World Masterpiece Theater collection of anime. It was my first exposure to the work of many old masters, including Hayao Miyazaki. Then they started showing anime on the Toonami programming block, with Cardcaptors and Dragon Ball and all that stuff.

  Animax was also a huge factor. I used to check out a lot of stuff on Animax before it finally went away. And then of course streaming services happened. But yeah, it was tough to get your hands on anime and manga back then. I remember that you would just chance upon secondhand manga in shops. That was procurement back in the day. But now it’s a different ballgame; one can just open up Netflix and find all kinds of different shows. Throughout the years there have been a lot of different shows that have influenced me, and all of that comes into the stuff that we are doing. I think this idea of doing an Indian anime was something I’ve had since my early teens to late teens.

So you decided pretty early on that you wanted to make an Indian anime, is that right?

  Rajorshi: Yeah, this idea has been with me for roughly half my life. It's just that I actually knew how to do it after a whole lot of experiences. Especially after visiting Japan in 2013. I went there for a pop culture research program where we were actually given access to facilities that make Japanese entertainment, including animation.

  So did you face any opposition in pursuing this path?

  Rajorshi: We faced nothing but opposition, actually. In 2017 we’d put out a trailer on YouTube and, you know, it was just a sort of demo. It's not there anymore; we took it off. This was way before we brought out the actual trailer that you see right now. It was only after we took it to the quality that we wanted that people started thinking about the possibility of, you know, Indian anime. Especially after 2019, when the two movies (Weathering With You and Dragon Ball Super: Broly) were released in India. The community started considering the possibility that Indian anime can happen. 

  I think there are two main challenges. One challenge (which we’ve kind of got past) was finding the right people for the production because hand-drawn animation is a lost art and it's very tough to find people who pursue that. It was tough finding people, which is also why we are a very small team. We somehow managed, over a number of years, to finish the movie production. 

  The other challenge (one we are facing right now) is distribution. I think that’s because India does not have a proper distributor for anime. Of course, we see some anime on Netflix, Amazon Prime Video, and Crunchyroll. Disney+ Hotstar, which actually has the biggest reach in India, don't showcase any anime. There is a solid market and demand for anime in India but there's hardly any supply, which is why we thought we’d fill that gap in the market. It depends on what kind of channels you go through when it comes to distribution. I mean, we are in talks with Netflix and Amazon Prime Video, and we want to be in talks with Crunchyroll. But it's very hard to find people, to find the correct approach or routes through which you take this product. I think that's what matters. In terms of distribution, routes matter more than the product itself because if you are talking about Netflix or Amazon Prime, they are going to look at it as an independent movie and they are also going to want to see examples of such production that has made it in the market and things like that.

  Obviously, there's a huge demand but there needs to be a distributor that recognizes the demand and what it means when something like our product (or anyone who is doing an animated film that is not for kids) gets licensed. Distribution is the final roadblock we are facing right now because when it comes to quality and production values, all of the people that we have talked to have appreciated our work. But when it comes to actually slating on an acquisition session, there's always some kind of discrepancy there. There's no one to handle animated movies when it comes to India, unless you’re talking about the kids’ market. That's a totally different topic.

  You raise an important point about 2D animation being something of a lost art. In particular, the whole Japanese anime workflow is totally different from what most people are used to doing. So, how did you learn it, and how did you find people with this skill?

  Rajorshi: So the current core team is a team of four people, including myself. I personally handle everything other than the actual drawing, because although I’ve studied design and art and all of those things, music and film production is what I have primarily been trained in and what I have experience in (the former of which I'd been recognized with a scholarship for from Berklee College of Music). Compositing — the final “look” of anime — is something that I learnt entirely on my own through observation and software/workflow research. So I know the process of anime production. There is hardly anyone who makes animation through this process in India. So I would say it is something very unique to our studio. 

  The people that I have, they were actually making the transition to college back when I hired them. They had considerable skill when it came to illustration and making animation, but it was this project that got everybody up to a certain level. The core team that I started with are still working together — basically the four of us, but we extend sometimes to 10 people. And if you’re talking about the total number of people involved in this project, it’s over 30. But finding the core team took a long time. I’d actually thought of starting a business with this around four or five years back, and since then it’s been about finding people to execute and help out in the process. 

  When it comes to hand-drawn animation, there is talent out there. There just needs to be a product that makes use of those talents. I wanted to create a forum where talented artists could join in and showcase their capabilities. It’s not that 2D animation is completely not there, it’s just that it’s not focused on by people as a career option because there are no outlets for it that are monetizable. I think that’s more of the problem. When you look at some talented students from NIDs [National Institutes of Design, India], you will find that they are very much capable of doing everything that we do. It’s just that there’s no forum or platform to create a product like this which makes use of both the anime production process as well as the hand-drawn aspect of it. 

So if you look at, say, Chinese animation studios, the way they started off was by doing subcontract work for Japanese anime studios. They slowly built up their own base, their own talent pool, and then started to make originals of their own. So, why did you decide to start off with an original rather than go through this process?

  Rajorshi: Chinese animation actually has a much richer history. They’ve been doing their own intellectual properties for longer than they’ve been outsourcing. But with India that is actually not the case. When it comes to 2D animation we’ve had collaborations with Japan in the past, whether it’s Ramayana or Batu Gaiden. But our main aim was to do something that was completely Indian-produced. I think that’s the main draw, so that we could call it India’s first anime. 

    Let’s talk a bit about outsourcing outside our realm of animation: when it comes to 3D animation and VFX. India is actually a world player in the market when it comes to 3D assets and VFX being outsourced to us. But when it comes to intellectual properties, there’s pockets of brilliance that surface from time to time, especially in the non-3D space, because the 3D space is a framework in itself, a framework that I personally have also been very connected with in the past, in all the projects that I’ve freelanced for (when it comes to music, editing, and the post-production side of things). When it comes to hand-drawn animation, I would say that there are these pockets of independent production which do not find the correct outlet or distribution platform. But they’re there; they’ve been there for a very long time. They’re not necessarily practicing the anime art style like we’re doing, but they’re doing hand-drawn animation nonetheless. And the quality and execution is something that’s worth showing to the world, it’s just that there’s no proper distribution channel as I was saying. Why anime? That’s because there’s huge demand for this particular art style. Since there was already a demand for it, as well as respect in the community for something that is a product made by India for India, that is where we came in and thought “this is a niche we want to fill.” 

  And look, most of the artists who worked on this project have already worked on commissions for foreign clients all of their lives. We don’t look at outsourcing as a route that we necessarily have to do first before we make our own intellectual property. Because we do that anyway: when it comes to making small animations for brands, or working for clients that are primarily non-Indian. The whole idea about this project is that it’s by India and for India. I wouldn’t go so far as to call it a statement, but it is a specific niche that’s appealing to a lot of people, thankfully.

So let’s talk a bit more about Karmachakra itself. When I saw the trailer on YouTube, the art style stood out to me, and it reminded me of a couple of things. One was the works of Mamoru Hosoda, with his distinctive style of flat shading. The other was Shin Sekai Yori, which has sticker-like 2-dimensional character designs but with mood lighting and effects and appropriate color palettes to create an atmosphere. Were any of these your inspirations, or were there other influences?

    Rajorshi: I mean, Mamoru Hosoda is an inspiration for any animation filmmaker. My personal inspiration, in terms of direction and in terms of storytelling, is Satoshi Kon. You know, works like Perfect Blue, Millennium Actress, Paranoia Agent: all these films and shows that are very loved, conceptually and thematically. My second influence would be the directorial signature of Tetsuro Araki (Death Note, Attack on Titan); I think that directorial signature is very alluring. In terms of how to tell a story through many characters, I’d say Durarara is an influence. I mainly chose to go with urban fantasy, inspired by the unique approach that light novels like Boogiepop or Nisio Isin's works take. Other than that, I think my all-time favorite director is Shinichiro Watanabe (Cowboy Bebop). 

  Some more important key influences that left a huge mark on my imagination of what the medium can be are:

Wolf's Rain, Black Lagoon, the Steins;Gate franchise, Terror in Resonance, Michiko and Hatchin, Barakamon, Mushi-Shi, Great Pretender

Spirit-world action-comedies like The Devil is a Part-Timer, Blood Lad, Hoozuki’s Coolheadedness, and Noragami

Mind Game from director Masaaki Yuasa

Any project involving character designer Yoshitoshi Abe, like Texhnolyze, Serial Experiments Lain, etc

There's also the noitaminA block stuff; short, offbeat 11-episode per cour series with a broader audience in mind. Brings to mind the makers of the noitaminA logo animation, Studio Rikka and their charming sci-fi works such as Time of Eve and the like.

  In terms of manga:

The superlative, mind-game ridden works of Shinobu Kaitani

The out-of-this-world panelling in works by Keiichi Koike

The poignant interpersonal/social drama from folks like Shuzo Oshimi and Inio Asano

The artful, satirical guro manga from people like Shintaro Kago

The sprawling, epic series from the legendary Naoki Urasawa, such as Monster and the like

Brilliant food/drink manga such as Bartender and Sommeliere by Araki Joh, or even Oishinbo.

  These are just names I can think of right now, but there’s actually plenty of influences for all of us here at Studio Durga.

  Let’s talk about the OP. From Episode 0 of Karmachakra, what strikes me as its most "anime" element is its OP. From the song itself, with its “anime theme song” vibes, to the color palette reminiscent of the Psycho-Pass OP, to the character-focused cuts reminiscent of the Baccano and Durarara OPs, to the text on screen reminiscent of the Cowboy Bebop OP: this OP screams "anime." OPs usually are a studio's way of enticing viewers to watch an anime, so clearly, a lot of effort went into this OP. And it's a really attractive and alluring OP. What went into the making of this OP? How did you storyboard it, and how did you compose the opening song? How much more effort was it to animate, comparatively?

    Rajorshi: The OP song was composed, arranged, produced, and played by me more than six years ago. At the time, I was inspired to make a melody and instrumentation that sounds “classic anime.” It was a personal project back then, and I had no idea I was going to be using it for an anime production of my own in the future. So when it was time, my mom helped with the lyrics and I asked Tanisha (the singer who I've collaborated with on the ED as well) to sing out the lyrics composed for the song. It was a blast to make. Unlike the ED, which I composed much more recently, the OP arrangement is more busy than minimal, which was my style back then and which probably works better for the usual high-energy anime OP.

  Unlike background scoring, which is set to edited bits of animation, the animation for the OP was set to the music instead. We were using a scratch track and timing every cut to whichever hit we wanted it to fall on. The choreography and transitions took more time than standard animation, as the entire thing was meant to seamlessly flow with non-stop fluid animation. The effort varies in anime production from shot to shot, but in the case of the OP, it was about tying together an entire string of money-shots. Apart from the animation, we had a lot of fun with the compositing as well. Doing MVs is the most enjoyable activity for us.

Let’s talk about the world of Karmachakra. What inspired it? Personal, lived experience or literature and other media?

  Rajorshi: Karmachakra is a series of movies. The second and third are what we’re working on right now. The second is more of the action-thriller kind, and the third/finale is along the lines of philosophical sci-fi. But the first one is more of a mystery-drama. I’m a huge mystery buff; that’s a sort of personal favorite genre of mine. So thematically I think the first movie of Karmachakra is mostly a mystery-drama with certain supernatural elements and certain cultural elements to those supernatural elements. So there’s many different layers. I usually like to do something that is layered, something that is character-driven but layered not only in the histories of the characters but in the lore that ties it all together with a supernatural theme, and also the third layer that puts them in a cultural context. These are basically the three levels that we’re working on when it comes to Karmachakra. 

    When it comes to cultural influences, there’s me being a Bengali and hence making this in Bengali. That is something I had in mind from the beginning. Having connections to the Bengali film industry, getting some of the best names from there to do voice acting on this: that was definitely part of the plan. 

  For the script, I’ve had many, many different influences. My background is quite varied. Since I was a kid I’ve always been a music buff. I was very much into classic/prog rock and concept albums from the '70s and '80s, apart from my production and performance background in jazz, jazz fusion, RnB, soul, and funk. So storytelling is a huge part of music for me, whether it’s through film scoring or whether it’s through a concept album where you tell stories through music itself. Other than that, I graduated in English literature, which is a huge part of the general approach I take to things when it comes to layering and writing for film. For this production, between film, literary works, musical works, and anime, there’s a LOT of influences. I wanted to take all those influences and make something that was cohesive enough for someone who was watching, but at the same time wasn’t predictable or cookie-cutter like.

Are there any talented Indian animators you’d like to spotlight?

  Rajorshi: I would like to talk about Ghost Animation. They’ve been working on little animated clips for Bollywood movies for a very long time, but recently they made a short film, Wade, set during a flood that happened in Bengal. They put it up on Kickstarter, promoted it, and successfully got it funded. I think it won an award at Annecy or something. And it’s all hand-drawn.

  Apart from that, there’s a couple of guys who’ve been in the Indian anime community and illustrator community for a very long time. Their names are Krishna and Balram Bannerjee, but they’re informally called the Xong Bros. They’re primarily comic artists, so they don’t do a lot of animation, but they also work on animation for indie games made by foreign studios: they make some trailers and the like for them.

  There was also this short film that was commissioned by Royal Stag Short Films, called Death of a Father. Entirely hand-drawn. Not the anime artstyle, but entirely hand-drawn.

  Lastly, there’s Jazyl Homavazir. A long-time animator, illustrator, and coach in the Indian comics/animation scene in the art style of manga. Both him and the Xongs are dear friends of ours who support and appreciate our initiative.

Do you have any parting thoughts for our readers?

  Rajorshi: I would say don’t make any compromises. If you know you’re capable of doing something, whether it is independently or whether you have backing or whatever it is, don’t make any compromises and do something that is only an approximation of what you actually want to do. If you have a vision, just go ahead and do it, and then see what happens. You might succeed, or you might fail, but that will be a learning experience. Just because something is tangentially related to whatever vision you might have, don’t settle for less.  

  Are you excited for Karmachakra? Let us know in the comments!

    Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

  By: Manas B. Sharma