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balioc · 4 years ago

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A Taxonomy of Magic

This is a purely and relentlessly thematic/Doylist set of categories.

The question is: What is the magic for, in this universe that was created to have magic?

Or, even better: What is nature of the fantasy that’s on display here?

Because it is, literally, fantasy. It’s pretty much always someone’s secret desire.

(NOTE: “Magic” here is being used to mean “usually actual magic that is coded as such, but also, like, psionics and superhero powers and other kinds of Weird Unnatural Stuff that has been embedded in a fictional world.”)

(NOTE: These categories often commingle and intersect. I am definitely not claiming that the boundaries between them are rigid.)

I. Magic as The Gun That Can Be Wielded Only By Nerds

Notable example: Dungeons & Dragons

Of all the magic-fantasies on offer, I think of this one as being the clearest and most distinctive. It’s a power fantasy, in a very direct sense. Specifically, it’s the fantasy that certain mental abilities or personality traits -- especially “raw intelligence” -- can translate directly into concrete power. Being magical gives you the wherewithal to hold your own in base-level interpersonal dominance struggles.

(D&D wizardry is “as a science nerd, I can use my brainpower to blast you in the face with lightning.” Similarly, sorcery is “as a colorful weirdo, I can use my force of personality to blast you in the face with lightning,” and warlockry is “as a goth/emo kid, I can use my raw power of alienation to blast you in the face with lightning.”)

You see this a lot in media centered on fighting, unsurprisingly, and it tends to focus on the combative applications and the pure destructive/coercive force of magic (even if magic is notionally capable of doing lots of different things). It often presents magic specifically as a parallel alternative to brawn-based fighting power. There’s often an unconscious/reflexive trope that the heights of magic look like “blowing things up real good” / “wizarding war.”

II. Magic as The Numinous Hidden Glory of the World

Notable examples: Harry Potter, The Chronicles of Narnia, H.P. Lovecraft’s Dream Cycle

The point of magic, in this formulation, is that it is special. It is intrinsically wondrous and marvelous. Interacting with it puts you in a heightened-state-of-existence. It is -- ultimately -- a metaphor for The Secret Unnameable Yearnings of Your Soul, the glorious jouissance that always seems just out of reach.

It doesn’t so much matter how the magic actually functions, or even what outcomes it produces. The important thing is what magic is, which is...magical.

This is how you get works that are all about magic but seem entirely disinterested in questions like “what can you achieve with magic?,” “how does the presence of magic change the world?,” etc. One of the major ways, anyway.

The Numinous Hidden Glory fantasy often revolves around an idea of the magic world, the other-place where everything is drenched in jouissance. [Sometimes the magic world is another plane of existence, sometimes it’s a hidden society within the “real world,” doesn’t matter.] The real point of magic, as it’s often presented, is being in that magic world; once you’re there, everything is awesome, even if the actual things you’re seeing and doing are ordinary-seeming or silly. A magic school is worlds better than a regular school, because it’s magic, even if it’s got exactly the same tedium of classes and social drama that you know from the real world.

Fantasies of this kind often feature a lot of lush memorable detail that doesn’t particularly cohere in any way. It all just adds to the magic-ness.

III. Magic as the Atavistic Anti-Civilizational Power

Notable examples: A Song of Ice and Fire, Godzilla

According to the terms of this fantasy, the point of magic is that it doesn’t make sense. It doesn’t make sense within the logic of civilized human thought, anyway. It is nature and chaos given concrete form; it is the thing that tears away at the systems that we, in our [Promethean nobility / overweening hubris], try to build.

There’s not a baked-in value judgment here. This kind of magic can be presented as good, bad, or some of both. Same with civilization, for that matter.

It’s often presented as Old Myths and Folkways that have More Truth and Power Than Seems Reasonable. Narratively, it often serves as a dramatized version of the failure of episteme, and of the kind of entropic decay that in real life can take centuries to devour empires and ideologies.

This kind of magic is almost always the province of savages, actual inhuman monsters, or (occasionally) the very downtrodden.

(I think it is enormously telling that in A Song of Ice and Fire -- a series that is jammed full of exotic cults and ancient half-forgotten peoples, all of whom have magic that seems to work and beliefs that at least touch on mysterious truths -- only the Westerosi version of High Medieval Catholicism, the religion to which most of the people we see notionally adhere, is actually just a pack of empty lies.)

IV. Magic as an Overstuffed Toybox

Notable examples: Naruto, JoJo’s Bizarre Adventure

Or, sometimes, we care about what magic actually does. More than that -- sometimes we want to see magic doing really interesting things, and then other magic intersecting with it in ways that are even more interesting.

The fantasy here, in simplest terms, is “magic can achieve any arbitrary cool effect.” There doesn’t tend to be an overarching system that explains how it’s all supposed to come together, or if there is, it tends to be kind of lame and hand-wavey -- a rigorous system of Magic Physics, delineating the limits of the possible, would get in the way of all the cool effects we want to show!

Once again, this shows up a lot in combat-heavy narratives. Less with the genericized D&D-style “magic is a fist that can punch harder than your regular meat fist,” and more with people throwing weird and wacky powers at each other in order to show how those powers can be used creatively to overcome opposition. Sometimes, instead of combat, you get magicians using their cool-effects magic to MacGuyver their way out of problems or even trying to resolve large-scale social problems. Issues of magic usage within the narrative being “fair” or “unfair” or “cheesy” are important here in ways that they generally aren’t elsewhere, since the fantasy on offer comes close to being a game.

(Ratfic often falls into this category.)

V. Magic as Alternate-Universe Science

Notable examples: the Cosmere books

This covers most of what gets called “hard fantasy.” The fantasy on offer is a pretty straightforward one -- “magic has actual rules, you can learn them, and once you’ve learned them you can make predictions and achieve outcomes.” It’s puzzle-y in the way that the previous fantasy was game-y. It’s often a superstimulus for the feeling of learning a system in the way that video game grinding is a superstimulus for the feeling of rewarding labor.

The magic effects on offer tend to be less ridiculous and “broken” than toybox magic, because any logic you can use to achieve a ridiculous effect is going to influence the rest of the magic system, and special cases that aren’t grounded in sufficiently-compelling logic will ruin the fantasy.

Not super common.

VI. Magic as Psychology-Made-Real

Notable examples: Revolutionary Girl Utena, Persona

This kind of magic makes explicit, and diagetic, what is implicit and metatextual in most fantasy settings. The magic is an outgrowth of thought, emotion, and belief. Things have power in the world because they have power in your head. The things that seem real in the deepest darkest parts of your mind are actually real.

This is where you get inner demons manifested as actual demons (servile or hostile or anything in between), swords forged from literal hope, dungeons and labyrinths custom-tailored to reflect someone’s trauma, etc.

The fantasy, of course, is that your inner drama matters.

My personal favorite.

VII. Magic as Pure Window Dressing

Notable examples: later Final Fantasy games, Warhammer 40K

This one is weird; it doesn’t really make sense on its own, only metatextually. I think of its prevalence as an indicator of the extent to which fantasy has become a cultural staple.

The fantasy on offer in these works is that you are in a fantasy world that is filled with fantasy tropes. And that’s it.

Because the important thing here is that the magic doesn’t really do anything at all, or at least, it doesn’t do anything that non-magic can’t do equally well. It doesn’t even serve as an indication that Things are Special, because as presented in-setting, magic isn’t Special. Being a wizard is just a job, like being a baker or a tailor or something -- or, usually, like being a soldier, because the magic on offer is usually a very-simple kind of combat magic. And unlike in D&D, it’s not like magic is used only or chiefly by a particularly noteworthy kind of person. It’s just...there.

The great stories of the world, in these works, don’t tend to feature magic as anything more than a minor element. The point is to reassure the audience that this is the kind of world, the kind of story, that has magic.

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Thoughts? Critiques? Other categories to suggest?

#media analysis

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pumpkaaboo · 4 years ago

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Madoka Magica rewatch: episode 1

Hey guys! I’ve decided to rewatch Puella Magi Madoka Magica (considering that the last time I watched it, I was 12, up past my bedtime, and at a sleepover with my friends. we watched the whole thing in one night. needless to say, a lot of things flew over my head). I want to pay attention to two things in particular: symbolism, and parallels to Revolutionary Girl Utena (specifically, eggs. that will make sense if you’ve seen utena). Most of what I’m going to talk about is probably a reach and/or not intended by the creators, but hey, overanalyzing every minute detail of things to the death is fun. (Note: these posts will contain spoilers for the entirety of madoka magica, and probably bits of utena as well) If you don’t want to see these posts, you can blacklist the tags “#pmmm” or “#pmmm rewatch”. Without further ado, let’s get into it!

So right off the bat, we have a parallel to utena. The very first shot in both...

...is a curtain being raised. This is very interesting to me; it gives the idea that what we’re about to see is a performance of some kind. Whether it means that the whole thing is a performance, or just the dream/flashback we’re about to see, is something I’ll have to look out for. Regardless, just as in utena, I’m going to take this as an indication that what I’m about to watch should not be taken at face value.

Also worthy of note that this is the first time we get to see the beautiful paper cutout style in the witch labyrinths. It’s one of the defining artistic features of this anime, and I can’t wait to see it again.

Then there’s a shot of what appears to be a grief seed with some text in a conlang I can’t read and then... this.

...yeah, I’m at a loss. Is this Madoka’s witch? I think it might be. The background kind of looks like a record from this angle, but broken by that black... slice? bar? witch? Also, there’s the sound of what I think is a tape running through a film projector-yet another indication that what’s to come is a story a performance, not necessarily reflective of reality. However, in contrast to Utena, which uses theater/live performances and plays, Madoka seems to be using film. Film is static, unchanging-you can watch a movie as many times as you want, but aside from file corruption or physical damage to your equipment, it will play out exactly the same way. Theater, meanwhile, is much more dynamic-the actors and the audience have a tremendous amount of influence on the way things go, even if specific plot points must remain the same. I like that, as a difference between the two, because while in Utena, the duelists are always different and the circumstances of the cycle are always changing (even if the end result is always the same), while in Madoka, Homura is repeating the exact same month, and everyone else stays exactly the same except for her (the audience? much to think about).

We have several shots of Madoka running through this stark black and white landscape. She’s the only spot of color in it, and each shot is more impossible and dreamlike than the last.

Finally, she comes to this bright green exit sign-a complementary color to her hair. It’s surrounded by darkness and metal fencing (only visible in the previous shot)-perhaps meaning that, for Madoka to be able to move forward, she will have to travel into darkness, towards something the opposite of herself? I also find the framing of the shot to be very reminiscent of this:

Madoka must ascend the stairs before opening the door, however, not after. I’ll talk a bit more about this parallel later, though, because Madoka opens the door and sees...

...that. Walpurgisnacht has the same pattern behind her that the weird shot of the record did earlier, so maybe I was misreading that and it’s supposed to represent her, not Madoka’s witch whose name escapes me. Also worthy of note that Madoka is moving from an unreal space of equal parts light and dark (where the two were distinctly separated) to a more “real” world of black and gray-and where darkness and the few patches of light often blend together smoothly. I think this is supposed to represent her idealistic worldview clashing against the world where Magical Girls must constantly risk their lives, make morally gray decisions, and fight witches for survival.

I’m not really sure of what to think of the parallel between Madoka entering the battle with Walpurgisnacht and Utena entering the dueling arena, but if we take it as her going from a place inside of her own mind, where her assumptions about the world are unchallenged, into a place where a battle of ideology where no one is truly, 100% noble (even though some may hold the definite moral high ground) might work, but Utena’s dueling arena is also a place of trying to obtain that true nobility. Then again, that could be a parallel to Madoka’s wish in the end, couldn’t it? But I don‘t think it’s a 1-1 parallel, nor do I think it should be expected to be. I’m happy to think of it as a (possibly unintentional) nod to one of the show’s major influences.

Also I just noticed that Walpurgisnacht’s design sort of mirrors itself and works just as well upside down as right side up-hold on let me just-

yeah.

Here we have a shot of Madoka standing on a maze of scaffolding-the path ahead of her will be treacherous, full of dead ends and places to plummet to the ground. But we don’t have time to talk about that because HOMURA

So our first shot of this character-arguably tied for “most important in the show” with Madoka herself-is from a distance, standing on a pillar of darkness, surrounded by flashing red lights. The camera constantly focuses in and out-she’s distant, and it’s hard to figure out what she’s doing or thinking. But then we cut closer to her-

-and we see her face right before she gets hit by a skyscraper-

-and it becomes clear that whoever this is, she’s someone to pay attention to, someone whose inner mind and motivations the series will be exploring. Also I love how she’s not scared of the skyscraper at all, seeming to view it as more of a minor inconvenience more than anything. Because to her, it is!

Also, here we have the first actual bright colors in the show besides the green exit sign. I note that Homura is raising her shield here, not firing one of her (many) guns/explosives-our first impression of her is a mysterious one, but also of protection, though who or what she’s trying to protect remains to be seen.

...and here we have the first voice line of the series. Seems appropriate, given the general tone, but I also think it’s important to note that our first impression of Homura is protectiveness, and our first impression of Madoka is compassion and sympathy...

...while our first impression of Kyubey is fatalism and discouragement. Not exactly a good look for a character who’s supposed to be guiding and supporting the heroes, huh. Kyubey knows exactly what he’s after, and he knows exactly how to get it.

And here we have the entire thesis of Madoka’s character in one line.

Seriously, all of it’s right there! Compassion for those suffering, an acknowledgement that the current circumstances are unjust, are wrong. This isn’t how magical girl shows are supposed to go, this isn’t how heroes are supposed to have to fight, and Madoka is unwilling to accept a world where this level of injustice is the norm. God, what a great way to introduce the entire main conflict of both the protagonist and the show!

Here’s our first clear shot of Kyubey, and he looks even more blank and eerie than usual-I think it’s the fact that he has no visible pupils. Also a great bit of foreshadowing; you don’t typically introduce a character that’s going to be helpful like this.

Kyubey tells Madoka that she has the power to change this fate-to alter the horrible destiny in front of her. “Can I really?” asks Madoka.

That’s why Madoka wants power-she wants to be able to help. And she can, but she’ll have to be very careful about how she words her wish, because otherwise, she might just end up making things worse. It’s worth noting that she wants to change the ending-perhaps foreshadowing her eventual wish to stop magical girls from becoming witches (any girl who cannot become a princess..), changing the inevitable end of their lives.

I love how the branches of the tree(?) are breaking up the frame, making it look fractured or like slash marks, showing how the characters are broken and disoriented, and visually representing the separation between Madoka, Homura, and Walpurgisnacht. It’s a neat trick that was used to great effect in Adolescence of Utena (though usually it was associated specifically with blades or impalement in that case).

Kyubey offers his contract to Madoka, and she looks at the camera, determined, crowned and wreathed by the rubble around her...

...and then wakes up, in her bed, surrounded by warmth and pink and soft things and hearts. Also, I think the aspect ratio changed at this part? I’m not really sure why that is-maybe to convey that they’re going from the cinematic final conflict to Madoka’s everyday life?

Silhouetted by the warm window behind her almost like a halo, watched by her stuffed animals and embracing another, Madoka asks if it was all a dream. She noticeably sits up so her entire head is in the light, and then leans down so only half of it is-she hasn’t fully committed to the heroism she’ll come to embody yet.

Okay, that’s enough for now, it’s been like two hours and I’ve only gotten through one scene. I was hoping to be able to get through this quickly, but I should have known better. Part 2 of this episode coming... at some point, hopefully.

#pmmm #pmmm rewatch #puella magi madoka magica #pmmm 1

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nomadicism · 4 years ago

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Now that She Ra is over, what are your thoughts on it? What about that Catradora kiss?

Hi Anon! Thank you for the Ask!

ヽ(*⌒∇⌒*)ﾉ Where to start?

I have so many thoughts on the show, and I’ve had so many thoughts since season 1. I’ve not written much of anything about She-Ra because I keep coming back to this problem of ‘where to start,’ or how to structure my thoughts beyond a +1000 item list. I can’t even pick one or two thoughts to dive into, because they all end up connecting to everything else —> honestly, that’s the mark of a tight narrative, even the big pieces that can fully stand on their own are still leading through to another piece. I fail at every attempt to write something brief.

Section I: Short answer first.

I have a very short and subjective list of media where I not only love (for different reasons) nearly every character (main, secondary, background), but where I also feel that their individual places or moments or arcs concluded in a way that felt right from start to finish. It’s a short list of media where connections and conflict between characters never felt forced, out-of-place, out-of-context, or done for shock value. She-Ra and the Princesses of Power makes that very short and subjective list.

It’s not often that a story hits all the right notes with me, and it’s much more often that a story starts off strong like that, and then turns me off ½-⅔ of the way through. I’ve quit video games during the final boss fight because the story lost me in the lead-up and I wasn’t going to waste 10-20 minutes of my time for something that turned out to be ‘meh’. It ain’t got to be deep, or anything either.

I really loved the voice acting. Everyone is great. A post for another time.

I love the aesthetics, which I wasn’t sure of at first teasers, but won me over in less than 3 minutes of the first episode (season 1) because I love bright pastels, the character designs are fun (can I still gush over variety of body types? YES), so many opportunities to explore stylish takes on the characters, and those Moebius-inspired scenery/background designs are a special interest delight. Season 5 delivered a visual ‘end game’ for the aesthetics in many ways, Section III further down will get into that a bit.

Section II: “What about that Catradora kiss?”

I gotta preface this with, shipping is not my go-to for how I enjoy creative works. It’s not a hobby for me. Sure there’s a few I dig more than others, but I’m otherwise agnostic about ships, unless there is a really bad story-fit (and that’s usually a subjective thing), or involves tropes that are a deal-breaker for me (and those typically relate a lot to the story fit).

With that said, I’m really happy to see Catradora be pulled off so brilliantly, and I think the kiss is a bold and beautiful big deal in a way that might not be obvious when considered in a vacuum. I see it as passionate and heart-felt, but also, it’s achieving(?) a relatable outcome (for me at least) that’s hard to describe. It’s an outcome yielded by a story in which two women—a hero and a villain—are divided and fight bitterly and then reconcile through love, while fighting a purity cult whose founder-prophet-god-king forces subservience through a conversion designed to strip someone of their identity (e.g. names they’ve chosen for themselves), memories-and-motivations, and love for others.

Despite these conversions, love still remains, it can’t just be baptized or therapy-ed away. Controlling puritans and authoritarians wielding religion or peace-panaceas as a weapon have been the villains in the lives of countless women and LGBTQIA people for a very long time. So yeah, I’ve got some feels about that. The last time I felt anything similarly relatable, or as strongly, was the Utena and Anthy relationship in Revolutionary Girl Utena (and really, their kiss during the surreal sequence at the end of the film adaptation).

Section III: Thoughts on Cult Aesthetics and Clones (the rough cut)

(1) In the future scenes at the end, Adora’s white dress with gold tiara and accents have this kind of goddess-like or Pallas Athena feel to it, which is a great mirror of the design choices for the god-like Horde Prime, his Purity Space Cult, mechanics/ship, and flagship interior scenery. Not saying that was the intention, but that’s how it came across to me.

Of course, those colors would be used because She-Ra already wears white and gold with a bit of red accent, which complement how the princesses are bright and colorful (pastels and jewel tones). The bold and bright colors helps signify that Etheria is full of life. Etheria is verdant and magical, and that sets up a contrast to the Fright Zone and the darker colors found in Horde characters (Hordak, Shadow Weaver, Scorpia, Catra, Entrapta, etc).

So the first kind of contrast was with the Fright Zone standing out as a poisoned/toxic against the bright, lively colors of Etheria and the princesses. Season 5 introduces another take on that contrast as Horde Prime is the opposite, or antithesis of Etheria’s colorful life. He’s like anti-life with his shades of light-and-dark grays on white, and only glow-green as an accent. In some cultures and religious traditions, white is associated with purity, and in others it is associated with death.

When Horde Prime ‘purifies’ Hordak for the sins of individuality and emotion (emotion for others, for his own sake), Hordak is drained of the colors he chose for himself during exile. In addition to being a contrast to Horde Prime (and informed by the 80s cartoon design), Hordak’s dark blue (or blue-black) and red color palette reflects the traditional use of red as a color for evil (especially vampirism) from back when diabolism was a stand-in for ‘the Devil’ in many forms of visual media (comics, live-action, animation, etc). In place of diabolic red, Horde Prime has toxic glow-green.

I absolutely love the use of the glow-green accents. Color trends for villains and significations of evil come and go, and I’m glad to see the color green be used again, and used so well. The last time I saw that shade of glow-green used so well was in Sleeping Beauty (re: Maleficent’s magic and the orb on her staff) and as the Loc-Nar in Heavy Metal. In both films, there are connotations of evil as a poisonous and corrupting influence. Green, in the context of evil, almost always signifies poison (and sometimes envy). I also like that the glow-green color is used in ways that aren’t immediately saying ‘this is evil’, such as the green baptismal waters and flames from the purification scene, or the green amniotic protein fluid. The language of piety and trappings of the sacred can cloak a sinister purpose.

I don’t know if any of that was intentional, but Horde Prime feels like the perfect synergy of purity and death (which has additional connotations, but that’s a very personal interpretation).

(2) Horde Prime immediately gave me subtle cult vibes in his first cameo (Season 3), and the follow-through on that was perfect and exactly what I was hoping to see. The background music throughout the scenes aboard the flagship fits well (love the soundtrack), and has the quality of Ecstatic Experience without pulling directly from any specific religion. Horde Prime’s dialogue is a delightful bit of narcissism veiled with the language of piety.

A purity cult comprised of clone-brother-worshippers of the cult’s founder-prophet-god-king reinforces that narcissism and has all the fun-dark feels of shiny-techno-future-dystopias. It is also an interesting use of clones, especially in a story format that usually never has the time to really dive into the complexities of cloning. This is the sort of thing that you’d be more likely to see in a one-off episode of Star Trek: The Next Generation, rather than the basis for a greater scope villain, or multi-season nemesis. (and yes, Star Trek: TNG had an interesting clone episode)

Clones in science-fiction tend to fall into just a few tropes, and I generally dislike seeing clones show up in a story because the execution nearly always feels sloppy (in small ways or big ways). I did not get that feeling from She-Ra, where, the clones occupy the “cog in the machine” trope, but it is not their existence as clones that make them that way, it is the Will of Horde Prime that does. They are simultaneously expendable and sacred in their unity. It’s a nice flip on “stronger by working together” that Adora and the others have to learn (and struggle) to do.

It seems like, despite their religious programming, the clones have a little bit of their own personalities until Horde Prime ‘inhabits’ them to exert his Will. I’m trying not to read too much into it, b/c what comes across as ‘inhabits’ to me (especially with the religious/cult context), was probably meant more literal like described in the dialogue as a hive-mind control kind of thing. The first time it happens—to post-wipe/death Hordak—felt to me like a possession scene from The Exorcist, but without the kind of horror visuals that would scare both adults and children. The quick-and-subtle amount of body contortion and sound is still gross and creepy (because it should be), but it also reminds me of Ecstatic Experience in the form of speaking in tongues, or snake handling, or being a medium for a spirit. Again, I’m not saying any of that is intentional, but that’s how I see it.

(3) Finally, there is Entrapta, Hordak, and Wrong Hordak. Clones rarely get to be ‘humanized’ through friendship or romance arcs. I can think of a dozen or more robots that get to be humanized in that way, but can’t recall any clones that have (excluding doomed clones whose friendship/romance only existed for the sake of selling the tragedy of their death). Hordak gets death, renewal, and romance in a way that worked really well, and the totality of it is unique. I was a bit surprised that they could work in another clone—and I love Wrong Hordak—who pulls triple-duty as (1) comedy; (2) relevant to moving various pieces of the story along; and (3) more humanizing of the clones, which, again rarely happens as most stories take the easy low road when it comes to clones.

For Entrapta’s part, she’s never put in the position of giving up who she is (‘weird’ by many standards) for a romance. Her passion for technology is both an amusing double entendre at times, and integral to who she is. A romance for Entrapta does not replace her passion for technology, she can have both. Dating myself but, I came up in a time where most media (for children or adults) would rob a woman of her agency or passions during the resolution of a romance arc. Maybe times have changed, but it’s still nice to see none of that nonsense happening here.

#catradora #entrapdak #spop #spop meta #spop asks #ask me anything #spop s5 spoilers

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seasaltmemories · 4 years ago

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haru, ann, makoto, yusuke, and ryuji?

All are under the Cut:

Haru

How I feel about this character:

I like her! While I do agree that the fact she is recruited right when things kick into gear is kinda frustrating, I think she has a lot of great little moments that are overlooked, she is charming and cute

All the people I ship romantically with this character:

I am up for anything, but nothing stuck out in the game itself

My non-romantic OTP for this character:

Her friendship with Morgana and the entire Beauty Thief stuff is great

My unpopular opinion about this character:

I’m actually glad that her recruitment was nonstandard, it shook up the usual ‘oh person who is not supposed to be there wander in the Metaverse and turns out there is a persona user” while it doesn’t last for long, there are questions of if she could be Black Mask, and in general it makes it feel like the world doesn’t just revolve around what Joker sees on screen, the fact she is closer to other ppl than Joker (at least at first) is interesting

One thing I wish would happen / had happened with this character in canon:

A conversation with Akechi about the whole father murder thing would be great, I know she is a pretty private person, and if it happened it would likely be without Joker, but the fact she still tries to be polite to him while being upfront about not forgiving him is an interesting dynamic

my OTP:

None

my cross over ship:

Um how about she and Rinea from FE Echoes hook up?

a headcanon fact:

She definitely becomes an old rich cat lady living her best life, partner or no

Ann

How I feel about this character:

I love her! I think her presence after her arc is understated but a great part of the team, I just think she is a fun character I like to watch

All the people I ship romantically with this character:

Shiho, I might also be down for a quick, low stakes hook-up with Yusuke

My non-romantic OTP for this character:

Her and Joker’s confidant is really nice

My unpopular opinion about this character:

I like her confidant, like yeah the model stuff isn’t the deepest but it only gets brought up a few times and we still have the rest of it being her kinda having to deal with the guilt of not being there for a friend even though things were kinda out of her control

One thing I wish would happen / had happened with this character in canon:

I guess I wish her relationship with her body and sexuality was made a little more clear, the writing around that is an example of the game both wanting to appeal to fantasies and real life issues, from what i gathered she was fine with being sexy when she was the one who chose to do it, so it would have been nice if more of the fan-service stuff had her kinda initiating stuff

my OTP:

Her and Shiho

my cross over ship:

I could see her and Hilda von Goneril being fun

a headcanon fact:

I don’t think she continues staying a model for long, and over time kinda takes an unofficial mother figure role of looking out for newbies to make sure they aren’t being exploiting and using her influence to get creeps from getting more jobs

Makoto

How I feel about this character:

A fave, I think the game does a great job of balancing out her unlikable moments with being able to understand where she is coming from, and that tension in general made me like her all the more once I started coming around to her

All the people I ship romantically with this character:

Joker

My non-romantic OTP for this character:

Her and Sae were a great pair of sisters

My unpopular opinion about this character:

Again I also really liked her confidant, like Ann I think the Eiko stuff was very minor in the long run, and considering her strong sense of justice it made sense for hers to take place through an active investigation of sorts rather than her having a pity party for herself and spilling her past

One thing I wish would happen / had happened with this character in canon:

My bias might be showing again but I am curious about her relationship with Akechi, I doubt they were close but it feels realistic that she would know he was basically Sae’s intern, and while I doubt they interacted much one on one outside that one scene where he calls her nothing but a goody two shoes, I wouldn’t mind exploring it more

my OTP:

Joker

my cross over ship:

Hmm her and Utena Tenjou would be a great mix of “high intellect low wisdom” and beating up gross dudes

a headcanon fact:

I think she never loses her rebellious streak and ends up in like advocacy work against government corruption

Yusuke

How I feel about this character:

He’s nice, I do like his interesting relationship with Madarame, and think it has some of the most nuance in the game

All the people I ship romantically with this character:

Nothing really serious besides like I said that low-stakes hook-up with Ann

My non-romantic OTP for this character:

As I mentioned while not a good relationship, I still think his connection with Madarame is his most interesting

My unpopular opinion about this character:

Maybe my own sheltered weirdo art kid is showing, but he really isn’t as out-there as ppl claim, I was expecting a hammy off the walls character from what fandom showed, but if anything his is really quiet, withdrawn and again most of his eccentricities is just him having been really sheltered his whole life and having to adjust to living on his own, like in the grand scheme of things, buying lobsters just to draw them is something I could see ppl in my life doing and maybe joking about for two or three days before being completely forgotten

One thing I wish would happen / had happened with this character in canon:

I think he is the phantom thief that fades into the background the most, and I wish he had a bit more relevancy for the rest of the game, which is harder to do bc he isn’t the most social or touchy-feely outside of art, I wish I got a great sense of camaraderie at least from his reasons for sticking around besides “friends” feels very weak

my OTP:

Not really any

my cross over ship:

I could see something between him and Namine being sweet

a headcanon fact:

I don’t know the exact flavor, but I think he is misdiagnosed neurodivergant and likely never really figures it out except maybe by the time he is middle age and has a stable life bc he and others around him write off the symptoms as the result of his weird upbringing and artsy nature

Ryuji

How I feel about this character:

He’s a character I don’t I could stand if he was real, but the game writing and framing does make me like him and his friendship with Joker comes off as very genuine

All the people I ship romantically with this character:

I am up for anything, but nothing stuck out in the game itself

My non-romantic OTP for this character:

Again him and Joker

My unpopular opinion about this character:

Lol I feel like I pissed off a lot of ppl by saying I couldn’t stand him if he was real, but really he is like the eptimone of teenage rage, like he has good reasons to be angry but he doesn’t really know how to cope with it in the right ways, like no offense but walking up to somebody and just asking “hey are you being abused” isn’t all that helpful to a victim and other little things that in a less power-fantasy narrative could go really wrong, I don’t think presenting those flaws is bad, and I don’t think he is a bad character, but as someone who has also had to carefully manage my anger, it hits me in a very “remembers bad memory and cringes way”

One thing I wish would happen / had happened with this character in canon:

Look I know teenagers can be horny and I am not against ever showing that, but i guess as a grown woman I could have done without all the “lets score some babes” talk

my OTP:

None

my cross over ship:

Doug from Rune Factory 4 could probably vibe with him but i think they’d both cool each other down

a headcanon fact:

Probably also when he is older, things are stable, and he finds a therapist he doesn’t feel patronized by, he does end up finding the experience meaningful

#merryfortune #thanks for the ask!!#seasalt talks #phantom thieves #persona 5 #haru okumura #ann takamaki #makoto niijima #yusuke kitagawa #ryuji sakamoto

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love-takes-work · 5 years ago

Link

Below, I’m sharing a long outline of what was discussed in this wonderful interview, for those who can’t or prefer not to listen but want to know the content. It is very long and I don’t feel like finding pictures so you’ll have to just enjoy it like it is. It’s not a transcript but it is, in my own words for the most part, a recitation of everything Susana and Rebecca talked about: musicals, the upcoming movie, animation influences, and quite a few things you did not already know.

Susana introduces the interview by saying that tons of attention is paid to the diversity and the characters and all this great stuff in the show, but she wants to talk about the science fiction aspects and the society and worldbuilding Rebecca and her team have put in. She begins by talking about how the show seems so planned considering aspects of the show's beginning feed so well into the end, and she asks Rebecca to talk about that.

Rebecca opens by saying it was conceived as a coming-of-age story, so a ton of stuff that the adults know, Steven doesn't know, allowing it to be a story about things that happened to adults but remain child-friendly. Rebecca brings up a college class on the sublime that she took, about what's going on and implied to be going on just outside the frame of the art, so she was really taken with that concept.

Rebecca claims that her planning is pretty dry, and it's just a bunch of charts. She had stuff like Fusion names and weapons from the beginning, and of course she couldn't use them in her pitch because it didn't make sense without knowing the characters. Susana mentions that CN wanted the show to be aired in no particular order, and Rebecca mentions how it was hard to work with because she DID want continuity. Planting seeds in episodes and giving puzzle pieces that'd come together later worked for a long time, while still making each episode work as a whole and be satisfying. Later, when CN came to them wanting like eight related episodes, there they had the barn arc to give them--they had already planned to make this story related. She felt it aired in a "bizarre" way, but they comforted themselves on the Crew knowing someday people would watch it how it was meant to be watched. As a lead-up to the movie, CN IS going to air "every Steven ever," so people will actually get to see it in marathon format.

Batman: The Animated Series comes up and they discuss how censorship limited what they could do on that show because of problems with glass breaking. Susana says she actually really appreciates it when stories can still be told well despite the constraints put on them, and asks Rebecca if that applies to SU. Rebecca agrees that it does, and also that she loves stuff like video games that managed to function with ridiculously small space requirements. Developers still offered up such creativity, she says. So because of the beauty that arises from those constraints, she thought she should have constraints in her show on purpose, even if it isn't applied from outside. The most obvious one for this show was that we're trapped into only knowing and seeing what Steven knows and sees. "The Test" is a good example of Steven actually seeing something he isn't supposed to see: the Gems having a private conversation about him. According to her, plenty of stuff is written about what the Gems are up to outside of what Steven knows about them, and they can only kind of hint at it.

Coming from Adventure Time, there were some similar aspects. Rebecca got to work with some of her heroes from independent comics, and she got a lot of inspiration from them. On Adventure Time, it's our world but far in the future, and Rebecca would have loved to do something similar with Steven because she loved that aspect. Quite a few of the Adventure Time crew had come over from Flapjack and they thought it would be funny if the Adventure Time characters found a tape of Flapjack. As much as it would have been cool to take that idea for her show, that was theirs, so Steven's is more like it's our Earth but in an alternate timeline where Gems invaded 6,000 years ago. She rattles off some known similarities and differences of our two worlds, and elaborates on how Hollywood is in Kansas because in that world Disney never left where they started. Laugh-O-Gram Studio took off like it didn't in our timeline. She has a ton of other info like that but it won't matter to reveal it until or unless it matters to Steven. (She also throws in that Harman-Ising could be Ising-Harman in her world if they never figured out how cute it would be to have it the other way.)

When Susana asks about how she took so many details and managed to make a pilot with enough of them that she could get a show with it, Rebecca takes a turn into discussing working on Hotel Transylvania (for just a month!) with Genndy Tartakovsky. She had been planning to have a month off, but then Genndy asked, so she of course couldn't say no and felt she learned a ton. (She wrote the Steven Universe theme song in the car during that commute, by the way, given that she had a lot of time to sing and be alone.) When she hit Genndy with some of her ideas, he advised her to slim the details down and just boil it into its essence--who are the people and what is their relationship to each other? She still uses that advice, trying to condense things from macro to micro. She has succeeded since in figuring out how to keep the complexity and still assert the simplicity. Ultimately, you can keep those details but you don't have to emphasize them if they're not feeding into the main point. They'll drag the piece down. They discuss Genndy's role as the Animation Director on her pilot, which happened when she was asking if he knew anyone and he ended up saying he'd do it himself. She was so shocked that he agreed to direct her pilot that she was dazed and ran into a pole in the parking lot. The whistling of the wind through the resulting dent always made her giddy because she was thinking she would be working with Genndy.

Susana then turns to discussing Rebecca's influences and brings up Revolutionary Girl Utena. Rebecca mentions that she initially saw Utena because a person named Connie lent it to her in high school, so that's where SU's Connie's name comes from. Rebecca points out how hilarious Utena is in addition to being beautiful. She felt it was formative because Utena was "gender expansive and bisexual." Rebecca saw the movie first (which she doesn't recommend doing), then saw the series and then the movie again. She wanted to understand why the characters were turning into cars. (Chronicler's note: I was equally baffled by the Utena movie's car chase and car transformation stuff in the early 2000s. I did not know what to make of it.)

Rebecca elaborates on Utena and art influences, saying she loves to trace artists' influences to see where their pieces were coming from. She saw that Utena is very influenced by Princess Knight, and she was thrilled to visit places in Japan that influenced Osamu Tezuka. The Takurazuka Theatre is in Tezuka's town, and Rebecca describes how every show there is performed only by women. She felt that having this theater there influencing Tezuka certainly inspired him to include gender expansiveness in his work. The influences are so obvious when you look at the sources, and now all of this that came through Tezuka's work then through Utena then to Rebecca is so incredible.

When Susana brings up trends and how magical girl stuff influenced today's creators, Rebecca says she prefers not to think of it as a trend really because some of what's roaring out in popularity now was always around but was actively prevented from being made in the past. She talks about watching Tenchi Universe (the "Universe" part of SU came from Tenchi!) and Sailor Moon on CN, knowing it wasn't American, but she didn't really realize it "didn't belong" on the network, and felt that her access to influences was really unusually open--especially since her dad was an animation nerd and had a bunch of unusual stuff that influenced her, especially stuff that gave her a peek into how animation actually worked and knowledge that she could be one of the people making it. If she could call anything a trend now, it's that that sort of access is now available to more people because of the interconnectedness of the Internet and how we're so much more capable of influencing each other now.

They then discuss some anime stuff they had been exposed to and how Rebecca helped with an intro to Whisper of the Heart which is her favorite movie. She discusses how that movie (and Kiki's Delivery Service) are good representations of creative processes and sometimes what happens if an artist is blocked. She thinks the actual craft and work associated with the process is more important (and more interesting) than talent. Rebecca adores artists who take notes and figure out how to make their stuff good versus a specific moment of inspiration or an artist just "bleeding" their talent on everything. Art is a craft! You can study it! This is front and center in Whisper of the Heart. Rebecca discusses the Russian movie Film Film Film (which influenced the Zircons' design), and it has a writer character who is afraid that his process will destroy something inspired by a muse. She thinks it's a really interesting look at process.

Next they discuss a science fiction story in another format: the book The Left Hand of Darkness by Ursula K. LeGuin. Kat Morris lent Rebecca the book while they were roommates at the very beginning of when the show was starting. She loved seeing how the world worked in the book through the way they treated the main character. They also discuss the artist Jules Feiffer, who Rebecca had a relationship with because she carpooled with his nephews. They gave her a book of his called A Barrel of Laughs, A Vale of Tears. She loved it so much, especially how it deconstructed fairy tale tropes. One story was about a prince whose special ability made people close to him laugh themselves senseless, so he really couldn't have a relationship with anyone. She considers this an influence on Pink Diamond as a character. The SU character Sadie was named after this book's character Plain Sadie.

Next, Susana asks about musical influences for the show. Rebecca names Patti LuPone first. She saw Patti as Mrs. Lovett in Sweeney Todd and remembers seeing her playing the tuba in this weird arrangement where the cast was also the orchestra. She was so impressed. When she later wrote to Patti asking her to be Yellow Diamond, she referenced learning from her that a person could be so dramatic that it's funny and vice versa. She also has a "chills" moment from a different show, during "Everything's Coming Up Roses," where the character she's playing is imagining an audience going wild but the actual audience IS going wild.

As they discuss how the upcoming movie is a musical, Rebecca talks about going home with Ian after work and putting on musicals or movies based on TV shows so they can "study" for what they're doing. She'd take notes about what works and what doesn't and why. She loves these old movies that dissolve into total weirdness by the third act. She references Ziegfeld Girl and Busby Berkeley movies, which were an influence on Homeworld's style. She subscribes to a philosophy attributed to Bob Fosse that characters have to be feeling something strongly if they're compelled to sing. She makes a reference to A Goofy Movie as a movie that moved from a TV show to a movie. She wished that movie had more songs.

Susana and Rebecca discuss the movie, some intense moments, the history of Goofy and how different some of the old versions of him are, and how a description of Goofy by Art Babbitt was influential on her. She loves that cartoons can be so many things, and she adores studying moments from them and incorporating them. There are some really horrifying discoveries you can make, but you can also reinterpret some of the beautiful moments and stir them together to get new brilliance.

Susana says many songs in Steven Universe become the centerpiece of an episode, but in "Mr. Greg" it's more like a typical musical even though it's an episode of a cartoon show. Rebecca agrees that it was great practice for the movie. She was more moved by that episode coming back than any other so far by that point. She also felt that "For Just One Day Let's Only Think About (Love)," the song, was a great practice musical song--especially since there's all that chatting in between singing. That song was really influenced by A Funny Thing Happened on the Way to the Forum's song "Comedy Tonight." She finds those kinds of musicals so much fun. She was influenced in "Mr. Greg" by Victor/Victoria--specifically the song "Crazy World" when the camera is panning around the protagonist (who's wearing a suit). They're of course dated, but they contain beautiful moments. She took home some of the Pearl drawings from "It's Over, Isn't It" when she went to the studio in Korea. (Yes, Steven Universe is animated on paper, though the color is digital.) Elaborating on "Mr. Greg," she says the episode became much simpler and sweeter--originally there was some intense stuff in there, like Pearl picking up cars and throwing them at Greg.

Back to the movie, Susana points out that Rebecca's been studying how to make a conversion to a cinematic story versus a really long TV episode. What makes something feel like a movie? Rebecca struggles to figure out how to talk about it without saying too much. She figures you have to dig into the fundamentals of the show--make a movie about something new, but something basic. She loved the Dexter movie and it was so smart. Rebecca has a weird connection to the Beavis and Butt-Head movie too (some of her crew worked on the movie!), but she thinks even that movie is smart because they're all about watching TV and in the movie their TV is taken.

Susana then asks about the movie length format and how it felt from going from a very short TV format to a movie. Rebecca's word to describe it is "terrifying." The episode "Change Your Mind" was 44 minutes and that was a ridiculously long format for them--but it carried the extra baggage of tying up so much of what they'd dumped into the show. Rebecca said they couldn't really even "feel good" about finishing it because the immediate next step was something that was so much more of everything hard about "Change Your Mind." Rebecca elaborates on the elements that were ramped up for the movie and concludes "What I'm trying to say is I'm really tired." She's really, really excited for us to see it. It's so different than a bunch of episodes tied together, even if it was eight "Mr. Greg" episodes. All the pieces have to be awesome and then tied together have all the pieces inform each other. She remembers being impressed by anime as a kid because it usually told interconnected stories, and she thought that would be really hard; turns out self-contained episodes are even harder, and she has to kind of do both on her show. She thinks of her songs like that too--they must be good on their own, but they enhance each other by all being part of the same work and building something better together.

Finally, Susana asks what comes next after Steven Universe--one day, when the show does end, what does Rebecca want to do? Well, take time off, write some guitar songs, write poetry no one will ever see, and so on. Rebecca says that her head is really in SU now though, and there's so much more to do--yes, there is more to tell that comes after the movie, and she wants us to know there are also stories that belong in that two-year gap between the end of "Change Your Mind" and the beginning of the movie, but she feels this is a good place to stop talking. She's so excited about everything we have yet to see.

#steven universe #crewniverse #rebecca sugar #rebecca sugar interview #susana polo

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yasuda-yoshiya · 5 years ago

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Sorry I haven’t been around here much lately! The last few weeks (/months, really) have been rough for me, but I’m feeling a bit better at least for now. For now I’ll just drop some overdue thoughts here on some of the things I’ve been watching since I finished Utena:

Princess Tutu

I found Tutu to be a really sweet and charming show with a ton of heart, but I'm also sad to say that I don't think watching it straight after Utena did it any favours for me. Utena portrayed the same kinds of themes around breaking out of predefined narratives in a way that personally hit home for me a lot harder, so Tutu ended up feeling a bit like a watered down version of the same ideas to me... Which is a shame because I do still think it's a really cool show with a lot to like about it! It's visually and aesthetically gorgeous, I adore its whole cosy meta-fairytale atmosphere and the ballet theme and the whole general feel of the show a lot - it just didn't end up leaving that much of a lasting impression on me in the end. I may well come back and revisit it some day, because I feel like I'd probably get more out of it coming in with a clearer idea of what to expect and without Utena's shadow unfairly hanging over it.

For the characters, I loved Ahiru and Fakir! They were both so endearingly earnest and I really liked the respective directions they ended up taking both of their character arcs and their relationship (Fakir passionately rewriting the story to be about Ahiru's bravery and courage at the end made me cry so hard! That's like, the exact kind of individual heartfelt expression of love that hits straight to my heart when it comes to fictional couples, waaaah...)

Mytho and Rue were a bit harder to connect with for me; I felt like I couldn't really get invested in Rue's feelings for Mytho for the most of the show since the backstory around them wasn't revealed until the very end. (I did like Ahiru and Rue's relationship quite a bit, though! That sort of feeling of the narrative artificially pushing them into being enemies when they really could have helped each other as friends was well done.) On Mytho's end I just never clicked at all with the whole raven blood subplot that seemed to dominate his character in the second season, unfortunately. I couldn't make it meaningfully connect for me, even though I had quite liked him as a character in the first half of the series (even in just my generic "hnng cute boys struggling with the idea of having feelings" way). I'd be interested to see on a rewatch whether those two would work better for me having a better idea of where their trajectory was going from the start, since I felt like I didn't really "get" what they were going for with their relationship or how I was supposed to be reading them until the very end (I'm slow okay).

Steven Universe

What an absolutely lovely series! I've been wanting to check this out for a long time, and I'm glad I finally got the chance because it really is excellent. I totally fell in love with the whole Crystal Gem family, and the balance between them all having their own personal issues to deal with while still being able to draw love and support from each other was done really well. I really loved the handling of Steven's PoV in the first couple of the series especially for how they handled his growth around coming to understand that his parental figures are really flawed people who have a lot of baggage to deal with, but also without framing their personal problems or their relationships with each other as being at all within either his power or responsibility to "fix". Instead, his moments of growth are more about more consciously registering the burdens they're under and making those little gestures to ease them wherever he can, like consciously showing appreciation for their parenting efforts with the test, or giving Amethyst more time to vent things out with her friend when she's stressed out instead of asking her to take him home right away. Likewise, on the gems' end, we really get the sense that e.g. Pearl's love for Steven is real and valuable and "saves" her in a very real sense, but also that it's not going to ever fully erase her depression or her grief over losing the life she had with Rose before and that that's okay.

I would say as the show went on, it felt like it lost some of the grounded and occasionally harsh nature that originally drew me to it - the first couple of seasons felt like they had a sort of constant legitimate tension in the background with the gems trying hard to keep things together in a hard situation in a way that still obviously had its cracks in it, and a sort of acknowledgment that "maybe not everything will be okay, but there's still a lot of good in the world and in our relationships that's worth living for", which I appreciated. Whereas I felt like they moved a bit more towards unambiguously positive resolutions as the show went on, with a bit less of that willingness to leave things "unresolved". (Of course the show still has a lot of those moments, like the reveal of Rose's past in particular, but even then I wished that the fallout from the reveal and its lasting impact on the gems was given more time and weight than it was.) That feeling culminated for me in the finale of series 5 and the way the plot with the diamonds was resolved, where it felt like the show pretty much parted ways with reality entirely and fully embraced a kind of ideal fantasy positivity.

But I don't think that's necessarily a totally bad thing, either - it's still a very genuine and heartfelt kind of positivity that can be hard to find in narratives as unapologetically queer as SU is (especially in media targeted at young kids!) and I'm sure a lot of people really need that gap filled in their lives, so I can't really bring myself to resent it overall. The characters remain as endearing and lovable as ever, the show still made me smile from beginning to end, and all in all I have nothing but great appreciation for all the important ground it's willing to tread as a kids' show touching on a lot of extremely relevant contemporary issues in a positive and responsible way. It honestly makes me feel really happy and hopeful to think of kids getting to grow up with a show like this! So while I might personally have ended up resonating more with the show if they'd taken a different direction, I feel like I still have a lot of respect and understanding for the route they did end up taking, too, and I'm glad to have experienced it.

Mob Psycho 100

I thought this was a very cool and interesting show! As "deconstructing shounen tropes" series go, I feel like this one successfully hits a unique sort of sweetspot for me in the way that, rather than brutally tearing apart shounen conventions out from the roots (which is also something I can enjoy a lot when it's done well!), it's instead focusing on taking a lot of the genuinely positive ideas that draw people to shounen - the ability to overcome adversity through personal growth and "the power of bonds/friendship", positivity in the face of despair, and so on - and re-examining them through a more grounded context that asks "Okay, but what does that actually look like in the real world?" Because, you know, it definitely DOESN'T look like people with magical god-given superpowers blasting through everything that challenges them with the sheer force of their specialness and their pre-assigned role as the "main character", right?

So I was really impressed by Mob as a series for not only being so thorough about deconstructing that (to the point that the voice encouraging Mob to use his powers more and be a super special hero is an outright "devil on the hero's shoulder" kind of character!), but also for going that extra step to examining what real positive growth actually DOES look like. I felt like the series did a remarkably insightful job overall (especially in the second series) of sort of gently but firmly differentiating "real growth" from "shounen growth" in that sense. I really loved those little touches like the Emi episode, where the viewer is effectively led to expect a moral about how "people will like you more if you act more genuine and be yourself!" - but then the show very deliberately switches gears to the idea that trying to be more genuine is already worthwhile in and of itself, just because you're living in the world with a more conscious awareness of what's important to you and standing up for the things you care about, and how that authentic way of living can inspire other people and have a positive impact on them too.

And similarly, I absolutely love Mob and Reigen's weird, messy, problematic relationship being the emotional centrepiece of the series, because it's the exact opposite of the kind of friendship you'd expect to be centred in a "POWER OF BONDS!!" themed show, but that's also why it just... really really works! It's such a humble and near-accidental and flawed and limited connection, and I love that Reigen is also allowed to impact Mob in negative ways and have selfish motivations and be unambiguously portrayed as a genuinely pathetic and terrible person and a bad influence on him too, and that the show doesn't remotely shy away from that - and yet somehow it still absolutely shines through that both of them would be worse off without each other, that the "power of their bond" really has changed them both for the better as people. Not through any incredible magic connection, but just through those little moments where they save each other through things like Reigen telling Mob "It's okay to run away", or Mob telling Reigen "You're a good guy".

Because the show is so upfront about the limitations of their "bond", it really does make the emphasis on its positive impact and how fortunate the two of them are to have been influenced by each other really work and have value, I think - because it comes across as that kind of approachable, recognisable "miracle" that really can and does happen in people's daily lives. It doesn’t claim to be a perfect friendship, or to have the capability to fix all their individual problems just by existing, but it does still come across loud and clear that they’ve been a genuinely positive force in each other’s lives. I definitely came away from it with a greater appreciation for those little chance encounters and humble relationships that have helped me and shaped me as a person! On the whole, I'm sure the show isn't for everyone, but I would definitely recommend it to anyone who enjoys shounen as a genre at all, because I feel that it really works as a remarkably critical and self-aware yet loving celebration of the spirit behind those kinds of stories.

#princess tutu #steven universe #mob psycho 100

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parttimestorier · 6 years ago

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Interview with d Marie Licea

Recently, I had a chance to talk with d Marie Licea, developer of Us Lovely Corpses, about the creative process behind this fascinating “surreal-horror-romance” visual novel. Us Lovely Corpses is a VN I considered reviewing for this blog when I read it, but I struggled to write a review that would be interesting and accessible—explaining the parts that most impressed and resonated with me would mean spoiling it completely. But I encourage anyone who can handle some disturbing content in service of a great story and heartfelt message to try it out. This interview will start with some more general questions, and it includes a warning farther down before any spoilers for Us Lovely Corpses appear.

Question: Did you always plan for the story of Us Lovely Corpses to be a visual novel, or did you consider other mediums as well?

Answer: In its earliest stages, Us Lovely Corpses was actually planned as a comic! I came up with the original idea somewhere around 2014-2015—it was going to be about 10 pages, and would just cover the scene that ended up being the game's finale. Alex and Marisol (who weren't named yet) were very different—they were much younger, Alex wasn't really "a witch," and Marisol was originally a boy!

I sat on the idea a while, and the longer I did so the more I wanted to explore the history of these characters, which made for a longer and more unwieldy comic. Then in 2015, when I started learning about visual novels, it hit me that the concept could work really well in that format, especially when the "exploration" element came in.

Q: Were there any particular visual novels that influenced you?

A: Yes! The reason why I started getting into visual novels specifically in 2015 was that because that was the year We Know The Devil came out!

We Know The Devil totally shifted my viewpoint as to what a visual novel could be—no diss to dating sims, but before WKTD, I, like most people, just saw VNs as dating sims and occasionally something like the When They Cry series.

WKTD totally changed that for me—a short, incredibly contained story that also managed to be about so, so much, in a surreal, horror-inspired atmosphere . . . it really blew me away! Not only was it the game that got me into visual novels, but you can definitely see a lot of its influence on Us Lovely Corpses.

Besides WKTD, there was also Her Tears Were My Light, a fairly minimalist love story that used the "rewind" function in Ren’Py as part of the story. Utilizing mechanics as part of the narrative was a really cool idea to me that also ended up in ULC. (side note: I met and hired Alex Huang to do the music for Us Lovely Corpses because I loved the soundtrack for HTWML so much!)

Finally, I was really into the original Gyakuten Saiban (Ace Attorney) trilogy when I was younger, and the evidence gathering segments were a big part of those games. I originally envisioned the "rose clipping" segments of ULC like those parts, where you'd have to select each rose before cutting it, but sadly that was a little too complex for me at the time, and I eventually decided to go for something more simple in order to complete the game. But that initial idea was a big part of what made me try Us Lovely Corpses as a game, so it ended up still being a big influence in the end!

Q: Besides technical things like those mechanics and the exploration element, do you find that you have a different style of writing in visual novels as opposed to the stories you've done in other formats, like twine and comics?

A: I'm not sure if this is always the case for visual novels, but I find I have to format my writing differently when writing for VNs—specifically, in length of sentences and paragraphs. I've found my writing worked a lot better in Us Lovely Corpses the more I broke everything up into smaller fragments—larger ones or paragraphs didn't work as well, which can be a problem for me because my writing can tend to get a bit wordy!

This has to do a lot with the pacing of visual novels and how the player/reader is a big part of that. Control over pacing is a big part of why visual novels appeal to me, but you also have to think differently to get the best result.

Technical stuff aside, I found that, at least for ULC, my actual writing style remained pretty much the same. I think this has the benefit of making the writing in Us Lovely Corpses seem unique, but has the disadvantage of posing a problem for a certain something I didn't see coming at all: Let’s Players!

A few people have made videos of their playthroughs of Us Lovely Corpses, which is incredibly exciting, but when I watch them, I can't help but feel bad for them because they always read everything out loud . . . which means, with my somewhat wordy style, they have to do a LOT of talking!

I haven't actually gotten complaints about this or anything, but I still hope people who make videos of their playthroughs of ULC keep some water nearby!

Note: the next part of the interview contains spoilers for Us Lovely Corpses, as well as discussion of mental illness.

Q: As the story progresses, it becomes explicitly clear that the “monster” is Marisol’s bipolar disorder. Did you ever think about leaving the metaphor more ambiguous, and if so, what made you decide to be so direct instead?

A: I'd say if the "monster" was one specific thing, it would her Ocular Rosaceae, as it's the one specific thing that gives a physical form to Marisol's thoughts and unhealthy behaviors. But even that, in a way, is not taking into account her bipolar disorder and depression, her jealousy towards Alex, her self-loathing and introversion . . . "the monster" is all of those things, because at its core, the monster is mental illness. And mental illness is never just one thing, but many things and factors interacting at once to create something much bigger than a single diagnosis.

All that said, it's not incorrect to say that Marisol's bipolar disorder is the monster; it's just more accurate to say it’s part of Marisol's monster. Back when ULC was still a comic, I wasn't going to talk about specific diagnoses, but as the story grew I realized I wanted to talk more explicitly about mental illness. I don't exactly remember where the idea came about, but early on in the writing process I got that idea in my head of Alex finding that fake corpse and finding that doctor's diagnosis. In retrospect, it was a really, really weird scene, especially as it comes right off the heels of realizing what you thought was a dead body was just a weird joke, but I do like what it represents—in the middle of this surreal trip into a house filled with talking flowers, the story suddenly halts as you soak in this very blunt reminder that, magic aside, this is a world that is representative of the real world. Marisol may have a magical disease and be best friends with a witch, but she's a very real girl, so to speak.

So that harsh reminder is part of why I wanted to be so direct. I guess the other part would be that I just wanted to make no bones about it. Some things you want to leave up to interpretation, and some things you don't. From the very, very beginning the story was always about mental illness, so it just felt right to me to be upfront about it.

Q: One thing I noticed that I thought showed a lot of attention to detail in ULC was that in one of the rooms you explore there are two famous paintings that both have connections to suicide (Millais’s Ophelia and van Gogh’s Wheatfield with Crows). Are there any other little symbolic details like that you added to the story that some readers might have missed?

A: Ah, I'm glad you caught that! If I had stuck with the more Ace Attorney style of gameplay I would have liked to put more small details like that in. As it stands, the big example is probably pretty obvious—Alex's notes about each rose are fairly close to the standard "flower language" of different rose colors in real life. The fact that yellow roses can mean "jealousy" or "friendship" depending on what source you use actually ended up working very well with the story.

The last names of Alex and Marisol are probably pretty obvious: de Rosa ("of the Rose") and Flores ("Flowers"). Something that's probably less apparent is Marisol, a name that originally comes from a contraction of "Maria de La Soledad" ("Our Lady Of Solitude"), one of the titles given to the Virgin Mary.

Q: Was the flower language the reason you used roses rather than any other flower, or were there other inspirations for that as well?

A: There were a number of reasons! One being that Revolutionary Girl Utena was a big influence on my style and particularly on several parts of the game. There's also the whole dichotomy with roses/thorns. And there's also the simple fact that I have fun drawing roses!

Q: For my last question, are you working on any other visual novels right now?

A: I am as a matter of fact! I'm working on a visual novel set in Japan about some high school kids who explore a strange house. It's still in fairly early stages, but I think if I give it my all I will actually have a demo ready in time for Halloween, which would be great!

I’m definitely looking forward to seeing that demo—even more so after learning about all of the serious thought d Marie Licea puts into the details and themes of her work. If you’re as excited as I am about updates on her upcoming projects, you can follow her on itch.io or twitter, and considering supporting her patreon. Thanks for reading!

#visual novel #visual novels #d marie licea #us lovely corpses #interview

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ladyloveandjustice · 6 years ago

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Summer 2018 Anime Overview: Revue Starlight

(Also known as Shoujo Kageki Revue Starlight).

Karen Aijou is training at her school to put on the annual Takarazuka play, “Starlight”. She’s shocked when her childhood friend, Hikari, suddenly appears. She follows Hikari into mysterious elevator and finds her engaged in an even more mysterious sword fight with another student that’s preceded over by a talking giraffe for some reason. She’s told that this is a competition between “Stage Girls” for the title of “Top Star”. Karen sees that Hikari is in trouble, and quickly dives to her rescue, remembering the promise she and Hikari made to become stars together. Now Karen is involved in a truly strange competition...

I was super sold on Revue Starlight from the first episode. Girls fighting with swords? Takarazuka? A random giraffe? Utena references? Nice animation? This show was made for me, clearly.

And I came out of it satisfied. It was pretty surreal and pretty gay and that’s what I’m here for. It’s hard to explain exactly what the series is about without giving away some major plot twists, I’ll put it like this- it’s very much about two girls trying to upend the vicious, cyclic system they are caught in and there are definite themes of adolescence and identity. And some characters are not what they seem. I’m always down for that.

After all, the “Top Star” system only lets one person be at the top, while the others get their dreams crushed- but Karen wants to stand together with someone. There’s a lot of light critical examination of how Takarazuka in particular is structured here- I’d really suggest checking out these posts by Atelier Emily which dig deep into the subject. Basically, there’s this understanding in Takarazuka that the “otokoyaku” (the woman who the male roles) will be top star and its the “musmeyaku” (the woman playing the female roles) must support her and consign herself to secondary status.

As Emily puts it “ [The musumeyaku must be] the perfect feminine foil so the otokoyaku’s masculine performance would stand out more in relief, [...], all while taking care not to skew too much into a romantic interest, so that young women in the audience can still imagine themselves in the arms of their favorite otokoyaku top star. Furthermore, they cannot achieve top star themselves, and must ensure that their talents do not outshine those of their otokoyaku partner.”

This whole dynamic plays heavily into the show- Claudine and Maya are the top otokoyaku/musumeyaku pairing in the school, yet it is Maya who gets all the attention while Claudine feels frustrated and like she’s second best. She wants to outshine Maya, but it seems like she just can’t. Meanwhile, Karen has this idea she and Hikari can be a couple who share the stage equally, which threatens to destabilize the entire system.

The series does not just examine Takarazuka but the nature of theater in general though, with the last episode in particular digging a little into the role the audience plays. It’s also touches on adolescent anxieties- we see characters coping with fear of the future and growing up, we see Mahiru struggling with her unrequited crush on Karen and her jealousy of Hikari and childhood friends finding their bond straining...of course, as expected of a series where a giraffe watches girls engage in sword fights while singing, these conflicts are expressed in a fantastical way much of the time.

Before I go further, I should mention some cool things the series did that I really need to go back and examine- there’s a lot about the show I feel I haven’t grasped yet, and I feel I need to rewatch it before I’m able to grasp it completely. BUT I GOTTA GET THESE REVIEWS OUT BEFORE I DIVE INTO THE NEW SEASON, so this is what you get.

One thing I missed out on is that the songs the girls sing while fighting are really connected to themes of the episode- unfortunately the release I watched did not translate them, so that was lost on me. The credits sequence was also an evolving one, the lyrics would change and it would focus on a different girl or pair of girls each time- but again, not translated, so I feel like I watched an incomplete version of the show. But I will get the whole package someday because I think it’s really cool the show did that.

I was correct in guessing from the beginning that this series takes a ton of inspiration from Utena and also from Yuri Kuma Arashi (the director actually worked on that show) but this is very much its own thing. There are scenes in the first half that seem like they’d fit in with Love Live! or some other idol show, with girls just goofing around and ~following their dreams~, but the back half leaned way farther into the plot and metaphorical significance of the bizarre stuff that was happening.

I think the main thing Revue Starlight has going against it is character- Karen doesn’t really change much over the course of the show. She matures and is challenged a bit yes, but not in a significant way. The Karen of episode 12 makes the same decisions and has the same goals as the Karen of episode 2 essentially did. There’s not that much to her other than her determination to become the top star with Hikari, as well as her very broad “cheerful, ditzy and persistent” I’m-the-main-character-of-an-anime deal.

Hikari is a bit more complex, with some backstory and reveals about her character in store, but she also isn’t anything we haven’t seen before in a lot of ways. It was hard for me to get as invested in their relationship as I wanted- they’re just fine as characters, and they serve the themes of the show fine, but they’re so broadly sketched and kind of nebulous the emotional connection is not quite there for me.

Which is too bad, because they are EXTREMELY Gay. Don’t expect any kissing or anything ground-breaking, but the stuff they say about each other is like you know. “I only want you by my side/be with my forever/YOU’RE MINE, EVVVVERYTHINNG 222222 MEEEE THE REASSSSON I LIIIIVE IS FOR US” that sort of stuff that leaves little doubt.

The gay doesn’t stop with that.There’s also the fact that Mahiru’s is as blatant as she can be about her huge crush on Karen (she uh. goes looking for an indirect kiss at one point) and she sees Hikari as her rival, and is pretty much clearly correct. All of the other girls are clearly paired up and you’ll have them referring to each other as “my [insert name here]” or saying other stuff that barely qualifies as subtext and suggestively dancing with each other.

Like I said, nothing ground breaking, but it’s good as far as “It’s-not-as-text-as-I’d-like- but-really-barely-subtext” gay stuff goes.

Most of our background lesbians are just a lot more interesting than the main ones, but we’re not given enough time to connect with them as much as I’d like either. Their arcs could have been more fleshed out, especially the arc of one surprising major player. I think a series with so much going on and such a big cast to explore maybe should have been a twenty-six episode deal so it could dig a little deeper with the characters and build up to things a little more.

So yeah, if I’d talk about the quality of my emotional connection and the strength of the characters and narrative and in how incisive it is, it’s not nearly as good as Utena (which I wasn’t expecting it to be, THAT’S A TALL ORDER) and more on the level of its other major influence, Yuri Kuma Arashi. It is a lot more thematically cohesive than YKA and without the deeply uncomfortable aspects, thankfully. The series may have moe character designs, but it remains classy and never indulges in blatant fanservice that I can remember.

There’s plenty of other things to touch on- there’s what seems to be light examination of the ‘bury your gays’ trope, as we find out the play “Starlight” is about a pair of HEAVILY-queer-coded-girls whose story ends with them tragically cut down and separated, and the series engages with what that show means for these girls acting it out and whether they’ll have to meet the same fate.

Honestly, it’s the kind of series you could write loads and loads of analysis for, so if you like stories you can interpret a lot and read a lot of things into, this is probably your jam. I’ve loved the discussion this series has encouraged- I advise checking out the Afictionado’s posts on the show! I can’t wait to read more about everyone’s perspectives on the show as I revisit it!

So yes, my final verdict? it’s a good show, and if you’re like me and you love stuff that centers around the relationships between girls, if you love stuff that’s full of symbolism and action and weirdness that looks at the construction of fiction and fighting unfair systems and if you think Takarazuka and musicals are cool as hell- definitely check this one out. I recommend it and there’s really nothing offputting about it I can think of. One of the “Top Stars” of the season for sure.

I’m excited to give it a rewatch and pick up all the things I missed the first time. Right now, It’s not in my top ten or anything and I can’t say it moved me deeply. it was just a bit to nebulous in a lot of ways- but its definitely a worthy addition to the “lesbians with swords” genre, and in the end, what better compliment can there be than that?

#revue starlight #shojo kageki revue starlight #karen aijou #aijou karen #karen aijo #hikari kagura #kagura hikari #maya tendou #tendou maya #claudine saijou #Mahiru Tsuyuzaki #anime overview #summer 2018 anime

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thefloatingstone · 6 years ago

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soup puff (͡° ͜ʖ ͡°) 1, 3, 18 and 33! and go the fudge to bed yo as when i send this in its frikking 2 am for both of us u turd

I went to bed Essy ya nerd!! I did it!! I did the bed thing! I MEAN THE SLEEP THING!!!

anyway

1: best anime you’ve watched

aw geez. aw man. That’s super hard because each viewing experience of an anime is so different and can be good for so many different reasons X’D and is an anime the “the best” objectively or is it “the best” because it had the most emotional reaction out of me???

So I’m gonna have to answer for both X’D

The objectively best anime I’ve watched is luckily easy as I have to go with Cowboy Bebop. Which remains to this day untoucheable in just how well it was done.Personally, I have to go with Revolutionary Girl Utena, where it meant the most to me personally in a way that it shone a light on personal beliefs and morals I had at the time of watching it for the first time and Utena basically mirrored that and showed me, in excruciating detail, “this is very destructive to yourself”. As well as how Utena, despite a tight budget, somehow managed it that almost every single aspect of the show was downright perfect. It had a singular goal it was working towards and that it wanted to portray and how it wanted to protray it, and it achieved it on every level.

3. favorite character from your favorite anime

This is hard because I have to choose between Utena and Sailor Moon X’D so I’m gonna go with Sailor Moon this time. My two favourite characters are Sailor Moon herself, and Sailor Uranus. So I’ll talk about Uranus.

I really adore her because Uranus is an extreme complex character both in her personality as well as her role in the story. Uranus is a person who realised that in order to save the entire world as a whole, an innocent person would not only have to die, but would have to be murdered. And Uranus took it upon herself that, because she believes herself to not be a good person anyway, that she is willing to become a murderer to save the world, because she would rather someone like her be tarnished with spilling blood than a truly good person )like Sailor Moon.) She feels sacrificing herself and making herself a terrible person by committing murder (for the greater good) isn’t that big a loss because she thinks she’s terrible anyway.

In the story she fulfills an interesting role because she believes not only that Sailor Moon and co should not commit the horrible act of murder to save the world because they are kind, pure-hearted people who should not have to do something so terrible, but also because Uranus does not believe Sailor Moon would be willing to murder somebody, even if the entire world is at stake. She believes Sailor Moon is too naive and innocent and her reluctance to kill an innocent person, because of her kindness and honest desire to do good, would as a result doom the entire world. and the interesting thing is... Uranus turns out to be right. Sailor Moon is unwilling to sacrifice an innocent person when Uranus is unable to do so herself, and as a result, Sailor Moon allows the apocalypse to start.

The only thing that saves them in the end is that Sailor Moon literally goes “fuck that” and damn well breaks the rules of reality so she CAN save the world without having to sacrifice someone’s life. However, at the end of the day, although no innocent person had to die, the person was reborn as a baby. All their memories, experiences and who they were is lost forever. So Sailor Moon DID save this person’s life... but that’s ALL she saved.

18. favorite villain

I had to think about this one for a while because villains are actually not characters I really gravitate towards. At most I see them as obstacles for the heroes to overcome and at worse I see them as hateful people I wait to be defeated and triumphed over.

However I think I found a villain I honestly could call my favourite, and that is the bad guy in the first Patlabor movie, Eiichi Hoba. Or as he’s called throughout the film, E. Hoba.

This is probably an extremely weird villain to choose because the very first thing we see in the movie is E. Hoba committing Suicide, jumping off the unfinished scaffolding of the yet unfinished artificial island in the harbour of Tokyo, called “The Ark”. So the movie’s main villain is, in fact, absent throughout the entire story on account of being dead. (and he IS dead. It’s not some fake cop-out where it turns out he was alive the whole time)

So how can an absent villain be my favourite? well, it’s because in killing himself in the opening of the film, E. Hoba has effectively already beaten the heroes.

The plot of the movie (set in a world where construction is done using large mech suits called “Labors”) is hat a new Operating system upgrade is being developed by the leading labor company, which E. Hoba was the lead programmer for. However, we find out the new OS has a deliberate error in it which causes the mechs to go out of control and cause massive damage around them (sometimes in civilian areas). The plot of the film is to figure out how the error is triggered, how to stop the error from happening, and why E. Hoba created this errorat all.

The film follows the investigation as our lead characters follow the breadcrumbs E. Hoba left for them. Because this was not the act of some madman that just “wanted to watch the world burn”. E. Hoba had a very clear message he wanted to send. And in following his string of residential addresses he used throughout his time as a programmer, as well as the name of the virus he implemented (Babel) we actually start to learn the point E. Hoba was trying to make. And this does not only end up making perfect sense, but forms the entire running theme of the whole story.

E. Hoba’s virus is a criticism on Japan’s culture of bulldozing the old to build the new upon it, in complete disrespect of what came before. He is criticizing the idea of progress for the sake of progress. And growth with no purpose other than growth. All his old residential addresses lead the police to dilapidated buildings, old world antiques with enormous, sleek skyscrapers overshadowing them, which ends up being much of the landscape in the film and great time and effort is given to showing the contrast between the old and the new.

Even the new OS E. Hoba was programming was unnecessary progress. a sleeker fancier version of the old OS that didn’t actually give any real benefits over the old one. And he named the virus “Babel” after the specific biblical phrase; “ Go to, let us go down, and there confound their language, that they may not understand one another's speech.” which is what his virus actually ends up doing, scrambling the information with the OS so the mech is overwhelmed with garbage instructions and data, making it go berserk.

And at the end of the film, the heroes prevent a mass outbreak of mechs going insane across the entirety of Japan, but the ONLY reason they are able to do this is because E. Hoba himself put failsafes and faults in his own plans. And the only way to stop his virus is to be clever enough to find the faults he put there himself, as well as several small instances where a judge of character and doing the right thing is the ONLY way a person could be in the right place at the right time to be able to stop E. Hoba’s virus.

Everything the heroes do in the movie are simply following the direct course of action the villain had set in place. They never “stop” his plans. They merely follow the steps the villain put in place himself as a “if you want this terrible thing not to happen, you have to do these specific things, and show to me you are intelligent and a good person. Or it all goes to shit.”

So at the end, the villain is successful, but we ALSO have a happy ending. Because our heroes are able to do the things E. Hoba asked them to to stop the catastrophe he put in place.

And there is no bringing E. Hoba to justice, because he is already dead.

So yeah. I would have to say he’s my favourite villain in an anime. We never even SEE him. We only see a silhouette, and an extreme close-up of his smile as he jumps. We have no idea what he looks like and we never learn anything about him outside of his plans.

And the terrible thing is, you end up agreeing with his criticism regarding progress and the destruction of the old. As do the characters, much to their discomfort. Because you cannot help but feel “he has a point...” by the end of it.

(the movie is directed by Mamoru Oshii, who went on to direct Ghost in the Shell)

33: most underrated anime in your opinion

dskhkfdhs why are these all so hard???

But I’m gonna go with Megazone 23.

Now the thing is, Megazone 23 DOES get talked about a LOT and is considered a “classic anime” and you see a lot of gifs for it, but I still think it’s underrated for many reasons.

the first is because Megazone 13 Part 1 was spliced to make the first Robotech movie. (as is commonly known, Robotech is an American Frankenstein show that stitched together multiple anime to create an entirely new story. And Megazone 23 was one of them). As a result, Megazone 23 often gets referred to as being “part of Robotech” instead of its own thing.

The second is that Megazone 23 is, spoiler alert, basically the Matrix.

In that is is EXACTLY the Matrix.

It came out in 1985 and it is almost literally The Matrix.

Megazone 23 at first appears to take place in 1985 Tokyo, but we learn halfway through the story that, in fact, the entire story is taking place upon an enormous space station floating through space in an endless war against another faction of humanity, with the Earth long long ago no longer being livable. And the civilian population aboard are kept in a fake, artificial world locked permanently in the year 1985 (when in fact it is thousands of years in the future). This is to keep the civilian population docile and ignorant of the reality (a feat helped by the ship’s AI influencing and subtly controlling the population) as well as manipulating the civilians to help in the war effort without them being aware of it.

The story changes gears when our main hero escapes the artificial world and comes to realise the bright sunny 80s world he knows with trees and blue skies is all fake, and in reality he lives on a black, dark spaceship in the middle of dark space, constantly getting shot at by unknown enemies.

Megazone 23 is one of the very earliest OVAs and helped jumpstart the OVA boom of the 80s in Japan, which then helped start the anime fandom in America when these videos became easier to access and overseas audiences didn’t have to rely on television broadcast to show anime. VHS could be passed around and copied between them, with shows like Megazone 23 being prime examples.

It wasn’t the FIRST OVA (that was Dallos if I remember correctly) but it was ONE of the first.

But these days people barely remember Megazone outside of Robotech and gifs meant to be “vaporwave a e s t h e t i c” type stuff.

#C-Puff answers #anime ask meme #long post #messedupessy

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tren-fraszka · 6 years ago

Text

Yuletide 2018 Letter

Dear creator,

Thank you for taking your time to check my requests. I know my requests can sound a bit tricky, but please don’t be discouraged. I wish you will have good time writing first and foremost!

I like humor and tropes, which is probably the only thing you really need to know about my general likes.

I’m very picky about sex tropes, so generally I would be grateful for no graphic sex (unless specified otherwise). Also, if you go for a shippy fic, I don’t want any stuff happening without consent. I like consent a lot. Other dislikes include ABO, mpreg, soulmates, and situations where stuff is happening because destiny said so and nobody questions it.

Also, I included what ships I’m okay with in each fandom. Please do not include any ships that aren’t canon or I have not mentioned in those sections (unless I give specifically give you a free hand in this regard).

REQUESTS

PLANET WITH (ANIME)

Kuroi Souya

I loved Planet With and it’s protagonist journey. Seeing Souya outgrow the hatred that initially propelled him into fighting legit made me teary eyed.

Also, sometimes family is a humanoid cat, a space princess and an angry child craving meat.

I really loved the message of this series about love and forgivness. And the mecha action that came with it, though if you want to skip on mechas in favour of character interactions I will be all for it.

I nominated Souya, because I love my angry child, but if you would prefer to focus on any other character I won’t mind. Mizukami has talent in making all his characters interesting and worth exploring, so if you would rather write the story from the perspective of Sensei or Ginko, or literally anybody else I won’t mind. Hell, you could write from the perspective of the Dragon and I would love the story to bits.

I don’t mind when chronologically the story happens. Whether it will be somewhere during the whole fight with Paladins, or college shenanigans (I would love to hear more on Souya’s suffering with his evil senpais), or post-canon with the characters continuing on with their lives now that they had made sure that the Dragon had been dealt with.

Additional info

I would be okay with AUs, though I feel like the series world deserves to be explored more than it was. Then again, if you want to skip the world saving shenanigans for something else, I won’t mind. I just don’t have much pointers on what it could potentially be.

I love Souya/Nozomi. Also Harumi and Miu are a lesbian couple and you can’t convience me otherwise. Other than those I don’t have any pairing preferences and you are free to do as you please with other characters in this regard.

少女☆歌劇レヴュー・スタァライト | SHOUJO KAGEKI REVUE STARLIGHT (ANIME)

Aijou Karen

I loved Revue Starlight since I saw the first episode and I have no words just how pumped I was for the new episode each week. It was like Utena just with theater girls and with much more positive atmosphere.

I’m only requesting Karen, though I am also okay with story centring more on other girls, since they are all interesting in their own right.

For Karen I would love to see more of her trying to bridge the gap between her and Hikari. Maybe they read more plays or books that had been adapted into theatrical performances together? Or have dates on the city. If you feel like throwing Mahiru into the mix I’m all for it, just don’t make her too jealous. I really liked how the three of them got along in the latter part of the show, so I don’t want Mahiru to be defined purely by the initial jealous she felt when Hikari appeared.

I also loved Banana and Juuna. I would be up for seeing more of their relationship, whether it be being Banana half-heartedly helping Juuna with her research into talking giraffees or Juuna trying to find more quotes for cheering Daiba up.

If timeloops are your jam I would love some insight into Daiba’s repeated performances of Starlight and maybe seeing if she tried to make some little changes. I would love to see her struggle in trying to make some changes that would help to emulate the experience, but at the same time still wanting to experience the same Starlight she did.

Also, I love theater, so feel free to put as much of that aspect into your story as you like. You literally can’t overdo it.

Additional info

I would be pretty okay with the AUs, though I would lean more towards Canon Divergence here, since the theater school setting is a huge draw for me. It’s okay if you want to go either into a more comedic territor or closer to the darker tone of Utena (that seems to be heavy inspiration for this show). I’m fine with both. I feel like roleswap would work really great for this story. As I mentioned the story is so heavily tied to theater that I don’t really want a story that strays too far from it. I wouldn’t mind a non-supernatural theater school setting (even more supernatural one is fine too) or one when the characters are adults and doing theater as professionals. Just make sure the theater is there somewhere.

As for the ships. I’m definitely up for all the heavily implied ships of this show. For clarification, I’m okay with both Karen/Hikari and making that pairing a threesome with Mahiru.

幼女戦記 | YOUJO SENKI | SAGA OF TANYA THE EVIL (ANIME)

Tanya von Degurechaff

I loved that this entire anime is just a very petty salaryman trying to show a middle finger to god-like entity and failing miserably. Tanya is a delightful character and I would love to see more of her shenanigans.

Whether you decide to show more of Being X being an asshole to Tanya in bigger or smaller aspects of her life (what if he causes a small miracle when she is forced to act particualrly devout for the sake of appearances), or Tanya’s struggle as a cog in the giant machine of war I would be very much up to.

I don’t know that much about first WW realia, so you don’t have to try too much in that aspect. My main draw for this series was Tanya’s constant struggle to make life better for herself, but digging herself deeper with each achievement instead.

I also love the strange relationship she has with Serebryakov, where they both just get used to each other with time. If you want to include her, I would really enjoy seeing Tanya being slightly more open to Serebryakov. She obviously wouldn’t tell her anything important, but I would love seeing Tanya put down the mask of perfect soldier for just a short while.

Additional info

This series is so heavily rooted in its setting I have no idea how you could spin this story differently, but if you have some interesting idea I don’t mind if you go for it.

I don’t have any ships for this series.

I REINCARNATED INTO AN OTOME GAME AS A VILLAINESS WITH ONLY DESTRUCTION FLAGS (LIGHT NOVEL & MANGA)

Gerald Stuart, Katarina Claes

I ran into this manga on accident, but I definitely don’t regret it. I love how Katarina ends up solving all the problems in this series either through her efforts or by sheer accident and how she ends up becoming the actual protagonist. This charmingly comedic story has a lot of heart and I crave more.

I think I like Gerald the most out of all potential suitors for Katarina’s heart and would love to see more of his crush on Katarina and unsuccessful attempts at actually wooing her. We only see him through Katarina’s perspective, who can’t separate him from the Gerard she knows from the game, even though he changed under her influence. I would definitely be up for a story where Katarina starts to notice that maybe her idea of Gerard doesn’t exactly line up with the reality. Or maybe she remains blessfully ignorant and decides to go in-depth investigation into finding more of Gerard’s weaknesses, because she saw him do something nice for Maria and now she is sure the end is near for her and she wants to be extra prepared.

I don’t mind including any other characters, since they are a colorful bunch. I read this manga for harem shenanigans, and you are free to include as much of it as you want.

Additional info

I’m okay with AUs and canon divergences. The story is already a huge canon divergence after all, so if you want to twist it even more, that’s fine by me.

I only read what had been translated of manga and haven’t checked LN.

I’m okay with all canonical crushes being acknowledged, however due the nature of my request if you do want to go for an endgame ship I would want it to be Katarina/Gerald. I don’t mind other characters being shipped with each other, if you want.

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iztarshi · 6 years ago

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Season 1 Flashbacks

I really love the ways Utena uses animation in various memories and flashbacks. There’s both an overall style to them that ties them together and different visual elements used to show the different ways different people remember, from traumatically vivid memories to memories of an event you know happened but no longer remember the details of.

So, I wrote some thoughts on all the season 1 flashbacks, although I’ve probably said a lot of really obvious things.

Episode 1 — Utena’s flashback

It’s very theatrical, right from the start with a curtain going up. The flat shadows on the background make it even more so — it’s not just that the silhouettes replace barely remembered people, the entirety of the scenery is false.

The sudden flashes of accurate animation seem to indicate the few real events that she remembers enough to have built the fairy tale around, but it would be reasonable to assume she remembers they happened rather than actually remembering them in the visual detail we’re seeing. Mistaking Touga for her prince makes much more sense if she doesn’t actually remember he had dark skin and white hair.

The silhouettes, too, are a stylish way to show only barely remembered people, but I don’t think they necessarily mean the only thing anyone remembers is hair colour.

Also, I just like that Utena remembers a totally non-existent horse. Princes have horses, right?

Episode 5 — Miki’s flashback

Miki’s flashback starts out framed like old sepia pictures. It’s a warm look and a very nostalgic one.

The colours become colder and the outlines firmer once it’s the specific story of the concert and not just a nostalgic memory of any and every time they played the piano in the garden, but it’s still heavily stylised. Miki and Kozue both remain silhouetted, suggesting he doesn’t know who either of them were back then. The colours get colder and darker still once Miki is ill and then when Kozue won’t play the piano again. The whole thing is more detailed and real than Utena’s flashback, but still suggests an event that Miki remembers remembering perhaps more than he remembers exactly what happened.

Episode 5 — Kozue’s flashback

Kozue’s image of them makes them both silhouettes, too, casting doubt on whether her memory is accurate either. Her picture is the very nostalgic sepia tone we started off with in Miki’s, even though she’s saying she never enjoyed it and talking about the concert. Her black rose duel kind of gets back into this, that she wants to return to those days just as much as Miki.

There are red rose petals in the background of hers, too, which… I think red can often be associated with desire for something. Red things in Utena are often desirable — the Akio car, Anthy when she’s playing the Rose Bride role, and Touga himself is desired and plays on that a lot.

Episode 6 — Mitsuru’s flashback

You know, I wasn’t sure whether to include this. But it’s still a flashback, it’s an important formative experience for Mitsuru, and it has a bit in common with the episode nine flashback in which some other boys also can’t save a girl.

It’s told in semi-shadows. Not the silhouettes of imperfect memory, but something more like the shock of not being able to take in everything at once. The background is very bright, whited out, and only the bull, Nanami, Touga and Mitsuru are really remembered.

Touga’s age seems a little wrong here for how small Nanami is. Maybe it’s Mitsuru’s hero worship colouring things, but he did apparently just punch out a bull, so who knows.

There’s also a parallel between Mitsuru and Utena, here, in that they’re very devoted to becoming a “prince” or a “big brother” which has nothing to do, really, with becoming royalty or literal family. Mitsuru’s sneakier than Utena, though, willing to put Nanami in danger in order to save her and fulfil the role he’s set himself, making him more — hilariously — a parallel to Touga who will do exactly the same thing to Utena herself.

Episode 7 — Juri’s flashback

Juri remembers the people in detail, but the background is stylised and black and white and the poses are often staged. She remembers everyone involved, but the exact events are lost in the general thrust of the developing love triangle.

This is the first time a flashback comes with an associated photograph. One of the memories takes place during a class photo shoot — did Shiori really whisper that exactly then, or is Juri imposing it on a moment she has reason to be especially well able to recall?

As a side note it feels weird to see the student council in normal Ohtori uniforms, a reminder that they’ve been in Ohtori longer than they’ve been in the duelling game. Given that Ohtori has an attached elementary school and Miki, Kozue, Touga and Nanami appear to live locally enough for their actual houses to be within Akio’s sphere of influence, I wonder if they have any sense of how weird any of this is? Have their whole lives just been mildly surreal?

Episode 9 — Saionji’s flashback

This and Nanami’s flashback are the most intense, probably because Saionji and Nanami seem actively traumatised by these events. To the point both of them attempt to lash out and kill Utena while caught up in reliving them.

The first thing that’s interesting about this flashback is that Saionji is telling it to Utena, who remains completely unaware that she appears in it. The two of them have made such different stories out of the memory that they can’t reconcile them at all — Utena doesn’t even remember Touga and Saionji were there and he can’t recognise her as the girl they wanted to save.

Saionji’s first flashback image is a warmly sepia coloured picture in which he and Touga appear as silhouettes. Incongruously it makes him scowl and declare he won’t lose to Touga. Like Miki’s sunlit garden, it appears to be a nostalgic image of something they did a lot rather than a memory of a specific scene.

They start out as greyscale faceless silhouettes, with Saionji’s bandage standing out white, and then are suddenly lit into colour when Touga sees the funeral and stops. It’s a neat effect, as they go from a general memory of something they’d done dozens of times, the hurt hand the only unusual thing about it, into the vividness of a specific and traumatic memory.

It’s only himself and Touga that Saionji remembers clearly, though. The adults in the memory remain silhouettes and Utena herself is one, recognisable by her pink hair.

It’s not clear whether the background is greyscale or whether it’s just the darkness of the storm, but the coffins are not, and the red roses on them stand out especially. Juri’s flashbacks tend to black and white with orange standing out, Saionji and Nanami both have flashbacks where red is the dominant colour.

Nothing about the memory is stylised or staged, though. Saionji may not understand the people involved, but he seems to recall the events very accurately. The fact that Touga spends the memory behaving rather strangely only makes it more plausible.

When Saionji flashes back again after hearing the word “kamikakushi” he can’t see anyone’s faces, as if he’s no longer sure who he and Touga were back then either.

Not a flashback, but I really appreciate the way the greyscale picture of Touga in bed with a bandaged chest echoes the grayscale picture of Touga and Saionji on the bike with Saionji’s bandaged hand.

Episode 10 — Nanami’s flashback

Oh, Nanami.

The shot of the birthday cake gives us a much more fixed time for this flashback than any of the previous ones. It’s Touga’s birthday, and you can count the candles to find out that he’s twelve. You can also see this is the same mansion they’re living in now, the vaguely threatening shot showing layers of empty halls and doors is virtually identical to the later one where Touga is telling Nanami why she shouldn’t be a lesbian. (If there’s a connection, I’d guess it’s that Touga is becoming one of the adults who shuts her out and doesn’t try to understand her.)

The adults are certainly threatening here, a faceless, colourless mob, where you can’t even really pick out Nanami’s parents. Touga and Nanami are the only ones in colour — they’re also the only children present. Touga seems to be both enthroned and surrounded, people are calling him Touga-sama and kneeling, but is this really the kind of party a twelve-year-old would want?

The way Nanami reacts when her father tries to grab her, and how quickly — and adultly — Touga intervenes just makes the adults seem more of a threat. You can see why Nanami misses being sure her brother was on her side when she’s never had anyone else.

Interestingly, when Nanami resumes her flashback for the more traumatic part, she and Touga are now greyscale. The only thing that stands out is the red of the apples he won’t help her pick. Something Nanami wants, but needs Touga to gain.

Honestly, I think getting angry with Nanami for hitting his cat is the most emotion we see Touga display, ever? Even in Saionji’s memory, his emotions are very guarded, here he’s reacting far more like you’d expect a child to react. Although Nanami’s response to it suggests that she’s not used to this kind of reaction from him. She’s taking it as a serious rejection, not as her brother being upset with her right now.

Nanami is now standing in front of her own memory, as if it’s a cinema screen and she can watch it all unfold over again.

In the last section of her flashback her dress and hair are yellow again, for the first time her own colour is the one notably present in addition to black and white. (She was in colour earlier, but wearing pink and red.) The part she most associates with herself is the worst part, the kitten’s death and her own remorse.

There are also a few flashes of green in bits of her memory, an adult’s suit and the leaves Touga was playing with the kitten with. Jealousy?

The way her killing the kitten and regretting it is interspersed with her attacking Utena suggests she really did intend to kill Utena but, like the kitten, would have regretted it immediately if she’d succeeded.

#utena #revolutionary girl utena #very long post #I hope no one is reading this on their phones #I'm sorry #Touga gets no flashbacks but everyone gets flashbacks about him #Utena nearly gets killed twice in a row by people having flashbacks #memories are dangerous things

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medakakurokami · 8 years ago

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Can you explain the appeal of Kyousogiga?

i just woke up anon but let’s see what i can shit out

for one and the most obvious upon start-up is the visual and directorial style of the show a la being Rie Matsumoto’s debut series. Not only is the artstyle beautiful and very distinct with its designs, the series had an exuberant quickness to how it was cut and how it carried itself. scenes were cut up illogically oftentimes where a stationary proverbial camera would watch a specific stage for an amount of time while the players would simply be teleporting on and off the stage for their lines, in a way monologing a dialogue. and that’s the sort of illogical storytelling that pushes animation to its latent potential. after that the story itself was incredible, which is impressive seeing as how it managed uniquity despite the fact that it’s another Alice and Wonderland derivative. BUT it’s not just an Alice in Wonderland derivative moreso than it is a specific Lewis Carroll poem “A Boat Beneath a Sunny Sky”

Children yet, the tale to hear, Eager eye and willing ear, Lovingly shall nestle near. In a Wonderland they lie, Dreaming as the days go by, Dreaming as the summers die

now i think this is without doubt a set-up for our characters’ situations, or at least the siblings Yase, Kurama, and Yakushimaru. they’ve been waiting in a Wonderland created by the fairy tale images of their father for their parents to return but i think we can go deeper. i think the specifics of it all can be traced back to the medium which Kyousougiga belongs which is anime. if Boat Beneath a Sunny Sky refers to children daydreaming their years away based on the stories they were told, Kyousougiga perfectly captures three of the most pertinent genres surrounding anime (or at least classic anime) to be represented by the three siblings.

Yase lives atop a mountain in a large Western mansion, sipping tea and eating cakes and wearing large dresses and gowns and pastel colors. She lives in the rose-bordered tinted glasses setting of classic shoujo. Her aesthetic perfectly matches those of the Rose of Versailles and Utena, I mean just look at her own design

she was given purely black eyes covered in what is effectively an image from the fucking Hubble telescope, as it captures that flamboyant charm of the insanely shiny eyes from those classic shoujo series.

Then we move onto Kurama and see obviously he lives in his sci-fi bubble. Men in black suits, surveillance equipment everywhere, a crack team of computer hackers, a mad scientist, and a secret weapon mecha ready to be deployed at any moment. You can even make the case that it also wishes to evoke the classic spirit since the mecha robot Bishimaru gets deployed with the same kind of fanfare you would hear in a classic Godzilla film.

And moving onto Yakushimaru, his might be the most modern and hell, it might even be a commentary about the bleakness of popular modern anime vs the robust joy of popular classic anime and Japanese media. My man’s might have started out as perhaps the contemporary Japanese Shintoist supernatural genre but from the start of the series he’s stuck in his slice of life drama, feeling little fulfillment from the relationship he’s in, and is borderline suicidal. I mean it’s not even borderline really he just doesn’t want to do it himself.

Basically these kids are what are described in the Lewis Carroll poem, through the lens of the classic Japanese anime and media that influence it. These are the more modernized fairy tales which Matsumoto wanted to use to shift the Alice in Wonderland trek we’ve trekked a thousand times already and THAT’S HOW YOU DO IT. when drawing inspiration from something, especially a well as commonly used as Alice in Wonderland, you don’t just pull out the same tired images of the Cheshire Cat, the Queen of Hearts, the Madhatter, etc those things have been done to death. Instead you take the themes of the story, the being lost in an escapist world of fairy tales while you wait on the adults that raised you to sort their shit out, and you modernize it with new and relatable images and then revamp the rest of the story.

see now i’ve over extended myself and look at this. in just describing what is the set-up for some of the main cast and one or two of the major themes of the story, i’ve only even scratched the surface of the tough and chewy brain jerky that is Kyousougiga. Haven’t even talked about the familial themes, the unique representation of God in a medium that does it every other hit, the high quality of the animation and the PHENOMENAL music (one of my favorite soundtracks period, anime or otherwise), any and all of the mythological symbolism it uses throughout, hell even the brilliant voice acting remains to be talked about. That’s basically the appeal of Kyousougiga, and while liking the show itself is highly subjective and I can understand someone thinking it was a confusing mess, the show is deep and shit’s just a fact. You can start from anywhere in the show, start digging and you’ll inevitably find some meaning. It speaks volumes to creating such a focused 10 episode series even when you had a 13 episode time slot. Granted it had a couple years in development to be drafted and created by Matsumoto and her compatriot, so maybe it should be expected that it feels like no part of the series was wasteful, nothing was superfluous in this incredibly flamboyant show. So to me, it’s a masterpiece, I can start thinking about anything in it and just go deeper and deeper until I’ve convinced myself as such, and to me any series that can provoke so much thought, well it’s simply thought-provoking, and those are my favorite kinds of shows.

so that’s the appeal anon

#kyousougiga

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thezolblade · 7 years ago

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Fanfic ask game~ C, F, G, and V. If that's not too much :')

Okay let’s try these for some of the fandoms we have in common, though not all apply to each letter.

C: What member do you identify with most?

- FF7

I was going to say that I don’t particularly identify with any of the cast, beyond feeling for them as the story plays out. But then I remembered, omg Shera. It was obvious from the start that she did her job and saved Cid’s life, but he gaslighted her for not telling him what he wanted to hear, and only realised that she was right after bullying her for years? Wtf Cid, go die in a fire if that’s what you really want. It left me thinking “…And…? Will Shera be okay? Will she finally leave and get on with her life?”

I don’t care what Cid named after her in AC, I want to know if she recovered her self-esteem & career & personal life. If you have a techy skill, and people who don’t know better try to undermine you, that can be such a tough situation to handle… Years of it would be horrifying.

- Revolutionary Girl Utena

Anthy most of all, I think. Not the drama and trauma at the end, but the solitude she maintains when it’s not yet clear why. The show did a good job of showing that school can be hell for a lot of people, for all kinds of reasons. And damn, it was painful seeing Anthy spending so much time alone, offering everyone a false smile, avoiding the crowds because they really weren’t going to do her any favours. It got frustrating in the early episodes, seeing Utena push her into things when she’d said she didn’t want to about as clearly as she was ever going to. And it was pretty gratifying to see Utena apologising for that at the end.

I mean it was also relatableto see Utena trying to do the right thing, and getting frustrated at the world when it was never easy. I’m still impressed that they managed to demonstrate so much emotional realism in the conclusion, at least as far as you can extrapolate reality for magical near-immortals or whatever they are. With the show being heavily metaphorical, and ending with everyone trying to take the same journey in the movie, it seems like Anthy’s struggles were meant to have universal elements - showing how you can self-sabotage by hurting others, and hurt yourself by telling others what they want to hear. How you need to be able to imagine better options before you can walk away.

- Golden Sun

Uh, Alex, somehow. He’s an embarrassing mess, he makes so many bad decisions which are all ‘wft are you doing?’, and Dark Dawn got into near-wallbanger territory where I was disgusted with both him and the game, bc the gratuitous damage seemed pointless and inconsistent from a gameplay perspective, and so far across the line from a characterisation perspective that it’s really hard to see why Kraden was programmed to say that Alex may have been 'helping in his own way’ or something like that. But in the first two games, at least, there was some complexity to his attitude. (And bits like that of the 3rd one indicated that the canon may still have been trying for nuance, only pretty poorly executed. #.# )

Still, gotta admit by now that judging from the amount of meta and fic I keep writing from his pov, something about his thought process is relatableenough that you can see why he’d think what he thinks, even if he’s wrong. When he actually provides factual information, it tends to be correct. He uses relatively inarguable facts to try to influence people, and the trolling is kinda unrelated. The manipulation isn’t emotional “Leave or I’ll be disappointed in you for picking this fight” - it’s attempted-impartial “Don’t pick this fight because your opponent(s) are too strong / your parents won’t be released unless you keep your side of the deal with those people.” Plus a side of “Lol you think I’m trash don’t you?”, demonstrating that he’s not trying to use a personal connection as leverage bc he’s burning those bridges, and still somehow expecting people to listen. ’I’m not on your side! But you should take my advice!’ Embarrassing mess…

And yet the others sometimes come across as relatively young and distracted by comparison, making assumptions about the world that he wouldn’t, and arguing over petty details. What is the point of panicking over things you can’t change?

F: Share a snippet from one of your favorite dialogue scenes you’ve written and explain why you’re proud of it.

Oh I like so much dialogue, tough choice. Uh well this probably isn’t the best scene, the oldest oldfic is still a messy WIP and I can tell it’d need a lot of work to match the newer stuff, and even to get it finished as what I originally envisioned I need to schedule a whole lot of time to work on it. But I want to, because I still love it, and since I haven’t managed to communicate the whole story yet to its readers, it feels like a self-indulgent choice. I’m pretty attached to the parts where Alex and Isaac get incredibly annoyed at each other, making the situation worse even while trying to work together, though they can’t each recognize genuine effort in the other - for a variety of reasons by this point.

“I… am sick of receiving derogatory communications from the aether, the last one wasn’t nearly as offensive, it wasn’t even real, - ”

“Wait, it’s… What?” Isaac was having trouble making sense of this. “Have you been getting obscene messages from the gods?”

“Can’t you go five minutes without bringing the gods into this?” Alex snapped, looking down again, seizing the chance to change the subject. “We are the ones with infinite potential!”

“Yes… but…”

“And you are the one capable of taking the rest…” It was only after Alex added this that Isaac realised he’d meant the two of them, not humanity in general. For a moment, he’d thought they were of the same opinion there.

“But is it… really…?” Isaac gestured at the paper, wondering how its message could be so irrelevant to Sheba’s fate. If it wasn’t about Sheba, what use was it?

“If you do not intend to believe anything you hear from me, why tell me to speak?”

“No, it’s… uh, don’t worry. I’ll take your word for it, for now.” Isaac smiled, realizing that 'don’t worry’ was slightly inadequate even as he said it. “We have to make sure it comes into existence the way it’s supposed to. First things first. We’d better head upstairs and tell the others the plan.”

“Bring them to me.” Alex could see that Isaac didn’t understand why he would request this. Shouldn’t it be obvious? Why would he want to go back to them, to approach them entirely on their terms? “Whoever would be involved, bring them here.”

“If it happened upstairs, you should probably try it there.”

“Do you think I still need higher ground?” Alex asked quietly, his voice barely audible over the noise of the water behind him - boiling water flowing from the cold tap.

G: Do you write your story from start to finish, or do you write the scenes out of order?

Often from start to finish in as few sessions as possible, though if it’s long enough to take more than a few days, I end up jotting down dialogue notes, and then trying to put the notes in order, which gets more fiddly the more there are. The multichapter longfic get big chunks written out of sequence, which sometimes makes it easier to fill in the gaps by joining the dots, and sometimes leaves me blocked on how to tackle the parts in between.

V: If you could write the sequel (or prequel) to any fic out there not written by yourself, which would you choose?

Not sure I could choose anything; other people’s stories are their ideas, and I generally want to hear more from the authors because they’re not the kind of stories I’d have intuitively come up with. Reading fic does tend to spark plotbunnies, but more those that place a headcanon in its own verse showing how else it could play out - different characterisation even if I’m adopting a headcanon I like. Back when I read more fic, I used to get the urge to play with the more macguffiny plot elements of things too, but never got to the point where I had a divergent fan-fan-fic that I could have asked the author about as far as I remember.

#ffvii #revolutionary girl utena #golden sun

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liuwdere · 8 years ago

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Women Directors in Anime Panel - Transcript

Here are the slides and audio. (I dunno why you’d want the audio if you’re reading a transcript, but hey, who am I to judge.)

Prior to the start of the panel proper, I played the Animator Expo shorts “Endless Night” and “Tomorrow From There” so the early comers weren’t stuck sitting around with nothing to do. I then put on the first Kyousougiga PV as a lead-in to the presentation.

Hi guys, and welcome to Women Directors of Anime. I’m Micchy. You can find me on Twitter @liuwdere, where I post very bad content most of the time and also have opinions on figure skating.

To start us off: Who can name an anime director? Anyone, go as basic as you like.

Hayao Miyazaki, the obvious one.

Yoshiaki Kawajiri, Ninja Scroll.

Challenge: who can name a female anime director?

Sayo Yamamoto.

That’s cheating, I showed her name earlier. Well, anyway, point is, they’re a bit harder to think of.

Raise your hand if you’ve seen one of these shows. Looks like just about all of you. Yuri on Ice? I see a few Yuri on Ice fans here. (Audience member: “I don’t know what that is.”) Well, congratulations, you have seen an anime directed by a woman!

Why talk about anime directors? I’ve seen several panels about fictional representations, strong female characters, so I would also like to bring some attention to the real-world anime industry and representation in that aspect of anime. There are a ton of women working as key animators, writers, in-betweeners in anime, but very few have managed to get the higher roles of production. This is not to say the lower roles are not important—they’re super important. With key animators, I’m a huge fan of Megumi Kouno, who key animated Shelter, if you’ve seen that. This topic is kind of arbitrary, but there are some talented ladies out there and I want to talk about them. Also, honestly, it’s also possible to be very comprehensive because there are like, 25 of them.

What do directors do? Basically they oversee anime production. Their involvement can vary; some of them are very involved in the storyboarding, the music choices, the writing, while others are a little more hands-off, a little manager-like. Some directors rise on the production side—they’re good at managing people, good at making sure people have their stuff done on time, and that’s what gets them in charge. Some of them start as key animators and eventually take over the lead visual development. Of course, they are all beholden to the will of the production committee, which is made up of the sponsors and execs in charge of the show, because money—money’s gotta come from somewhere.

Where are all these ladies? If you look through the industry, they tend to be clustered in a few genres. Number 1: kids’ shows and long-running franchises. We’re talking things like Precure, with the Suite Precure, Happiness Charge Precure, and Heartcatch Precure movies. [Yoko Ikeda, Chiaki Kon, and Rie Matsumoto] all started by directing episodes of the show before taking charge of the movie. Cardfight Vanguard G, the second season. [NOTE: This is actually inaccurate; Yui Umemoto is not a woman. Apologies for the mistake.] The File of Young Kindaichi Returns, also the second season. [Both Umemoto and Ikeda] were taking over established franchises.

Where else? We’ve got kids’ shows, and obviously, anime for women. We’re talking shoujo and josei manga adaptations, otome games, what I like to call “manservice” (though this genre classification is really loose), and boys’ love.

With shoujo manga, you’ve got Vampire Knight (anime Twilight), Otome Yokai Zakuro, Nodame Cantabile (a romcom about music students), and Skip Beat. We’ve got Sailor Moon Crystal season 3, Ristorante Paradiso (old man moe), the fifth season of Natsume Yuujinchou (Kotomi Deai taking over from Takahiro Omori), and Monthly Girls’ Nozaki-kun. (I hear a few shouts, nice.)

Otome games: These are visual novel dating sims where you play as a heroine character and get your choice of pretty boys to date. On that side of things you’ve got La Storia della Arcana Famiglia, Magic-kyun Renaissance, Diabolik Lovers, and its sequel Diabolik Lovers More Comma Blood—directed by two different women, because of course they are. (This is my favorite bit of Diabolik Lovers—you throw her into the pool. Just throw her in a pool.)

Manservice: This is what I like to classify the sports shows, the boy idol shows, the historical romances and stuff. We’ve got Meganebu! (cute boys doing cute things in a glasses club), Hakkenden, Prince of Stride; Free! (with one exclamation point), Cheer Boys!! (with two exclamation points), and Yuri!!! on Ice (with three exclamation points).

Boys’ Love: There’s a conversation to be had here about how women are kind of co-opting gay men’s stories, but that’s a topic for another day; I’m not talking about that today. You’ve got This Boy cycle from Soubi Yamamoto. These are a series of independent films, all short. Doukyuusei from Shouko Nakamura, a lovely story about two high school boys falling in love. And on the trashier side of things we have stuff like Junjou Romantica, World’s Greatest First Love, and Gakuen Heaven. Personally, I recommend Gakuen Handsome.

It’s important to note that even in these genres, most of the anime is still directed by men. Super Lovers—anyone?—that’s directed by a man. And of course, you can find women elsewhere; these are just the genres you’re most likely to find women. After all, who better to make anime for women than women?

Where else are they? If you look towards the edges of the industry—the avant-garde, the experimental animation showcase projects—you can see that some of these projects give younger women a chance to take charge of their own short films. Space Dandy was supposedly directed by Shinichirou Watanabe and Shingo Natsume, but in actuality, they gave a lot of creative reign to the individual episode directors, which is why every episode looks so different. Some of them were women. Panty and Stocking was another case of this. There’s also Japan Animator Expo, a series of web shorts released over several years, which featured quite a few women.

Talking about the women in particular: I’ve grouped them for convenience. I’m going to start with the ladies at Kyoto Animation.

A little about KyoAni: KyoAni is a unique studio in that all their animation is done in-house with a salaried staff. This is the case with most of the industry; most other studios hire animators freelance. Okay, you come in, you draw these few cuts, you go home. The only other major studio to do this—to have a salaried staff—is Studio Ghibli. Kyoani also has a strong focus on training young talent. Their veteran animators will spend a lot of time providing guidance to the younger staff. (Another studio that does this is Studio Toei, which produces Precure.) Both of these factors make it very conducive to nurturing young talent. Two of the names at Kyoani are Naoko Yamada and Hiroko Utsumi.

Naoko Yamada [the first female staff director at Kyoani] is probably best known for directing K-On. What I want you to notice about Yamada is her astute attention to character animation and body language. If you’ve seen any Kyoto Animation shows, you know what I mean; [the characters] act in specific ways, and [the animation is] very shiny, very polished. This particular attention to body language is what eventually got her the directorial position for A Silent Voice, which is about a deaf girl. Obviously [the girl] communicates through sign language, so you can see why the body language would be important there. (Also, [Yamada] likes legs. She has a lotta legs in her storyboards. It’s pretty obvious; you see knees all over the place.)

[A Silent Voice PV]

Going on to another woman at Kyoani: Hiroko Utsumi, who directed Free. It should be pretty obvious that this show was helmed by a woman just from the butts and abs on display [for the female gaze]. I mean, characters in-universe state, “Oh my god, those are really good butts and chests and abs and shoulders.” So that’s a thing.

Here’s where I get a little wibbly-wobbly: What I like to call the “Penguindrum alumni.” This is because there were several women working on this particular show that later went on to head their own projects. To talk about them, I need to talk about Kunihiko Ikuhara. This guy is the infamously eccentric director of Revolutionary Girl Utena, Penguindrum, and Yurikuma Arashi. He’s heavily influenced by the late Osamu Dezaki, with a strong focus on visual metaphor, cinematic language, and very surreal imagery. On one of his projects, Penguindrum, there were a bunch of ladies who were episode directors and assistant directors who later went on to lead their own projects.

The first one I’m going to talk about is Mitsue Yamazaki. A lot of her work is really pretty, but personally my favorite is her comedy work on Monthly Girls’ Nozaki-kun. Here’s a clip where two boys play a dating sim game and get a little too into it.

[Nozaki-kun - Tomoda]

Another one of these ladies who worked on Penguindrum is Shouko Nakamura. She did a lot of early work at Studio Gainax working on Gurren Lagann and Panty and Stocking. You can see the Gainax influence in her style with loose, relaxed lineart—you could contrast it with, for instance, KyoAni’s polished realism. Last year, she directed a boys’ love film adapted from a manga by Asumiko Nakamura, Doukyuusei.

[Doukyuusei PV].

If you’re wondering which episode she did on Panty and Stocking, it’s the one where Panty’s sex tape gets leaked.

Akemi Hayashi: She saved the human race from the Zentradi in 2009. Actually, no, she didn’t. Fun fact: her name happens to share the kanji from a possible Chinese rendering of Lynn Minmay, from Super Dimension Fortress Macross, which made researching this one kind of hard. (I was like, I wanna find out about this director, but was only getting results for this anime girl. I like Macross and all, but that wasn’t what I wanted.)

Akemi Hayashi for real: She, like Shouko Nakamura, did early stuff at Gainax. You can see her work going way, way back—if you’ve seen the 1997 anime Revolutionary Girl Utena, she did key animation on the opening sequence for that. She’s been the animation director for a number of high profile projects, including Casshern Sins [and] the Rebuild of Evangelion films. She hasn’t had a full TV series or movie debut yet, but she has directed a few short films and the penguin episode of Space Dandy. What I’m going to put on for you next is a short film done for a collaboration project called Ani*Kuri 15: fifteen one-minute shorts from different creators in the industry. Hers was called “Namida no Mukou,” roughly “from behind tears.” Like Shouko Nakamura, she also has a strong focus on fluid animation. I especially like her use of subtleties in facial expression and body language, conveying emotion through that.

[Ani*Kuri 15, “Namida no Mukou”]

Getting to directors who did not work on Penguindrum (which is a ridiculous classification in itself): My personal favorite, Sayo Yamamoto. This lady is super extra: when she was in college, she wanted to work on animation, but the faculty told her, “No, you can’t work on animation.” She said, “Heck, I’m working on animation anyway,” and did. She caught the attention of director Satoshi Kon to work on Millennium Actress. Stuff happened and she didn’t end up working on that, so her first work at Studio Madhouse was some animation on Trava, which later became the basis for the movie Redline, if you’ve seen that. There she got noticed by Shinichiroh Watanabe, director of Cowboy Bebop and Samurai Champloo. She was brought on to be an episode director on Champloo, and that’s where she says she first got creative control over her project. [Yamamoto] has also directed a lot of opening and ending sequences; if you’ve seen the first ending sequence to Attack on Titan, that was all her: the sketchy charcoal drawing, that’s her.

Yamamoto’s one of those creatives that has a strong influence over story direction as well as the visuals. For instance, she has a fixation on the femme fatale character, as well as gender and sexuality in general—especially female and queer sexuality. You’ve got Michiko and Hatchin, which is about Latina women, one of them a lesbian. The Woman Called Fujiko Mine, literally an entire series about what makes the femme fatale—Fujiko Mine, the femme fatale character in the long-running franchise Lupin III—what makes her tick, and why is she bad? That show is about interrogating that.

Yuri on Ice also addresses sexuality in a way that’s a little more subtle than her previous works—YOI is a lot lighter, less gritty than the “sex and murder” tone of Fujiko Mine. Part of this is because it is a collaboration with manga artist Mitsurou Kubo. But you can still see hints of this fixation on sexuality and femininity in [for instance] episode 3, where Yuri literally works to channel his inner Fujiko Mine. There’s also a queer character in Fujiko Mine, so yeah, gender and sexuality is a big thing in Yamamoto’s work.

Also, butts. Sayo Yamamoto isn’t that open to giving interviews, but from people who work with her, we have reports that yeah, she was very insistent that they draw butts very well. She says figure skaters have such nice butts you can put things on them, and was really insistent that the staff draw them all. Also, she is on record saying that she liked the scenes in Lupin III where Fujiko took her shirt off—make of that what you will.

Beyond her fixation on butts and sex, she also has a focus on fairy tale imagery and sketchlike charcoal/pencil drawings. This is the ending sequence of Rage of Bahamut (which is getting a sequel this season, I’m so excited) and it’s quite gorgeous.

[Rage of Bahamut ED]

Wasn’t that pretty? (Audience member: yes.) As much as I would like to talk about Sayo Yamamoto all day—I will seriously talk about Sayo Yamamoto all day if you let me, so don’t let me—next we have Rie Matsumoto.

Rie Matsumoto is a director who started at Toei, animating and directing episodes of Heartcatch Precure. (If you don’t know what Precure is, it’s basically My Little Pony, but magical girls and Japanese. That’s the kind of fandom it has. Maybe a little less bad, but not the point.) At Toei, she directed the original promotional video for this series called Kyousougiga, which became a web series and eventually a 10-episode TV series. Then she went AWOL for a few years, later reappearing at Studio BONES directing Blood Blockade Battlefront. (She’s also really cute, I think. [Audience member: It’s true.])

Matsumoto’s another one of those creators with a strong storytelling stamp as well; she has a hand in writing a lot of these works. She as a creator is eclectic as hell. Kyousougiga is like a dozen shows in one, about nostalgia and regret and salvation through platonic love and depression and narcissism—it’s great. Some of the themes that reappear across her work, especially in this original part of Blood Blockade Battlefront, are family bonds, salvation through familial love. In Blood Blockade Battlefront she basically added an entire subplot that was about two siblings reconciling with each other, because that was [the story she wanted to tell]. That’s not even in the manga at all.

For Blood Blockade Battlefront, the artist of the manga [Yasuhiro Nightow] had only one request to the anime staff, and that was to make an opening sequence worth seeing a hundred times. That’s a pretty daunting task, but Rie Matsumoto was like, “heck, I’ll do it.” I’ll let you decide whether she succeeds or not.

[Kekkai Sensen OP]

Every frame of that thing has so much, the composition’s superb. Matsumoto is not directing the second season, unfortunately; she says she’s told the story she wanted to tell and no longer has interest in telling more. Someone else will be taking charge of that second season!

Here’s Soubi Yamamoto, another one of my favorites. No relation to Sayo Yamamoto. Soubi Yamamoto is unique in that she’s basically entirely independent. Most of her work she wrote, directed, and animated almost all by herself—kind of like Makoto Shinkai, director of the current hit Your Name, as well as Five Centimeters Per Second, Garden of Words, if you’ve seen those.

Yamamoto’s really young. Her This Boy series: This Boy Can Fight Aliens, This Boy Caught a Merman, This Boy Suffers from Crystallization, and This Boy is a Professional Wizard. They’re all standalone, thirty-minute shorts. She made the first one of those when she was 22. (She’s like, 27 now. Really young.)

Characteristics of her style: When you see a Soubi Yamamoto thing, you know it’s Soubi Yamamoto. It’s got a saturated color palette, limited animation (since it’s basically just her), on-screen text and manga-like textures/aesthetic. She also has a pretty large hand in writing most of her shorts. You see themes of loneliness, isolation, the difficulty of maintaining interpersonal connection—and boys kissing, there’s quite a bit of that too. What she did not write was MEGANEBU, her one and only TV series to date. This is about a bunch of guys in a glasses enthusiastic club. It’s about as dumb as it sounds. In this scene one of the characters is trying to go to club and is sidetracked by a praying mantis.

[Meganebu, episode 5 - about 3:00-4:30]

The rest of the episode escalates from there—he brings out a suit of armor and a flamethrower just to get past this bug. It’s pretty great.

Atsuko Ishizuka. She was the first [female] staff director at Studio Madhouse. In 2008, the head of Madhouse Masao Maruyama said of her that she was probably the most talented young director in the industry at the time. She’s managed to get a foothold in the otaku market with No Game No Life and several other reasonably successful properties.

She’s also very fond of very, very bold color design. Personally I think she goes a little overboard with it most of the time, but in this 2009 show Aoi Bungaku I think she handled it well. This show is an anthology of adaptations of Japanese literature. Ishizuka directed episodes 11 and 12, “The Spider’s Thread” and “Hell Screen,” both based on short stories by Ryuunosuke Akutagawa. (Has anyone seen Bungo Stray Dogs? Yeah, it’s that guy. He’s actually a real person.) Hell Screen is about a painter who’s commissioned to decorate the tomb of an emperor with his glory, but when he’s faced with the suffering and strife that’s going on in the country he paints a picture of suffering instead. This is the scene where he finally breaks when his daughter is burned before his eyes. [Its exquisite use of color] is really gorgeous; y’all should watch it.

[Aoi Bungaku, episode 12. No link, sorrymasen.]

Aoi Bungaku has unfortunately never been licensed because the market for adaptations of Japanese modernist literature is kind of small. (Its audience is me, mostly.)

Moving on, we have Eunyoung Choi. Choi is a longtime collaborator with avant-garde director Masaaki Yuasa. If you’ve seen Tatami Galaxy, Ping Pong, Kick-Heart (which aired on Toonami a while ago, I think)... they also did an episode of Adventure Time together. Most of Eunyoung Choi’s work has been with Yuasa, so you see their styles kind of merge, with loose lineart, flexible animation, favoring dynamic motion over consistent character models. She did direct the ninth episode of Space Dandy herself (Yuasa came later in the second season with the fish alien episode). This is the episode where Space Dandy and the crew go to a planet where all the living things are plants.

Interesting to note that Choi is Korean, and not Japanese; if you look at the edges of the industry, with the ‘artsy’ projects, you can see a bunch of non-Japanese people. Kevin Aymeric, French background artist; Michael Arias, a director from America; Thomas Romain, French mech designer; Bahi JD, Austrian animator; a lot of them work on the same projects because they’re all buddy-buddy with each other.

So she’s directed this lovely but trippy episode of Space Dandy. [It’s a unique style on display here.]

[Space Dandy, episode 9, about 15:30-17:30]

That was Eunyoung Choi. Here’s another lady: Ai Yoshimura, who directed Oregairu, Blue Spring Ride, Dance with Devils, and Cheer Boys. She’s pretty good at handling moments of intense emotion: in Blue Spring Ride there are so many scenes where you can just feel the atmosphere dripping with romantic tension. (Sometimes it’s bad.) But my personal favorite thing of hers is Dance with Devils, which is basically an anime Broadway musical about a girl and demon boys. This show had the brilliant idea of making Cerberus a mashpotato dog. And he has a musical number. You guys should see it ‘cause I love this show to death.

[Dance with Devils - Loewen]

This show also has wonderful numbers like an extremely wannabe rap and a song called “Emo Liar.” It’s “I Won’t Say I’m In Love” but with anime boys and more screaming. Anyway, that show is great and I feel like everyone should watch it, but that’s just me.

I feel like I should mention the most prolific director in the entire industry, [Chiaki Kon]. I don’t think this is even a complete list of her work. Here I have Golden Time and Sailor Moon Crystal. Season 3, since the first two were directed by someone else. She, uh, sure does put out a lot of work. Not a lot of it’s very good, but there sure is a lot of it! Props to her for getting so many jobs. I mean, as much as I love Nodame Cantabile, those two seasons are not good. Also Junjou Romantica. I’m not gonna say anything about Junjou Romantica, but… Junjou Romantica.

Literally everyone else: I of course did not have time to get to everyone. A couple of names I like on here:

Noriko Takao directing Saint Young Men, which is about Jesus and Buddha chilling in an apartment in Tokyo, and it’s pretty great. That will probably never get released over here because fundies.

Kotomi Deai directing the second season of Silver Spoon and the fifth season of Natsume Yuujinchou. She took over Silver Spoon from SAO director Tomohiko Ito, who was currently then busy with SAO.

Sayo Aoi directing The Merman In My Bathtub. See, there are actually two gay merman anime. I just think that’s incredible.

I also really like [Mitsuko Kase’s] Ristorante Paradiso. It’s the kind of show you watch if you’re really into older men. Like, if you want to sit back after work, chill and watch reasonably attractive older men do their thing, that’s the show for you.

(I have seen basically everything on this list. Some of it’s pretty bad. Some is actually decent. Not [Yukina Hiiro’s] Chu-bra. Nnngh, we don’t talk about Chu-bra.)

The anime industry today is obviously changing. There’s more anime produced now than ever before; we have dozens of new shows every three months. Go back a few decades, we had a dozen new shows a year. With that boom, the women’s share of the market is definitely growing. You see this with a lot more anime directed at women: the idol shows; the sports anime,which are intended for younger boys but have a significant female following anyway (hot guys); Touken Ranbu, which is more of a thing over in Japan than here; Osomatsu. With that, we have more female-led projects than ever before.

Of course, it’s not all sunshine and rainbows. The wages in the industry are terrible. Animation is a really hard job! It takes a lot of skill, and they get paid almost nothing for it. Also, the industry is kind of a boys’ club and has been since the beginning. On the bright side, a lot of these women are really young and will probably do good work in the future, so I’m gonna beg you guys to support them by watching through legal channels. (I’m shilling for good friends at Crunchyroll.)

I then went through a few resources and places to watch the good cartoons, concluding with the same two Animator Expo shorts from before the panel for the people who showed up later. Thanks for playing!

#women in anime #anime boston #transcript #long post #very very long post

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