#but also 26 episodes in and its good?

[mysteriousboo]

im officially caught up with the double!! what am i supposed to do with my life now? wait till the next episode airs?

[judahdenose]

I fully believe that Total Drama's biggest crime was not changing it's cast every season.

[instarsanddyke]

this is doing something to me

[aria0fgold]

Watching a movie and waiting for a specific scene from a trailer that was actually for a different movie can only happen with Detective Conan with its 26 (soon to be 27) movies and my horrible memory.

[mostlysignssomeportents]

AI turns Amazon coders into Amazon warehouse workers

HEY SEATTLE! I'm appearing at the Cascade PBS Ideas Festival NEXT SATURDAY (May 31) with the folks from NPR's On The Media!

On a recent This Machine Kills episode, guest Hagen Blix described the ultimate form of "AI therapy" with a "human in the loop":

https://soundcloud.com/thismachinekillspod/405-ai-is-the-demon-god-of-capital-ft-hagen-blix

One actual therapist is just having ten chat GPT windows open where they just like have five seconds to interrupt the chatGPT. They have to scan them all and see if it says something really inappropriate. That's your job, to stop it.

Blix admits that's not where therapy is at…yet, but he references Laura Preston's 2023 N Plus One essay, "HUMAN_FALLBACK," which describes her as a backstop to a real-estate "virtual assistant," that masqueraded as a human handling the queries that confused it, in a bid to keep the customers from figuring out that they were engaging with a chatbot:

https://www.nplusonemag.com/issue-44/essays/human_fallback/

This is what makes investors and bosses slobber so hard for AI – a "productivity" boost that arises from taking away the bargaining power of workers so that they can be made to labor under worse conditions for less money. The efficiency gains of automation aren't just about using fewer workers to achieve the same output – it's about the fact that the workers you fire in this process can be used as a threat against the remaining workers: "Do your job and shut up or I'll fire you and give your job to one of your former colleagues who's now on the breadline."

This has been at the heart of labor fights over automation since the Industrial Revolution, when skilled textile workers took up the Luddite cause because their bosses wanted to fire them and replace them with child workers snatched from Napoleonic War orphanages:

https://pluralistic.net/2023/09/26/enochs-hammer/#thats-fronkonsteen

Textile automation wasn't just about producing more cloth – it was about producing cheaper, worse cloth. The new machines were so easy a child could use them, because that's who was using them – kidnapped war orphans. The adult textile workers the machines displaced weren't afraid of technology. Far from it! Weavers used the most advanced machinery of the day, and apprenticed for seven years to learn how to operate it. Luddites had the equivalent of a Masters in Engineering from MIT.

Weavers' guilds presented two problems for their bosses: first, they had enormous power, thanks to the extensive training required to operate their looms; and second, they used that power to regulate the quality of the goods they made. Even before the Industrial Revolution, weavers could have produced more cloth at lower prices by skimping on quality, but they refused, out of principle, because their work mattered to them.

Now, of course weavers also appreciated the value of their products, and understood that innovations that would allow them to increase their productivity and make more fabric at lower prices would be good for the world. They weren't snobs who thought that only the wealthy should go clothed. Weavers had continuously adopted numerous innovations, each of which increased the productivity and the quality of their wares.

Long before the Luddite uprising, weavers had petitioned factory owners and Parliament under the laws that guaranteed the guilds the right to oversee textile automation to ensure that it didn't come at the price of worker power or the quality of the textiles the machines produced. But the factory owners and their investors had captured Parliament, which ignored its own laws and did nothing as the "dark, Satanic mills" proliferated. Luddites only turned to property destruction after the system failed them.

Now, it's true that eventually, the machines improved and the fabric they turned out matched and exceeded the quality of the fabric that preceded the Industrial Revolution. But there's nothing about the way the Industrial Revolution unfolded – increasing the power of capital to pay workers less and treat them worse while flooding the market with inferior products – that was necessary or beneficial to that progress. Every other innovation in textile production up until that time had been undertaken with the cooperation of the guilds, who'd ensured that "progress" meant better lives for workers, better products for consumers, and lower prices. If the Luddites' demands for co-determination in the Industrial Revolution had been met, we might have gotten to the same world of superior products at lower costs, but without the immiseration of generations of workers, mass killings to suppress worker uprisings, and decades of defective products being foisted on the public.

So there are two stories about automation and labor: in the dominant narrative, workers are afraid of the automation that delivers benefits to all of us, stand in the way of progress, and get steamrollered for their own good, as well as ours. In the other narrative, workers are glad to have boring and dangerous parts of their work automated away and happy to produce more high-quality goods and services, and stand ready to assess and plan the rollout of new tools, and when workers object to automation, it's because they see automation being used to crush them and worsen the outputs they care about, at the expense of the customers they care for.

In modern automation/labor theory, this debate is framed in terms of "centaurs" (humans who are assisted by technology) and "reverse-centaurs" (humans who are conscripted to assist technology):

https://pluralistic.net/2023/04/12/algorithmic-wage-discrimination/#fishers-of-men

There are plenty of workers who are excited at the thought of using AI tools to relieve them of some drudgework. To the extent that these workers have power over their bosses and their working conditions, that excitement might well be justified. I hear a lot from programmers who work on their own projects about how nice it is to have a kind of hypertrophied macro system that can generate and tweak little automated tools on the fly so the humans can focus on the real, chewy challenges. Those workers are the centaurs, and it's no wonder that they're excited about improved tooling.

But the reverse-centaur version is a lot darker. The reverse-centaur coder is an assistant to the AI, charged with being a "human in the loop" who reviews the material that the AI produces. This is a pretty terrible job to have.

For starters, the kinds of mistakes that AI coders make are the hardest mistakes for human reviewers to catch. That's because LLMs are statistical prediction machines, spicy autocomplete that works by ingesting and analyzing a vast corpus of written materials and then producing outputs that represent a series of plausible guesses about which words should follow one another. To the extent that the reality the AI is participating in is statistically smooth and predictable, AI can often make eerily good guesses at words that turn into sentences or code that slot well into that reality.

But where reality is lumpy and irregular, AI stumbles. AI is intrinsically conservative. As a statistically informed guessing program, it wants the future to be like the past:

https://reallifemag.com/the-apophenic-machine/

This means that AI coders stumble wherever the world contains rough patches and snags. Take "slopsquatting." For the most part, software libraries follow regular naming conventions. For example, there might be a series of text-handling libraries with names like "text.parsing.docx," "text.parsing.xml," and "text.parsing.markdown." But for some reason – maybe two different projects were merged, or maybe someone was just inattentive – there's also a library called "text.txt.parsing" (instead of "text.parsing.txt").

AI coders are doing inference based on statistical analysis, and anyone inferring what the .txt parsing library is called would guess, based on the other libraries, that it was "text.parsing.txt." And that's what the AI guesses, and so it tries to import that library to its software projects.

This creates a new security vulnerability, "slopsquatting," in which a malicious actor creates a library with the expected name, which replicates the functionality of the real library, but also contains malicious code:

https://www.theregister.com/2025/04/12/ai_code_suggestions_sabotage_supply_chain/

Note that slopsquatting errors are extremely hard to spot. As is typical with AI coding errors, these are errors that are based on continuing a historical pattern, which is the sort of thing our own brains do all the time (think of trying to go up a step that isn't there after climbing to the top of a staircase). Notably, these are very different from the errors that a beginning programmer whose work is being reviewed by a more senior coder might make. These are the very hardest errors for humans to spot, and these are the errors that AIs make the most, and they do so at machine speed:

https://pluralistic.net/2024/04/23/maximal-plausibility/#reverse-centaurs

To be a human in the loop for an AI coder, a programmer must engage in sustained, careful, line-by-line and command-by-command scrutiny of the code. This is the hardest kind of code to review, and maintaining robotic vigilance over long periods at high speeds is something humans are very bad at. Indeed, it's the kind of task we try very hard to automate, since machines are much better at being machineline than humans are. This is the essence of reverse-centaurism: when a human is expected to act like a machine in order to help the machine do something it can't do.

Humans routinely fail at spotting these errors, unsurprisingly. If the purpose of automation is to make superior goods at lower prices, then this would be a real concern, since a reverse-centaur coding arrangement is bound to produce code with lurking, pernicious, especially hard-to-spot bugs that present serious risks to users. But if the purpose of automation is to discipline labor – to force coders to accept worse conditions and pay – irrespective of the impact on quality, then AI is the perfect tool for the job. The point of the human isn't to catch the AI's errors so much as it is to catch the blame for the AI's errors – to be what Madeleine Clare Elish calls a "moral crumple zone":

https://estsjournal.org/index.php/ests/article/view/260

As has been the case since the Industrial Revolution, the project of automation isn't just about increasing productivity, it's about weakening labor power as a prelude to lowering quality. Take what's happened to the news industry, where mass layoffs are being offset by AI tools. At Hearst's King Features Syndicates, a single writer was charged with producing over 30 summer guides, the entire package:

https://www.404media.co/viral-ai-generated-summer-guide-printed-by-chicago-sun-times-was-made-by-magazine-giant-hearst/

That is an impossible task, which is why the writer turned to AI to do his homework, and then, infamously, published a "summer reading guide" that was full of nonexistent books that were hallucinated by a chatbot:

https://www.404media.co/chicago-sun-times-prints-ai-generated-summer-reading-list-with-books-that-dont-exist/

Most people reacted to this story as a consumer issue: they were outraged that the world was having a defective product foisted upon it. But the consumer issue here is downstream from the labor issue: when the writers at King Features Syndicate are turned into reverse-centaurs, they will inevitably produce defective outputs. The point of the worker – the "human in the loop" – isn't to supervise the AI, it's to take the blame for the AI. That's just what happened, as this poor schmuck absorbed an internet-sized rasher of shit flung his way by outraged social media users. After all, it was his byline on the story, not the chatbot's. He's the moral crumple-zone.

The implication of this is that consumers and workers are class allies in the automation wars. The point of using automation to weaken labor isn't just cheaper products – it's cheaper, defective products, inflicted on the unsuspecting and defenseless public who are no longer protected by workers' professionalism and pride in their jobs.

That's what's going on at Duolingo, where CEO Luis von Ahn created a firestorm by announcing mass firings of human language instructors, who would be replaced by AI. The "AI first" announcement pissed off Duolingo's workers, of course, but what caught von Ahn off-guard was how much this pissed off Duolingo's users:

https://tech.slashdot.org/story/25/05/25/0347239/duolingo-faces-massive-social-media-backlash-after-ai-first-comments

But of course, this makes perfect sense. After all, language-learners are literally incapable of spotting errors in the AI instruction they receive. If you spoke the language well enough to spot the AI's mistakes, you wouldn't need Duolingo! I don't doubt that there are countless ways in which AIs could benefit both language learners and the Duolingo workers who develop instructional materials, but for that to happen, workers' and learners' needs will have to be the focus of AI integration. Centaurs could produce great language learning materials with AI – but reverse-centaurs can only produce slop.

Unsurprisingly, many of the most successful AI products are "bossware" tools that let employers monitor and discipline workers who've been reverse-centaurized. Both blue-collar and white-collar workplaces have filled up with "electronic whips" that monitor and evaluate performance:

https://pluralistic.net/2024/08/02/despotism-on-demand/#virtual-whips

AI can give bosses "dashboards" that tell them which Amazon delivery drivers operate their vehicles with their mouths open (Amazon doesn't let its drivers sing on the job). Meanwhile, a German company called Celonis will sell your boss a kind of AI phrenology tool that assesses your "emotional quality" by spying on you while you work:

https://crackedlabs.org/en/data-work/publications/processmining-algomanage

Tech firms were among the first and most aggressive adopters of AI-based electronic whips. But these whips weren't used on coders – they were reserved for tech's vast blue-collar and contractor workforce: clickworkers, gig workers, warehouse workers, AI data-labelers and delivery drivers.

Tech bosses tormented these workers but pampered their coders. That wasn't out of any sentimental attachment to tech workers. Rather, tech bosses were afraid of tech workers, because tech workers possess a rare set of skills that can be harnessed by tech firms to produce gigantic returns. Tech workers have historically been princes of labor, able to command high salaries and deferential treatment from their bosses (think of the amazing tech "campus" perks), because their scarcity gave them power.

It's easy to predict how tech bosses would treat tech workers if they could get away with it – just look how they treat workers they aren't afraid of. Just like the textile mill owners of the Industrial Revolution, the thing that excites tech bosses about AI is the possibility of cutting off a group of powerful workers at the knees. After all, it took more than a century for strong labor unions to match the power that the pre-Industrial Revolution guilds had. If AI can crush the power of tech workers, it might buy tech bosses a century of free rein to shift value from their workforce to their investors, while also doing away with pesky Tron-pilled workers who believe they have a moral obligation to "fight for the user."

William Gibson famously wrote, "The future is here, it's just not evenly distributed." The workers that tech bosses don't fear are living in the future of the workers that tech bosses can't easily replace.

This week, the New York Times's veteran Amazon labor report Noam Scheiber published a deeply reported piece about the experience of coders at Amazon in the age of AI:

https://www.nytimes.com/2025/05/25/business/amazon-ai-coders.html

Amazon CEO Andy Jassy is palpably horny for AI coders, evidenced by investor memos boasting of AI's returns in "productivity and cost avoidance" and pronouncements about AI saving "the equivalent of 4,500 developer-years":

https://www.linkedin.com/posts/andy-jassy-8b1615_one-of-the-most-tedious-but-critical-tasks-activity-7232374162185461760-AdSz/

Amazon is among the most notorious abusers of blue-collar labor, the workplace where everyone who doesn't have a bullshit laptop job is expected to piss in a bottle and spend an unpaid hour before and after work going through a bag- and body-search. Amazon's blue-collar workers are under continuous, totalizing, judging AI scrutiny that scores them based on whether their eyeballs are correctly oriented, whether they take too long to pick up an object, whether they pee too often. Amazon warehouse workers are injured at three times national average. Amazon AIs scan social media for disgruntled workers talking about unions, and Amazon has another AI tool that predicts which shops and departments are most likely to want to unionize.

Scheiber's piece describes what it's like to be an Amazon tech worker who's getting the reverse-centaur treatment that has heretofore been reserved for warehouse workers and drivers. They describe "speedups" in which they are moved from writing code to reviewing AI code, their jobs transformed from solving chewy intellectual puzzles to racing to spot hard-to-find AI coding errors as a clock ticks down. Amazon bosses haven't ordered their tech workers to use AI, just raised their quotas to a level that can't be attained without getting an AI to do most of the work – just like the Chicago Sun-Times writer who was expected to write all 30 articles in the summer guide package on his own. No one made him use AI, but he wasn't going to produce 30 articles on deadline without a chatbot.

Amazon insists that it is treating AI as an assistant for its coders, but the actual working conditions make it clear that this is a reverse-centaur transformation. Scheiber discusses a dissident internal group at Amazon called Amazon Employees for Climate Justice, who link the company's use of AI to its carbon footprint. Beyond those climate concerns, these workers are treating AI as a labor issue.

Amazon's coders have been making tentative gestures of solidarity towards its blue-collar workforce since the pandemic broke out, walking out in support of striking warehouse workers (and getting fired for doing so):

https://pluralistic.net/2020/04/14/abolish-silicon-valley/#hang-together-hang-separately

But those firings haven't deterred Amazon's tech workers from making common cause with their comrades on the shop floor:

https://pluralistic.net/2021/01/19/deastroturfing/#real-power

When techies describe their experience of AI, it sometimes sounds like they're describing two completely different realities – and that's because they are. For workers with power and control, automation turns them into centaurs, who get to use AI tools to improve their work-lives. For workers whose power is waning, AI is a tool for reverse-centaurism, an electronic whip that pushes them to work at superhuman speeds. And when they fail, these workers become "moral crumple zones," absorbing the blame for the defective products their bosses pushed out in order to goose profits.

As ever, what a technology does pales in comparison to who it does it for and who it does it to.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2025/05/27/rancid-vibe-coding/#class-war

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

[honeyspeeches]

I’ve been thinking about something and wanted your take—

In the fandom, there’s this ongoing hate towards Lance where people really criticise or even villainise him for flirting too much. But on rewatch, I actually noticed… he doesn’t flirt nearly as much as people make it out to be?

Curious what your thoughts are. Do you think that reputation is deserved?

Well… first of all, what’s so wrong with flirting ?? It’s not like he’s touching anyone inappropriately… the only reason Shiro keeps telling him off for flirting is because he's being unserious in a serious situation. But it’s not like he’s harming anyone…

Okay, well, to determine that, let’s have a look at the times Lance actually does flirt.

Is Lance’s flirting excessive and inappropriate?

Would you believe me if I said that the first time he flirts its actually not with Allura??? let me show you first when he flirts with Allura:

[26:19]

He has a very consistent flirting face:

ummm but... haven't we seen this face before???

[Season 1, Episode 1: The Rise of Voltron, 23:20]

huh. anyway!

When he catches Allura in his arms, he did so before he got a good look at her and found her attractive. So, it's not like he purposefully caught her in his arms 'cause he wanted to flirt with her.

[26:13]

Next time he flirts, it's again with Allura and we start to see a pattern of Shiro telling Lance off for flirting in serious situations:

I mean, Sendak just sent them a threat lmao this isn't the time to be flirting my guy.

I'm saying Shiro only does this in serious situations because when Lance wakes up in Episode 6 and flirts with Allura again, Shiro is smiling:

[Season 1, Episode 6: Taking Flight, 02:18]

The way we as the viewers would think about Lance is very much informed by the ways other characters react to him. I think most people find his flirting inappropriate because of the way especially Shiro and Allura react to him, the two most mature characters in the first two seasons. Shiro keeps telling him to stop (in serious situations) and Allura is not receptive to his advances.

[Season 1, Episode 6: Taking Flight, 02:16 ; Season 2, Episode 3: Shiro's Escape, 12:45]

So, Lance flirts with Allura a lot, and she's not receptive of it. But... she's also the only one not receptive of it.

[Season 1, Episode 6: Taking Flight, 09:40 ; Season 2, Episode 2: The Depths, 06:23 ; Season 2, Episode 7: Space Mall, 11:57 ; Season 4, Episode 4: The Voltron Show, 12:51]

So, Lance's flirting is situationally inappropriate, but otherwise harmless. And the only one who isn't receptive of his flirting is Allura, so it's not violating anyone in any way.

Lance also mostly flirts in the first two seasons, but it's not all the time. The last time he flirts, as in actual flirting as we see it above is in Season 2, Episode 7: Space Mall. In Season 2 Episode 11, Lance does have his bravado face on when he says "the sharpshooter is on the way", but considering he has just confessed his insecurities to the yupper, I think it's more Lance making up for his insecurities and the vulnerability he feels, rather than actual flirting.

And wouldn't you know it, Lance doesn't flirt with anyone at all in season 3. In Season 4, Episode 4: The Voltron Show, Lance is dubbed Loverboy Lance to which he says it's true even though we haven't seen him act like a loverboy at all since season 2. And although he's dubbed as Loverboy Lance, none of the shows actually include him flirting with anyone, he's mainly just kinda objectifying himself to the audience:

and the one time he does flirt, it's with the Red Lion...

[Season 4, Episode 4: The Voltron Show, 16:00]

which uh... okay. Anyway!

He doesn't flirt a single time in any of the rest of the seasons, either. Not even with Romelle:

[Season 7, Episode 2: The Road Home, 05:29]

He's not wearing his flirting face at all. In fact, he finds her super annoying.

So Lance hasn't flirted with anyone (except the Red Lion...) since season 2. Season 3, we saw him grow a lot, and he becomes a much more serious character from then on. To paint Lance as an overexcessive flirt is to frankly ignore canon and all the growth he's shown across the show.

[widdowxd]

EJ for another base collab with @sinner-arts 😝 We’ll post the full thing on IG

Some head canon facts for my AU Eyeless Jack:

• Everyone mainly calls his “Eyeless”, or of course “EJ” .

• Like almost every other demonic entity in my AU, he doesn’t want to kill (or be a cannibal). Every now and then, he’ll go into these psychotic/feral episodes in which he needs to feed off of kidneys and human blood to stay alive, or else his black blood will begin to drain (out of his eyes); so he’ll go out hunting for humans before its too late and he lashes out on the other Slender-mansion residents.

• The others will help him find criminal humans to kill, they don’t intentionally wish to harm good people. It’s fucked up either way, though.

• EJ is pretty much a normal guy, other than his episodes and the fact that he needs to feed off of pure human blood and kidneys to stay… Somewhat human. (alright there Timmy tough knuckles)

• EJ can still actually “see”, but his vision is like an illusion inside his head if that makes sense. He can only see in black and white, though. Kinda sad. At least he sees LJ normally!

• His closest friends are Toby, Tim (Masky), the Puppeteer and Nina. He’s also cool with LJ but they aren’t super close.

• His hair rings are made from carved human bones!🦴

• When EJ needs to dispose of the human bodies, he feeds the remains to Seed Eater. “Seed” is like his pet. He thinks seed is fucking adorable.

• Eyeless likes alternative styles and body mods, he always has since high school.

• He’s 26 in 2004 (which is the year my AU is based in) and joined Slenderman and his proxies when he was 20.

• Since he was in medical school, he knows the most about medical topics and he usually takes care of the others wounds. He also provides medicine n stuff.

• EJ is really funny and humorous and likes to pick on Jeff, which pisses Jeff off so badly. But he can be serious when he needs to be, of course. He’s generally very mature.

• He’s definitely the most muscular and naturally strong out of everyone else. Mmmm..

• Ability wise, he has a slightly faster healing factor, improved strength, hearing, smell, more adrenaline, his teeth can become even longer and sharper, and he has three tongues that are impossibly long, which help him consume blood faster. He can control whether he wants those extra two tongues out though, otherwise they can’t all fit in his mouth!

Thats all I’ll share for now teehee, I have much more, I love EJ 😍💙🩸💉

[mossy-paws]

Fun fact as well! I have also speedran this game so insanely hard yall would not BELIEVE it. I am one month in and already more then halfway done with canto 7 the grind NEVER ends the rot goes so insane and my sanity bar has reached record lows /silly

Anyways guys don’t worry about me not being into PHIGHTING or anything anymore I’m still VERY insane over it, I will also have a lot of pretty PHIGHTING cosplay content coming soon, so keep an eye out for that stuff!

Fluid sac Faust because she’s the best ego ever I WILL DIE ON THAT HILL + trad doodles (Limbus Company)

Two posts so close together? WOW! Yall are actually gettin fed for once how fun! Anyways!!! Her. Fluid sac Faust my beloved I actually drew this about a week ago as a pose/water color brush practice! I just really wanted to draw her lmfao this ego has been carrying me through the game 🙏🙏 In total these all together took about 6(?)-ish hours I think it was, and I like how they came out a lot!

annnnnd trad doodles! These were drawn at school with a red crayola marker (absolutely peak art supplies tbh)

[yumeka-sxf]

Japanese Linguistic Observations in Spy x Family - part 5

Part 5 - Translating humor and wordplay

Translating jokes from one language to another can be difficult, especially when the humor revolves around wordplay that's only apparent in the original language. Luckily for a comedy series like SxF, most of the humor relies on concepts that are universal to all languages, but there are the occasional jokes that require creative translation in order to get the same effect in English. What I think is the most well-known example of this kind of joke in SxF is from chapter 26, where Yuri tells Anya that "knowledge is power" during their tutoring session.

The Japanese phrase for this is 知は力 ("chi wa chikara"). Anya mishears this as ちわわぢから ("chiwawa jikara"), which means "chihuahua power," which is why we see the image of a muscular chihuahua in her thoughts. This results in Yuri calling her チワワ娘 ("chihuahua girl") from then on. Obviously this joke would be lost if translated directly, so Casey Loe, the official English translator for the SxF manga, got creative with making it work in English. He cleverly utilizes the English expression, "the whole enchilada," which sounds enough like "swole chihuahua" for Anya to believably mistake the two. This translation also makes it so that Yuri calling Anya "chihuahua girl" later on makes sense.

But unfortunately, because a series can have different companies working on the localization of its anime versus its manga, inconsistencies between the two often come up. In this case, the anime team translated this joke completely differently, and less effectively in my opinion. You can see from the below screenshots that they had Yuri use the word "unleash," which then led to Anya associating a (muscular) dog without a leash as powerful (?) Again, this translation was a stretch in my opinion and not as good as the manga version. This also makes it so that translating Yuri's nickname for Anya as "chihuahua girl" won't make sense.

But what's interesting is that, many months and episodes later in season 2, they stayed consistent with that translation and had Yuri call Anya "stupid leash girl" in episode 28.

Despite my dislike for this translation, I have to give them kudos for remembering it all that time later and not just directly translating it as "chihuahua girl." Though it makes me wonder if they'll stay consistent in season 3 where Yuri will be referring to Anya as "chihuahua girl" once again.

A further complication is that, not only do these kinds of inconsistencies exist between the anime and manga translations, but they also exist between the different streaming services that stream SxF with English subtitles throughout the world. I only have access to the subtitled version from Hulu, which is where my screenshots are from, and I think other streaming services in the US like Crunchyroll, Amazon, Netflix, etc, use the exact same subtitles. So when I refer to "the Hulu subtitles" throughout this post, I mean other major US streaming services too. However, I'm not totally sure if they all do share the same subtitle script, so if anyone who has these services could confirm, that would be great! However, @tare-anime informed me that Muse Asia's English subtitles for SxF are completely different! For example, they translated the above joke more closely to the original, by using the phrase "puppy power" and keeping Yuri's nickname for Anya as "chihuahua girl."

There are further differences with Muse Asia's translation as well, for example, they directly translate Anya's names for Loid and Yor, "chichi" and "haha," as "Father" and "Mother" instead of "Papa" and "Mama."

(thanks again to Tare for the Muse Asia screenshots!) This is different, not only compared to the Hulu subtitles, but also the official English manga as well, both of which have Anya consistently use "Papa" and "Mama."

Tare also let me know that Disney Plus in Asia, another service that streams SxF, has yet another version of the English subtitles! And these are only the subtitled versions for the US and Asia - if SxF is streamed with English subtitles in other countries, I wonder if those are different as well. That means there's at least 3-4 different English subtitle scripts for SxF, with different ways of translating certain things, like what I described above. This could make things confusing for someone without any knowledge of Japanese who reads the English version of the manga and watches the subtitled version of the anime on one or more streaming services...if they read the first few volumes of the manga with the "swole chihuahua" translation, then watch season 2 of the anime, they're gonna be confused about why Yuri calls Anya "stupid leash girl." There's other more minor inconsistencies too, like how the Hulu subtitles have Yor call Anya "Miss Anya" all the time, but the manga doesn't.

I'm sure there's some licensing reasons why there isn't one official English subtitle script that all the streaming services can use, and why they don't consult the manga translations, especially for the more difficult-to-translate parts. It seems like wasted effort for so many official English translations to exist for the same thing.

But anyway, back to the translations of jokes in SxF, another one that stood out to me occurred in chapter 23. During the scene where Loid is asking Anya about a name for Bond, he explains how dogs have trouble discerning the sounds of consonants. The phrase he uses for this is 子音の聞き分け("shiin no kiki wake"), which means "distinguishing consonants," with "shiin" meaning "consonant." However, there's another word "shiin" with the kanji 死因 that means "cause of death." This is what Yor thinks he means - 死因の聞き分け ("shiin no kiki wake"), which means "determining the cause of death." So in her thoughts, she imagines asking Bond if he prefers death by blood loss (失血死) or by being crushed (圧死), and when he shakes his head at both, she says "you're not good at these distinctions, are you?"

This is a difficult joke to translate, so Casey got a bit loose by having Loid use the word "plosives" instead of "consonants," and then having Yor mishear it as "explosives." He then changed up Yor's dialogue by having her say that Bond prefers C-4 explosions over other methods of death.

While I don't think the translation of this joke worked as well as the previous one (I feel like Yor wouldn't know about C-4 explosions?) I couldn't come up with anything better myself, lol. It just goes to show how translating things as closely to the original as possible isn't always the best choice…but oddly, that's what the Hulu subtitles did! For some reason they opted not to even attempt to rework this joke for English, and kept both Loid and Yor's dialogue as exact translations. This results in an exchange that makes no sense and will leave people wondering how Yor could mistake Loid's "can't tell consonants apart" as "can't tell causes of death apart."

However, there are some cases where the wordplay works similar enough in both Japanese and English that the joke can be translated without too much modification. An example of this is in chapter 59 where Becky asks Yor how she was able to "get" Loid…"pierce his heart" as she puts it. Yor thinks she means this literally, to which she replies that she wouldn't hurt Loid.

The Japanese version is very similar, with Becky using the verb 射止める("itomeru") which means "to shoot down" (with an arrow). However, it has a figurative meaning too, which is "to win" as in "win someone's heart." Yor thinks Becky means the literal meaning of shooting down, so she says that she wouldn't shoot Loid and that she doesn't even use a bow and arrows.

The Hulu subtitles translate it more or less directly, having Becky say "shoot an arrow through his heart" and keeping Yor's "I don't use a bow and arrows" that the manga omitted. Rare case where I think the anime translation worked better than the manga!

In the case of this joke, the concept of "shooting someone's heart" to mean "winning someone's heart" is universal in both English and Japanese, so little reworking was needed. This also helped keep consistency with Yor's tendency to associate otherwise benign concepts with violence due to the nature of her work.

I'll wrap up this post with what I think is the most commendable translation of a joke so far in the manga: how Casey translated the names of the guest characters at the ski resort in chapter 94.

Their names are puns in Japanese as well, and Annie over on Twitter already did a great breakdown of how each of the wordplay in their names was translated, so definitely check out that thread here. Since this chapter has yet to be animated, I'm really curious how the anime translators will handle this…since it seems like they don't reference the manga, they'll probably either translate the names literally or come up with their own pun names, and either will unfortunately lead to the same kind of inconsistencies between the anime and manga translations that I touched on earlier.

To summarize, humor can be a very culture/language specific thing, so it's up to the translator to make sure the same feeling is conveyed in their translation even if they have to essentially make up their own jokes. With that said, it's a shame that there isn't collaboration between the translators of the anime and manga to ensure consistent translations across the franchise. So I hope this post helped shed light, not just on how some of the jokes in SxF were conveyed in Japanese, but also on why some things in the English version of SxF seem inconsistent between the anime and manga.

Continue to Part 6 ->

<- Return to Part 4

[digi-lov]

DIGIMON CARD GAME: Next Plan Announcement

Very exciting news for what's to come in 2025 and beyond!! Must read for Appmon fans!

SPECIAL BOOSTER Ver.2.5 [BT19-20] Release Date: February 28, 2025!

In Japan the next release is BT-20 Booster Over the X!

We got some previews of what to expect! With Tamers from Digimon Chronicle and Chronicle X, Digimon Seekers, and Digimon Liberator, as well as Alphamon Ouryuken Ace and Zephagamon Ace!!

The Special Booster Ver. 2.5 will include serial cards WarGreymon & MetalGarurumon!

There will be a Celebration Event for Special Booster Ver. 2.5 The Event Period is February 21 - March 7, 2025 and all players will receive a BT20-090 Yuuki alt-art as a prize!

Here's another look at the first wave of official sleeves for 2025!

Next we have the illustration and logo to commemorate the global unification of the Digimon Card Game release! This included the Japanese, English, and Simplified Chinese releases.

The Release dates for the next Starter Decks, ST-20 Protector of Light and ST-21 Hero of Hope have been revealed to be April 18, 2025!

These Starter Decks will include double tamers for the Adventure cast, as well as "Scramble" cards of all colors with new artwork!

There will also be a Release Event encouraging people to introduce friends to the game!

Next up, the release date of BT-21 World Convergence on April 25, 2025!

This set will once again include Digimon and Tamers from all anime seasons, but now including Digimon Universe Applimonsters!

Now we also finally got to see the new [Link] keyword! This effect reads as follows, in this case for [Appmon] trait: Cost 1 (Plug this card from the hand or battle area sideways into the specified Digimon in the battle area.) In the case of this Gatchmon card, this will give the linked Digimon an extra 2000 DP!

BT-21 will also include Owen Dreadnought and Elizamon, and Zenith and Vemmon from Digimon Liberator!

We will also get the previously announced signed cards, and now get a look at the artist's signatures!

Titamon by toriyufu, WarGreymon (X Antibody) by As'Maria, Agunimon by Naochika Morishita, Lanamon by Tonamikanji, Beelzemon: Blast Mode by Keita Amemiya, GraceNovamon by Nakano Haito, and Zephagamon by sasasi!

We also get a sneak peak at the cards from the "Illustration Celebration Pack" which will be included as Box topper! These cards had previously been voted for by attendees of Digimon Con 2024, and got new artworks by the same artists.

There will also be a purchase bonus pack, [LM-05], with 6 new promos and 4 alt-art reprints! The new cards are Valkyrimon, Vikemon, Regalecusmon, Rasielmon, Darkdramon Ace, and Ghoulmon Ace!

Much like the Special Booster Ver. 2.5 will include numbered WarGreymon and MetalGarurumon, BT-21 will feature a low pull-rate numbered Omnimon!

Now more looks at future releases!

EX-09 Extra Booster VERSUS MONSTERS has been announced, with a release date of June 26, 2025! This set will pay homage to the Digital Monster Ver. 1-5 v-pets!

It is unclear if the cards with these special borders will be the Special Rares of the set, or if all cards will recieve them.

Next up, BT-22 Boster CYBER EDEN, a long awaited Cyber Sleuth set! This will be Aiba Ami's debut to the card game! Scheduled to release July 25, 2025!

A tease for EX-10 Extra Booster SINISTER ORDER! They say it will include Villains from all Digimon Anime Seasons! Scheduled to release September 19, 2025!

Then an announcement for LM-06 Limited Card Pack BILLION BULLET! Pre-orders will start in March 2025 with a planned delivery in October 2025! What do you think could be in there?

Lastly another encouragement to go read Digimon Liberator! We got a preview of Episode 10 Part 1 and 2 covers, with the first "good look" at Violet's Ghostmon in its new mega form!

[scoatneyhall]

Ted Lasso season 4... thoughts...

LOL so it sounds like they're definitely going to have Ted come back to coach the women's team himself as opposed to just being around a bit for whatever reason... while I know plenty of women's teams do have male managers IRL, do they like... have to? Like do they have to make that narrative choice instead of having a female coach?

And they've said the first episode is apparently going to be set and filmed in Kansas, so I assume it will be Rebecca going over there to ask him to come back?

If this is where we are going with it, I now really hope there's a significant time jump, skipping the amount of time we've missed IRL, like 3 football seasons - and that it will be set in the 25/26 football season. He left summer of 2022 and is coming back summer of 2025. I mean, for starters, they can't explain the kids aging any other way if Henry or Phoebe is a part of it. And in terms of the aim of the initial 3 season arc, it would be insane for Ted to just come back a few months after he left. Like. Okay it's fine to leave his son again? I assume in this situation Henry (and possibly Michelle) will move WITH him, because otherwise what was the point??? So we really have to be on top of the kid's age, and it has been 4 years since filming s3!

I used to really dread the idea of a time jump as I didn't want to miss Roy's journey as manager (AND THERAPY), but now it feels like it's the only way it'll work, in particular if the focus is Ted returning to handle the women. A Tedless continuation that focused on Roy should have had no time jump, but this version definitely should.

I have written before about how it is completely and utterly unreal that they don't already have a women's team, even if they were only semi pro, so I feel like if they wanted to explain the whole "starting" the women's team with some level of football realism, you could do it like, okay, they did already have the women's team and they've been playing in lower leagues, way way down, with no funding, Rupert didn't care, Rebecca didn't initially care, and Keeley's plan was about building them up now they had the resources, not starting them from scratch. And after a few seasons of serious investments and promotions they are ready for the WSL, and they need a more high profile manager? I guess???? Like the last few years have been a Welcome to Wrexham situation with 3 seasons of promotion in a row under another coach, and now that coach is leaving and Ted comes in to take them to the highest level? I GUESS.

But also like. Sorry but Ted Lasso in its former form was such a man centric show. Which I wasn't mad at! But what i mean is like Ted as a coach really seems like his most powerful quality is helping boys become non toxic men. Men's support, men accessing their emotions, men's mental health. Ted help guys to Man Good. I just don't think those same vibes will come across well when it's about him mentoring women? I don't want to see him trying to mentor women?? They deserve better?Ted works as a coach when he's helping men be good men. The women don't need his methods.Like yeah he helped Rebecca but I think that was very different. I don't need to see him being Coach Dad to a bunch of lesbians. I just don't.

But honestly I don't really care what Ted does with himself, I need that time jump to happen regarding other characters, to keep their stories something I feel good about. At this point, I really don't think Phil Dunster is doing it - Jamie may show up as a guest in one or two eps... and if it was a direct continuation, I cannot stand the idea that he left Richmond the same reason Roy became manager and Richmond entered the Champions League. I really, really don't think it would be in character for him to do that even though there would have been interest to buy him. But I could believe it if it has been a few seasons and he had a really great offer - especially if it was back to City. I could accept him being transferred after a decent time jump, but I hate the idea of making OOC choices about him to fit their availability or plot ideas. He Would Not Do That.

But if the focus is mainly Ted and the women's team, it's possible that Jamie is still there and we just don't really follow the men's team action? Brett Goldstein IS doing the show but also has many other commitments, so I am kind of assuming we won't be in the men's team dressing room or filming men's matches or doing heavy Roy plot, and Roy will only pop up for Rebecca admin scenes/Keeley personal scenes.

Because possibly the football action won't follow the men at all, as in, they won't even rebuild that old set and stuff, and mainly be in Ted's new office in the girls changing room (sigh, how many jokes about him not looking will there be) so it is possible Jamie is still very much at Richmond, and we see him a couple of times in a social capacity with Roy or Keeley, but if there is no more scenes in the men's team dressing room etc, and the plot won't in any way focus on the results of the men's season, he won't be in the background of basically every office or training scene like he was before.

The more I think about it, the more I actually think this "no men's team scenes" is probably likely regardless of who is still on the men's team - because they want to do all the work they need to do for filming matches and training and stuff, which is big and expensive, I think they'll do just the women's games - they would actually probably get roasted if they focused too much on the men after all this talk about promoting the women's game. Like we had 3 seasons of just men - even splitting season 4 into 50% men's team focus and 50% women feels kind of bad in terms of their aims about platforming women's football. So I am now betting men's team will be almost invisible, with some players popping up in incidental/social scenes.

So. It is possible that Roy pops up in a club admin way/Keeley relationship way - though I do NOT want them to get back together - and that Jamie still is there and around those characters socially but we don't do everyday team scenes. It is also possible Jamie will no longer play for Richmond.

Either way I really need that time jump. I cannot stand the idea of Ted regretting his choice and moving back immediately after all that. I cannot stand the idea of Jamie moving clubs in the same transfer window Roy is hired. I cannot stand the idea of pretending the Henry actor hasn't aged 4 years or the idea of recasting Phoebe. I am furious that they feel JSuds was integral to the show as an actor and that it still needs to focus on him cominh back and coaching. He could have just written it and popped up as a Diamond Dogs Zoom friend a couple of times.

But if this is the way it is, they NEED a time jump. Furious to miss Roy's managerial/therapy journey, it will be insane for all the growth to happen off screen and will probably sit very weird with viewers if he comes back on screen acting significantly different, but you'd HOPE he has changed in that time and at least it would leave us a really good fanfic gap to play with, between the summer of 2022 and whenever this will be set - particularly if Jamie is gone.

All in all I feel like I'd rather they just ended with season 3 and did not do this extension of the show, especially as they seem to have lost a lot of goodwill with the audience since season 3. I personally am very wary of what kind of football realism they're going to destroy in order to "start" the women's team and am going to be on edge until it comes out in terms of "how bad they've fucked it up." That wariness also extends to off screen character choices they will make in order to explain who's no longer around. Cool sentiment to be anticipating about a show I'm meant to like!

[adachimoe]

the other adachi bd/dvd-only anime scene

i think people have seen this one before? in the older p4 anime, there's a scene of adachi reading his letter from the true ending where he goes "yeah i lost" and talks about something bothering him about the case and where he first heard of the midnight channel:

i've noticed on reddit that that ppl dont realize this because of his golden social link, but adachi always sent you the letter even in the ps2 game. if you do his social link, then in golden, the letter continues and he talks about how he looks back on the time spent in the dojima house. hence, the original p4 anime only has him reading the lines about the investigation, while the golden anime only has him reading the part about being at the dojima house.

like the golden scene, this is also bd/dvd only, but for a totally different reason lol. p4 the anime has 26 episodes. in japan, only 25 episodes aired on tv with 25 being the good ending from the game. like, the investigation team defeats amenosagiri and captures adachi, then the anime just ends with yu leaving inaba. but after the credits, it shows igor in the velvet room, and he creates the orb of sight and talks about its ability to dispel lies. a person who has played the game and got the true ending would be like, "oh shit fr?"

a few months after the anime's tv airing finished, there was a limited run theatrical movie called "the factor of hope". if you've seen this art of yu, izanagi, and magatsu-izanagi, it was made for the movie!

the first hour or so is a recap of the anime and how the team came together and how adachi committed silly tv crimes. then after the yu defeats adachi, it cuts to content from the unaired 26th episode where adachi is in jail writing the letter. then yu goes on to fight izanami and unlocks the true ending, etc. volume 10 of the anime's japanese bd/dvd release has the unaired episode and the factor of hope.

the unaired stuff also includes adachi chugging canned coffee in casual clothes and getting the magic handshake.

i imagine some people dont know this since sentai's release of the anime in the states included the unaired 26th episode by default. i dont think they ever included the factor of hope (understandable tbh, it's really just a 1.5hr long recap lol.)

unrelatedly, its assumed sentai lost their license of the p4 anime in 2018 when it was removed from hulu so i think the first anime is always gonna be stuck in some kind of aniplex usa licensing hell.

[tontos-kratt]

General Headcanons

Basically what I go by when drawing/writing about the Wild Kratts characters. Some stuff may contradict what the show says. This headcanons are only for the animated characters

Ages:

Martin: 35

Chris: 31

Koki: 26

Jimmy: 28

Aviva: 25

Zach: 31

Donita: 36

Dabio: 28

Gourmand: 42

Paisley: 39

Rex: 32

Sexualities

Only headcanon I have is that they're all aromantic

Family / Personal relationships

Martin and Chris had good parents but they didn't approve of them leaving to have adventures with wild animals (scared for their safety). Made them choose and went no contact for years after the brothers left. Later their mom apologized. Their dad is still angry at them

Aviva and Koki grew up in the same neighborhood but didn't met until both families went to a common's friends wedding when they were 10/11. After that they were inseparable

Jimmy's family is big, but only his parents and grandma really cared for him

Zach had good but not attentive parents

Donita and Dabio are cousins (Disclaimer: I don't know if Donita has shown interest in Dabio. As far as I know she hasn't but if that's the case please let me know)

Paisley and Rex got married one drunk night. They said they would annul it but it's been years and they still haven't done it

Gourmand doesn't like to talk about his family, mostly cuz they're disappointed on him. They also ask him for money a lot

Other:

Martin and Chris lived in the same house all their lives before going into their adventures

Zach lived in the house in front the bros until he was 12 and moved to the city

Donita and Martin were on the same high school class

The bros affected Donita and Zach's relationship with animals (insulting Zach's inventions / showing Donita how fascinating small creatures are)

Aviva was very advanced and finished college early

Its because of that she got the funding and connections to build Tortuga

Jimmy got his cooking side from grandma, went to college for coding/videogame making encouraged by his mother, and entered an aviation academy supported by his father

Rex lied on his job application, he didn't know how to operate heavy machinery

The WK crew has a playlist for when flying to different locations. Everyone adds songs they like. Its chaos.

Martin has the lowest alcohol resistance

On the other hand Chris can drink a lot and not feel the effects (until the next morning)

Aviva needs glasses but doesn't want to accept it

As a requirement to join the team, everyone had to take several courses in first aid, poison and toxin recognition, and survival, among others

Martin had minor problems with thalassophobia when young. Nobody knows how he got over that fear

Both brothers' careers were focused on zoology with some courses on botany and entomology

The Wild Kratts Team are known celebrities

They also have criminal records in a lot of countries. Mostly because they just fly in with no permissions

And also because is illegal in some places to interact with wild animals but they do anyway

Aviva has a lot of patents to her name. That's the crew's main form of income

In the episode Falcon City, the Kratts made a lot of damage to the city while throwing the zachbots away from the falcon nest. Zach had to pay for the damages (for some reason he didn't mention it was the Kratts' fault)

[karma-kurma]

thoughts on ending

lazarus debuted with a strong start, showing that the world- humanity will end because of a drug in 30 days. the serie shows us a group of people doing everything they can to find a man with little to no information left about him, with some high ranking people purposely hiding information because of selfish reasons. i always thought the show's original idea of being very good, if handled right, it could be a masterpiece. but it wasn't. to me it had the same problem as the second season of arcane, too much information with too little time to tell the story the director wanted to tell. i truly enjoyed the serie from the beginning to the end, but i think giving it 24-26 episodes would've fixed a lot of things. it would've given more time to answer questions we'll never have answers to like why was axel in prison or why did he know about hundun for exemple. the characters are great, they work well together, they're undeniably found family, but i think they needed to be more fleshed out.

the ghost assassin's personality disorder was a bit of an easy way out for his character i think, i also would've loved to see more of his past with the amazing special animation they used to show it. axel's past could've been more explained, they couldve shown literally anything since all he said was from his hospital bed, also wtf was he doing in that airport when skinner's suitcase leaked, same for doug? the ending felt a bit anticlimactic to be honest, usually you expect a big battle by the end of a show (which we did with axel VS ghost) but the real 'antagonist' of the show was skinner, but who's gonna fight a blind old man. he decided to die by not making and taking the antidote, he was tired, so very tired of the world not listening to him and his numerous warnings on global warming. he just decided to leave the world as it is and let society deal with the consequences of its actions.

overall good show, i loved it but it couldve been even better if it took its time to properly give each character more time to shine. also the kiss with chris and axel was stupid

i probably got more but i dont want to rn

[horse-girl-anthy]

Ikuhara Collaborators

as fans, it's easy to attribute any given aspect of an Ikuhara work to its flashy director. he is indeed a showrunner, the one who provides the uniting vision for a project. however, that doesn't mean that he is "the creator." anime production requires a lot of teamwork, which ultimately determines the quality of a work. rather than being a lone auteur, Ikuhara's strength as a director stems from his ability to draw in talent and create synergy between members. this post will highlight the individuals who worked with Ikuhara to bring his shows to life.

a quick note before we start: there are countless workers involved in a single anime production. for my sanity and yours, I focused on the ones I could find detailed information about. if you know of any additional contributors, or have detail to add about any of those I've included, feel free to leave a comment!

Sato Junichi

the first person who should be mentioned in regards to Ikuhara's career is Sato Junichi, his mentor at Toei. Ikuhara worked under Sato for his first animation projects, including a children's series called Maple Town Stories. Sato was the lead director for the first two seasons of Sailor Moon, but over time, he allowed Ikuhara more and more space to flex his own creative muscles. Ikuhara eventually directed the Sailor Moon R movie and became lead director on the season Sailor Moon S.

Sato is known as a great mentor--he also helped Kōnosuke Uda, Igarashi Takuya and Hosoda Mamoru early in their careers. it's safe to say that Ikuhara learned a lot from him. his respect for his mentor is shown by the fact that he asked Sato to provide storyboards for the vital episode 34 of Utena, "The Rose Crest." although Toei animators often used pseudonyms when working on outside projects, Sato declined to do so, wanting to celebrate his work on Utena.

other notable work: Goldfish Warning (Series Director); Sailor Moon and Sailor Moon R (Series Director); Sailor Moon S (Episode Director); Neon Genesis Evangelion (Storyboard); Vision of Escaflowne (Storyboard); Yume no Crayon Oukoku (Episode Director, Storyboard); Cowboy Bebop (Storyboard); Princess Tutu (Series Director, Storyboard, Manga); Sgt. Frog (Series Director, Storyboard); Aria the Animation (Series Director, Head Writer, Storyboard)

Enokido Yoji

a member of Be-Papas, Enokido was heavily involved in the writing and composition of Utena. he and Ikuhara attended the same high school, in the same year, but it is unclear how well they knew each other; but they were friends by the time Ikuhara was a film student. Enokido previously worked alongside Ikuhara on Sailor Moon, while also contributing to scripts to Evangelion. on Utena, he wrote roughly half the episodes: 1-5, 7, 9, 13-15, 22-23, 25-26, 30, 33-34, and 37-39, all crucial to the story. he handled every Miki episode and frequently focused on that character in interviews. while he did not handle animation composition on the film, he did write its screenplay.

if I had to say what Enokido brought to Utena, it would be articulation. he was able to understand Ikuhara's ideas and express them both in writing and in animation. my impression is that Ikuhara and Enokido got along very well and shared a vision, but Enokido balanced him out by injecting a bit of skepticism and realism into the work. it's hard to say how his visual style influenced Utena, but given that he was in charge of composition, he must have had a good eye and an ability to lead a team.

other notable work: Sailor Moon S (Series Composition, Script); Sailor Moon S: The Movie (Script); Redline (Composition, Script); Ouran High School Host Club (Series Composition, Script); Neon Genesis Evangelion (Script); Bungo Stray Dogs (Script, Series Composition); FLCL (Novelization)

Saito Chiho

a mangaka, her expressive and sensual art touched Ikuhara so much that he became determined to work with her. The Flower Crown Madonna, Saito's manga focused on the Borgias, served as an inspiration for Akio and Anthy's relationship.

along with the rest of Be-Papas, Saito created the Utena manga, starting it about a year before the anime aired. she later wrote and drew a manga companion for Adolescence of Utena, and in 2017, she honored the series's 20th anniversary by releasing the tribute After the Revolution. over the years, she's contributed a great deal to the Utena fandom. she also drew a ReoMabu piece for the Sarazanmai anthology.

of Saito, Ikuhara once said, "she's the most important woman to me, and truly understands me." it seems that they developed a strong relationship while working on Utena, which has lasted for decades. the two have collaborated on other projects, such as World of S&M, and done interviews together as recently as 2020.

other notable work (all as mangaka): Tenshi no Tattoo; Waltz in a White Dress; The Flower Crown Madonna; Kanon; First Girl; VS Lupin

Hasegawa Shinya

also a part of Be-Papas, Hasegawa was the principle character designer and art director for Utena, as well as a storyboard artist. he brought a sense of humor and eroticism to the project which suited it well, working closely with Chiho Saito to create Utena's artistic landscape. he was behind many little flourishes, such as Saionji crying in the opening credits. in addition to working on Utena, he also provided key animation for Penguindrum's first OP and final episode.

other notable work: Sailor Moon, Sailor Moon S, Sailor Moon R (Animation Director, Key Animator); Neon Genesis Evangelion (Key Animation); A Certain Magical Index (Chief Animation Director); The Girl Who Lept Through Time (Key Animation)

Oguro Yuichiro

Be-Papas member Oguro is credited as series planner. Empty Movement note that he was likely the one who handled publicity and marketing for the series, but may have also helped out in other ways. it was important for Utena's success to have someone with connections involved, and what's just what Oguro brought to the table.

he is the editor-in-chief of the magazine Anime Style and has interviewed other individuals on this list.

other notable work: Gekigangar 3 (Script); Kemonozume (Research and Planning Assistant); Goku and Zoku Sayonara Zetsubou-sensei (Series Composition)

J.A. Seazer

though not a member of Be-Papas, J.A. Seazer, the composer for the duel chorus songs, left a huge mark on Utena. in fact, the series's very conception was influenced by him. Seazer worked with one of Ikuhara's greatest inspirations, the experimental theater/film director Tereyama Shuji. a few of the duel songs actually predate Utena, including "Absolute Destiny Apocalpyse," which was written for a theater production. most of the duel songs were written explicity for Utena, and Be-Papas have said that they matched each song to its respective duelist. without the esoteric and powerful music that Seazer provided, Utena wouldn't be the same.

in the years since show's release, Seazer has gone on to write three whole new Utena albums, as well as many remixes of the original duel songs. you can learn more about them on Empty Movement's audiology page; I highly recommend checking them out if you haven't already.

other notable work (all as composer): Throw Away Your Books, Rally in the Streets; Moc; The Woman with Two Heads; Shintokumaru; Grass Labyrinth; Farewell to the Ark

Ohtsuki Toshimichi

speaking of J.A. Seazer, producer Ohtsuki Toshimichi is, according to Ikuhara, the only reason that he was able to get the composer on board for the project. producers often go unmentioned, but when considering a production, they are, naturally, essential. luckily for us, Ohtsuki was willing to take a chance on Utena (series and film), allowing the creative team total freedom. that willingness to go out on a limb taught Ikuhara the importance of taking risks.

other notable work (all as producer or exective producer): Metropolis; FLCL; Shaman King; Lorelei; Evangelion Rebuild Films

Kobayashi Shichirou

Utena's art director, Kobayashi, was and is a legend in the world of anime. known for his extensive work with director Dezaki Osamu, he was known for his beautiful backgrounds. known his hand-drawn paintings, Kobayashi helped to shape the look of many beautiful anime, including Utena.

it could be said that he was the one to help bring Ohtori to life. he was responsible for many of the backgrounds from both the show and the movie. his studio, Kobayashi Productions, was also instrumental in bringing the franchise to the screen.

other notable work: Moomins (Background Artist); The Gutsy Frog (Art Director); Lupin the Third: Castle of Cagliostro (Art Director); Ashita no Joe 2 (Art Director), Golgo 13 (Art Director), Urusei Yatsura 2 and 3 (Art Director); Angel’s Egg (Art Director, Layout Supervisor); Venus Wars (Art Director); Berserk 1997 (Art Director); Legend of Basara (Art Director); Simoun (Art Director)

Yamaguchi Ryōta

under the penname Noboru Higa, Yamaguchi wrote all Nanami episodes of Utena. he was not a member of Be-Papas and was asked to write her episodes in such a way that they would feel out of place. I think we can all agree that this had a positive effect on Utena. there isn't much information available about his work on the show, but it seems that his brand of comedy had a great influence.

other notable work: Sailor Moon S (Script); Sailor Moon Sailor Stars (Series Composition, Script); Ranma ½ Season 7 (Script); Vision of Escaflowne and Escaflowne: The Movie (Script); Medabots (Series Composition, Script); Kanon (Script)

Igarashi Takuya

Igarashi wrote Utena episode 19, directed episodes 9 and 19, and storyboarded many others, all under the pseudonym Kazayama Juugo. as he discusses in this interview, the staff members often had their own special character that they felt closest to and worked on the most, and for him, it was Saionji. he storyboarded Part A of Adolescence, meaning that he handled the Saionji duel.

Igarashi was another hire from Toei, having also worked on Sailor Moon. given that he storyboarded the crucial episodes 25, 30, and 37, he must have quite the artistic talent. however, if you read his interview, you'll see that he also has lots of great insights into Utena's themes as well. he talks a lot about the mood and tone, which often go undiscussed.

other notable work: Sailor Moon R and S (Director, Storyboard); Sailor Moon R: The Movie (Assistant Director); Cutie Honey F (Director, Storyboard); Mushishi (Director, Storyboard); Ouran High School Host Club (Director, Storyboard); Soul Eater (Director, Storyboard); Bungou Stray Dogs (Director, Storyboard)

Hosoda Mamoru

believe it or not, Hosoda worked on Utena before he ever directed a film of his own! having also been mentored by Sato, he met Ikuhara at Toei and came to work under him on Utena under the pseudonym Hashimoto Katsuyo. while Igarashi felt a kinship with Saionji, Hosoda's focus character was Juri. while he mostly handled storyboards and key animation, he wrote one script: the one for episode 29, the final Juri episode. he gave an interview about her two-episode concluding arc here. in addition, he storyboarded Part C of the Utena movie, which includes Juri's duel.

other notable work (all as film director): Digimon: The Movie; One Piece Movie 6; The Girl Who Leapt Through Time; Summer Wars; Wolf Children; The Boy and the Beast (also wrote); Mirai (also wrote); Belle (also wrote)

Mitsumune Shinkichi

Mitsumune composed Utena's beautiful background music, for both the series and film. I can't find much information about him, but I had to include him on this list because I adore every single track he penned.

other notable work (all as composer): FLCL; Yu-Gi-Oh (it looks like he more or less scored the entire franchise); Dragon Dive; Rocket Girls

Aizawa Masahiro

at last, we come to an entry that isn't confined to Utena! Aizawa worked on Utena, Penguindrum, and Yurikuma, all in the area of animation. credits include storyboards, chief animation director, key animation, and more. he seems to have taken on the most responsiblity with Penguindrum, being heavily involved in episodes 17 and 23.

it appears that he's another animator that Ikuhara met at Toei. he's still active in the anime industry and works under the pseudonym Aizawa Kagetsu. his notable work section might look short, but that's because he's made small contributions on a large number of projects.

other notable work: Lupin the Third: The Woman Called Mine Fujiko (Animator Director for OPs and EDs); One Piece Film: Z (Key Animation); Tanaka-kun wa Itsumo Kedaruge (Storyboard, Director, Key Animation)

Nakamura Shouko

Nakamura got her start at Production I.G and Gainax and is known for a feminine, sensual animation style. she codirected Penguindrum with Ikuhara, along with storyboarding many episodes, providing key animation, designing the settings, and working on the OPs/EDs. at least as far as visuals go, she may have been the most influential person to work on Penguindrum, and Ikuhara handed the crucial task of directing the final two episodes over to her.

Nakamura has had a long and successful career working on many projects. I'm not able to find any interviews with her on Penguindrum, but given how much she invested into it, she must have been just as determined as Ikuhara to see it made.

other notable work: Ghost in the Shell 2: Innocence (Key Animation); Mushishi (Key Animation, Animation Director); Kimi ni Todoke (Key Animation, Animation Director, Storyboard); Kill la Kill (Key Animation, Director, Storyboard); Evangelion: 3.0 You Can (Not) Redo (Key Animation); Doukyuusei (Chief Director, Storyboard, Key Animation)

Nishii Terumi

now a veteran of the anime industry, Nishii's first ever job was working behind the scenes on Adolescence of Utena. she later served as animation director and character designer on Penguindrum. when asked about working with Ikuhara, she said it was "very hard," because, despite the freedom he afforded his staff, "he changed his mind every week." in fact, she said that Penguindrum was the hardest project she ever worked on.

Nishii is a major critic of the anime industry's treatment of workers and is a member of NAFCA, an organization lobbying for better conditions for animators.

other notable work: InuYasha (Key Animation); Saint Seiya Franchise (Character Design); Mushishi (Animation Director, Key Animation); Death Note (Key Animation, Animation Director); Heartcatch Precure! (Key Animation); JoJo's Bizarre Adventure: Diamond Is Unbreakable (Character Design, Chief Animation Director); Jujutsu Kaisen (Chief Animation Director)

Hoshino Lily

a manga artist, she worked on Penguindrum as a character designer and also drew all the end cards. she's known for BL, including Naruto doujinshi and fan art. in 2013, she contributed to a Utena tribute book on Pixiv.

like Nishii, she mentions Ikuhara frequently changing his mind while developing Penguindrum. though multiple character designers worked on the project, it seems that Hoshino was the one primarily responsible for the looks of the main characters. apparently, Sanetoshi is meant to look like one of her "long-haired ukes."

other notable work (all as mangaka): Harem de Hitori; Boku dake no Ō-sama; Rabu Kue; Otome Yōkai Zakuro; Yumemiru Koto

Nakamura Chieko

like Nishii, Nakamura worked on Utena very early in her career and went on to be an animator for Penguindrum. she worked on the backgrounds and was the art director for many episodes, including the first and last; she also contributed to the "Crystal World" of episode 9. later, she would collaborate with Ikuhara again on Yurikuma as a background artist and art director.

other notable work: Eyeshield 21 (Background Art); Kids on the Slope (ED); Sengoku Collection (Art Director, Background Art); Doukyuusei (Art Director, Background Art); Saint Cecilia and Pastor Lawrence (Art Director, Art Setting, Background Art)

Hayashi Akemi

a pattern is emerging: Hayashi also worked on Utena relatively early in her career as key animator (6 episodes and film) and animation director (8 episodes and film). later, she contributed to Penguindrum as a key animator--specifically, she is the one who animated the Princess of the Crystal transformation sequence!

Ikuhara said in an interview that she is "good at drawing small details" and thus asked her to handle Himari and Shoma's backstory. she storyboarded, directed, and provided key animations for episode 20, a major series turning point.

other notable work: Slam Dunk (Key Animation); Fruits Basket (Character Design, Key Animation, Chief Animation Director, Animation Director); Gurren Lagann (Animation Director, Key Animation); Banana Fish (Character Design, Chief Animation Director, Key Animation); Doukyuusei (Storyboard, Character Design, Animation Director, Key Animation)

Hashimoto Yukari

Hashimoto deserves to have her praises sung to the heavens for composing the OST for every post-Utena Ikuhara work--not only the BGM, but also the arrangements for the Triple H songs (originals by the band ARB) and the musical numbers from Sarazanmai. according to this staff article, "she's able to respond to any out-there requests Ikuhara makes." that's readily apparent on the Yurikuma OST, where she seemlessly blends a wide variety of musical styles to create a unique sound.

other notable work (all as composer/arranger): Sayonara Zetsubou-sensei (OP and ED); Toradora!; Poco's Udon World; March Comes in Like a Lion; Osomatsu-san (2020); Komi Can't Communicate

Ikami Takayo

Ikami "is a Japanese novelist, detective fiction writer and screenwriter born in Tokyo in 1975." she is credited as cowriter for all Penguindrum and Yurikuma episodes, as well as the Yurikuma novelizations. it seems that she may have been the one to come up with the phrases "Yuri approved" and "Is your love the real thing?" outside of writing, she has also dabbled in series composition.

other notable work: Thirteen Eyes in a Dark Sky (Short Story); Isolde's Garden (Novel); Watamote (Script); Beautiful Bones: Sakurako’s Investigation (Series Composition, Script); Otherside Picnic (Script)

Yamada Haru

Yamada is a big name sound director and the cofounder of Sound Team Don Juan. he's worked on many projects over time, including some blockbuster hits, but still found time to be the sound director of Penguindrum, Yurikuma, and Sarazanmai.

other notable work: Your Name (Sound Department); Shin Godzilla (Sound Department); Made in Abyss (Sound Director); Banana Fish (Sound Director); Suzume (Sound Director); Shin Ultraman (Sound Department); Skip to Loafer (Sound Director)

Shibata Katsunori

Shibata was relatively inexperienced as a director when Ikuhara took him under his wing, giving him a lot of responsibility on Penguindrum. he provided storyboards, directed episodes, created special effects, and drew concept designs. he was credited for the "bear dance" ED of Yurikuma and did storyboards/key animation for episode 4. on Sarazanmai, he directed episode 6, codirected the OP along with Ikuhara, and did storyboards for episodes 1, 6, and 10.

other notable work: Xam'd: Lost Memories (Key Animation); Sword of the Stranger (Key Animation); A Certain Magical Index (Key Animation) Fullmetal Alchemist: Brotherhood (Key Animation); Sengoku Collection (Storyboard, Character Design, Animation Director, Key Animation)

Kaneko Shingo

the more you look into it, the more it seems like Penguindrum, Yurikuma, and Sarazanmai were staffed by the exact same people. that's not true, of course, but there is a lot of overlap.

in this case, there's overlap with Utena too. a former Toei employee, Kaneko is the only person on this list who worked on all four Ikuhara works. he provided storyboards for Utena episodes 2, 11, 32, and 38, and was also assistant director on a couple others. on Adolescence, he served as a unit director and storyboarder for Part B. he provided the script for episode 16 of Penguindrum, one of my favorites. he directed the episode as well, along with 4 and 23 under Nakamura Shouko.

Kaneko additionally storyboarded and directed episode 8 of Yurikuma, but took on a bigger role with Sarazanmai, where he storyboarded the Kawauso Dance and directed episodes 2, 8, and 10. apparently, he's "earned a reputation as Ikuhara’s comedy chief." thanks, Kaneko!

other notable work: Slam Dunk (Assistant Director); Parappa the Rapper (Storyboard, Unit Director); Fullmetal Alchemist (Storyboard, Director); Soul Eater (Storyboard, Director); Sengoku Collection (Storyboard, Director, Key Animation)

Furukawa Tomohiro

after doing some key animation on Penguindrum, Furukawa went on to be a major figure in the production of Yurikuma. he did storyboards/key animation, acted as Ikuhara's assistant director, and took on the final, crucial episode 12 as lead director.

Furukawa is now a showrunner in his own right and still acknowledges Ikuhara as his mentor, though he doesn't want to be pigeonholed as his "follower." this article suggests that, based on comments Ikuhara has made, Furukawa's knack for euphony left its mark on his mentor's work. in return, Furukawa has joked about Ikuhara's "insincere grumpiness" and praised both his management style and gift at mentorship.

other notable work: Death Note (Key Animation); One Piece Film: Z (Key Animation, Assistant Animation Director); Kakegurui Twin (Director); Revue Starlight Franchise (Showrunner)

Morishima Akiko

a yuri artist, Morishima was inspired to become a mangaka at age 19 after she read an Ikuhara interview. she was afraid to accept his offer to work on Yurikuma out of fear that she would "ruin everything," but ultimately came onto the project to create the manga.

in the linked starting guide, Morishima and Ikuhara go into detail about the planning process for Yurikuma. it's revealed why Ikuhara likes to work with mangaka; he has them draw the characters first and creates their personalities based on their art. he specifically wanted to work with Morishima to give him some yuri cred. when asked, Morishima discusses her likes and dislikes when it comes to yuri. she apparently prefers writing about older women and doesn't care about how sexy a yuri is, but only about the strength of the romance.

Morishima has drawn tributes to Ikuhara's other works, including Penguindrum and Sarazanmai. she also wrote the Yurizanmai section of the Sarazanmai anthology.

other notable work (all as mangaka): The Conditions of Paradise; Hanjuku-Joshi; Renai Joshika; Onna no ko Awase; Motto Hanjuku Joshi

Kurosawa Masayuki

Kurosawa is a digital artist, editor, director, and storyboarder. I don't have a lot of information on him, but I decided to include him because he storyboarded Yurikuma episode 11 AND Sarazanmai episode 8 (along with 10). what does this mean? well, he handled both Lulu and Enta getting shot, of course! funny how these things work out.

in addition to storyboarding, he is also credited as Sarazanmai's editor.

other notable work: Wolf's Rain (Director); El Cazador de la Bruja (Editor); Revue Starlight (Editor); My Happy Marriage (Editor)

Takeuchi Nobuyuki

Takeuchi was working at Shaft when the studio picked up some outsourced animation for Utena. his work was striking enough to catch Ikuhara's attention, and so he was brought on to Adolescence as an animation director. as the 2000s began, Takeuchi saw success working at Shaft with director Shinbo Akiyuki. this article describes him as particularly talented at externalizing characters' inner struggles.

Takeuchi, though presumably quite busy, contributed to Penguindrum, specifically episode 9, acting as the sole director, key animator, and storyboard artist. he got a chance to shine with that episode, which is now a fan favorite.

the reason that Takeuchi is so far down this list is that he played a larger role in the production of Sarazanmai. he's credited as the codirector along with Ikuhara, as well as a storyboard artist and key animator. Takeuchi is noted for his focus on the Kuji brothers, having directed episodes 4 and 9. he gave an interview about his work on Sarazanmai, which can be read here.

other notable work: Spirited Away (Key Animation); The Cat Returns (Key Animation); Howl's Moving Castle (Key Animation); Ponyo on the Cliff by the Sea (Key Animation); Bakemonogatari (Storyboard, Animation Director); Weathering With You (Key Animation)

Migi

a mangaka, she provided Sarazanmai's character designs, contributed to the anthology, and is still drawing the Sarazanmai manga. she's said that Tooi was the hardest character to design, and she argued with Ikuhara over Sara's look, since they apparently have different definitions of bishoujo.

Migi has an active Pixiv account where she still posts Sarazanmai art. she also did this lovely tribute for an Ikuhara exhibition.

other notable work (all as mangaka): Robot; Gelatin

Utsumi Teruko

Utsumi got her start "working as a production assistant at Brains Base and slowly inching towards writing via literature management duties." she's credited as the cowriter of all Sarazanmai episodes, working closely alongside Ikuhara. she also coauthored the light novels, wrote song lyrics, handled series composition, and acted as a manager. on top of all that, she is the one who created the model bridge which transports the Golden Trio to the Field of Desires.

other notable work (all as script writer): A Good Librarian Like a Good Shepherd; Enride; Cheer Boys!!; Kakegurui Season 2

[patopq]

Hey so this is my list of Molly character traits i gathered through talks and various sources

Thought it could help anyone figuring out how to write molly, if you even care? Take this however you want, ill just leave this here

These are factual shit taliesin or others said about him, my personal opinions or notes are between the [ ] thingies

(in case someone wants the source of X thing, just ask me)

• contrary to percy de rolo (who is trying to find his place in the world) molly ALREADY found his place in the world, the world has to contourt around him and he's not changing anything about himself, fuck all

• he has a clear, strong moral code that he follows strictly, even if his actions seem random. [and thats why i dont consider him "chaotic" in the alignment chart, even if he SEEMS chaotic]

• talking about alignment, he also doesnt have any, he def doesnt fit into the "lawful" category, but also "neutral" doesnt sound like him, which makes sense because taliesin based molly (among other things) around the idea of a character NOT being able to fit into the alignment chart, as if if he ever picked a weapon that only worked for people of certain alignment, the weapon would never work with him. Everything explodes [this is all mentioned in the m9 wrap up, regarding mollys creation]

• molly doesnt want to be lonely / is lowk afraid of being so. He doesnt know what its like to be alone because he literally has no memory of ever being so; he has always been in company. And so he's NOT eager to find out.

• he likes complex group dynamics because he's used to them, so being with the nein feels comfortable. (Taliesin said, he literally just went from shifty group to another shifty-unhealthy-group) Still, he knows theres some shit they have to work out in terms of "you fuck everybody over, but THIS group of people you dont fuck with"

• to the previous point, molly is very serious about the little group he has, be it the circus or the nein, you DONT fuck this people over, you may start a war with the dynasty, but THIS group you dont fuck with, and i believe molly has explicitly said this himself (i think around ep12. not the dynasty part though, he doesnt know what a kingdom is in the first place)

• hes damn functionally illiterate, dont care about books, and hes not that bright [*looks at that 10 int*]

• hes a classisist (no explanation needed. I also am not going to rewatch 26 episodes rn to psychoanalyse this part of him. Give me 2 years)

• he doesnt care about anybody's backstory, he doesnt have one, "doesnt see the point in the mess" he will wait until you ACTUALLY do something fucked up and then we'll see [taliesin said that he doesnt think thats a good way of thinking,, but well. NEVER think that their dnd characters are right, ever]

• he didnt learn any name of any Town he went to "because WHY. BOTHER." [This is very conected to the whole illiterate deal, he really doesn't know anything about the world and doesnt care (take for example this moment)]

• he's his own moral compass. He's the center of his own moral reality. He's a deep believer of "I am smart enough to not do anything wrong UNLESS its entirely by accident. So anything i do on purpose cant possibly be wrong because i'm never a wrong person" [yes, thats fucked up LMAO, & im quoting this from taliesin]

• he has a "experience everything" mentality because of the fact that he lost an unknown number of years of his life, and suspects that his past will eventually come and bite his ass and.. he probably wont survive it. so he doesnt think he will be here for long

• theres a definite fear of mortality (?said taliesin) [which is weird since i thought he didnt care? aw man, now his death is even sadder -> this was written when i wasnt over molly's death, okay?]

• he thinks all tm9 is attractive "this is a very shaggable group" [-said taliesin in a panel-]

• he was a BAD roommate. Take this however you want, but for example, he would be casually naked, [at least often enough for taliesin to say this]

• he takes advantage in people making assumptions about him and hes comfortable with it

meaning, if you're a weirdo who enters a room, the way people react about you, tells YOU all you need to know about THEM

[In case its not clear, skip this if it is: if when people see you the first thing they do is side-eye you and make assumptions about you, then you easily learn you dont even need to engage with them, "why talk with someone who makes assumptions abt ppl like that? They've got problems"]

There are more things, if i didnt add them, i probably just didnt even think about adding because i thought of them as obvious, or i actually missed it.