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signalburst · 7 months ago

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Shōgun Historical Shallow-Dive: the Final Part - The Samurai Were Assholes, When 'Accuracy' Isn't Accurate, Beautiful Art, and Where to From Here

Final part. There is an enormous cancer attached to the samurai mythos and James Clavell's orientalism that I need to address. Well, I want to, anyway. In acknowledging how great the 2024 adaptation of Shōgun is, it's important to engage with the fact that it's fiction, and that much of its marketed authenticity is fake. That doesn't take away from it being an excellent work of fiction, but it is a very important distinction to me.

If you want to engage with the cool 'honourable men with swords' trope without thinking any deeper, navigate away now. Beyond here, there are monsters - literal and figurative. If you're interested in how different forms of media are used to manufacture consent and shape national identity, please bear with me.

I think the makers of 2024's Shōgun have done a fantastic job. But there is one underlying problem they never fully wrestled with. It's one that Hiroyuki Sanada, the leading man and face of the production team, is enthusiastically supportive of. And with the recent announcement of Season 2, it's likely to return. You may disagree, but to me, ignoring this dishonours the millions of people who were killed or brutalised by either the samurai class, or people in the 20th century inspired by a constructed idea of them.

Why are we drawn to the samurai?

A pretty badly sourced, but wildly popular history podcast contends that 'The Japanese are just like everybody else, only more so.' I saw a post on here that tried to make the assertion that the show's John Blackthorne would have been exposed to as much violence as he saw in Japan, and wouldn't have found it abnormal.

This is incorrect. Obviously 16th and 17th century Europe were violent places, but they contained violence familiar to Europeans through their cultural lens. Why am I confidently asserting this? We have hundreds of letters, journals and reports from Spaniards, Portuguese, Dutch and English expressing absolute horror about what they encountered. Testing swords on peasants was becoming so common that it would eventually become the law of the land. Crucifixion was enacted as a punishment for Christians - first by the Taiko, then by the Tokugawa shogunate - for irony's sake.

Before the end of the feudal period, battles would end with the taking of heads for washing and display. Depending on who was viewing them, this was either to honour them, or to gloat: 'I'm alive, you're dead.' These things were ritualised to the point of being codified when real-life Toranaga took control. Seppuku started as a cultural meme and ended up being the enforced punishment for any minor mistake for the 260 years the ruling samurai class acted as the nation's bureaucracy. It got more and more ritualised and flowery the more it got divorced from its origin: men being ordered by other men to kill themselves during a period of chaotic warfare. I've read accounts of samurai 'warriors' during the Edo period committing seppuku for being late for work. Not life-and-death warrior work - after Sekigahara, they were just book-keepers. They had desk jobs.

Since Europe's contact with Japan, the samurai myth has fascinated and appalled in equal measure. As time has gone on, the fascination has gone up and the horror has been dialled down. This is not an accident. This isn't just a change in the rest of the world's perception of the samurai. This is the result of approximately 120 years of Japanese government policies. Successive governments - nationalist, military authoritarian, and post-war democratic - began to lionize the samurai as the perfect warrior ideal, and sanitize the history of their origin and their heydey (the period Shōgun covers). It erases the fact that almost all of the fighting of the glorious samurai Sengoku Jidai was done by peasant ashigaru (levies), who had no choice.

It is important to never forget why this was done initially: to form an imagined-historical ideal of a fighting culture. An imagined fighting culture that Japanese invasion forces could emulate to take colonies and subdue foreign populations in WWI, and, much more brutally, in WWII. James Clavell came into contact with it as a Japanese Prisoner of War.

He just didn't have access to the long view, or he didn't care.

The Original Novel - How One Ayn Rand Fan Introduced Japan to America

There's a reason why 1975's Shogun novel contains so many historical anachronisms. James Clavell bought into a bunch of state-sanctioned lies, unachored in history, about the warring states period, the concept of bushido (manufactured after the samurai had stopped fighting), and the samurai class's role in Japanese history.

For the novel, I could go into great depth, but there are three things that stand out.

Never let the truth get in the way of a good story. He's a novelist, and he did what he liked. But Clavell's novel was groundbreaking in the 70's because it was sold as a lightly-fictionalised history of Japan. The unfortunate fact is the official version that was being taught at the time (and now) is horseshit, and used for far-right wing authoritarian/nationalist political projects. The Three Unifiers and the 'honour of the samurai' magnates at the time is a neat package to tell kids and adults, but it was manufactured by an early-20th century Japanese Imperial Government trying to harness nationalism for building up a war-ready population. Any slightly critical reading of the primary sources shows the samurai to be just like any ruling class - brutal, venal, self-interested, and horrifically cruel. Even to their contemporary warrior elites in Korea and China.

Fake history as propraganda. Clavell swallowed and regurgitated the 'death before dishonour', 'loyalty to the cause above all else', 'it's all for the Realm' messages that were deployed to justify Imperial Japanese Army Class-A war crimes during the war in the Pacific and the Creation of the Greater East Asian Co-Properity Sphere. This retroactive samurai ethos was used in the late Meiji restoration and early 20th century nationalist-military governments to radicalise young Japanese men into being willing to die for nothing, and kill without restraint. The best book on this is An Introduction to Japanese Society by Sugimoto Yoshio, but there is a vast corpus of scholarship to back it up.

Clavell's orientalism strays into outright racism. Despite the novel Shōgun undercutting John Blackthorne as a white savior in its final pages - showing him as just a pawn in the game - Clavell's politics come into play in every Asia Saga novel. A white man dominates an Asian culture through the power of capitalism. This is orthagonal to points 1 and 2, but Clavell was a devotee of Ayn Rand. There's a reason his protagonists all appear cut from the same cloth. They thrust their way into an unfamiliar society, they use their knowledge of trade and mercantilism to heroically save the day, they are remarked upon by the Asian characters as braver and stronger, and they are irresistible to the - mostly simpering, extremely submissive - caricatures of Asian women in his novels. Call it a product of its times or a product of Clavell's beliefs, I still find it repulsive. Clavell invents (nearly from whole cloth, actually) the idea that samurai find money repulsive and distasteful, and his Blackthorne shows them the power of commerce and markets. Plus there are numerous other stereotypes (Blackthorne's massive dick! Japanese men have tiny penises! Everyone gets naked and bathes together because they're so sexually free! White guys are automatically cool over there!) that have fuelled the fantasies of generations of non-Japanese men, usually white: Clavell's primary audience of 'dad history' buffs.

2024's Shōgun, as a television adaptation, did a far better job in almost every respect

But the show did much better, right? Yes. Unquestionably. It was an incredible achievement in bringing forward a tired, stereotypical story to add new themes of cultural encounter, questioning one's place in the broader world, and killing your ego. In many ways, the show was the antithesis to Clavell's thesis.

It drastically reigned in the anachronistic, ahistorical referencees to 'bushido' and 'samurai honor', and showed the ruling class of Japan in 1600 much more accurately. John Blackthorne (William Adams) was shown to be an extraordinary person, but he wasn't central to the outcome of the Eastern Army-Western Army civil war. There aren't scenes of him being the best lover every woman he encounters in Japan has ever had (if you haven't read the book, this is not an exaggeration). He doesn't teach Japanese warriors how to use matchlock rifles, which they had been doing for two hundred years. He doesn't change the outcome of enormous events with his thrusting, self-confident individualism. In 2024's Shōgun, Blackthorne is much like his historical counterpart. He was there for fascinating events, but not central. He wasn't teaching Japanese people basic concepts like how to make money or how to make war.

On fake history - the manufactured samurai mythos - it improved on the novel, but didn't overcome the central problems. In many ways, I can't blame the showrunners. Many of the central lies (and they are deliberate lies) constructed around the concept of samurai are hallmarks of the genre. But it's still important to me to notice when it's happening - even while enjoying some of the tropes - without passively accepting it.

'Authenticity' to a precisely manufactured story, not to history

There's a core problem surrounding the promotion and manufactured discussion surrounding 2024's Shōgun. I think it's a disconnect between the creative and marketing teams, but it came up again and again in advertising and promotion for the show: 'It's authentic. It's as real as possible.'

I've only seen this brought up in one article, Shōgun Has a Japanese-Superiority Complex, by Ryu Spaeth:

'The show also valorizes a supreme military power that is tempered by the pursuit of beauty and the highest of cultures, as if that might be a formula for peace. Shōgun displays these two extremes of the Japanese self, the savagery and the refinement, but seems wholly unaware that there may be a connection between them, that the exquisite sensibility Japan is famous for may flow from, and be a mask for, its many uses of atrocious domination.'

Here we come to authenticity.

'The publicity surrounding the series has focused on its fidelity to authenticity: multiple rounds of translation to give the dialogue a “classical” feel; fastidious attention to how katana swords should be slung, how women of the nobility should fold their knees when they sit, how kimonos should be colored and styled; and, crucially, a decentralization of the narrative so that it’s not dominated by the character John Blackthorne.'

It's undeniable that the 2024 production spent enormous amounts of energy on authenticity. But authenticity to what? To traditional depictions of samurai in Japanese media, not to history itself. The experts hired for gestures, movement, costumes, buildings, and every other aspect of the show were experts with decades in experience making Japanese historical dramas 'look right', not experts in Japanese history. But this appeal to 'Japanese authenticity' was made in almost every piece of promotional material.

The show had only one historical advisor on staff, and he was Dutch. The numerous Japanese consultants, experts and specialists brought on board (talked about at length in the show's marketing and behind the scenes) were there to assist with making an accurate Japanese jidaigeki. It's the difference between hiring an experienced BBC period drama consultant, and a historian specialising in the Regency. One knows how to make things look 'right' to a British audience. The other knows what actually happened.

That's fine, but a critical viewing of the show needs to engage with this. It's a stylistically accurate Japanese period drama. It is not an accurate telling of Japanese history around the unification of Japan. If it was, the horses would be the size of ponies, there would be far more malnourished and brutalised peasants, the word samurai would have far less importance as it wasn't yet a rigidly enforced caste, seppuku wouldn't yet be ritualised and performed with as much frequency, and Toranaga - Tokugawa - would be a famously corpulently obese man, pounding the saddle of his horse in frustration at minor setbacks, as he was in history.

The noble picture of restraint, patience, refinement and honour presented by Hiroyuki Sanada as Toranaga/Tokugawa is historical sanitation at its most extreme. Despite being Sanada's personal hero, Tokugawa Ieyasu was a brutal warlord (even for the standards of the time), and he committed acts of horrific cruelty. He ordered many more after gaining ultimate power. Think a miniseries about the Founding Fathers of the United States that doesn't touch upon slavery - I'm sure there have been plenty.

The final myth that 2024's Shōgun leaves us with is that it took a man like Toranaga - Tokugawa Ieyasu - to bring peace to a land ripped assunder by chaos. This plays into 19th century notions of Great Man History, and is a neat story, but the consensus amongst historians is if it wasn't Tokugawa, it would have been some other cunt. In many cases, it very nearly was. His success was historical contingency, not 5D chess.

So how did this image get manufactured, to the point where the Japanese populace - by and large - believes it to be true? Very long story short: after a period of rapid modernisation, Japan embraced nationalism in the late 19th century. It was all the rage. Nationalism depends on a glorified past. The samurai (recently the pariahs of Japanese history) were repurposed as Japan's unique warrior heroes, and woven into state education. This was especially heated in the 1920s and 30s in the lead up to the invasion of Manchuria and Japan's war of aggression in the Pacific. Nationalism + militarism = the modern Japanese samurai myth, to prepare men to obey orders unquestioningly from a military dictatorship.

This persists in the postwar period. Every year since 1963, Japan's state broadcaster NHK commissions a historical drama - a Taiga Drama, where many of this show's actors got their starts - that manufactures and re-enforces the idea of samurai as noble, artful, honourable people. Read a book - read a Wikipedia article! - and you'll see that most of it stems from Tokugawa-shogunate era self-propaganda. It's much like the European re-interpretation of chivalry. In Europe's case, chivalry in actual history was a set of guidelines that allowed for the sanctioned mass-rape and murder of civilians, with a side of rules regarding the ransoming of nobles in scorched-earth military campaigns. In Japan's case, historical figures that regularly backstabbed each other, tortured rival warriors and their lessers, and inflicted horrific casualties on the peasants that they owned (we have a term for that) are cast as noble, honourable, dedicated servants of the Empire.

Why does this matter to me? Samurai movies and TV shows are just media, after all. The issue, for me, is that the actors, the producers - including Hiroyuki Sanada - passionately extoll 'accuracy' as if they genuinely believe they're telling history. They talk emotionally about bushido and its special place in Japanese society.

But the entire concept of bushido is a retroactive, post-conflict, samurai construction. Bushio is bullshit. Despite being spoken of as the central tenet of 2024's Shōgun by actors like Hiroyuki Sanada, Tadanobu Asano, and Tokuma Nishioka, it simply didn't exist at the time. It was made up after the advent of modern nationalism.

It was used to justify horrendous acts during the late Edo period, the Meiji restoration, and the years leading up to the conclusion of Japan's war of aggression in the Pacific. It's still used now by Japan's primarily right-wing government to deny war crimes and justify the horrors unleashed on Asia and the Pacific during World War II as some kind of noble warrior crusade. If you ever want your stomach turned, visit the museum attached to Yasukuni Shrine. It's a theme park dedicated to war crimes denial, linked intimately to Japan's imagined warrior past. Whether or not the production staff, cast, and marketing team of 2024's Shōgun knew they were engaging with a long line of ahistorical bullshit is unknown, but it is important.

It's also important to acknowledge that, having listened to many interviews with Rachel Kondo and Justin Marks, they were acutely aware that they weren't Japanese, to claim to be telling an authentically Japanese story would be wrong, and that all they could do was do their best to make an engaging work that plays on ideas of cultural encounter and letting go. I think the 'authenticity!' thing is mostly marketing, and judicious editing of what the creators and writers actually said in interviews.

So... you hate the show, then? What the hell is this all about?

No, I love the show. It's beautiful. But it's a beautiful artwork.

Just as the noh theatre in the show was a twisting of events within the show, so are all works of fiction that take inspiration from history. Some do it better than others. And on balance, in the show, Shōgun did it better than most. But so much of the marketing and the discussion of this adaptation has been on its accuracy. This has been by design - it was the strategy Disney adopted to market the show and give it a unique viewing proposition.

'This time, Shōgun is authentic!*

*an authentic Japanese period drama, but we won't mention that part.

And audiences have conflated that with what actually happened, as opposed to accuracy to a particular form of Japanese propaganda that has been honed over a century. This difference is crucial.

It doesn't detract from my enjoyment of it. Where I view James Clavell's novel as a horrid remnant of an orientalist, racist past, I believe the showrunners of 2024's Shōgun have updated that story to put Japanese characters front and centre, to decentralise the white protagonist to a more accurate place of observation and interest, and do their best to make a compelling subversion of the 'stranger in a strange land' tale.

But I don't want anyone who reads my words or has followed this series to think that the samurai were better than the armed thugs of any society. They weren't more noble, they weren't more honourable, they weren't more restrained. They just had 260 years in which they worked desk-jobs while wearing two swords to write stories about how glorious the good old days were, and how great people were.

Well... that's a bleak note to end on. Where to from here?

There are beautiful works of fiction that engage much closer with the actual truth of the samurai class that I'd recommend. One even stars Hiroyuki Sanada, and is (I think) his finest role.

I'd really encourage anyone who enjoyed Shōgun to check out The Twilight Samurai. That was the reality for the vast majority of post-Sekigahara samurai

For something closer to the period that Shogun is set, the best film is Seppuku (Hara-Kiri in English releases). It is a post-war Japanese film that engages both with the reality of samurai rule, and, through its central themes, how that created mythos was used to radicalise millions of Japanese into senseless death during the war. It is the best possible response to a romanticisation of a brutal, hateful period of history, dominated by cruel men who put power first, every single time.

I want to end this series, if I can, with hope. I hope that reading the novel or watching the 1980 show or the 2024 show has ignited in people an interest in Japanese culture, or society, or history. But don't let that be an end. Go further. There are so many things that aren't whitewashed warlords nobly killing - the social history of Japan is amazing, as is the women's history. A great book for getting an introduction to this is The Japanese: A History in 20 Lives.

And outside of that, there are so many beautiful Japanese movies and shows that don't deal with glorified violence and death. In fact, it makes up the vast majority of Japanese media! Who would have thought! Your Name was the first major work of art to bridge some of the cultural animosity between China and Japan stemming from WW2, and is a goofy time travel love story. Perfect Days is a beautiful movie about the simple joy of living, and it's about the most Tokyo story you can get.

Please go out, read more, watch more. If you can, try and find your way to Japan. It's one of the most beautiful places on earth. The people are kind, the food is delicious, and the culture is very welcoming to foreigners.

2024's Shōgun was great, but please don't let that be the end. Let it be the beginning, and I hope it serves as a gateway for you.

And I hope our little fandom on here remembers this show as a special time, where we came together to talk about something we loved. I'll miss you all.

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l-in-the-light · 20 days ago

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The importance of a haircut

I was pondering whether I should mention it, but seems no one is catching on to that so far, so I might as well stir the pot a bit.

Many women today maintain long hair when they're single, and then cut it shorter when they have kids, due to its impracticality. So in a way, that cutting of hair is a ceremony that mirrors that of an Edo period Samurai: an end to an era of someone's life, and the beginning of another.

(...)

A friend or co-worker might remark, "wow, are you quitting your job or something?" joking that they were making a grand gesture by getting a haircut.

(source: Anime News Network)

The first time I came upon deep analysis of this trope was in Princess Mononoke. Ashitaka cuts off his bun before leaving village, which signifies he might never come back, he is from now on "dead" to them, because topknots and buns were associated with status back in the days. By cutting it he was not only giving up on his current social position, but also cutting ties with the community he belonged to.

Sumo wrestlers will cut off their topknots when they quit their career. If a samurai cut off their topnot it meant they're giving up on their title and becoming a commoner like everyone else. Sometimes it's done because of shame (pressured by others or because of your own conscience, if you're a honorable samurai). For aristocratic women hair was also a symbol of status and pride, and also object of adoration. Might be why even nowadays in fiction when a girl goes through a break-up or gets rejected by her crush, she cuts off her hair to make a "fresh start" (that apparently isn't uncommon not only in Japan). Last time I saw it was probably in XXXholic (I reccommend it to anyone who never read this manga, especially if you like supernatural themes mixed with slice of life :D).

Funny thing is, I also picked up on that trope subconsciously as a child, because I grew up watching animes. I remember my classmates often asking me why am I keeping my hair long (like, what's so strange in liking your hair long? I guess it became trendy back then to have shorter hair). And I always felt like I need a big reason to cut my hair, like I should do it only after a big life event happening, and I even decided when exactly I will do it. Except that I didn't find any meaning in it and decided I won't do it anyway. Lol.

It's interesting that apparently there was once a law in Japan that forced women to keep their hair long! If they need to cut their hair, they had to report it to the officials on paper, stating a good enough reason (for example, a health issue or a religious ritual). And if they fail to report or deliver good enough reason, they have to face some kind of punishment. You can read more about that here: Women in Japan who got haircuts once had to tell government why.

Importance in Japanese culture aside, for more fun examples of this trope used in fiction you should certainly visit the tv tropes page on it: tv tropes/important haircut.

Now back to Robin. She didn't exactly cut her hair short or anything like that, but she did return to her old hairstyle. That might signify she wanted to underline some kind of change in her life. She got a different hair style in the timeskip. Coincidentally, Nami also allowed herself to keep her hair long and be more feminine, because she felt safe doing so, not anymore having to survive on her own, or so I assume. I think it could have been similar for Robin, it was her sign of "now I'm part of this crew wholeheartedly", because before timeskip she kept the previous haircut instead and she was also always alone. So, it was a way of showing the change in her life, but she chose to do it only after learning news about Luffy losing his brother. Perhaps it might have been her way of showing her solidarity, besides the faith and trust in her crew.

Robin returning back to her previous haircut might be a way to celebrate meeting Saul, like she wants him to feel familiar with her looks, like nothing ever changed (just like the Giants suggested in the chapter). Except that we know that a lot has changed since then, she finally found her comrades, her nakama. That's part of the reason why I think it might not be about Saul at all. There was a lot happening with the Vegapunk's broadcast and will of Ohara in Egghead.

And she did look very affected when she listened to the bits of that broadcast. So, whatever her reason is, I'm sure of one thing: that haircut signifies some sort of decision or change in Robin, a new determination or something coming full circle. Towards what? Revealing the truth and carrying the baton passed by Vegapunk? But wasn't Robin already carrying that on her back already, the call to reveal the truth about the history? She didn't need Vegapunk for that.

It could mean Robin has made some important decision that is the opposite of the timeskip one and it relates to events from before that as well. There are some loose ends left from Water 7 arc. There were some never addressed again lies or games of deception. Maybe it's finally time we learn more about Robin, her mission and what she did exactly before she joined the Strawhats.

#one piece #nico robin #one piece 1131 #one piece spoilers #one piece chapter commentary #princess mononoke #japanese culture #haircut

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itsmarjudgelove · 6 months ago

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13 Lesser-Known Historical Facts about Japan:

1. The Jomon period, beginning around 14,000 BCE, is known for its pottery, among the oldest in the world.

2. The Heian period (794-1185) was a golden age of art, poetry, and literature in Japan.

3. Samurai, the warrior class, played a crucial role in Japanese history from the 12th to the 19th century.

4. The Kamakura period saw the rise of the shogunate, a military government, starting in 1192.

5. Japan was largely isolated from the rest of the world during the Edo period (1603-1868), known as Sakoku.

6. The Meiji Restoration in 1868 marked the end of feudal Japan and the beginning of modernization and industrialization.

7. Japan was the first Asian country to defeat a European power, Russia, in the Russo-Japanese War (1904-1905).

8. Hiroshima and Nagasaki were the only cities ever to be targeted with atomic bombs, in August 1945.

9. The island of Okinawa was an independent kingdom known as the Ryukyu Kingdom before its annexation by Japan in 1879.

10. Zen Buddhism, introduced in the 12th century, has had a profound influence on Japanese culture and aesthetics.

11. The Tale of Genji, written by Murasaki Shikibu in the early 11th century, is considered the world's first novel.

12. Nara, Japan’s first permanent capital, was established in 710 and is famous for its large Buddhist temples.

13. The Great Wave off Kanagawa, a woodblock print by Hokusai, is one of the most famous works of Japanese art.

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merpmonde · 21 days ago

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Sangaku Saturday #8

Having established that sangaku were, in part, a form of advertisement for the local mathematicians, we can look at the target demographic. Who were the mathematicians of the Edo period? What did they work on and how?

The obvious answer is that the people in the Edo period who used mathematics were the ones who needed mathematics. As far back as the time when the capital was in Kashihara, in the early 8th century, evidence of mathematical references has been uncovered (link to a Mainichi Shinbun article, with thanks to @todayintokyo for the hat tip). All kinds of government jobs - accounting, such as determining taxes, customs, or engineering... - needed some form of mathematics. Examples above: 8th-century luggage labels and coins at the Heijô-kyô Museum in Nara, and an Edo-period ruler used for surveying shown at Matsue's local history museum.

As such, reference books for practical mathematics have existed for a long time, and continued to be published to pass on knowledge to the next generation. But sangaku are different: they are problems, not handbooks.

More on that soon. Below the cut is the solution to our latest puzzle.

Recall that SON is a right triangle with SO = 1 and ON = b. These are set values, and our unknowns are the radii p, q and r of the circles with centres A, B and C. While these are unknown, we assume that this configuration is possible to get equations, which we can then solve.

1: The two circles with centres B and C are tangent to a same line, so we can just re-use the very first result from this series, so

2: Also recalling what we said in that first problem about tangent circles, we know that

Moreover, PA = AO - OP = AO - CQ = (p+2*q) - r. Thus, using Pythagoras's theorem in the right triangle APC, we get a new expression for PC:

since 2(p+q)=1 (the first relation). Equating the two expressions we now have of PC², we solve the equation for r:

again using the first relation to write 2q-1 = -2p.

It only remains to find a third equation for p to solve the problem.

#Japan #history #Edo period #Nara period #sangaku #geometry #solution #歴史 #江戸時代 #奈良時代 #数学 #算額 #2016-04 #2023-07

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prinzrupprecht · 1 month ago

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To Live or Die

Chapter 9 - a run in

Decided to get back to this. If you’re new here you can click on synopsis and read from prologue.

Synopsis

WC: 1253

As the days flew by, your curiosity started to get to you whether you’ll ever meet your parents was up in the air. However, Souji kept his distance which was unusual.

Kondo has been working and Souji was helping him whenever he was needed. You on the other hand was wondering if you should venture out more when they leave… Souji may have a panic attack if you disappear. So it was understandable to not leave without telling them.

You haven’t been targeted as of yet by anyone since you’ve been staying at the former Shieikan dojo which has been turned into a residence for you, Kondo and Souji. “Oh, I found you.” His chirpy voice caught your attention. You spotted him with his usual purple kimono, white baggy pants and loose grey haori.

“Found? I have been here for a while.” You were outside in their backyard reading one of Yamanami’s old books he left behind before moving to Kyoto under Aizu’s orders.

There have been quite a lot of new changes since, but you always admired some of the others and missed them dearly. “Is that—"

“Ya, one of his favourite history books of the politics during the Sengoku period. Yamanami-san was really a nerd. Besides, why were you looking for me?” You changed the topic. Souji was caught off guard as he had nearly forgotten.

“Oh! Uh, Kondo-san wanted to know what you’d wanted to eat tonight since he’s off today.” You shrugged whether that was why he needed to ask you that. He knows you would put up with anything that Kondo made.

“I’m fine with whatever he wants to make. I may go explore a bit in town for a few hours.” You closed the book and stood up. Souji gave you a blank expression before nodding soon after.

“If you need—"

“I’ll be fine this time!” Your hand flew to the back of your head awkwardly remembering the incident that happened not even a week ago down at Yokohama port. What an embarrassment… he gave you a slight frown but didn’t want to show his concerns. He certainly preferred if you didn’t wander. He was wondering if he should tail you but if he was caught then it could cause even more issues between you two.

He’d still rather take the risk than if something happens to you…

It was already mid-afternoon as you passed by many of the shops down the same road as last time. You wanted to find one of the spice shops to help Kondo with the flavouring of meals. However, there were more people in the crowded streets of Edo. Why was it so busy? You had stopped in your tracks and noticed a very familiar face speaking to a few of the higher officials of the new Meiji government.

Ryoma Sakamoto.

You met him a long time ago. He was part of the reason why the Tokugawa shogunate collapsed and returned its power to the imperial court. He was rather famous— more looked up to by the young kids and the commoners. He probably doesn’t remember you. It was interesting to see him here in public of all places.

His black hair was nicely tied up messily and he still wore the same old black kimono clothing. Someone tapped on your shoulder which made you jump in your spot from staring at Sakamoto for too long.

“Huh? Sorry—"

“No, no! Haha, I saw you staring off into space for a minute there.” A young woman had moved you to the side so others could walk down the street. Embarrassment had filled you from not paying attention to your surroundings like usual.

“I should get going, I need to find Mr. Yamato’s spice shop.” You were quick to feel embarrassed but as you were going to leave you had rammed into him.

“S–Sorry! I— I didn’t see you!” you were for sure dead. Your head was lowered apologetically. However, he laughed.

“Raise your head and loosen up a bit! What’s with that look? You lost or something?” Sakamoto was alone and the men he was with had left it seems. You were even more embarrassed and no words could form. You had just nodded and tried to rush passed him.

Just as you were about to leave, Sakamoto stopped in his tracks remembering your familiar face.

“Wait a minute, you look familiar like we met somewhere.” This made your heart stop and you could feel your hands sweating. He has a lot of power in the new government. He also has a gun on his waist. So he must be a part of the military or law enforcement to have such privileges.

“You’re the pretty girl that helps the old lady down the street who owns the flower shop?” He had a smug look on his face which you nodded.

“Y— Ya that’s me. I’m just a boring civilian who likes to care for others,” you were nervous and being around him wasn’t helping.

“Like to care for others, you don’t say?” he was very flirtatious and he was making your face bright red from simple remarks. How much more could you take, he nearly has you squealing internally.

“Y-Ya! Sorry, I should get going, sir! I– I need to find Yamato’s spice shop,” you lowered your head apologetically. He gave you a suspicious look before speaking.

“That old fart died years ago, where are you from? I think you are lost. Need me to company you—"

“N–No! I mean– I just returned to Edo and it’s been years so I didn't know. I'm saddened to hear that as well. Sorry…” You wanted to leave, but this man had you cornered with questions and suspicions.

“Well, if you don’t say… take care of yourself next time and look where you’re walking,” he was about to leave but turned his head once more.

“Tell Kondo-san he still owes me for sparing his life and that boy as well. I’m sure this won’t be the last time we see each other. Until we meet again,” he continued to walk and waved with one arm up lazily.

You were freaking out internally. He knew the entire time?! You started to run back to the Shieikan with your heart pumping faster than normal.

Without your knowledge, Souji had watched your encounter with this man. His blood spiked in anger. He was part of the reason why they lost the war and was flirting with you?

He hated to overthink things. Ryoma was a good-looking man but the way he made you flustered instantly pissed Souji off. If he could use his sword, he would easily kill that man if he tried anything. However, with the ban on kenjutsu training and carrying katanas, he wouldn’t be able to fight as they used to. He also has a gun…

One question that was stuck on Souji’s mind was why don't you get flustered like that with him? Souji was glaring intently at his back as he walked. Thankfully, you didn’t see him since there were too many people and a nice amount of buildings to use to cover.

Now, he has to make an excuse why he wasn’t home since you were rushing back in a hurry. Sakamoto really put that much fear in you? He could feel his demon instinct calling for him to kill but he was holding back.

For the first time, Souji was cursing at himself for letting someone like him get to him.

Note: gonna be translating chapter 17 of Chiruran soon. May put off some one shots / requests for now.

#record of ragnarok #shuumatsu no valkyrie #ror x reader #shuumatsu no valkyrie x reader #record of ragnarok x reader#okita ror #okita snv #okita soji x reader #okita souji x reader #okita soji #record of ragnarok okita #snv okita #ror okita #okita x reader #okita souji

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her-satanic-wiles · 2 months ago

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Kinktober Day 16 - Exhibitionism

Papa Emeritus I x Reader

You are a sex worker at the Ministry, performing sensually behind double-sided glass, indulging in fantasies of being desired by Primo. As Primo watches you with intense longing, he succumbs to his own pleasure, yet his desire for you only deepens, fueling a craving to possess you completely.

Masterlist ⛧ Kinktober 2024 Masterlist

Words: 4.4k.

Reading Time: 18 min.

Warnings: exhibitionism, fingering, gang bang fantasies, masturbation, mentions of gang bangs, nipple play, objectification, self-objectification, vaginal fingering, voyeurism

Taglist: @akayuki56 @alien-the-ghost @amazing-bobinsky @angellayercake @anonymous-appreciation @babydestinyinfluencer @bitchywitchygardener @blossomsea @call-me-little-sunshine84 @copiaspet622 @copiasslut @cosmixxdust @da-rulah @dolceterzo @dopey-fandom-girl @faithisyours @ghoulishxdelights @hauntedharmonic-ghoulishhaunter @high-above-the-city @howlingco @inkstainedrat @kaijukimchi @kenken-the-shoggoth @ledger-kaos @magopi @megachaoticstupid @meliza1001 @miss-leto @mommy-dust @neganwifey25-blog @piaart @saintbowie @shycardinale @sister-of-sin-claudia @sisterof-sin @sodoswitchimage @the-did-i-ask @xiyingly @zombiesnips-blog

Author’s note: Hi, everyone!

Today’s fic draws inspiration from the Edo-period (1603–1868) red-light district of Yoshiwara, where peep shows were a popular form of entertainment. Although the exact names of these peep show structures are not well-documented, they provided secluded, intimate viewing spaces. Visitors would discreetly observe courtesans or sexual performances, reflecting the controlled nature of these environments.

These voyeuristic setups were part of the broader ukiyo (“floating world”) culture—a space dedicated to escaping societal norms through pleasure, indulgence, and art. Activities ranged from public erotic performances to private encounters facilitated by intermediaries, such as in tea houses or pleasure chambers. Yoshiwara wasn’t just about sexual activities; it also fostered artistic expressions like ukiyo-e prints and literature, capturing themes of fleeting pleasure and desire.

In modern Japan, venues like Nozoki Beya (peep rooms) mirror some aspects of these historical practices. Nozoki Beya allows customers to watch performers engage in erotic acts, either live or behind glass partitions. These booths offer a voyeuristic experience similar to the setups of Yoshiwara, with a strict separation between viewer and performer.

The popularity of establishments like Nozoki Beya grew in part from legal loopholes created by Japan’s 1956 Anti-Prostitution Law. After World War II, Japan saw a rise in unregulated prostitution and forced sexual slavery. To combat this, the law banned prostitution (defined as vaginal intercourse for money). However, other sexual services—such as non-penetrative acts—remained legal, leading to the growth of businesses like Nozoki Beya.

These venues operate within legal boundaries by prohibiting direct physical contact between customers and performers. They require local government licenses and are subject to zoning laws, which restrict their operation to areas like Kabukicho in Tokyo. Adult entertainment businesses cannot operate near schools, parks, or residential areas, but the ambiguous nature of Japan’s laws creates some gray areas. Venues often navigate the fine line between legality and illegality, especially when performers’ actions approach the limits of prostitution.

While this fic takes inspiration from both Nozoki Beya and the historical practices of Yoshiwara, it is not a direct depiction of these activities. All characters featured are adults above the age of 21, and everything in the story is entirely consensual.

Enjoy the story!

🔞 MDNI 🔞

The red glow of the octagonal room enveloped you, the soft light casting playful shadows that danced across the mirrored glass. You settled onto the padded lounger at the centre, the silk of your robe clinging just enough to tease the senses. This was your space, a sanctuary of seduction where you could lose yourself to the performance, even if the audience remained unseen.

You adjusted your position, allowing the fabric to slip from your shoulder, exposing a hint of skin. You caught your reflection in the glass—a captivating sight that both excited and empowered you. You loved the way it felt to perform, the thrill of revealing just enough while holding back the rest.

But tonight, beneath the intoxicating haze of incense, there was a yearning that stirred deep within you—a desire for a particular gaze. You wished Primo would come to watch. The thought sent a shiver down your spine, the ache of wanting to be seen by him amplifying the heat radiating in the room. You imagined his dark eyes on you, exploring every curve and movement, but the truth was, you had no idea if he would show.

With each languid stretch of your limbs, you painted a picture for the invisible audience. You smoothed your hands over your thighs, the subtle caress igniting a fire in your belly. In the back of your mind, you whispered a silent plea for him to appear, to share in this intimate moment, even if he remained hidden behind the glass.

You leaned back against the cushions, your lips parting ever so slightly as you exhaled, an invitation carried through the air—a sound meant for him, even if he was still just a thought. In this world of shadows and reflections, you held onto hope that he would find his way into your light.

You closed your eyes for a moment, letting the rhythm of your breath guide you. The anticipation thrummed in the air, urging you to embrace the performance. With a soft smile playing on your lips, you let the tension ease from your body, focusing on the sensations that rippled through you.

Opening your eyes, you began to move, each motion fluid and deliberate. You arched your back slightly, allowing the fabric of your robe to slip further down your shoulder, revealing more of your collarbone. The mirrors caught every angle, reflecting a beautiful illusion of yourself—a vision you hoped would entice anyone watching.

You leaned forward, your fingers grazing your thighs, slowly tracing circles on your skin as if inviting the audience to feel the heat emanating from your body. The room felt electric, each subtle movement weaving a spell of seduction that filled the air. You thought of Primo, picturing him in your mind as you performed, his presence a silent motivation that pushed you deeper into the moment.

You turned your body slightly, allowing the curves of your hips to catch the light, shifting to give the reflections a tantalising view. You imagined Primo’s gaze, how he would study every detail, and the thought quickened your pulse. Would he appreciate the way you teased the fabric, pulling it closer to your body, then letting it slip away again?

As the performance intensified, you let your hands roam, exploring your own body as though it were a work of art. The sensuality of it filled you with a confidence that radiated through the glass, mingling with the faint scent of incense in the air. You could almost feel the heat of his gaze upon you, igniting a deeper yearning that urged you to give more.

You shifted again, propping yourself up on one elbow, your body poised in a way that accentuated the curve of your waist. You locked your eyes onto your own reflection, the desire within you manifesting in a wicked smile as you teased the edge of your robe, letting it slip just enough to suggest what lay beneath.

With your heart racing, you let the energy of the moment sweep you away. The way the fabric caressed your skin sent shivers down your spine, urging you to explore further. You took a deep breath, focusing on the sensation of your body and the power it held in this intimate space.

You shifted again, letting your legs fall open slightly as you reclined back onto the lounger, propping yourself up on one elbow. The angle provided a tantalising view, showcasing the curve of your hips and the softness of your thighs. You could almost hear the whispers of admiration from an invisible audience, and you imagined Primo’s eyes drinking in every detail, a mixture of longing and desire.

You began to play with your hair, letting the silken strands cascade down your back and across your shoulders. With each movement, you wove your fingers through your locks, drawing attention to the graceful lines of your neck and collarbone. You could picture him captivated, lost in the way you transformed even the simplest actions into something alluring.

Feeling bolder, you lifted your hand to your chest, tracing a path down the fabric of your robe, teasingly pulling it aside just enough to reveal a hint of skin beneath. The warmth of your own touch sent a rush of heat through you, and you relished in the delicious tension that filled the air. You could almost feel the weight of his gaze pressing against you, urging you to go further.

Primo stepped into the booth, his heart racing with a mix of anticipation and excitement. The moment he entered the dimly lit space, he was enveloped by the warm glow of the red lights that pulsed softly around the octagonal room. His breath caught in his throat as he took in the sight before him.

There you were, a vision of seduction reclining on the lounger, the silk of your robe glistening under the soft light. The way you moved was hypnotic; your hands glided over your skin with an elegance that left him entranced. Each deliberate stroke drew his gaze, the rhythm of your touch igniting a fire within him.

He watched as you leaned back, arching your back just enough to accentuate the curve of your waist. The robe slipped slightly from your shoulder, revealing the delicate expanse of your collarbone. He felt a surge of desire at the sight, his heart pounding as you showcased your body, unhurried and deliberate.

Primo shifted in his seat, the anticipation thick in the air. He didn’t want to miss a moment; your every movement was a tantalising tease that left him yearning for more. He could hardly believe his luck in being here, hidden behind the glass, able to witness this private performance. The thought of you, completely unaware of his presence, only deepened his desire.

As you ran your hands over your thighs, he could feel his pulse quicken. The way you traced your skin, as if awakening every inch of your body, sent a shiver down his spine. He leaned forward, entranced, hungry for the sight of you unraveling before him. The intimate atmosphere heightened every sensation, each flutter of your fingers igniting something primal within him.

“Sathanas, you’re stunning,” he murmured under his breath, even though he knew you couldn’t hear him. He wanted to reach out, to touch you, to draw you closer, but the barrier of glass kept him safely on this side of desire. It was both exhilarating and torturous, and he found himself lost in the depths of your performance.

You lifted your hand to your chest, teasing the fabric of your robe, revealing just enough to stir his imagination. His breath hitched as you let the robe slip further, showcasing your curves, your skin glowing in the red light. Every moment felt electric, the connection between you palpable despite the separation.

Primo’s breath caught as you pulled your robe down, revealing the soft swell of your breasts. The sight sent a jolt of desire through him, tightening his grip on the edge of the booth as he leaned forward, completely captivated. The delicate curve of your body, coupled with the seductive way you played with your nipples, was intoxicating.

You teased the sensitive peaks, rolling them gently between your fingers as you gazed at your own reflection, lost in the moment. Each flicker of your movements seemed to pulse with life, and he could hardly contain himself, the urge to reach out and touch you almost overwhelming. The glass barrier between you was both a comfort and a torment, separating him from the intoxicating beauty before him.

He adjusted his position, feeling the fabric of his papal robes shift against his skin, the weight of them rubbing against his hardness. The thrill of being here, watching you—bare, uninhibited, and so incredibly alluring—left him with an insatiable hunger that only you could satisfy.

The way you surrendered to your own pleasure stirred something primal within him. He imagined the soft sounds of your breaths, the way your body moved with an almost liquid grace. The tension between you and him felt electric, charged with the unspoken connection that bound you in this moment. He wanted nothing more than to see how far you would take this performance, to witness every nuance of your desire.

“Damn it,” he whispered, unable to tear his gaze away. You were exquisite, a living embodiment of sensuality. The thought of you writhing beneath his touch sent a rush of heat through him, and he clenched his fists, fighting against the urge to reach out and break the barrier that separated you.

You sneaked your hands lower, fingers gliding down the curve of your waist and past your thighs. The air in the booth felt charged, and he couldn’t tear his gaze away as you spread your legs, revealing everything to him. The intimacy of the moment was electrifying, leaving him breathless and entranced.

The soft glow of the room highlighted your most intimate parts, and the sight left him utterly captivated. His heart raced in his chest, the primal urge to reach out and touch you coursing through him with every passing second. You were so beautifully exposed, unashamed in your sensuality, and it took everything in him to remain still behind the glass.

He watched as you let your fingers explore, your touch delicate yet purposeful. The way you arched your back, the soft moans that slipped from your lips, ignited a fire deep within him. His pulse quickened with each small movement, every sigh echoing in his ears like a siren’s call, drawing him deeper into your world.

As you continued to caress yourself, he could see the way your body responded to your touch—the slight quiver of your thighs, the way your breath hitched as you sought pleasure. His fingers itched to feel your skin, to explore the soft curves that were so tantalisingly close yet impossibly out of reach.

Every instinct urged him to close the distance, to step through the barrier and claim this moment for himself. The tantalising notion of being the one to elicit those moans, to draw forth your pleasure, filled his mind. It was maddening, the way you performed with such confidence, utterly unaware of how completely you had ensnared him in your web of desire.

With a quick glance around the booth to ensure his privacy, he reached beneath the soft folds of his papal robes. His fingers brushed against his arousal, a low groan escaping his lips as he began to pleasure himself. The sensation of his hand moving over his skin was electrifying, an echo of the pleasure you were experiencing, and the thought of you heightened every stroke.

His eyes never left you as he matched his rhythm to the movements of your hands, each caress of your body a tantalising tease that drew him deeper into desire. You were a vision of pure ecstasy, and he could hardly contain himself as he watched the way you surrendered to the pleasure, each sigh and moan igniting a fire within him.

As he pumped his hand in time with your movements, he imagined what it would feel like to touch you, to feel the warmth of your skin beneath his fingertips. The fantasy of being with you, of tasting the sweetness of your body, pushed him closer to the edge. He bit his lip, stifling the sounds of his pleasure as he focused solely on you.

You were an exquisite performer, every inch of your body a work of art that left him breathless. He could see how you arched your back, the way your eyes fluttered closed in pure bliss. It drove him wild, the thought that you were lost in your own world while he was completely entranced by the scene before him.

“Please,” he murmured, the word slipping past his lips unbidden, a silent prayer to the universe for a chance to be closer to you, to feel your body entwined with his. The moment felt electric, every touch of his hand against himself echoing the rhythm of your exploration.

Primo’s breath came in ragged gasps, the world around him fading away until there was only you, your body, and the sweet tension that hung in the air. He was lost in the spectacle, a willing captive to the allure you created, his pleasure entwining with yours in a beautiful, forbidden dance.

As you reclined on the lounger, every movement felt amplified, each stroke of your hands igniting a flame of desire within you. The soft glow of the red lights illuminated your skin, highlighting every curve and contour, and you revelled in the feeling of being on display. There was something intoxicating about knowing that people were watching you, their eyes glued to your every movement behind the glass.

With each slow caress of your body, you felt a surge of confidence. The sensation of your fingers gliding over your skin was heightened by the knowledge that you were captivating someone—drawing them into your world of pleasure. You leaned into it, letting your hands explore, each stroke deliberate and sensual. The heat pooling in your belly grew as you imagined the desire radiating from the booth, the silent, hungry gazes locked onto you, drinking in the sight of your performance.

Being on display like this was thrilling, a rush of power that electrified your senses. You relished the idea that your body was an object of desire, a canvas upon which fantasies were painted. There was a heady mix of vulnerability and empowerment in sharing such an intimate part of yourself, and you leaned into that feeling, letting it wash over you.

The glass separated you from the outside world, creating a cocoon of intimacy that made the experience all the more exhilarating. You caught glimpses of shadows moving behind the transparent barrier, a silent acknowledgment of the connection being forged in that space. Each sigh that escaped your lips felt like a call to them, an invitation to join you in this moment of pure indulgence.

As you spread your legs wider, the thrill of being so exposed sent a rush of adrenaline coursing through your veins. You played with your nipples, your body responding eagerly to your touch, and you savoured the sensations that coursed through you. The slight pressure, the way your skin tingled, all combined to create a symphony of pleasure that resonated within.

You felt like a goddess, commanding attention and desire, the thrill of the performance fuelling your every move. You enjoyed putting on this show, the way it pushed you to explore the boundaries of your own pleasure. You knew that your every gesture, every gasp, was met with rapt attention and longing, and it filled you with an exhilarating sense of purpose.

As you dipped your fingers inside yourself, a wave of pleasure coursed through you, intensifying the connection between your body and the exhilaration of being on display. You closed your eyes for a moment, surrendering to the sensations, but your thoughts drifted to him—Primo—and the way he would be watching you with such intensity.

But then your mind wandered further, teasing the edges of fantasy. What would it be like to be ravaged by all three papas? The thought sent a shiver of excitement down your spine. You imagined Secondo’s bold, dominating presence, the way he would claim you with a fierce passion, igniting a fire within you. His touch would be rough yet tantalising, pushing you to the edge of pleasure and beyond.

And then there was Terzo, with his playful charm and mischievous grin. You could almost feel his hands on your body, exploring and teasing in ways that made your breath hitch. He’d pull you into a world of sweet torment, drawing out your pleasure until you were begging for release.

But it was Primo who held your attention now, the way his gaze penetrated you even from behind the glass, a silent promise of what could be. You pictured him joining in, commanding the room with his presence, taking control of the scene as he directed the two others to pleasure you together. The thought of being surrounded by them, each one focused solely on your pleasure, sent a wave of desire washing over you.

You thrust your fingers deeper, letting the pleasure build as you imagined the three of them, each taking their turn to ravish you, to claim you in their own unique ways. The heat coiled tightly in your belly, and you could almost hear their voices urging you on, calling you to lose yourself in the moment.

The fantasy felt so real, your body responding to the idea of being the centre of their attention, of being worshipped and desired by all three. You envisioned the scene vividly—bodies entwined, hands exploring, the air thick with the scent of desire and the sounds of pleasure. The thought of being at their mercy, of being claimed by each one in turn, made your heart race.

As you continued to pleasure yourself, you moaned softly, your breath hitching as the fantasy enveloped you. You were lost in the throes of ecstasy, the image of the three papas circling your mind, igniting a fire that left you gasping for more. It was a delicious thought, and you reveled in it, letting it guide you deeper into pleasure, unashamed and utterly consumed by the fantasy.

You thrust your fingers deeper inside yourself, the sensation sending jolts of pleasure radiating throughout your body. With each movement, your mind remained locked on Primo—the way he watched you, those intense eyes filled with desire. The thrill of being on display for him alone heightened every sensation, every gasp that escaped your lips.

You imagined him leaning closer, captivated by the sight of you giving in to your own pleasure. The very thought of him watching you, taking in every intimate moment, stoked the flames of your desire even higher. You could almost feel the heat of his gaze enveloping you, making you feel alive and exposed in the best possible way.

As you continued to tease and caress your body, you relished the idea of him being the sole witness to your pleasure, the one person who understood the intricacies of desire. You could picture him leaning against the glass, his breath hitching as he watched you pleasure yourself, each gasp and moan pulling him deeper into the web of your exhibitionism. You reveled in the idea of being the star of his fantasy, a beautiful spectacle designed solely for his enjoyment.

The way he must have reacted—his breath quickening, desire coursing through him like wildfire—made you want to push even further. You arched your back and spread your legs wider, giving him an even better view, and you felt a thrill race through you. You were not just performing; you were offering yourself to him, inviting him into this moment, even if only in his imagination.

With each thrust of your fingers, you thought of how he would react, the pleasure reflected in his eyes as he watched you give in to the waves of ecstasy. The connection between you two felt palpable, as if the glass that separated you was nothing but an illusion. You imagined him whispering sweet nothings, encouragement urging you to let go, to revel in your own pleasure and the thrill of being seen.

You could feel your climax building, a wave of heat pooling low in your belly, and you surrendered to the fantasy of him—his presence dominating your thoughts. The intimacy of the moment was intoxicating, and you savored the connection that seemed to transcend the barrier between performer and observer.

As you neared your release, the thought of his eyes on you, filled with longing and desire, pushed you over the edge. With a final thrust of your fingers, you cried out, the sound echoing in the intimate space as pleasure coursed through you. In that moment, it felt as if it were only the two of you in the world, lost in the shared experience of desire, connection, and the exquisite thrill of being on display for him alone.

Primo leaned back in his booth, the glass between him and you amplifying the thrill of the moment. Watching you was intoxicating, a sensory overload that consumed him entirely. The way your fingers glided over your skin, the gentle arch of your back, and the soft sighs escaping your lips stirred something primal within him. He couldn’t help but feel a surge of excitement as he realised how much he craved this—craved you.

His heart raced as he observed every intimate detail of your performance. The way you surrendered to your own pleasure, completely unguarded and exposed, ignited a fire deep inside him. He imagined what it would be like to join you, to feel your body beneath his hands, to taste the sweetness of your skin. The fantasy enveloped him, pulling him deeper into the realm of desire.

He watched as you dipped your fingers inside yourself, the sight sending a rush of heat through his veins. It was a sight he could have only dreamed of, and the knowledge that you were performing just for him heightened every sensation. Each thrust of your fingers seemed to draw him in closer, making him feel as if he were part of the scene, even from behind the glass. He could hardly breathe, caught between the beauty of the moment and the longing that surged through him.

Primo’s hand moved instinctively, mirroring your movements as he began to pleasure himself. He matched the rhythm of your fingers, the connection between you two electric. Every moan that escaped your lips was like a sweet invitation, urging him to give in to the raw, primal urge coursing through him. He imagined the warmth of your body, the taste of your skin, the sound of your breath—everything combined to create a world where only the two of you existed.

He could feel the tension building within him, an overwhelming urge to break through the barrier and claim you. The thought of being the one to worship your body, to push you to new heights of pleasure, sent shivers of delight down his spine. You were a vision of pure ecstasy, and the sheer thought of you belonging to him, even for just a moment, was enough to drive him wild.

As you reached the peak of your pleasure, the sound of your cries echoed in the small space, wrapping around him like a lover’s embrace. Primo’s own release was imminent, and he let himself be lost in the moment, caught in the exquisite blend of desire and satisfaction. The image of you, utterly consumed by your own ecstasy, pushed him over the edge. He closed his eyes, surrendering to the wave of pleasure that washed over him, feeling every pulse and throb as he gave in completely.

As the wave of pleasure crashed over him, Primo surrendered completely to the moment, his body tensing with the intensity of his orgasm. He watched as his release spilled forth, hitting the floor in rhythmic splatters that echoed softly in the intimate space. The sight was primal, raw, and it only heightened the exhilaration coursing through him. Each pulse sent shivers down his spine, a testament to the fierce desire that had been building within him since he first laid eyes on you.

But even as he rode the waves of his climax, his thoughts remained fixed on you. The scene was etched into his mind, the image of your body writhing in pleasure, fingers buried deep within yourself, and that glorious expression of ecstasy on your face. It was intoxicating, and as his heart raced and his breathing began to steady, he felt an even fiercer craving ignite within him.

Despite the release, his desire for you burned hotter than ever. He longed to touch you, to feel your skin against his, to taste every inch of you that had been laid bare before him. The throes of his orgasm only served to amplify the need that coursed through him—a desperate ache to possess you completely.

Primo could still see you, the way you were lost in your pleasure, utterly uninhibited and inviting. The thought of all the ways he could worship your body, of how he could take you higher, sent a fresh rush of need through him. He wanted to be the one to make you moan, to feel you quiver beneath him, to guide you to the brink of ecstasy time and again.

He leaned closer to the glass, a silent vow forming in his mind. This was only the beginning. The tantalising connection he felt—though brief—had awakened something within him that couldn’t be easily quelled. Each pattern his release left on the floor was a reminder of the intensity of the moment, and it made him crave you even more.

Even as he began to come down from the high of his orgasm, he knew one thing for certain: he wanted you. The fierce desire that coursed through his veins felt almost unbearable, a need that demanded to be fulfilled. The thought of you lingering in his mind, a haunting echo of what he had just witnessed, was enough to stoke the flames of his passion anew.

He wanted to know the taste of your skin, the feel of your body beneath his, and he could only hope that this performance was just a prelude to something far more intimate. For now, he was content to watch, but deep down, he knew that he would do anything to make you his—now and forever.

Prev./Next

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writingwithcolor · 1 year ago

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Japanese Q Speedround: Google Is Right There

Hi, it’s mod Rina. It’s time to speedrun some asks.

@troublsomeidiots asked:

I'm writing a character who is both black and Japanese and lives in japan in a primarily Japanese area and wanted some help in writing a person who is biracial who lives in primarily homogenous society? Like what kind of struggles she would face, especially as a person who has never met anyone who is black other than in passing?

Open Youtube. Hit search bar on Youtube. "being black in japan" "half black half japanese in japan" "black hafu in japan". Try different combinations of keywords. Bon voyage.

(neither Marika nor I are Black. We will not be speaking to experiences we do not have.) (we can outsource to some of our friends if you ask a specific question. These are not specific questions.)

(Black Japanese readers--please feel free to comment if there’s something you want OP to know!)

@layzeal asked:

Hello! I have a question regarding family/last names in Edo period Japan. My story takes place in 1816, my character was born in 1796 from a commoner family (that she gets separated from a few years later, and in a different country).

I've read that regular people in Japan didn't adopt the use of family names until Meiji restoration, but I'm not sure how true that is. Would a family of commoners in that period carry a family name, or would they only use their first names? And any idea if that family would have to present a last name when moving/passing by a different country that does use them?

It's important for me to know, since the existence of a last name or not would quite heavily influence how hard it'd be for the family to meet again, and which means would be used. Thanks in advance!

When I gave Google some keywords from your query, the second result explained how pre-Meiji commoners without family/clan names used bynames to distinguish themselves, and gives additional data on them. Maybe give it another Google?

@weavefeather asked:

Hello, I am a writer and I really need some advice. I am wotking on my book since a few years, maybe 2 or 3, and I finally got the points together how it could begin. My plan is that my MC (named Nanami Kudo) is an lawyer of the FBI and has to go to her homecountry Japan, beacuse they send her to foreign investigations about a syndicate of people..... And the some things happen, like her brother who still lives in jp doesn't really welcomes her, some complications with the police and so on...

But thats not the point! Im really struggling to take in words how she gets to the other country, leaving her home behind and her partner she worked with. Do you have any advice on it, maybe how to structure it, some words or scenarios that fit?

How she gets to the other country: …..She flies there.

How US government agents/workers relocate and what the experience is like: That's your job to google. We are not government agents. Try anecdata on reddit, reddit AMAs, and Quora.

It’s unclear what her relationship/proximity to Japan is. What kind of nikkei is she? Is she mixed race or monoracial? How much Japanese can she speak? So many unknowns. Go read our Japanese tag and appreciate just how many ways one can be a Japanese person. Until then, you are nowhere near close to being able to write a nikkei homecoming plot.

Lastly, you are the author. Give us scenarios yourself and come back to us.

In Conclusion

Guys, you all gots to google some more. It’s beneficial to both of us: not only do we get to help with more specific things and have enough info to do so, but you don’t have to wait months until your ask comes through the backlog only to receive an answer you could have researched in anywhere from a couple days to 3 minutes.

~ Rina

“But Rina, I don’t know how!”

You’re in luck!

First, try one of our own post on Google shortcuts.

Second, stay tuned for some very relevant posts...

COMING SOON: WWC’s A Beginner’s Guide to Academic Research

#japanese #mixed race #japanese diaspora #research #asks

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whencyclopedia · 4 months ago

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Tokugawa Tsunayoshi

Tokugawa Tsunayoshi (1646-1709) governed Japan as the fifth shogun of the Edo period (1603-1876). He has often been ridiculed as the 'dog shogun' because of the laws he enacted to protect the lives of animals. Economically, however, the period of his rule was one of prosperity, and culturally, it was one of the most brilliant in Japanese history.

Early Years

Tsunayoshi was the son of the third shogun, Tokugawa Iemitsu, by one of his concubines. Iemitsu died when Tsunayoshi was only five, and his elder brother Ietsuna (1641-1680) became the fourth shogun. Ietsuna himself was only ten when this happened, so power was in the hands of regents who governed on his behalf. In 1661, Tsunayoshi became the daimyo of the Tatebayashi domain in modern-day Gunma Prefecture. When Ietsuna suddenly died in 1680, Tsunayoshi became shogun. In his early years as shogun, Hotta Masatoshi (1634-1684) played an important role in running government affairs as he had done under Ietsuna. In 1684, however, Masatoshi was murdered by one of his relatives, and this provided Tsunayoshi with the opportunity to promote a number of his own supporters to important positions. From then on, government policies more closely reflected Tsunayoshi's own ideas. The period of his rule was one of cultural brilliance, but this was the result not so much of his actions but broader changes in Japanese society.

#History #1600 #17thcentury #AkoIncident #WHE #[#]

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utapri-translations-uuuu · 1 month ago

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Shinsengumi ~Zan'yō no Yukusue~ - Synopsis, Characters, Historical Background & Glossary

Do not retranslate/repost without permission.

Synopsis of the story

It was the end of the Edo period (Bakumatsu), when the times were beginning to change dramatically.

The Shinsengumi was created to restore order by expanding the shogunate's power once again.

What will be the fate of those who uphold a sincere heart and diligently speak of the future?

Characters

Kiryuin Van as Kondō Isami

Commander of the Shisengumi

Since childhood, he has held an extraordinary admiration for samurai. With his friendly and generous personality, he is highly trusted by his subordinates. He also possesses political skills, and even the upper echelons of the shogunate regard him as a sharp-minded individual.

Otori Eiichi as Hijikata Toshizo

Vice-commander of the Shisengumi

He has a personality that values discipline and often approaches others with a stern attitude. However, in some odd moments, he occasionally reveals an innocent side. He is also highly skilled at organizational leadership and excels in external negotiations, such as fundraising.

Otori Eiji as Okita Soji

Captain of the First Unit of the Shinsengumi

He is known for his gentle and kind demeanor. However, he is one of the strongest members of the Shinsengumi, and once he holds a sword, he can swiftly take down an enemy with his graceful technique. At times, he appears to have a somewhat philosophical outlook.

Sumeragi Kira as Nagakura Shinpachi

Captain of the Second Unit of the Shinsengumi

His swordsmanship is that of a master swordsman who has studied multiple schools, yet he is meticulous and engages in daily, steady training without overestimating his own abilities. Additionally, he possesses a single-minded dedication to relentlessly pursue his ideals.

Amakusa Shion as Saito Hajime

Captain of the Third Unit of the Shinsengumi

He has a mysterious aura and does not reveal much of his inner thoughts, but he harbors a deep passion within. He particularly respects the commander and vice-commander, and has a strong attachment to the Shinsengumi.

Mikado Nagi as Todo Heisuke

Captain of the Eight Unit of the Shinsengumi

He has a bright and straightforward disposition, and is known for speaking his mind about everything. He is considerate of his friends and always subtly attentive to his surroundings. In addition to his swordsmanship, he is also well-versed in academics, embodying the ideal of being well-rounded in both martial and literary arts.

Hyuga Yamato as Harada Sanosuke

Captain of the Tenth Unit of the Shinsengumi

Although he gives off the impression of being rough and uncouth at first glance, he is fundamentally a serious and kind-hearted person, well-regarded by those around him. He’s renowned not only for his swordsmanship but also for his mastery of the spear, often showing resourcefulness during battles.

Historical Background

Track 1→2→3

Bunkyū 3 (1863)

To Edo

To apply for the shogunate’s recruitment of soldiers, Kondo and others departed from Edo. It is said that the last to join among the seven was Saito.

The August 18 coup

The incident in which the anti-shogunate forces, including the Chōshū clan, were expelled from Kyoto. At this time, Kondō and others were dispatched, achieving notable accomplishments and earning the name Shinsengumi.

First year of Genji (1864)

Ikedaya Incident

This was an incident in which the Shinsengumi became aware of exiled anti-Shogunate factions trying to stage an incident to regain their power, and consequently carried out a purge.

Track 4

Keiō 3 (1867)

Restauration of power to the Emperor

The shogunate relinquished the political power it had held for a long time to the Imperial Court. However, the shogunate still sought to participate in the new government.

Aburanokōji Incident

This incident occurred as a result of a power struggle between a faction that split off from the Shinsengumi due to ideological differences and the Shinsengumi members that remained.

Track 5

Keiō 4 (1868)

Battle of Toba-Fushimi

The former shogunate forces rose up against the new government to restore the shogun's power. This marked the beginning of the Boshin War. The Shinsengumi also joined the battle as part of the former shogunate forces.

Battle of Hakodate

After engaging in battles across various regions, the former shogunate forces arrived in Hakodate, where they waged the final war. Also known as the Battle of Goryokaku. Hijikata and others participated.

Meiji 2 (1869)

Track 6, 7

Glossary

Headquarters (Tonsho)

The residence where the members of the Shinsengumi lived together. Due to becoming cramped, among other reasons, they relocated several times.

Lord of Aizu (Aidzu-kō)

It refers to Matsudaira Katamori, the daimyō (lord) of the Aizu Domain. He also served as the Kyoto Shugoshoku, a position established to maintain public order in Kyoto, and the Shinsengumi were under his command.

Rai San’yō

A Confucian scholar from the late Edo period. His work Nihon Gaishi (Unofficial History of Japan), which depicts the ebb and flow of the samurai class, was also a favorite of Kondo, who admired it so deeply that he even imitated the author’s handwriting.

Choshu Domain

A domain that was located in present-day Yamaguchi Prefecture. During the late Edo period, it became a stronghold for anti-shogunate forces that opposed the Shinsengumi, and was the site of a private school run by a prominent thinker.

Taijukō

This term refers to a shogun. It comes from ancient Chinese tradition. In this work, it mainly refers to Tokugawa Yoshinobu, who became the last shogun of the Edo shogunate.

Imperial Army

The military of the new government, which would later become the Meiji government. They aimed to overthrow the shogunate and establish a modern nation centered around the Emperor. Many members were from Choshu and Satsuma.

Boshin War

A war fought between the imperial army and the former shogunate army. It began with the Battle of Toba-Fushimi and ended with the Battle of Hakodate. It is the largest-scale civil war in Japanese history.

#uta no prince sama #utapri #translation #english #he★vens #heavens #drama cd #eiichi otori #kira sumeragi #nagi mikado #eiji otori #van kiryuin #yamato hyuga #shion amakusa #shinsengumi

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sevault-canyon · 2 years ago

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ms appleton was nowhere close to having total control over soy sauce: perspectives on food and postwar japan

there's a popular post going around this month by @inneskeeper about how a single person changed japanese soy sauce forever. i've made my own post showing why this the story is incomplete and based on some factual inaccuracies, but i will be honest in saying that i would not be so engaged in responding to this post if it were not wrapped in a shockingly reductive narrative. i'll use this quote from op as a summary of the general idea they're trying to convey:

[...] I think that it is incredibly important that more people in the world are aware that leading into the Cold War, Japan was forcibly coerced into giving total power over a significant cultural touchstone/ingredient/way of life to a single foreigner who had a complete lack of respect for what shoyu is, even going so far as to say "I want to change Japan's taste preferences". I cannot imagine a more direct and blunt parallel to settler-colonialism mindset. I truly cannot. [link]

i will attempt give a larger view of that era and convey why this singular view is at best oversimplifying and at worst an incorrect projection of other trends upon what is an almost unique event in history.

note: i am not an academic historian; i will do my best to provide sources, but they will mostly be secondary.

i will use the three i's presented by prof. ian shapiro of yale, interests, institutions, and ideals, as lenses through which i will provide a more holistic view of the events at hand:

tl;dr:

the united states did not have uniform interests entering the cold war and the occupiers had a varying set of visions for japanese society and economy.

both the japanese public, the american occupation, and the japanese civil government had a more important goal: preventing hunger. japan was not coerced into handing over a tradition; it was suffering the consequences of its own colonial empire-building.

both countries were interested in building a healthy consumer economy, and ultimately the tastes of the public held most sway.

the idea of "a guy" being in charge of things has been a common theme in american foreign policy, but the idea that "the guy" was singularly responsible for massive change belies american perspectives and biases that often misrepresent the truth abroad.

i - ideals

i think this lens is maybe the most sympathetic to @inneskeeper's narrative: it makes sense that a settler-colonial nation with a deep root of anglo-protestant self-righteousness and evangelical tendencies would want to impose its vision of society upon a defeated foe. that said, it is not the only ideology at play in this situation, from both japan and the usa.

let's talk about main value the united states likes to impose upon foreign societies: democracy capitalism. i think what is interesting here is that this single word can have multiple interpretations in practice, and we can use this soy sauce story to look at the diversity in opinion of what capitalism means.

first, a capitalism tied to liberal ideals: a free and open market without monopolies as a promoter of egalitarianism. this concept was brought to japan by many of the administrators in the american occupation that have previously observed or enacted roosevelt's new deal in the aftermath of the great depression. [1, p.57-58; 2, p.98] we see a focus on trust-busting and a strong aversion to any significantly concentrated capital. pre-war japan was dominated by structures known as 財閥 zaibatsu, vertically integrated groups that are helmed by a family-controlled holding company owning a set of subsidiaries in banking and industry with interlocking stock ownership and directorship. the zaibatsu structures, emerging since the late edo and early meiji periods, have become inextricably linked to building the japanese imperial war machine (though somewhat forcibly). [3] on the american side, as a result, certain american elements viewed trust-busting as a way to democratize japan through the economy. [2, p.34; 4, p.19; 5, IV-2b] this included maj. gen. marquat, ms. appleton's boss at the ghq/scap economic and scientific section (ess). [4, p.31] japan's first postwar prime minister, shigeru yoshida, and his ministry of foreign affairs, seemed to agree with the deconcentration of capital. [4, p.20] this is not to say that the americans were particularly sympathetic, as gen. macarthur and others were quite convinced of the japanese population's inability to shed its feudal tendencies; rather, the americans found an opportunity to build a new liberal, democratic society to their liking. and yes, there was some punitive intent; the united states and allies did just finish fighting an 8-year-long war against an expanding empire. [4, p.30]

opposite the liberal view is the conservative, if not pragmatic, ideal of capitalism: as a bulwark against communism. japan was an industrialized nation with a developed economy, and as far as the looming cold war is involved, the united states wants both a healthy consumer economy and one that is integrated in the new world economy (i.e. one with american interests as stakeholders). [4, p.31-32, 44] if "deconcentration" of capital, as it was called by the occupiers, were to run its course, some americans (and lobbyists linked to japanese industry) feared that japanese society would be thrown into chaos, or worse, the rapprochement with the soviets under a socialist economy. [4, p.22, 32] the victors did initially break up many of the tightly-woven zaibatsu, but the overall health of the economy was eventually prioritized as a bulwark against communism, thus the number of zaibatsu slated for dismantling was reduced, and the main deconcentration proposal (FEC-230) was disavowed. [4, p. 32]

all this debate within the american occupation, plus some interjections from the japanese business community, about the nature of the rebuilding japanese market and economy was held from 1946 to 1948. this culminated in the "reverse course," in which cold war objectives won out in occupation policy, though the free market as a liberalizing principle was not discarded. [4, p.44-46] in the same space, there existed both a punitive drive to disperse the old japanese economic engine and a desire to build a new, genuinely local, consumer society as a protection against communism.

“Nothing will serve better to win the Japanese people over to a peaceful, democratic way of life than the discovery that it brings rewards in the way of better living and increasing economic security.” - col. r.m. cheseldine, u.s. war department [4, p.44]

it is important to distinguish this from the colonialist drive, which is to capture markets and resources for the sole benefit of the homeland.

in the context of soy sauce, the release by ghq/scap of american soybeans to japan was announced in 1948, after the reverse course has taken hold. [6, p.157] in addition, kikkoman was not even a zaibatsu, it was a company with roots in family ownership, vertically-integrated structures, and eventually found to engage in monopolistic practices, but was not of a large enough scale or diversification to qualify. [7, ch.3] the list of zaibatsu is actually quite limited. [wiki] all this meant that the anti-trust case brought against noda shōyu k.k. (kikkoman's predecessor) in 1954 in the tokyo high court is an entirely domestic affair (scap handed over power in 1949 and the position was abolished in 1952). [8, p.53] that said, the 1957 ruling against noda in noda shōyu k.k. v. japan fair trade commission (jftc) was the result of an aberrant and unfavourable reading of the act on prohibition of private monopolization and maintenance of fair trade, article 3; the act was passed in 1947, when scap was in power. [8, p.53] since article 3 is quite short ("an enterprise must not effect private monopolization or unreasonable restraint of trade."), it was open to wide interpretation, leading to the argument by the jftc that price-fixing as a leading player in an industry constituted monopolistic behaviour. [9] in that sense, we can see echoes of the debate around monopolies from the occupation era.

through the lens of ideals, we can see that in the periphery of this story, there is a friction between competing visions of capitalism in practice. in that sense, while it agrees that the usa had some desire to reshape a foreign country to its own ideals, it also shows how @inneskeeper's narrative unduly reduces the american occupation to a singular actor with singular motives, and one that is akin to colonial empires in other parts of history.

research questions:

did american attitudes towards monopolies affect the free distribution of semichemical fermentation methods? [6, p.160]

what direct links can we make between occupation-era attitudes towards monopolization and japanese governance regarding the food industry?

ii - institutions

from the point of view of institutions (i use the term loosely), it's a lot more apparent how the situation has a lot more factors flowing in many directions. i will largely focus on three structures: the japanese food industry, the allied victors, and the japanese civil government.

when discussing the food industry, it's important to note that this is what sustains the inhabitants of a place; while condiments are a trivial part of sustenance, the way it is made and its ebbs and flows and shed a lot of light onto the needs of people. japan, since the early 20th century, had been a country that could not sustain itself off the resources of its home islands. as a colonial empire, it relied on food imports from korea and taiwan, and in the 20s and 30s pursued the low-lying plains of manchuria (northeastern china). this reflects in its soybean consumption as well: japan consumed about 1 million tons of soy each year in the 1930s, and at least two-thirds of it was imported from the colonies or manchukuo (the puppet régime ruling machuria). [10] within what we now call the "home islands" of japan, hokkaido, the one remaining settler-colony of japan to this day, produces the most out of all regions. [11, p.4]

(time for some math: [10] states that about 949 000 tons of soy sauce was consumed in japan per year in the mid-1930s. a quick look at soy sauce recipes reveals that 1kg of soy produces about 4 litres (and assuming about 4kg due to density of water) of sauce. with the 4:1 ratio, we can therefore estimate that about 237 000 tons of soy was used per year to make sauce immediately before the war.)

the end of the japanese empire meant losing direct access to those production areas: manchuria was returned to china, and korea and taiwan were placed under various allied (usa, china, ussr) administrations. with japan needing to supply its troops over an ever-growing front line, caloric intake by the average japanese already dropped well below necessary levels for an adult by 1944. [12] by 1946, the defeated nation was at the brink of starvation. american analysis towards the end of wwii determined that soybean production in the home islands could not rise beyond its pre-war levels without sacrificing other land use. [11, p.5] in order to survive, the soy industry needed to replace about 70% of its sources in short order without encroaching upon other agricultural sectors necessary to sustain life. there was immense pressure.

regarding the allies: the japanese empire was largely carved up by three victors, china, the ussr, and the usa. the ussr, having been the least active in the defeat of japan, with its most important contribution being the verbal threat of invasion, was not actively threatening aside from the spectre of spreading communism (as mentioned in part i). china, on the other hand, regained the lands that produced much of the food japan was consuming. while the republic of china (ruled by the kmt) was still in power, it was able to continue supplying food to neighbouring nations. [14] however, civil war broke out between the kmt government and the communists almost immediately after the end of wwii. [13] 1948 saw active fighting in northern china, thus hampering any exports of food; the kmt régime collapsed and fled to taiwan in 1949, and the communist government stopped all trade with the western bloc at the outbreak of the korean war in 1950. [14] with china being unable to supply japan, there is only one remaining option for food imports: the usa. soybean imports in the usa was generally coordinated by the garioa program and through private trade. american exports of soybean to japan skyrocketed from 6000 tons in 1946 and 34600 tons in 1947 to 119500 tons (about 12% of pre-war consumption) in 1948, 152500 tons in 1949 (almost all imports to japan that year), and 305000 tons in 1950. [15, p.67, 69] japan itself likely produced between 300 000 and 450 000 tons of soybeans each year, which meant that in 1947-48 japan was consuming definitively less than two-thirds of its pre-war consumption. the soy industry as a whole, and certainly the soy sauce industry, was in a desperate state.

unlike the collapsed german and italian régimes, the japanese government retained a functioning structure after the rapid end to hostilities in the pacific theatre. [16, p.194] this meant that instead of being tasked with the groundwork of running a country, the allied powers had an existing civil government to administer directives and policies; the u.s. eighth army served as an enforcement and reporting arm of scap. [16, p.195-197] during the war, from 1939 to 1942, the imperial government instituted various food control laws that collected and distributed food from producers under a quota system. [17, p.221] such quotas, as as well as rationing, persisted in the immediate months after allied victory. however, with the surrender of japan, public confidence in the government plummeted, significantly hampering its ability to administer food. the average caloric value of rations in tokyo could only fulfill about a third of an adult's needs; hungry city-dwellers increasingly opted to buy on the black market (which had poached imperial military stock) or physically go to the countryside to acquire food directly from farmers outside of government rationing. [18, p.30-31; 19, p.835, 843] scap policy directed the japanese government to "reinstate" agricultural quotas, and in 1946, it issued the emergency imperial food ordinance which empowered government expropriation of food for the production quota and enforcement of such policies; the u.s. eighth army participated in enforcing the policy within the civil administration. [17; 18] the yoshida government,the first democratically elected administration in the new state of japan, was keenly aware of the necessity of food in rehabilitating japan, as well as the importance of competing against the black market in order to once again establish the rule of law. [18] as such, the tight government control of domestic food production lasted much longer than in other industries, causing pressure for "non-essential" segments like the seasoning industry.

(as an aside, in line with certain ideas discussed in part i, scap directed land reform which redistributed much of the arable land in japan, increasing productivity of land and eliminating the interest of large landowners thought to be threatening to democracy. [18])

as discussed in my previous post, chemical alternatives to fermented soy sauce have been developed since the early 20th century. [6] during the war, substitute methods (especially amino acid-based ones, e.g. hvp or mixed hvp-honjozo) replaced fermented honjozo* methods as resources became more scarce. [20]

*honjōzō (本醸造) means "genuinely fermented".

in early 1948, it was announced that 20 000 tons of soybean meal would be made available by the eroa fund for the purpose of making seasonings, to be allocated by ms appleton at ghq/scap. [14; 6, p.159] this amount is only about 10% of the soybean consumption of soy sauce manufacturers before the war. on the surface, for an industry marginalized by the need to stave off starvation and maintain social stability, securing the imported soybean meal can be seen as a life-or-death situation. however, given the wartime state of sauce production, the struggle to acquire the soybean meal is more akin to an attempt to return to fully soy-based fermentation methods. the invention of the semichemical #2 method which increased soy usage productivity and secured most of the soybean meal for the soy sauce industry can be seen as a faster intermediate step to return to traditional fermented methods used before the war. it's also important to note that over 80% of soy sauce in japan has returned to traditional honjozo production, and that large companies such as kikkoman and yamasa have attempted to return to honjozo methods as early as the late 1950s. [20]

from this point of view, it does not seem particularly apparent that a single administrator had the power to change an industry, but rather her decisions were the impetus for developments to happen within the domestic industry. ultimately, japan's soy sauce industry was suffering the consequences of its industrialization and the failure of its colonial experiment. in a wider view, we can see this as a detail in the friction between two imperial projects. (consider this: out of the major parties involved, japan, china, usa, ussr, and other minor players in the pacific war, gb, netherlands, france, all of them entered the 20th century with imperial projects.)

research questions:

are there japanese sources that can verify production and imports during the 1940s?

there was a soy sauce control corporation formed by the imperial government in 1942 (全国醤油統制株式会社) that dictated resource allocation and quotas for the soy sauce industry. it seemed to have only been dissolved in 1948. what was its role after the war and what relationship did it have with scap?

iii - interests

as for interests, i will limit its scope to answering "who materially benefits." the groups at play are generally the same as the previous part, so i will be brief in elaboration.

the most obvious interest is that of the japanese public: their main material benefit in the late 1940s is to be nourished enough to stay alive (see part ii). while soy sauce is an important part of japanese cuisine, as a condiment, it is a nutritionally trivial part of its diet. it is then understandable, that japanese society and scap would be willing to temporarily sacrifice an immediate return to traditional production in favour of methods that would leave more food for direct consumption.

the next interest to discuss is that of the soy sauce industry, and its desire to return to honjozo (traditionally fermented) production after a period of scarcity during and after the war. it is important to note that regarding the 20 000 tons of soybean meal to be allocated by scap in 1948, the competitor to the soy sauce industry for those resources is the amino acid industry (msg, etc.). [6, p.159] with soybeans hard to come by, the soy sauce industry would have been under immense pressure to aquire the soybean meal distributed as aid. with kikkoman's development of semichemical #2 method, the scap decisionmakers reconsidered an earlier uneven distribution of soybean meal in favour of the amino acid producers. [6, p.160] what resulted next was talk between representatives of the two competing industries, facilitated by the americans. [6, p.160] it is important that taste trials were conducted, with wide support for the new semi-chemical method by the polled public. [6, p.160] at every step of the decision-making process, japanese interests were consulted by scap.

it is also important to mention the "japan lobby" in washington a set of interest groups and lobbyists representing japanese business as to illustrate the bidirectionality of influence in postwar japan. [21] this group arose from the aftermath of the first zaibatsu dissolutions. some key achievements of their advocacy activities include the disavowal of the fec-230 policy proposal from the allied powers (against gen. macarthur's wishes!), and adding revisions to scap's economic deconcentration program. it is plausible that this lobbying set had influence with scap and washington regarding soy sauce, given the tight-knit nature of the japanese business class. that said, the direct link between the japan lobby and soy sauce, should it exist, necessitates further research.

i think it is necessary to analyze from the lens of interests @inneskeeper's claim of the united states occupation forcibly seizing and making changes to a traditional food industry. it is known that the united states seeks to build a strong consumer economy that is open to american investment and imports of american products. [18, p.40] given that the soybean meal managed by scap in 1948 was aid, it would've been in the american interest to support either industry, since they would both eventually rely on american imports once the period of scarcity ends (china would soon cease ot be a reliable exporter of food). there is nothing related to soy sauce that would've been against american interests, business or political, whereas food scarcity has been a real problem facing the japanese and allied administration. in this case, the chief american interest is to stabilize japan as a society against two perceived social enemies: communism on the left and a renewed militarism borne of resentment on the right. with the task of placating a hungry and defeated populace, producing large amounts of soy sauce that is palatable to the public using minimal aid material would be an interest in and of itself for the americans. i think it could be argued whether comments made by americans about how easily japanese tastes can be swayed are insensitive and out of line, but it is also true that the public had much more pressing needs than condiment purity.

@inneskeeper also mentioned the yakuza in some of their posts as a possible interest group involved. the informal economy grew to encompass all strata near the end of the war and immediately afterwards; most urbanites were forced to use the black market to stave off hunger. [19] the yakuza, mafia-like organizations that would operate somewhat openly in the decades before the war, entered the fray as groups that managed informal vendors. [22, p.632] racketeering became rampant in the years immediately after japanese surrender due to shortages and irregular flows of necessities such as food, but as the economy recovered entering the 1950s, the yakuza moved to more conventional underworld enterprises such as as gambling, prostitution, and nightlife. [22, 23] it also moved towards the underbelly of political life, becoming an actor in anti-left politics. [22] we know that the changes to soy sauce production happened in the small window between the end of the war and the earnest start of economic recovery, so it is possible that parties involved would have to deal with the yakuza as a necessary source of material. however, since their sights are set on the industries traditionally associated with the underworld, it would be a stretch to say that they had any real say in the proceedings of this development beyond being one additional obstacle to the soy sauce industry in acquiring ingredients. that said, using a singular product can be very useful as a window into how the yakuza may have coerced informal food distribution channels.

research questions:

what specific outcomes were agreed upon at the "shoda-ouchi conference" between the soy sauce and amino acid manufacturing industries? [6, p.160]

how did the japan lobby affect or facilitate changes in the soy sauce industry?

how did the yakuza affect the informal food economy?

iv - individuals

one thing that made the original story by @inneskeeper so appealing to the tumblr public is the proposition that a single person may have changed japanese soy sauce forever.

it bears repeating that major industrial changes (and i would challenge the categorization of this soy sauce happening as "major" in comparison to the general state of japan in the 1940s) are often the culmination of many small decisions from a wide set of actors. what is interesting about the idea of a singular "manipulator" is that it mirrors a common trope in american foreign policy: the idea of "our guy" (e.g. "our guy in afghanistan" [24, p.277], "our guy in panama" [25], etc.), that is, a singular handler for american interests in a foreign theatre of operations. in this case, since the country at hand is managed by an american occupation, "our guy" in the japanese soy sauce industry is an american, ms. blanche appleton. while american policy sometimes prefers to use this paradigm, it does not necessarily mean it works, not is the wishful american imagination correct when it comes to situations on the ground (see citations above). this trope may also possibly be borne of the oft-cited concept of "american individualism," a value that is as much a contradiction (how can a single person be free to change the world as they see fit, while also live in a world free from the will of others?) as it is a real part of american culture.

in the faulty narrative of ms. appleton, we also see a similar contradiction: how can a foreign woman who is allegedly willingly unfamiliar (as it turns out, probably not true [6, p.160]) with the native culture be in total control of an entire element of its cuisine? what is the meaning of "total power": did she personally decide taste profile of the condiment to her tastes, coerce various native parties to the will of the americans (what will?), or facilitate the solution to a complex resource distribution problem? in any case (except the fancifully implausible first case), what is the singular role of ms appleton? did power flow from her, or through her? perhaps a more interesting way to look at this problem is to ask what would have happened if someone else were in ms. appleton's place. would their personal influence be significant enough as to change the outcome? if so, what would have been the extent of the changes? (we can maybe look at the facilitation of the "shoda-ouchi conference" as one point. [6, p.160]) conversely, what would have remained the same as the various parties involved influenced the situation?

a more helpful view is to see the balance between the ideas, institutions, and interests behind each decision that would paint a more complete picture of this historical era. perhaps it is not as flashy to break down a chapter in culinary history as the convergence of multiple influences, but it is the one that does history most justice.

discussion questions

this is for the test

how significant was the dearth of food in late 1940s japan to this situation, and what similar adaptations of food cultures occurred in other post-wwii nations?

what factors from imperial japan, whether before the sino-japanese war or during the war, influenced this situation?

is there any part of this development that forshadows the economic rehabilitation and subsequent growth of japan in the latter half of the 20th century? if so, how?

what american attitudes were at play in this situation, and what japanese attitudes (if you're familiar) were involved as well?

what influence did china, as the originator of soy sauce, a major source of food in east asia, and a significant allied power, have on postwar japan and how did it influence the development of the japanese variants of soy sauce?

what was the influence of the japanese public's tastes?

bibliography:

apologies for the weird mix of ieee inline and mla bibliography formats, ieee works best with hypertext but doesnt make much sense for non-stem subjects.

Allinson, G. D. Japan's postwar history, Ithaca, NY: Cornell University Press, 2004. [link]

Moore, R. A., & D. L. Robinson. Partners for Democracy : Crafting the New Japanese State under MacArthur, Oxford, England: Oxford University Press, Incorporated, 2002. [avail. at libraries]

Okazaki, T. “The Japanese Firm Under the Wartime Planned Economy,” in The Japanese Firm: Sources of Competitive Strength, edited by M. Aoki and R. Dore, Oxford, England: Oxford University Press, 1994. [link, requires academic access]

Sugita, Y. Pitfall or panacea : the irony of US power in occupied Japan 1945-1952, New York: Routledge, 2003. [avail. at libraries]

State-War-Navy Coordinating Committee. United States Initial Post-Surrender Policy for Japan (SWNCC150/4), 1945. [link]

Oguri, T. "醤油製造技術の系統化調査 Development of Soy sauce Manufacturing Technologies" in 国立科学博物館技術の系統化調査報告, Tokyo: National Museum of Nature and Science, 2008. [link; translation of excerpts in an earlier post]

Fruin, W. M. The Japanese Enterprise System: Competitive Strategies and Cooperative Structures, Oxford, England: Oxford University Press, 1994. [link]

Haley, J. O. "Marketing and Antitrust in Japan" in Hastings Int'l & Comp.L. Rev. 51 Vol. 2 No. 1, San Francisco: UC Hastings Law, 1979. [link]

Japan, National Diet. Act on Prohibition of Private Monopolization and Maintenance of Fair Trade (Act No. 54 of April 14, 1947), Tokyo: National Diet, 14 Apr. 1947 [link]

Nakamura, H. "The Japanese Soybean Market" in Illinois Agricultural Economics Vol. 1, No. 2, Milwaukee, WI: Agricultural & Applied Economics Association, 1961. [link]

United States of America, Tariff Commission. Japanese trade studies : special industry analysis no. 13, Washington, DC: Government Printing Office, 1944-45. [link]

United States of America, Strategic Bombing Survey. Summary Report (Pacific War), Washington, DC: Government Printing Office, 1946. [link]

Crisis, Time, 1944. [link]

Hirano, M. "Using American Soybeans in the Japanese Economy" in The Soybean Digest Vol. 12 Iss. 11, Cleveland, OH: Penton, 1952. [link]

United States of America, Department of Agriculture, Foreign Agricultural Service. United States Farm Products In Foreign Trade, Statistical Bulletin No. 112, Washington, DC: U.S. Department of Agriculture, 1953. [link]

General Staff of Gen. D. MacArthur. Reports of General MacArthur - MacArthur in Japan: The Occupation: Military Phase Volume I Supplement, Washington, DC: Center for Military History, 1966, reprinted 1994. [link]

Smith, H.F. (Chief, Food Branch, Price and Distribution Division, ESS, SCAP) "Food Controls in Occupied Japan" in Agricultural History Vol. 23, No. 3, Durham, NC: Duke University Press, 1949 [link]

Fuchs, S. J. "Feeding the Japanese: Food policy, land reform, and Japan’s economic recovery" in Democracy in Occupied Japan: The U.S. Occupation and Japanese Politics and Society, edited by M. E. Caprio and Y. Sugita, New York: Routledge, 2007. [link]

Griffiths, O. "Need, Greed, and Protest in Japan's Black Market, 1938-1949" in Journal of Social History Vol. 35, No. 4, Oxford, England: Oxford University Press, 2002. [link]

Oya, Y. "みそ製造業の構造変化とその要因" in 食品経済研究第30号 (Bulletin of the Department of Food Economics, Nihon University), Tokyo: Nihon University, 2002. [link]

Schonberger, H. "The Japan Lobby in American Diplomacy, 1947-1952" in Pacific Historical Review Vol. 46, No. 3, Oakland, CA: University of California Press, 1977. [link]

Siniawer, E. M. "Befitting Bedfellows: Yakuza and the State in Modern Japan" in Journal of Social History Vol. 45, No. 3, The Hidden History of Crime, Corruption, and States, Oxford, England: Oxford University Press, 2012. [link]

Hill, P. B. E. The Japanese Mafia: Yakuza, Law, and the State, Oxford, England: Oxford University Press, 2003. [link]

Blaxland, J., M. Fielding, and T. Gellerfy, Niche Wars: Australia in Afghanistan and Iraq, 2001–2014, Canberra: ANU Press, 2020. [link]

Kornheiser, T. "Noriega Our Bountiful Nation" The Washington Post, Dec. 22, 1989. [link]

#the mysterious appearance of miss appleton #voice of the canyon

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every1sno1fangirl · 1 year ago

Text

Had some thoughts about the history and foundation of the Human Village

These thoughts came about after researching what the literacy rates and societal organization would have been like for rural Japan, and springboarded from there about the other implications it should have on the Human Village because of what village life in Edo period and early Meiji Restoration era Japan was like. If I'm wrong about anything here, feel free to correct me on it please! These were just my observations:

Essentially, the Human Village does NOT match those expectations.

Namely, the Human Village does not have strong leadership despite how utterly impossible that would be if the village existed before the erection of the Great Hakurei Barrier.

We know that this is by design—if the humans had strong leadership, it could pose a threat to the balance of Gensokyo because then the Youkai could be eliminated by a strong enough organizational force. But it wouldn't explain away how the village came to be this way. In the Edo period the organization of Japanese society under the bakufu made this an utter impossibility.

For a summary of sorts, it's important to understand that the organization of Feudal Japan was not anything like the organization of Medieval Europe. Instead of administration being done directly by the lords for instance, the villages themselves were self-administrating. Before the Edo period Samurai did administer the villages, but the Separation Edict of Toyotomi Hideyoshi changed that and created a strict separation of the classes. Gone were warriors who became farmers who became warriors; he outright forbade it. They had two options: remain as samurai and move to the castle towns of their daimyos, or abandon their swords and become peasants. There were a lot of reasons for this (So a centralized government could be created, so the populace was easier to control, etc.) but it created the quirk of the those who chose to remain becoming wealthy elites who could leverage their education as the upper class of their villages and maintain control over them and those who left for the castle towns no longer being primarily warriors, but rather government bureaucrats. Since the villages were now self-administrating, literacy was more widespread among the peasant class as well because they had to manage their lands directly; most farmers actually owned their own farms for instance. And they weren't taxed individually, but rather on the village level. Meaning a 'headman' had to be chosen among these village elites (how they were varied wildly) to keep track of everything and distribute the tax burden. I could talk more about that but the more important thing about this is is that it basically created a lot of local power in the villages themselves, born out of necessity.

The Human Village in Gensokyo does not have a strong amount of power. This is explicitly by design as noted by various youkai like Mamizou and Aya. If the humans had a strong leadership, it would pose a threat to the youkai and thus the balance of Gensokyo as a whole.

While society would become structured in a different way with the Meiji Restoration and it's effective abolition of the samurai as a class, and it would bring many changes to the peasantry, things largely remained the same for them as they did in the Edo period in the early years. The same people would have held power in the villages for the most part, and Gensokyo itself, having existed for a few hundred years beforehand, only became separated from the rest of the Outside World in 1885—only 17 years after the Meiji Restoration. Furthermore, this is even something that Miko comments on after her resurrection—she's astonished at how flat the social structure is of Gensokyo and particularly how the human society exists. (I'm told she talks about it a lot in SoPM but as I haven't read that myself, I will not address it in great detail)

So how the hell does the Human Village not have a strong central leadership? The closest thing we have to that is the notable mention of the Hieda family and Akyuu's role in the village. And it is incredibly important to emphasize that the Hiedas are not samurais, ex or otherwise. The actual Hieda no Are, Akyuu's real life inspiration and her original reincarnation, existed in the year 712. This is over 400 years before the samurai as a class rose to any power. The Hiedas are prominent because of the Children of Miare themselves, not on their own.

It is my belief that the Human Village did not exist prior to the erection of the Great Hakurei Barrier. I believe it makes a lot more sense for it to be a (relatively) recent creation that came about during it's formation. It was already inferred as being fairly artificial in a lot of ways—like it's unusually large size, and it's self-sufficiency and previously mentioned lack of leadership—but I believe that logically it's very formation has to have been artificial as a result.

To support this, we know from the prologue to PCB that youkai exterminators settled in Gensokyo but at the very least, their practices did not pass on those who now live in the Human Village. While the village does produce the occasional youkai exterminator—notably the Hakurei Shrine Maidens of Reimu's lineage—their practices certainly didn't pass on to the village as a whole. And again, there is no central power in the village because of the threat they would be to youkai so youkai exterminators certainly aren't that.

And then there are other things, such as this interview from SCoOW where we are told the know the following about Okina, one of the Sages who created Gensokyo in the first place (In what is also incredibly based about ZUN):

It doesn't confirm that the village was created for that reason but it certainly adds weight to the idea, that even before one acknowledges that it's population is made up at least in part of the occasional outsider who gets Spirited Away and never returns, the population certainly wasn't 'naturally' formed.

Furthermore ZUN did some writing about Mayohiga in Gensuo Narratograph. It is a doujin TTRPG and published as much so anything contained within cannot be treated as hard canon, but he did write significant portions of the book (And was one of the players in the 'Examples of Play' section which is over a 100 pages long, because Japanese TTRPGs and how they are written is utterly fascinating). Namely, descriptions for locations. What did he write about Mayohiga? Well...

Only that it was "a private estate that existed before the Human Village’s founding, and was abandoned afterwards".

Which leads directly into my theory. Namely, my belief that the Human Village was created at the same time as the Great Hakurei Barrier as a result of the other villages in Gensokyo being artificially consolidated into one.

Gensokyo itself existed before the establishment of the Great Hakurei Barrier after all—it was originally separated from the rest of Japan by the "Barrier that divides Reality and Fantasy" that was created roughly four hundred years before the Hakurei Barrier. Humans certainly lived across scattered settlements such as Mayohiga—regardless if one acknowledges the specific details in Gensuo Narrograph as 'canon' or not—and we know as much because of the prologue in PCB. There had to be humans living there prior to the establishment of the barrier.

But they didn't have to have lived in what is now known as the 'Human Village' then.

If you think about it, it's really quite simple. The plan really only works if you start everything from 0 with the humans who will now be living in your closed system anyway. Established power structures needed to be eroded so the humans were easy to manipulate and their influence neutered, and starting with the humans already there just makes more sense. The region Gensokyo is speculated to be in is roughly what was recognized as a rural nothing-notable-there-at-all region at the time to boot.

The reason why there is no strong leadership of wealthy elites in the village now is because there was never any to begin with. Because when the Great Hakurei Barrier was created, the youkai came together and created some kind of calamity that ran the humans out of their villages and destroyed their homes, leaving nothing remaining but ruins like Mayohiga. I can only speculate as to what those calamities or disasters may be, but the end result was making it so the humans started over at zero in one, safe place where they were all relatively equal...And without any of those wealthy elites to muck it up and gather their power again. There is no better way to put it, but in all likelihood, they were likely excised as a result.

Which is why the most famous people there, the ones with the most amount of incredibly meager power and control that persists through generations—political power so meager that the villagers can go around their backs and hassle the shrine maiden into essentially breaking up their parties symposiums because it makes them uncomfortable—is the family of the obscure dustbin-of-history Hieda no Are's reincarnations.

Furthermore, this creates some interesting implications about Keine Kamishirasawa. In BAiJR it is mentioned that there is a 'secret society' with the aim of tracing the beginnings of the human and youkai in Gensokyo and discovering the secrets of such things. While a village that has existed for a very long time would certainly have it's founding fade from memory, this same village would have the previously mentioned powerbase and existing elite class as well.

No, it makes more sense if the Human Village was itself founded as part of the calamity and the nature of it—as well as those other villages—was forgotten.

Keine has the power to eat (and create) history. She uses this in Imperishable Night to make it so the village effectively disappeared by making it as if it had not existed there in the first place. Akyuu also had this to say about Hakutaku in PMiSS:

This poses an interesting thought about her role as a Hakutaku. Is it possible that she revealed herself when the new village was founded and in her own way, fulfilled that role as a hakutaku? Did she create this new favorable history by erasing the unfavorable histories that came before of those merchant families and established villages? (I wonder what they would have tasted like...) While I wasn't personally 100% confident in the idea that Keine is roughly at least 140 years old and would have been around back then when writing this, it is certainly a possibility and one I actually like the more I think about it. It certainly explains her absolute loyalty to the Human Village and simultaneous condemnation of any talk about driving the youkai out of Gensokyo or even just mere investigations into the history of the village itself. Why, I bet that secret society, as is only appropriate, is made up of the descendants of those powerful families! They know that something is wrong with the world but they don't know what! In the deepest, darkest parts of their mind they still remember! The truth will come out! They will reclaim their birthrights after vanquishing the evil youkai and...

Alright, I'll stop pretending to be like Aya now. She wouldn't even necessarily have to be that old either; she can obviously conceal the history of things that existed before she did, even if I'm pretty certain now that she's older than the Great Hakurei Barrier the more I think about it. I merely think it would have been remiss not to consider both her status in the village and the connection she has to certain aspects of its politics—that of its relationship to youkai and the humans not knowing their own history—in relation to this theory. If she isn't that old, her hakutaku-ness was an acquired condition—she might have possibly inherited it from the person who previously filled this particular role in the maintenance of Gensokyo.

All in all, it is my belief that the Human Village simply must be an artificial construct created simultaneously with the Great Hakurei Barrier and it explains so many of it's various strange quirks and otherwise impossible to logically deduct peculiarities, making it truly worthy of it's inclusion into the fabric of Gensokyo's strange history. Of course the Human Village is weird and it's foundation itself shrouded in mystery—it's only fitting!

Hey, do you think that means the village itself could be a youkai?

How spooky...

(Of course, the far more likely answer is that ZUN did not put nearly as much thought into it as i have, but that isn't as fun, now is it?)

#touhou project #effortposting #keine kamishirasawa #hieda no akyuu #the human village is a weird place if you think about it #thanks to touhou spec hell for helping me formulate some of my thoughts I appreciate it

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