#Kayoi Writes

[kayoi1234]

Now, people may remember that a few days ago, I made a post about intending to read the Scumbag Villian Novels.

I can now report that since then, I had a chance to read the first 3 stories (which I understand are the main run? the fourth has like. the filler episodes right?). I am now here to give my observations in my "Scum Villian Book Report":

My inital assessment of the series, surprisingly, was correct. This is wild.

I did not expect Shen Qingqiu to die so many fucking times. My man has a K/D ratio of 1/3. Still is the worlds funniest hater though.

There is something critically wrong with Luo Binghe and I hope he continues.

Liu Qingge seems to be consistently losing or at least suffering in every scene he's in. He's a very good swordsman it's just he has to also put up with so much bullshit.

Every character in this series is on a sliding scale of stupid and it's awsome. There is so miscommunication.

I knew this series had gay sex, because of course it did why wouldn't it I just didn't expect Shen Qingqiu to take it up the ass dry. My man has balls but also. Maybe don't do that.

He also keeps cursing out Airplane. This is funny.

Also half-related: Really like Velinxi's art in all this. I should read Countdown to Countdown again.

To condclude: This was great I may write stuff for it who knows. I finally read one of those Chinese novels so my mother no longer has to look at me weirdly for not engaging with them.

[asaichiban]

Song of Yoru and Asa Toranoana leaflet!!

I scoured the second-hand BL goods shops of Tokyo and was able to get my hands on the leaflet from its release that came with copies sold at Toranoana, which contains AsaYoru content I have never seen before, so I scanned it to share with you all.

The summary is that Futsu found a site with reader-insert fanfiction (夢小説) of the band, where readers can type in their own name to set the name of the protagonist of the story. Later, Asaichi finds Yoru reading Asaichi x reader fan fiction.

Below I've included the English machine translation as well as the transcription directly from Japanese ~

English machine translation:

PAGE 1 (left) 1 Futsu: Nyo-nyo 2 Asaichi: What’s with that face? 3 Futsu: Check this out~~ There’s this reader-insert fan fiction site about us, you know? Asaichi: Fan fiction? 4 Futsu: How should I put it? Like romance stories where people pretend they’re in a relationship with us? See, if you input your name like this, it inserts it into the story. 5 Asaichi: …? Futsu: Ahh, Asaichi’s too dumb to get it. 6 Kayoi: Hmm, so there are people starting to make stuff like that, huh? By the way, Futsu, how’d you even find this? Futsu: I’m a huge fan of ego-searching~ As expected, there’s a lot about Yoru~ Usually the vocalist gets the most attention, but between Asaichi and Yoru, well… It’s Yoru, of course. Asaichi: I don’t really get what’s going on, but I do get that I’m being made fun of…

PAGE 2 (middle) 1 Futsu: Let’s just throw in “Sachiko” or something... 2 Kayoi: “Yoru pulled Sachiko close by the waist and whispered into her ear: ‘Sachiko, you mean more to me than the band ever could.’ Then Yoru quit the band and went on to live happily with Sachiko in Hawaii…” 3 Kayoi: He quit the band for her! Futsu: Haha, it’s pretty entertaining, though~ If it were a more famous band, there’d be a ton of these stories, but, you know… We’re still just little nobodies. Kayoi: Futsu, you really shouldn’t be admitting you read these. The writers might stop making them if they find out. Futsu: Nah, it’s totally fine~ Asaichi: What about me? Don’t I have one? Futsu: You’ve got some too~ Not a lot, though. Asaichi: They need to write more! 4 Yoru: ………

PAGE 3 (right) 1 [Scene: Night – Asaichi and Yoru at home] Asaichi: … 2 Asaichi: What are you sneaking looks at on your computer? Hand it over. Is it, like, porn or something? You’re so secretly pervy, after all.

3 (On Yoru’s smartphone screen) luv u ♥︎ luv u ♥︎ A story about how an ordinary fan meets Asaichi by chance and ends up dating him. ♪ It’s complete fiction, so sorry if it doesn’t match your image! Sweet and fluffy ☆ Set the protagonist’s name. (Change to [Yoru]) → GO That day, on my way back from a live show, I unexpectedly ran into my favorite band member, Asaichi. Asaichi: "Yoru." Yoru: "Huh?! How do you know my name…?" Turns out Asaichi and Yoru share memories of a past life.

4/5 Yoru/Asaichi: …………………

6 Asaichi: Uh… sorry… for always being so brusque with you… That night, Asaichi was just a little bit nicer than usual. Just for that night.

Japanese transcription:

PAGE 1 布津：にょにょ 朝一：んだよそのツラ 布津：見てくれよ～～～ 布津：俺らの夢小説サイトがあってよ〜　（つめて、つめて） 朝一：夢？ 布津：なんつーの？　 布津：俺ら相手に恋愛ゴッコできる小説？ 布津：ほれ、こうやって名前入力すると 布津：自分の名前が組み込まれんだよ。 朝一：…？

あ～朝一アホだから理解できてねえや カヨイ：へー、そういうの作る人も出はじめたんだ カヨイ：ていうか布津よく見つけたね 布津：俺エゴサ大好きマンだから～ 布津：あっ、ライブの感想みっけ〜 布津：やっぱヨルの話が多いなあ〜 ふつうボーカルのが多かったりするもんだけど、朝一とヨルじゃあ… 布津：ま〜ヨルだな 朝一：なんかわかんねぇけどバカにされてるのはわかった…

PAGE 2 布津：適当にサチコとでも入力して… カヨイ：『ヨルはサチコの腰を抱き寄せ耳元で囁いた 「バンドなんかよりサチコ、おまえが大事だ」 そしてヨルはバンドを脱退し、サチコとハワイで幸せに暮らし…』 カヨイ：脱退しちゃコたよ！ 布津：いや～これが結構おもしろくてさ〜 布津：もっと有名なバンドだといっぱいあるんだけどネ〜 布津：俺らホラ、まだチンカスみたいなもんだし カヨイ：布津それ見てるって公言しちゃダメだよ カヨイ：書くのやめちゃうかもしんないし 布津：だ〜いじょ～ぶだって〜 朝一：俺のは？ 朝一：俺のはねーのかよ 布津：朝一のもあるぜ〜　少ないけど 朝一：もっと書けよ！ 布津(?)：あひゃひゃひゃ、おれにいうなよ

PAGE 3 『夜・朝一帰宅』 朝一：… 朝一：おまえさっきから何コソコン見てんだ？ 朝一：よこせっ 朝一：エロ動画かなんか？ 朝一：おまえムッツリだからな〜

luv u ♥︎ luv u ♥︎ ただのファンが朝一と ひよんなことから出会って 付き合うまでのストーリーです♪ 完全妄想なのでイメー��と ちがったらすみません！ 甘々です☆ 主人公の名前を設定 （ヨル）に変更GO→ その日アタシはライブに 行った帰りバッタリと 本命わバンドマン朝一とでくわす。 朝一　「ヨル」 ヨル　「えっ！どうしてアタシの名前…！」 実は朝ーとヨルは前世の記憶が

朝一：なんか…　ゴメン…　いつもつっけんどんで… 『その晩朝一はいつもよりちょっとだけ優しかった』 『その晩だけ』

[kayoiwritingarchivies]

My battery is low and it’s getting dark.

Here’s a story of a clever little rover named Opportunity. 

When she was born, she was born in a lab, a child of a machine and a team of brilliant minds who looked at her, created her and said You are an opportunity to us all, and that is what we will call you.

Of course, this little Rover wasn’t  going to say anything, not just yet. It’s going to be a clever little rover though, so this little rover agreed, as they all do. 

Do you want to see the stars?

And Opportunity looked, and replied Yes.

Here’s an adventure of a stubborn little rover named Opportunity.

This is the thing, this little clever rover was meant to last 90 Sols. But Opportunity is Opportunity, and Opportunity is stubborn.

She lives on Sol 91. Sol 92. And she keeps on living, while her family back on Earth keep pinging her little messages, and she sends back pictures of a barren planet. 

But she’s a stubborn little rover, so Opportunity kept on going.

Here’s the...Here’s the...

Here’s the end of a brave little rover named Opportunity.

Opportunity was meant to die on Sol 90. 

It’s been 15 years. 15 years and not once she had faltered, not once she had thought I’m scared.

Because Opportunity was a brave little rover, and brave little rovers can be a little scared, because bravery is being scared but being strong too. 

When the storm hit, Opportunity was scared, but she was brave too. But she couldn’t make it out. She know she couldn’t. 

So she sends out a little message back to Earth. Not exactly a goodbye, but just something. 

My battery is low and it’s getting dark.

Here’s what Earth said back.

Earth said Thank you Opportunity, You were a brave little rover, you were a clever little rover, I’m sorry we couldn’t help you. 

Earth tried to reach them, but our little brave rover did not respond.

So Earth sends out one last message to our brave little rover named Opportunity. 

See you soon, space cowboy. 

[chanoyu-to-wa]

Nampō Roku, Book 5 (40, 41):  the Sō [草] Form of the Display of a Kōro [香爐] (Continued¹).

40) [The first sketch².]

    The kaki-ire [書入]³:

① There is no problem about displaying [the utensils in this way] at the beginning [of a gathering], or also afterward⁴.

    In the same way, once the preceding [appreciation of] incense has been finished, the tea utensils should be advanced upward [onto the higher kane]⁵.

② If there is no kyōji-tate [香箸立], or, again, when a pair of kō-bashi [香箸]⁶ is not present on the tray, it is best for the hibashi to be in the shaku-tate.  Or else, [the hibashi] may be [placed] on the go-sun-ita⁷.

41) [The second sketch.]

    The kaki-ire⁸:

③ [The objects on the daisu] may also be displayed like this⁹.

    This [shows] the kōro without its covering¹⁰.

④ These two arrangements were both [drawn] on a single sheet of paper [that was not part of the original book]¹¹.

_________________________

◎ The present entry does not seem to have been part of Jōō’s original collection, since it does not have a title.  According to a note written in the left margin of the page by Tachibana Jitsuzan, the two sketches were drawn on a single sheet of paper* (which, in itself, is very unusual, since the other sketches are distributed one to a page -- even when a single entry requires multiple sketches), which appears to have been placed into the manuscript (the sheet was not physically attached to Jōō’s document).

    The identity of the person responsible for these sketches, and for inserting this page into Jōō’s manuscript, is not known.  Nor is the date when this material was added†.  The most likely guess, however, is that this was perpetrated by someone acting on behalf of the Sen family (since the details of the arrangement conform with their practices). __________ *The writing on the left side of the second sketch also means that this was a separate sheet of paper that was inserted into (Jōō’s) manuscript, while not originally forming part of it.

†One of the most unusual features of these two sketches is that both arrangements employ an object that is referred to as a “jū-kōgō” [重香合] -- curiously, in addition to a taki-gara-ire [炷空入] (a jū-kōgō already contains a compartment in which the burned-out pieces of incense and gin-yō are discarded, making a separate taki-gara-ire superfluous).

    A jū-kōgō consists of a set of three small boxes, and a lid, that stack one upon the other (and is so represented in the sketches):  it somewhat resembles an in-rō [印籠].  The uppermost box is used as a container for the incense (with each variety segregated into its own miniature version of the kō-zutsumi [香包]), the middle one holds several gin-yō [銀葉], and the lowest one (which is either made from ceramic, or of lacquered wood lined with a pewter or brass cup, depending on which of the modern schools is using it) functions as a receptacle for the burned-out kyara (which is fused to the gin-yō on which it was heated).

    The jū-kōgō, as a combined kōgō (traditionally, the pieces of incense and the gin-yō were placed together in the kōgō) and taki-gara-ire, actually seems to be associated with the Sen family’s style of incense appreciation in this particular context (in the incense schools, while a jū-kōgō is used in specific incense guessing games, it does not seem to have been used when the goal was simply the appreciation of several varieties of kyara incense, as was the focus of the original Shino family’s practice).  The Senke style is best known to people today through its inclusion in the Senke shichi-ji shiki [千家七事式] (jointly introduced by Jōshin-sai Sōsa [如心齋宗左; 1706 ~ 1751] and Itō Sōshitsu [一燈宗室; 1719 ~ 1771], this collection of highly-regimented rituals first appeared around the middle of the eighteenth century):  this is also true of the other variations introduced in these sketches (such as using the hibashi in place of the koji [火筋] or kyōji [香筋], and the temae habōki in place of the ko-hane that is traditionally used to clean the kōro).

    While the Sen family’s method of incense appreciation was probably standardized into something resembling its present form a century or so earlier (most likely by Kōshin Sōsa [江岑宗左; 1613 ~ 1672]), the implication still is that this page was surreptitiously inserted into the manuscript of Book Five as yet another attempt to associate the Sen family’s practices with the way things were done in the classical period.

    All of that having been said, it is unclear why, in addition to the jū-kōgō, a separate taki-gara-ire would also be needed (other than to make these two sketches superficially resemble the authentic illustrations that precede and follow them -- since the jū-kōgō always includes a compartment that functions as a taki-gara-ire) -- though this detail amplifies the likelihood that the sketches are spurious.

¹Presumably.  As mentioned above, the page containing these two sketches appears to have been inserted into Jōō’s preexisting manuscript by a third party.  While, at first glance, it appears to continue on from the previous entry (and is presumed to do so, by Tanaka Senshō*), certain details† show that it is, in fact, unrelated to that entry (and, most likely, inserted here simply because the arrangements superficially resemble that shown in entry 39).

    As mentioned above, this entry lacks its own title. ___________ *He argues that these are the two other arrangements mentioned in the title of the previous entry (part 39).

†Such as the fact that while the arrangement shown in entry 39 is explicitly said to be for situations where the appreciation of incense will precede any part of the tea-related activities, such as the sumi-temae, it is mentioned that the two sketches being included here can be used at any time.  This latter comment, while typical of Edo period practices, conflicts with the linearly historical focus of Jōō’s intrinsic design:  Jōō appears to have been intent on documenting the history of chanoyu through the evolution of its temae, with the purpose being to show where the precedents for his own arrangements (which make up most of the second part of the book) can be found.

²There are, in fact, no titles associated with either of the sketches on this kiri-kami [切紙], or with the page as a whole.

    I added the designations of “first sketch” and “second sketch” for the sake of clarity.

³The Japanese texts of the kaki-ire found on the first sketch read:

① kore ha hajime ni te mo nochi ni te mo kurushi-karazu kazari nari, onajiku ha hatsu ni kō sumite, cha-gu kuri-ageru kayoi nari

[コレハ始ニテモ後ニテモ不苦カサリ也、同シクハ初ニ香スミテ、茶具クリ上ルカヨキ也];

② kyōji-tate naku, mata ha bon naka ni kō-bashi naki toki ha, shaku-tate no hibashi aru-beshi, mata go-sun-ita ni arite mo yoshi

[キヤウシ立ナク、又ハ盆��ニ香ハシナキトキハ、杓立ノ火ハシアルヘシ、又五寸板ニアリテモヨシ].

⁴Kore ha hajime ni te mo nochi ni te mo kurushi-karazu kazari nari [コレハ始ニテモ後ニテモ不苦カサリ也].

    “This is also at the beginning, and also afterward -- without any problem.”

    In other words, the author is saying that the daisu may be arranged in this manner regardless of whether incense will precede the service of tea*, or whether it will come at the end of the goza.

    If the kazari is done exactly as shown when tea will precede the appreciation of incense, this means that the tea container will remain above the furo until the goza.  This would have struck the chajin of Jōō’s and Rikyū’s period as being highly inappropriate, since it would potentially subject the tea in the chaire to the heat rising from the furo, spoiling it.

    In the previous entry, however, the fact that the natsume was in the same place would have no real consequences, since the only fire in the furo would be the shita-bi†, and that would not be enough to warm the kama much more than to evaporate the water from the outside†. __________ *The advocacy of placing the hibashi in the shaku-tate suggests that appreciating incense will take place at the end of the sumi-temae, instead of the host putting the taki-mono into the furo.  This accords with the Sen family’s preferred method.

†Consisting of three gitchō [毬杖].  Even over an extended period of time, such a small fire could only make the kama slightly warm to the touch -- before burning out.

‡The same argument could also be made when the appreciation of incense would take place at the end of the sumi-temae.  It is when the things on the ten-ita must remain in that way throughout the shoza and naka-dachi that problems could arise -- since, once the kama begins to boil, it necessarily heats the ten-ita, and that would be damaging to the tea.  (Of course, by the Edo period, tea shops were selling pre-ground matcha, which would already have degraded to a large extent by the time it came into the customer’s hands, making the damage caused by extraneous heating less apparent to host and guests.)

⁵Onajiku ha hatsu ni kō sumite, cha-gu kuri-ageru kayoi nari [同シクハ初ニ香スミテ、茶具クリ上ルカヨキ也].

    “Likewise, when the [appreciation of] incense that precedes [the service of tea] is finished, the tea utensils should be moved upward.”

    That is, once the appreciation of incense is finished, the incense tray should be removed (either to the shelf below the chigai-dana, or to the katte).  Then, the chaire and dai-temmoku should be moved toward the right -- which, technically, is the higher seat* (though the reason for this is no longer obvious). ___________ *This is because, in the original orientation of the room, the guests were seated on the host’s left, while the katte was located on his right.  As a result, moving things toward the right moved them farther away from the guests (and so protected them from any dust that the guests movements might stir up, as well as making them physically less accessible).

    The modern explanation (that moving them toward the right moves them closer to the tokonoma) is, at best, forced.

⁶Kō-bashi [香ハシ = 香箸] means the ebony chopsticks used to handle the pieces of kyara incense wood. While the pronunciation kō-bashi is clearly indicated by the text (since hashi [= bashi] is written in katakana), in incense circles the word is pronounced kyō-ji*.  As an experienced practitioner of kōdō [香道], Jōō would certainly have been familiar with such details†.

    However, this indicates that the person who added this sketch was unfamiliar with the correct, classical usage‡. __________ *This is true whether it is written kyōji [香筋], or kyōji [香箸].

†As we have also seen in chanoyu, such special pronunciations were concocted primarily as a way to distinguish the initiated from those who had not been invited into the inner circle of devotees.

‡The difference in language and idioms suggest that the notes were already present on this piece of paper when it was inserted into Jōō’s collection -- not only is the language of the Edo period, but it seems to be of a different form (dialect?) from the usual kaki-ire that were written by the Enkaku-ji group of scholars (who were primarily using a Kyūshū dialect).

⁷Kyōji-tate naku, mata ha bon naka ni kō-bashi naki toki ha, shaku-tate no hi-bashi aru-beshi, mata go-sun-ita ni arite mo yoshi [キヤウシ立ナク、又ハ盆中ニ香ハシナキトキハ、杓立ノ火ハシアルヘシ、又五寸板ニアリテモヨシ].

     “If there is no kyōji-tate, or, again, on occasions when, within the tray, there are no kō-bashi, it is best if the hibashi are in the shaku-tate.  Or, again, it is good if they are on the go-sun-ita.”

     The abbreviation “shaku-tate” [杓立] is a uniquely Edo period usage, most usually associated with the Sen families.  (Rikyū, for example, always used hishaku-tate.)

     This kaki-ire seems to contradict the previous entry, where it was said that the hibashi (if made of sawari, bronze, silver, or some other refined metal) should be placed on the left side of the ji-ita (so as to avoid touching the tea-related utensils at the time when incense is being appreciated).  The idea (at least in so far as the Shino family was concerned) was to keep incense-related things completely separate from the things that would be used for the service of tea, even when they were occupying the daisu at the same time.

     Persons devoted to incense generally feel that metal chopsticks should not come into contact with the pieces of incense (since they can leave a metallic smell)*.  This is why ebony chopsticks (or ones made of ivory, which, likewise, does not impart any smell) were preferred.  Using the metal chopsticks to handle the pieces of kyara would strike a devotee as lacking in respect -- not only to the incense, but to the guests as well.

     Such violations of propriety were considered “wabi” by the followers of Sōtan's school -- though, in that, they only demonstrate that they were as ignorant of the meaning of wabi as they were of many other things that were supposed to have come down to them from Jōō and Rikyū.

     Also, while Rikyū placed the hibashi together, with their handles extending toward the right (and so toward the mizusashi), Sōtan and his followers (rather perversely) placed one on either side of the hishaku†, making it difficult to take both of them out simultaneously without disorienting the hishaku. ___________ *Modern people have absolutely no idea how costly -- and so, precious -- imported kyara was in the fifteenth and sixteenth centuries.  Far greater than a comparable weight of gold bullion; and, of course, the pieces cut from the original purchase would be destroyed when they were burned.

    In the present day, people in Japan can go to Kyūkyodō [鳩居堂], or some such store, and buy a small piece of kyara for several thousand yen -- a fragment large enough to be divided into perhaps 10 pieces, each suitable for burning.

    In Jōō’s and Rikyū’s day, however, one had to go to an auction and bid on a substantially larger piece, and such things were luxury items in the extreme -- so much so that they usually became intimately associated with the man who owned them, since it was unlikely that any given individual would own more than one or two varieties.  Then, as now, newly imported pieces were tested and, usually, associated with one of the varieties selected in ancient times, and so classified accordingly. (I remember when I first went to Kyōto, and visiting a utensil shop on the corner next to the Daitoku-ji.  After speaking with him for several hours, the old man who owned the shop invited me up to the second floor see some of his personal treasures, among which was a small box containing 5 or 10 fragments of kyara, which he said were the most precious things he owned.  These had been handed down in his family for several hundred years, and small pieces had been cut off and used -- reverently -- ever so often, when entertaining especially important guests, guests who would be able to appreciate them.  Such behavior is probably unknown today.)

†The fact that the hibashi are routinely shown arranged in this way in the Nampō Roku shows how pervasive Sōtan’s style of chanoyu had become by Tachibana Jitsuzan’s day.

⁸The kaki-ire written on the second of the two sketches read:

③ kaku no gotoki mo kazaru, kore ha hadaka kōro nari

[如此モカサル、コレハハダカ香爐也];

④ kō ni kazari kiri-kami ichi-mai nari

[香ニ飾切紙一枚也].

⁹Kaku no gotoki mo kazaru [如此モカサル].

    “Also like this [the things on the daisu may be] arranged.”

¹⁰Kore ha hadaka kōro nari [コレハハダカ香爐也].

    “This is a naked kōro.”

    That is, a kōro displayed without its shifuku, or lid.

¹¹Kono ni-kazari kiri-kami ichi-mai nari [此ニ飾切紙一枚也].

    “These two arrangements are [drawn on] one separate leaf of paper.”

    Kiri-kami ichi-mai [切紙一枚] means a single, separate piece of paper -- that  was not part of Jōō’s original collection of sketches*, but was inserted later.  For two sketches to appear on the same page is very unusual for the Nampō Roku -- which is why Jitsuzan felt it was worthy of being commented upon.

    This statement does not seem to be found in the Enkaku-ji manuscript (at least as it was published in the Sadō ko-ten zen-shu [茶道古典全集]) -- which does not make it suspect; but, rather, show that Jitsuzan was intent on normalizing things that were not, in fact, part of the original collection of teachings, when preparing his presentation version of the text.

    The sense of inviolability that pervades everything found in the Nampō Roku (ultimately, even to the kaki-ire that are known to have been added after Jitsuzan presented his copy to the Enkaku-ji) arose from this kind of attitude -- making it ever more difficult to discuss the contents of the Nampō Roku from the perspective of Jōō’s and Rikyū’s chanoyu.

    This kaki-ire was added by Tachibana Jitsuzan himself. ___________ *The original collection seems to have been bound into a notebook, which seems to have been Jōō‘s way of insuring the integrity of the collection -- whether that consisted of sketches or text.

——————————————–———-—————————————————

◎  Analysis of the Arrangement.

    The two sketches seem to feature the two trays most closely associated with the machi-shū chajin -- the naka maru-bon [中丸盆] and the naka hō-bon [中方盆].

    The first sketch features the former.

    The objects arranged on the naka-maru-bon are (from right to left), the jū-kōgō, a meibutsu kōro (this is why it is tied in its shifuku), and a taki-gara-ire*, with the pair of kyōji (ebony chopsticks used to handle the incense) placed in front.  The kōro is displayed, as a mine-suri [峰摺り] on the first kane to the right of the central kane.

    Because the habōki is displayed on the go-sun-ita, it seems necessary to display the hibashi in the shaku-tate -- though both of these reflect Edo period modifications that arose with the Sen family.

    According to the text, after the appreciation of incense has been finished (and the incense tray removed from the room), the chaire and dai-temmoku should be moved toward the right.

    The second sketch shows the arrangement of the incense utensils on the naka hō-bon.

    In this sketch, only the incense tray is displayed on the ten-ita.

    The things on the tray are (from the right) the jū-kōgō, kyōji-tate, hadaka kōro (that is, a kōro displayed without its lid or shifuku), and a taki-gara-ire, with the ko-hane [小羽] (the special miniature habōki used to clean the incense burner) arranged in front.  Notice that the kōro overlaps the central kane by one-third†.

    In this case, if the service of tea will follow the appreciation of incense, the chaire (and perhaps the dai-temmoku as well) will be brought out and arranged on the ten-ita immediately after the incense tray has been removed from the room. ___________ *While the objects on the tray are not named in the sketch that is found in the Enkaku-ji (perhaps for good reason), in Shibayama Fugen’s teihon [底本] they are clearly marked as being a jū-kōgō (on the right) and taki-gara-ire (on the left side of the kōro).

†Tanaka Senshō adds that the jū-kōgō should also come into contact with a kane.  Though he also adds that (contrary to what is shown in the sketches) the ko-hane should rest in front of the taki-gara-ire and the kōro -- and that the tray should be a nagabon (even though even the smallest of the nagabon that were in used during the early sixteenth century would be larger than what is shown).  Since he is the only commentator to mention these things, and since they are not substantiated by any of the versions of the sketch, it might be good to take these assertions with a grain of salt.

[kayoi1234]

I’ve been playing around with a Trailblazer who can shapeshift into any number of animals as I like, mostly for two reasons:

1) the joke of March 7th telling them that only raccoons go through garbage, only for them to immediately shift into a Raccoon and getting right back in there.

2) the visual of a battle where in the middle of it, the person with the bat suddenly disappears, and suddenly a giant grey wolf with golden eyes is tearing the throat out of an enemy, and there is gore still dripping from their muzzle as they shift back.

I dunno. I just think it’d be neat.

[kayoi1234]

@noctsys - permission granted! go achieve your dreams!

Bad Fanfic Idea #3

I accidently made myself laugh at this so here: What if Kaveh, our favourite broke Architect who likes to make his food into miniture buildings because you know it’s Fun had like…no sense of taste. Like it’s just Gone. He eats something and tastes nothing because his tastebuds are so fucked top the point where he only really eats spicy food for the heat and not for the flavour.

It would be such a like..dumb thing. He never mentions it to anyone excpet maybe Tighnari who now has someone who doesn’t complain about how bitter medicine is. On the other hand Kaveh nearly gets food poisoning like three times a week because he can’t tell if food is off by taste he has to go by texture or smell but no taste often means smell is fucked too so he just exists in a sort of “I don’t fucking…I don’t fucking know”

Anyways this thought came to me because Alhaitham probably stole his drink or whatever and when Alhaitham said “This is good wine.” Kaveh could have had like a minute crisis of “Is…is it?” and then kind of just goes about his day.

Comes to head when Alhaitham asks him to try something (Dunno why if you���re a shipper then it’s courting if not then it’s just to bully Kaveh by finding out what he doesn’t like) and Kaveh just sitting here and saying “This game has a critical flaw in it,”

“What do you mean?”

“Alhaitham…I can’t taste.”

And like, as it turns out, Alhaitham didn’t even know, he just assumed Kaveh had like bizzare tolerances for food that he hadn’t found, because Alhaitham is the kind of person of high intelligence low wisdom and thinks Kaveh unironically liked that stinky tofu he got from a Liyue trader once to piss him off. So the exchange continues like “What do you mean you can’t taste?”  and Kaveh has to explain to him that it’s a whole thing and not a big deal let him eat his mug yogurt (Yogurt in a mug) in peace and Alhaitham is wondering what else is a lie.

[kayoi1234]

Maybe I should do a pinned lmao

Hi! I'm Kayoi. Pronouns, and other important bits are in the bio, but for quicker info: She/they, Australian, and the only age indicator is that I'm old (So anywhere between 18 and 4000 years old lol).

There's no tagging system I'm kind of lazy but here:

The carrd.

There is the twitter (Wait is it X now?), writing blog, Ao3 and whatever else I thought was important enough to link there, there.

DNIs are fuctionally useless. Go watch Mob Psycho 100. You can ask to tag but be warned I may just tell you that I won't.

[kayoi1234]

I was bored and going through my wips. Found some quality lines that might make no sense without context.

So you sit on the train, and wait for the stop at Yogen-Jaya to arrive. There’s only one question on your mind.

Who were you?

-A Persona 5 thing that was based around the idea of “What would happen if you started a NG+ file with corrupted data?”. The end result, for some fucking reason, is a BOTW-inspired retelling of Persona 5, complete with memory loss.

All right guys, we’ll start from the beginning.

My name in Ren Amamiya, I come from 2018 Japan, and I did get bitten by a radioactive spider.

And, for the past year or so, I have been the one, and only Spider-Man.

(Now, I know what you’re all probably thinking. “But Ren, what about Peter Parker? Isn’t he Spider-Man?” Which I respond with “Multiverse Theory.” That probably doesn’t explain anything but oh well.)

So I saved the city, busted some drug rings, saved the city again, blah, blah, blah you know how it goes.

Then, when I was walking home from cram school, not as Spider-Man but as measly little Ren Amamiya who cried about seahorse documentaries, I notice something.

-Another Persona 5 thing, this time inspired because I watched Spiderman: Into the Spider-Verse and I went completely hog wild before running out of steam.

Izuku Midoriya sits in his chair, a pair of mint green headphones on his ears with a microphone in front of him. Behind him, there’s a few posters of several game characters, but some of several heroes as well, the largest being an image of All Might, with the text “I AM HERE” in big block letters.

However, that’s only the camera footage that sits in the corner of the screen, out of the way from the real action happening on the main screen.

The game in question is a round of Overwatch, and Izuku is absolutely carrying his own team. He’s playing the gamer and mech pilot D.va, and currently has the highest objective time and third highest eliminations, right after the team’s Genji and McCree.

In the stream chat, there is an evermoving wall of text, most saying things about the game,

- A BNHA thing about, apparently, making Izuku a streamer. No idea where this even came from. 

“Wow, you’re a worst detective than I thought! And here I thought there might be someone who can match my intellect!” a voice calls out, and eyes turn to the person at the back, who is wearing a brown hat and cape, black hair framing a face that hold closed eyes, an easy smile gracing his face as he holds a half-empty ramune bottle in one hand.

“I mean, it probably wasn’t fair anyway. I am the best detective in Japan, maybe even the world.” The man says, eyes opening just a bit to show intelligent green eyes.

“And, who might you be?” Akechi asks, smiling. Ren looks at the man behind his glasses, narrowing his eyes.

“I’m Rampo Edogawa.” The man introduces himself. Behind him, a man with blonde hair tied back into a ponytail is reading a notebook. “This is Doppo Kunikida, my partner for this case.” Rampo says, gesturing to him.

- A BSD and Persona 5 fusion, where all I wanted to do was have an excuse for Ranpo to meet Akechi and drag him through the mud. Good times. 

She’s looking at him like she’s found someone important.

The boy looks up at the woman on the wall, and asks “Who are you?”

The woman smiles, and says “I’m Atsuko, what’s yours?”

The boy looks at her, and he says “I’m Atsushi Nakajima!”

The woman looks him over, and says “So, Sheikah Kid, want to tell me why you’re outside in the rain?”

Atsushi grins and says “Well…”

- A BSD and LoZ fusion, where Atsushi is part of the Sheikah tribe. I honestly have no idea where this one is going.

The Law of Cycles demands that a cycle of life and death is kept, that despair cannot triumph over hope, that the scales shall not tip. But when half of the universe is killed, the scales begin to drop on one side. Madoka Kaname watches from her plane of existence, and frowns as she watches more and more despair crop up from the ashes, as the Witch of Salvation draws near.

A grinning god, one that controls the Laws of Equivalent Exchange, demands that the price of power be met. The Infinity Stones are not Philosopher Stones after all (Except, perhaps, the Soul Stone, but even then, that is a dubious theory). There is a demand that must be met. The Truth sits at the gate, grinning, for his dues shall be paid.

-Something I wrote after watching Avengers: Infinity War. The document title is literally “spite shall fuel me.”

And so, with the social tact of a squirrel, and the mentality of a toucan, he goes “So wait, which one of you is Markus?”

A dark-skinned fella (why fella, why did he call him fella that weird) in a trench coat blinks and says “I’m Markus.”

Lukas studies his face for a moment, sees a blue eye and a green eye, and, again with the social tact of a squirrel, says “You look like one of those bad ass anime characters that have the different coloured eyes. Bet you’re gonna say ‘It’s time to duel’ or something, and I’ll agree, and I’ll lose, and you’ll say something like ‘You’re a third-rate duellist with a fourth-rate deck.’ Or something like that.”

Markus blinks again and says “No. I wouldn’t.”

Lukas goes “Oh.” And then wisely keeps his mouth shut.

-A OC-centric story for Detroit: Become Human. Looks like it was written on a whim and the OC itself reads like a self-insert. youch. 

[kayoi1234]

To: Americans

Is voting compulsory over there? Like, the law strictly states that you must register and go vote or is it like, a volunteer thing? Because in Australia it’s compulsory that the citizens of Australia vote and often you have to give a reason why you can’t vote (Such as mental disability, absent from Australia on polling day, died, etc.) , under the  Commonwealth Electoral Act 1918 (Cth) which states that  "It shall be the duty of every elector to vote at each election".

I’m just curious, as all. 

[kayoi1234]

please tell me more about operator Reigen I love him even if I know jackshit about arknights

jhdfiugkr GLADLY

So Reigen Arataka, Codename Sagi (Which is just japanese for Scam, creative I know), is, gameplay wise, a 5-star (ish) Specialist Operator, specififcally a merchant, which means this disaster guzzles down DP like no tomorrow but does fuck up enemies by stunning them or just hitting them very hard with his sword, because those fuckers now have salt in their eyes.

Plot Wise however - this man has like seven issues and overworks himself. He was still some fraudulent dude (because why wouldn't he) from Higashi (Arknight's Japan Expy) and he's a Vulpo (Which are the Fox People). Anyways he get Oripathy (Or turbo rock cancer) because his job (Basically scamming people who think ghosts are real but it's really Orginium making them think that) basically ends up with him touching originium (source of turbo rock cancer) a bunch and his makes his wrists a bit weak like arthritis if arthritis was caused by funny black rocks growing there so he's gotta wear wrist braces to stablise them.

He's popular with kids because they find him funny in a sort of pathetic way, but also because he gives good life advice that changes the trajectory of their future forever. Also like two adult friends because he's like that: Shalem, because before becoming a full operator he used to hang around logistics a lot, and Phantom, because Phantom thinks Reigen is what a good conversationalist that doesn't have Assassin Murder Deathcult Trauma is like. Reigen isn't even aware of the Assassin Murder Deathcult even existing until Phantom told him, unprompted, and Reigen has to just...deal with that.

In the words of Reigen himself:

Also he has the reputation of being able to solve most problems, like plumbing issues, electrical work, basic first aid. He's dragged around logistics and medical and enginnering and HR at some point until the Doctor put their foot down and made a roster so that Reigen isn't like dragged to 30 different places. he also does baby and pet sitting. Most of the time, for free.

All in all, without Mob, but with Turbo Rock Cancer, furry characteristcs, a sword, and two friends that are also theatre people, Reigen has a hell of a time in Terra.

[kayoi1234]

I wrote this instead of studying for my Maths yearly.

[kayoi1234]

Beware the Sea, unless you cannot listen. 

The Sea is deep, and cold, and unforgiving. Sirens swim beneath the ship, luring men to drown below, being the women who were thrown off board, their voices husky from the salt. Serpents as large as planes roam the deep, surfacing to crush boats with a single strike. Turtles, larger than continents, could snap up your ship in one bite. 

But most important of all, are the kelpies. The lurk the Seas, pretending to be men and women stranded, asking for saviours. But if you look closely, you can see their hair looks like kelp, they are always dripping wet, they look beautiful, but do not be fooled. Do not listen to their pleas, no matter what. 

However, the Sea is a danger itself. The waves with rise up to consume your ship, storms will come and strike it to smithereens. Water will rot the wood if you are not careful, rocks will smash holes. Wind may never blow, and the sea becomes flat, as your ship drifts on aimlessly, as you and your crew begin to slowly die from hunger and parched throats, as insanity begins to gnaw away at your mind. 

So beware the Sea, unless you cannot listen. 

[kayoi1234]

Once upon a time, there was a princess who couldn’t speak. 

She couldn’t say a single word, yet she could hear everything.

“Isn’t she the perfect daughter? She’ll never talk back, she’s silent, like how a good child should be!” Her mother would say. 

She never spoke a single word, because she was told that was polite.  She never spoke a word because it was unsightly for her to speak her mind. “Your opinions are not important. A princess will listen to her husband, and will not speak back to him, unless asked.” 

So, she never spoke. 

Once upon a time, there was a prince who couldn’t hear. 

He had never heard his own voice, he had never heard the desperate’s voice, and he had never heard anything else. 

“You need to pay attention! Listen here boy!” His father would say, staring at him with cold eyes. 

But how could he listen if he could not hear? He had been told to never listen to the weak, to the poor, to the desperate. “Please, help us, prince!” was lost in the wind.

So, he never heard. 

Once upon a time, there was a knight who couldn’t see. 

He had never seen the world from his own darkness, he had never seen the kingdom that he had sworn to protect.

“Why do you never see who goes in and who goes out solider!” The captain would snap, and he would flinch. 

But, he had been trained to never notice the weak, the helpless and desperate. “They aren’t important! You don’t need to protect them, King’s orders!”. Those were the orders. 

So, he never saw. 

Once upon a time, there was a maid who couldn’t move.

She could not move, for if she did, it would cause her pain and suffering. She could not move, and help the weak and sick.

“Why don’t you help at all! Move!” The head maid would yell at her, and she would silently cry later. 

But she was told to never make a move, for if she did, she would be punished. She was told to never move, for if she did, she would be kicked out of the castle and told to never return.

So, she never moved. 

Once upon a time, there was a kingdom ruled by a Tyrant King and a Evil Queen. 

It was like that for many years, until the kingdom fell, and all that was left was ruins and rubble. There were no signs of such a hateful kingdom, unless one were to look. 

When a young adventurer came, one who could speak, hear, see and move, they did not know how lucky they were to be born later. 

For if you listen close enough, and look hard enough and speak loud enough and move fast enough, you can hear the silent scream of a princess, the portrait of a prince covering his ears, the helmet of a knight that that you couldn’t see through, the shadow of an un-moving maid. 

Once upon a time, the broken kingdom became ruined. 

[kayoi1234]

Pokemon Headcanon

Okay guys, just hear me out.

Ash is actually ageing, just at a slower rate than everyone else. 

After all, get hit by two physic attacks and being turned to stone by Mewtwo and Mew can do that to people.

He isn’t forever 10. he just ages slower than everyone else now. And he hates it.  

After all, he doesn’t want to watch everyone around him die before him. 

[kayoi1234]

Beware the forest, unless you are prepared. 

The forests of this world are dark, and quiet, and silent, and surreal. If you stray from the path, forget your way or lose track of time, then there is no coming back.

Mark your paths, stay on the track and don’t lose track of time. Forests can warp your perception of the world. It’s very easy to go mad once you are lost. Once you are lost, there is no hope you could be saved.

Once you are lost, the trees begin to seem bigger, the air seems heavier, the sky seems darker. You will hear something at every corner, growls from something between trees. 

So remember, Beware the Forest, unless you are prepared. 

[kayoi1234]

Am I going to regret this? I probably will, but fuck you, I do what I want.

...Someone made a CP OC. And I want to make one.I’m bored, so...ya.

NAME: Andrew Williams

AGE: 16

THE INFO?: A boy, who sorta...steals. A thief if you will. He has dark brown hair, and brown eyes. He has a lock of hair that sticks up like an antenna on the left side of his head,  and the rest of his hair just lays flat. He wears a grey shirt and a pair of knee length, black shorts that he took from a washing line, a pair of gloves he stole from one of the guards (That guard was actually Fritz), and brown boots he stole from a shop vendor. 

He has always lived in the poorer sides of the city, resorting to stealing from others to gain a living. The one mistake he made though was to try and steal from a witch. He tried to grab her purse, when she whipped around staring daggers at the boy before whispering dangerously”Did you try to steal from ME boy?” He had tried to lie his way out, but to no avail, he got cursed with a twisted version of the Master Thief’s curse. 

Forever more, he can no longer take anything for every time he tries to steal something, someone will catch him , unless he manages to steal three things. A wedding ring from an old, married couple,  A horse from a king and a bed sheet from a secret lovers’ bed. If he manages to steal all three things, his curse will be broken. 

Now, he lives at the Marchen, taken in by Parfait, and works there as errand boy. He has tried to break his curse many times, but to no avail. Maybe if he waits, someone could help him?