#for shizuka's sake

[dragonpigeons]

#OC_tober Day 4: Daily Life

Shizuka lives her life routinely. She wakes up and goes to bed at the same time every day (exceptions would be late night cramming during exam period). Her day to day life is very well organised and she sticks to her weekly schedule pretty much like clockwork.

One thing that's missing is that around 9PM she does her stretches and gets ready for bed.

[helmetjellyfish]

there wasn’t a convenient way to put this on my last post, but ryou notably refers to his mom as ママ (“mama”), as opposed to お母さん (“okaa-san”) or 母さん (“kaa-san”) which mahiro and koutarou use respectively when speaking to their mothers. it’s the same as what nagisa uses for nagiko and carries a more familiar/childish connotation.

[koushirouizumi]

{H.O.L.I.C R.E.I} ~ WATANUKI's T E C H N I Q U E s & HARUKA Dōmeki + B U T T E R F L Y O B I Yuuko & Shizuka Dōmeki (Referenced Same Scene)

"THE P O W E R Was S l e e p i n g IN YOU

FROM THE B E G G I N I N G"

"Because {That} was {"N E C E S S A R Y"} FOR ME ... TO {I N H E R I T} The {Shop}."

"...Maybe because {THAT PERSON} SEALED {YOUR POWERs}"

"P O W E R Thats Too S T R O N G DOESNT ALWAYS BRING H A P P I N E S S." "Its MUCH MORE COMMON that it ONLY CALLS D I S A S T E R

THATS the F I R S T T H I N G You TAUGHT ME, HARUKA-SAN"

"Nevertheless, THOUGH...?" "Nevertheless, YES."

"MY SHIZUKA is OBSTINATE, but YOU'RE Considerably So Too" "{Dōmeki}'s much worse." "Ha ha HA..."

(Immediately after referencing SHIZUKA & comparing Watanuki's 'obstinate' nature TO SHIZUKA): "I MET {THAT PERSON} O N C E" "IN A D R E A M"

"{THEY} TOLD ME--"

"You musn't do anything to make {THEM} Cry, Then."

"YOU UNDERSTAND that besides {THE S H O P} You're {"Proceeding"} {DYING}, RIGHT?"

"... YES."

{Cap by Me} (Please ASK to Use)

[kowaindar0u]

Yes I did, Yuichi thinks affectionately. If it makes you this happy.

He watches the naginata with a smile, and once he's scooped in enough coffee, he points to the top flap on the coffee pot. "Now we just close the lid, and press that button--" he points to said button. "--and then we wait. We're doing a single drink's worth, though, so it should only take a few minutes."

But, why simply sit there?

"Though we could start gathering the rest of the stuff. Let's see."

Yuichi opens one of the top cabinets, going for the sugar. It's quite high, though. Normally, he'd use a stepstool, but...

"Ah, Shizukagata," he steps aside. "We need the sugar, but I can't reach it. Could you get it down while I get the rest from the fridge?"

Shizuka brightens up considerably, clapping his hands together and rocking on his heels. "Saniwa-sama! You didn't have to humor me like thaaat ... ehehe." ♡

All things considered though, Shizuka does look much happier. He takes the coffee scoop and pours out the portions, looking down to Yuichi for further instructions.

He looks expectant, like Yuichi should pat his head and say good boy. Not that he would.

[bluntloyalist]

didn't want to come across as passive aggressive putting this in the reblogs so here's a separate post about my thinky thoughts on she/her tsubaki. mainly because i do what i want forever but if canon happens to make a convincing argument for it thats nice too since i am incapable of shutting the hell up

1. KIRYU EXISTS

people love tsubaki's whole thing of accepting herself for who she is regardless of what others think. this is something i've seen repeated a lot in comments re: the official translation's he/him pronouns, and when fighting through the generally hypermasculine trenches of shounen anime/manga it's understandable want more male characters who stay true to themselves by rejecting social norms and openly embracing their femininity...however i fear we are forgetting our history 😔 the femboy diversity hire has been here all along yall our quota is full !! really tho kiryu was MADE for the girls and the gays even without getting into his personality just look at him. the pink hair. the piercings. the accessories. the off the shoulder drip. like come on COME ONNNN give him his genderqueer props

2. THE RAWS

i don't know japanese so i can't actually get too deep into how she speaks and is referred to BUT what little i can say is this. she used to use the personal pronoun ボク (boku) [katakana] as a child, and this is a common way for young boys to address themselves, but at some point she switches to ワタシ / あたし / 私 (atashi) [katakana/hiragana/kanji] in order to present and be percieved as female/feminine. this is a form of gender expression unavailable in english due to our limited number of first person pronouns and it's extremely important to her character due to how deliberate and intentional of a decision it is (though for the sake of interpretive fairness i feel like i have to say i'm not culturally knowledgeable enough to discern if it's used in a 女性語 vs オネえ言葉 context or how/if her speech patterns fit into those categories). shizuka also specifically thinks of her as an older sister 姉 (ane) [kanji]

3. DEPTH OF INTERNAL CONFLICT

tsubaki's childhood feelings of alienation, displacement, and deception are way too extreme to come from someone who only wears women's clothes because he likes the fashion (imo). this doesn't read as a young boy who's into girly hobbies and is scared people will make fun of him for it; this reads as a young trans girl who is tormented by the act of constantly lying about who she is, but who knows that living truthfully will get her utterly rejected by the majority of the people she knows. she just doesn't have the language to explain herself beyond liking pretty things and not being like "other" boys. tumblr won't let me add another photo but the shot of her looking at her reflection in the window and calling herself a liar at the beginning of the chapter...there is something so incredibly and incommunicably transgender about those few panels

IN CONCLUSION: i don't necessarily hate the official he/him decision because it will be very very cool if nii satoru actually is playing 4d gender chess with tsubaki like that but i simply do not know or trust the editorial team enough to take their word on her english pronouns (<- is hypervigilant about microaggressions against trans women)

[vampireknight-analysis]

Yuki's Evolution of Feelings toward Zero [Pt1]

Vampire Knight, Ch 1 - 29.

"I was so desperate to help."

Prior to the start of Vampire Knight, Yuki repeatedly suffered through night terrors over the vampire attack. It wasn't until Zero came to live with her that the night terrors stopped. Yuki found purpose in helping someone else. She felt a compelling drive to be there for Zero, desperate to help the suffering she could see before her eyes.

"You're like... a younger brother who needs looking after."

At the start of Vampire Knight, Yuki feels a brotherly affection for Zero. She wants to be there for him, offering comfort and companionship, because she believes he doesn't take care of himself.

"I can feel... the pain that you are hiding."

Yuki and Zero's relationship starts to change when Yuki learns how deeply Zero has been suffering. She discovers that he has been in pain for four years, that he is a vampire—which he despises—and that he wants to die.

"Drink my blood, Zero. You'll feel better... if only for a little while."

Overwhelmed by this, Yuki throws herself into trying to become his salvation and save him. Even knowing how much Zero will hate himself for it, she pleads with him to drink her blood. She refuses to let him end his life.

"That's because... I want you to smile too."

During this time, Yuki focuses entirely on Zero, often urging him to drink her blood. She tells him she is trying to stay cheerful for his sake, hoping to make him happier and help him smile again.

Her empathy and selflessness seem limitless. She even offers herself to Maria/Shizuka in exchange for information on how to save Zero. Determined to save him, she stands in his way when he tries to take revenge on Shizuka, using her bracelet to try to subdue him, wanting to force him to drink Shizuka's pureblood.

A conversation with Shizuka reveals to us that Yuki is self-aware that her efforts to save Zero have also caused him pain and suffering. She understands that her actions have been more about what she wants than what Zero wants.

"This is what I've always feared."

Ever since realizing the depths of Zero's pain and self-hatred, Yuki has become terrified of him ending his own life, and has gone to great lengths to prevent him from going down the route of suicide. This leads to a moment where Zero, confused by her desperation and concern, embraces her. But it’s her genuine care that makes him promise to stay alive and come back to her, even after killing Shizuka.

"If you bit me and drank my blood, wouldn't you get better right away?"

Even after the death of Shizuka, Yuki remains adamant on being Zero's permanent food source, gifting him her blood for the rest of her life in hopes of it preventing him from falling to Level E.

She takes time to talk with Zero, telling him she's glad he's still with her and that she'll always stand by his side. Yuki admits that she was so desperate to keep him alive and felt so helpless that she would have forced him, against his will, to drink Shizuka's blood if it meant saving him.

It is this deep care and desperation to keep him alive that leads Zero to ask her:

"What am I... to you?"

This is the first time Yuki has considered what her feelings for Zero are or what they mean. Until now, she never gave it much thought, leaving her confused and unsure of how to respond.

She begins to sort through her emotions. She is scared of what could happen to Zero (becoming a Level E vampire or dying). She wants to see him happy and at peace. And now, she also begins to wonder...

"What am I... to Zero?"

Their relationship grows deeper. In a vulnerable moment, after dreaming about Yuki's death, Zero nearly kisses her, driven by his longing for her. Yuki becomes fully aware that he was just about to kiss her.

"I wonder how he felt... about my reaction."

Yuki becomes embarrassed and fixated on the kiss, constantly thinking about it whenever she sees Zero. Clearly flustered, she wonders how Zero felt about her reaction to the almost-kiss, but she’s confused. They’ve always been like siblings—friends, even best friends…

Yuki keeps replaying Zero’s words in her mind, telling herself the almost-kiss meant nothing and that he wasn’t in his right mind. She watches him closely, comparing his calm demeanor to her own flustered state, and uses his composure to reassure herself that it really didn’t mean anything.

In the end, Yuki realizes that Zero is precious to her. That’s who he is to her.

"I don't want my problems to get in the way."

After Yuki agrees to Kaname's request to turn her into a vampire, she shares her thoughts with Zero, wondering if she should go through with it and what good might come of it.

Upon Zero's angered response, she soon realizes her mistake and feels upset for bringing up something so sensitive, especially knowing how much Zero has suffered. Feeling desperate and guilty for not being more focused on him, Yuki decides to remember her past to try to be more helpful to Zero.

"...Zero, I'm so scared."

The dynamics of their relationship begin to shift once more, now with Zero coming in to put more of a focus on Yuki's well being and emotional state. He suggests and supports her in discovering her past.

When Yuki continues to keep her feelings locked away tightly, afraid of being a burden, Zero insists on the fact that she is his victim in all of this and that she has every right to burden him. Yuki breaks down and, for the first time, finally opens up about her own dilemmas. She becomes vulnerable and admits to him how scared she is about her past.

[brucebocchi]

Ranking every new anime I watched in 2023, Pt. 4: #5-1

hey, i just started a ko-fi for my writing and possible other creative outlets. this post will also be available there, so please check it out and consider tipping/donating as i'm currently between jobs. the tumblr version of part 1 can be found here, part 2 here, and part 3 here.

The list is complete! This took a lot of work but I'm over the moon to get this out there. Please consider leaving a tip if you've enjoyed reading.

Here goes, my top five anime of 2023:

5. Zom 100: Bucket List of the Dead

Zom 100’s debut hit like a freight train, especially coming from a brand new studio. It had everything: Visceral satire of Japanese work culture, incredible animation, vibrant colors in unexpected places, clever cinematography, wish fulfillment for everyone who’s ever wanted to Stone Cold their boss, and most importantly: Zombie titties.

The premise is magnetic: When your job makes you feel like a zombie, an actual zombie apocalypse means certain freedom from the grind. Akira Tendo realizes that he can finally use the vacation time he amassed while being exploited and overworked at a legally dodgy black company, so he writes a bucket list of everything he’s ever wanted to do, with all intention of checking off every single line item before succumbing to a zombie bite. He manages to rescue his hunky fuckboy bestie from college, and they embark on a road trip across Japan to finish out the list, along with a beautiful, risk-averse tsundere and a big-tiddy German weeb. 

It's a perfectly fine elevator pitch, and a welcome break from the guns-and-grit quagmire the zombie genre has been stuck in for the past two decades, but what makes any good zombie-flecked media resonate is the human element, which Zom 100 delivers expertly. You’re quickly given reason to care for all the characters, their motivations are clear and relatable, and you want to see them survive and live out their dreams. But more importantly, you just want to hang out with them through their hijinks. It even delves into more serious matters, like what we owe our parents as adults, the ways isolation and bitterness can drive people to act out in their worst moments, and even the factors that push abuse victims to stay with and even return to their abusers. 

Above all, though, it’s a powerful (if extreme) story of finding joy in the direst circumstances. Akira, Kencho, and Shizuka are all kindhearted, well-meaning people whose situations kept them from what they truly wanted to do with their lives, and there’s something kinda beautiful to be found in them finding a new opportunity during the possible end of the world (Beatrix is a sweetie too, but aside from the whole zombie thing, she’s already exactly where she wants to be). The final arc of the season, in particular, looks you dead in the eye and asks you: If you were suddenly faced with the ultimate freedom, would you use the opportunity to better yourself, improve the lives of others, or do whatever the fuck you want at everyone else’s expense? You may not like the answer at first if you’re honest with yourself, and that’s okay. The world isn’t over, and there’s still time for you to be your best self.

Zom 100, unfortunately, fell prey to a cruel irony in the form of production issues. Bug Films is a new studio made up of a former team from OLM that was responsible for similarly gorgeous projects such as Komi Can’t Communicate and Summer Time Rendering. They clearly saw so much of themselves in Akira's workplace exploitation that they had to swing for the fences here. The firm he works for is named “ZLM” in this adaptation, for fuck’s sake, and he fully destroys his zombie boss in the first episode. But new studio or old, the anime industry is a grind, and Bug had trouble keeping up; animation quality did take a bit of a dip after the stunning first episode, and episodes were frequently delayed as the summer broadcast season wore on and ended without the entire seasonal run making airwaves. Hell, it was impossible to watch the final three episodes until just a few days before I could write this sentence.

For what Bug were able to pull off, though, Zom 100 is outstanding. The paintball-colored blood splatters everywhere are an instantly-iconic look that strike the balance between horror and spectacle. Everything and everyone looks gorgeously faithful to Kotaro Takata’s art, and delivers an appropriately cinematic look that the manga always deserved. I almost don’t know what else to tell you but that this show is a fucking blast.

There’s also a zombie shark. What more could you want?

4. Oshi no Ko

I spent a good chunk of 2023 just assuming Oshi no Ko was going to be a layup for anime of the year. Shortly after moving on from Kaguya-sama, I rushed to binge Aka Akasaka's subsequent manga in time for the anime's feature-length debut. I was taken in by OnK's bonkers premise and sudden dark turn and quickly fell in love with the characters, and my anticipation only grew. I had high expectations for the screen adaptation, but nothing could have prepared me for just how lovingly it all came together. This is as close to a perfect adaptation as you can find, and the same can be said about both the preceding and following entries on this list.

Oshi no Ko is an audiovisual feast. Doga Kobo cleaned up Mengo Yokoyari’s character designs just a smidge, but put just the right flourishes on them to make every single cast member instantly iconic. One look at Kana Arima’s eyes will tell you everything you need to know about the level of care put into the visual design of this anime. The performances are on point as well; though many of the main cast members are relative newcomers to the world of seiyuu, you can tell they truly came to understand the characters before they even recorded one line. I’ve already gushed about Rie Takahashi in earlier entries, but her turn as Ai Hoshino is easily one of the best voice performances all year. Takahashi makes a meal out of every single second Ai spends on screen and gives you every reason to care about her as a character.

Showbiz manga in general is obviously missing an audio element, and when an adaptation can expand on that aspect well, it can help turn even middling source material into something transcendent (see also: Rock!, Bocchi the). Music is central to Oshi no Ko, and the OP/ED combination is already iconic; YOASOBI’s “Idol” has had the best worldwide chart performance of any Japanese song ever, and the prolonged intro to Queen Bee’s “Mephisto” became a meme in Japan in the same vein as JJBA’s iconic use of “Roundabout.” Rather than taking manga characters’ word for it that someone is a terrible actor, we actually get to cringe along to an amateur actor’s hammy emoting. We get to see and hear what turned a fictional idol group into a national phenomenon rather than just see cute girls posing on the page. All of this is to say that while Oshi no Ko is an excellent manga, it needed a screen adaptation, and especially one of this quality.

Oshi no Ko deserves every shred of its success. I've never seen an anime make a splash this enormous with just its debut episode, even if it’s kind of cheating to say so because the first episode is almost literally a movie, and if I were to give an award for the best single episode of anime this year, it would be that one, hands down. Adapting the entire first volume into a feature-length debut was the correct move (mostly because it’s a tonal rollercoaster, and the Big Event that defines the entire story wouldn’t have happened until the fourth episode otherwise), and the investment paid dividends. The hype naturally died down a bit as the season wore on and settled into a more consistent tone and rhythm, but it remains an essential anime to 2023.

You may have noticed that I have said very little of what this show is actually about, and that’s by design: If you still don’t know the plot of Oshi no Ko’s first episode by now, I refuse to tell you: you need to go in blind. All I will say is that it is an idol anime that glorifies nothing. If you've read this far and still trust what I have to say about anime, I beg you to just take my word for it. It's an incredibly rewarding experience.

3. Scott Pilgrim Takes Off

There's just something so wonderful about taking in an adaptation of a work you’re already familiar with and knowing, almost instantaneously, that every single person working on it genuinely loved the source material and relished the opportunity to bring it to life. Nearly every single member of the original cast is in the dub (including the ones who went on to be MCU mainstays), Edgar Wright is back on as executive producer, Anamanaguchi reprise their soundtracking duties from the video game, and even Bryan Lee O’Malley himself helped co-write everything.

That last detail is probably the most important thing about this entire production: It’s not exactly a secret that the original Scott Pilgrim comics are very imperfect portrayals of a very imperfect young man. I knew reading them at the time that the comic did not have a great grasp on relationships and the dynamics between men and women, and that was at a time in my life when I myself was pretty terrible with and to women. O'Malley has said that he would only revisit Scott Pilgrim if it was “the right thing” and that he was leery of a straight retelling of a work he has since outgrown.

So instead, we have the Rebuild of Scott Pilgrim, to put it simply. Takes Off is a completely new story that reexamines the Scott Pilgrim comics, movie, and even game without undermining what came before it. This series is not a repudiation of Scott Pilgrim (the character or the franchise)’s flaws, nor is it purely fanservice; it splits the difference perfectly. It’s both more mature and completely self-indulgent. This show so easily could’ve marched to the familiar discourse drumbeat of “Scott isn’t the hero here” or “he’s actually not a good dude,” but it instead focuses on what should always be the second half of that sentence: “But Ramona still sees something in him.”

Yes, Ramona Flowers is effectively the protagonist of a new work that doesn’t even have her name on it, and it tackles some surprisingly necessary questions: What was her responsibility in creating seven evil exes in the first place? What made them evil? Are they even that evil? This series opens up entire worlds of possibilities within the extended cast and gleefully dives into them. Though Takes Off may not flesh out every single character, it does take its time with several of the ones who really did need a little more meat on their narrative bones, and even gives some characters new roles just because it would be fun to see them in new situations.

I still cannot believe they got Science Saru to make this show. “They made a Scott Pilgrim anime” and “They brought back the movie cast” are already good enough fodder for that Vince McMahon meme, but “It’s produced by the motherfuckers who made Devilman Crybaby” had me falling out of my chair. The animation maintains O'Malley's chunky, cartoony character designs and works wonders with line weights and simulated camera effects to give everything a tactile, weighty feel, like it’s somehow (and very appropriately) splitting the difference between a comic, a film, and even a video game. There’s a wide array of visual effects that helps to place all of Scott Pilgrim’s influences further on its sleeve: Dynamic action scenes, camera depth and chromatic aberration, and our beloved pixel art inserts. It looks like every Scott Pilgrim, everywhere, all at once.

The live action film’s cast did a (mostly) great job reprising their roles for animation, and there are some wildly unexpected cameos in there. Voice acting is not quite the same as stage or film acting, but everyone pulls their weight, and dialogue feels far more naturalistic than your average anime dub. Mary Elizabeth Winstead, Ellen Wong and, surprisingly, Chris Evans are outstanding in their respective roles. I’m gonna have to watch this again in Japanese, though. Fairouz Ai as Ramona, Aoi Koga as Knives, and Yuichi Nakamura as Lucas Lee? Sign me the fuck up.

This is not an apology or revision of Scott Pilgrim the character or work, it is a celebration that still acknowledges and improves on the flaws. If you’re a Scott Pilgrim fan who’d been clamoring for a proper cartoon adaptation, Takes Off may not exactly be what you’ve wanted, but it may be what you needed.  Chances are pretty good that you’ve grown since the first time since you read, watched, or even played something with Scott Pilgrim’s name on it, and it’s a blessing to say that while the character may not have grown, Scott Pilgrim the franchise finally has. 

2. Jujutsu Kaisen, season 2

I’m so glad I picked up JJK this year, if only because I would’ve otherwise been caught in a mudslide of memes I didn’t understand.

Season 2 follows in lockstep with the manga from where season 1 left off, beginning in extended flashback with the Hidden Inventory/Premature Death arc, covering Satoru Gojo and Suguru Geto’s high school life and the events that would eventually create the rift between them that came to shape Jujutsu Kaisen’s story. We see very different versions of Gojo and Geto here, much younger and more naive, but only marginally less powerful as they’re sent on an escort mission with the future of the jujutsu world in the balance. Because this is Jujutsu Kaisen, and because Jujutsu Kaisen is for masochists, nothing happens as planned.

We unfortunately do not get the precious slice-of-life hijinks the OP suggests, but if you watched season 1, you should know better by now than to trust an OP. While the initial arc does have its quieter and goofier moments (and some delicious homoerotic subtext), it wastes little time in declaring that this is a new version of the Jujutsu Kaisen anime: Lines are thinner, character models are looser, and action is buckwild. Two of the best fakeouts in the series happen in the span of five minutes. Those unfamiliar with the source material may have wondered for a bit why there needed to be a five-episode prequel arc to start the season, but the pieces would soon fall into place.

And then came Shibuya.

The Shibuya Incident arc was what made Jujutsu Kaisen a must-read in every new issue of Shonen Jump. It reset the status quo for the story and shaped it into something far beyond another “teenagers with special powers go to a school for teenagers with special powers” battle shonen. Needless to say, the hype for its anime adaptation was astronomical.

The Shibuya arc sets the stakes early: Nobody is safe and there may be no happy ending. Triumph is short-lived, and every threat is existential. Everyone who has been in the series up to this point plays a role, and you’re not going to like a lot of what’s needed of them. This arc punches you in the gut, repeatedly, and in between each blow is some of the most intense and innovative action you’ve ever seen. It will hurt, and you will beg for more.

I liked this arc a good amount in the manga, but by the end I was ready for it to be over. I didn’t get the hype around Toji, thought the deaths were cheap, and was so. FUCKING. sick of Mahito. Seeing it in fluid motion onscreen, though, everything just clicked for me and I couldn’t get enough. I fully get now why the girlies have been wetting themselves over Toji; the character modelers were HORNY horny this season. I see now how even the most unceremonious deaths fit into the narrative, or at least one will make perfect sense to me once Gege Akutami and I have a little chat :). And holy hell do I understand now that Mahito is one of the best shonen villains in the history of the medium, that sick bastard. Season 2 was my Rosetta stone for Jujutsu Kaisen; I see it all now. My sixth eye has been opened. Throughout heaven and earth, I alone am the literate one.

JJK’s second season has a markedly different feel from the first from a presentation standpoint, and I feel it’s for the better. Every aspect of the presentation is on point, and I want to call attention to the audio element: The production music, with a heavy focus on jazz piano, is wonderfully unique for the genre, and the voice acting remains top notch. These are banner performances from the likes of Yuichi Nakamura, Kenjiro Tsuda, Takahiro Sakurai, Asami Seto, and Nobunaga Shimazaki, but the performance that defines the Shibuya arc (and by extension the entire season) is Junya Enoki as Yuji Itadori. 

Enoki’s been great this year in lead roles in goofy works like KamiKatsu and Girlfriend Girlfriend (not to mention minor roles in Skip and Loafer and the vending machine isekai), so it’s no surprise that he continues to crush it as JJK’s protagonist; Yuji Itadori is a goofy dude. But the Shibuya arc, for as much ground and as many characters as it covers, is ultimately Yuji’s story as he is forced, time and again, to endure the cycle of the “suffering builds character” meme. His peers and mentors in the first season told him repeatedly that the life of a jujutsu sorcerer is a short and unhappy one, and he now has to shoulder that burden for everyone. Enoki nails every single part of a wide spectrum of emotions Yuji is forced to endure over the course of the Shibuya arc, be it determination, naive confusion, or just pure unbridled trauma. If this isn’t the best voice performance of the year, it’s top five at worst.

Like every major battle shonen release in the age of social media, this season has had its detractors. Reviewers at Anime News Network kinda hated the story, but that’s something you take up with Gege Akutami (and get in line behind the manga readers). I've seen people complain about the animation. Which, like. If you don’t like the new visual style, sure, fine, that’s up to personal taste. But if you think this season isn’t well-animated, you just plain don’t know ball. It may not have a cohesive look, but that was the draw for me: Season 1 was good, but at times I felt like it looked a little too rigid, a little too shiny, a little too samey. Season 2, especially the Shibuya arc, looks like everything. Sometimes it looks like an action film, sometimes it looks like Mob Psycho 100, and at points it looks, most crucially, like Akutami’s most iconic panels brought to life, stroke for stroke.

The varying styles weren’t an accident: Nearly each episode had its own director, and those resumes cover top-tier animations like Mob Psycho, Devilman Crybaby, Kill la Kill, Heavenly Delusion, Oshi no Ko, FLCL, even Akira and goddamn Golden Boy. While the episodes don’t look entirely consistent from one to the next, the variance is less jarring and more “holy fuck, what am I going to see next?”. The looser style of animation is what Jujutsu Kaisen always needed; Akutami’s art is very loose and dynamic, and his action panels are borderline inscrutable at times. Season 2 nails the feel of JJK to a degree that its adaptation always needed and lets its directors, storyboarders, and animators run wild. At times, characters will look like they leapt right off the page; others, they will look like something you have never seen before in your life.

It is unfortunately impossible to talk about this season without also bringing up MAPPA’s working conditions, and how animators were frequently overworked against nigh-impossible deadlines. It was an open secret last year as Chainsaw Man aired that MAPPA’s animation schedule was a meat grinder, but that came bubbling to the surface quickly as JJK’s second season aired. Word got out midseason that MAPPA had its animators sign NDAs about their work conditions, but complaints still broke containment and several staffers took to social media to apologize for their work looking incomplete, and some even publicly announced that they are leaving the studio. It is stunning that the finished product looks the way it does under such conditions, and I respect the animators for putting in such incredible work, but something has to give. Several major series suffered from major delays this year, some of which I gave significant praise, but MAPPA is lucky that all of JJK came out on time. I wish I knew what could push them to treat their workers with the dignity and respect (and pay) they deserve, but that’s a conversation that covers much wider ground than just anime.

MAPPA has already announced that the series will continue through the next major arc. While there is quite a bit of it that I would love to see on screen, I can only hope that the animators get to rest. For now, though, we can be proud of what they made under duress, even if some will forever wonder what it would look like if the staff were treated like something a notch above cattle.

1. Frieren: Beyond Journey's End

Fucking hell. This is why I watch anime.

I was curious about this one because a couple major anitubers I watch had reviewed the manga and were effusive in their praise. I knew the anime adaptation was on the way, so I decided to hold off on reading and see what the anime would be like, and with Keiichiro Saito (director of Bocchi the Rock! and key animator for Oshi no Ko’s instantly-iconic OP) at the helm, my excitement was piqued. That guy turned a B-minus 4-koma into an innovative hit comedy, so what can he do with a beloved source material and the backing of a legacy studio like Madhouse?

I've had so much to say about Frieren since the premiere, and I still have so much to say now, but to talk about what I love about this show is to talk about everything about this show. When the first four episodes dropped, I described it as “Mushoku Tensei without the baggage,” and I stand by that. There were multiple points throughout Frieren’s first cour where I'd nearly forgotten that I wasn't watching Mushoku Tensei. Every single element is on point: The animation is fluid and expressive, backdrops are consistently gorgeous, voice performances are quickly memorable, and the music is evocative and instantly iconic. This is, plainly, one of the most beautiful pieces of television I have ever seen on nearly every level, be it visually, sonically, or thematically.

The initial four-episode debut was a masterclass in establishing the setting, building emotional investment into the characters, and slowly but deliberately laying out the premise of the season to come. The titular Frieren is an elf mage who, for a very brief decade of her millennium-long life, lent her skills to an adventuring party to slay the Demon King. Though she helped save the world, she was never one for stuff like adulation or socializing, so she breaks away from the group to continue her hobby of collecting various spells and arcana. She regroups with them after 50 years, having kept in contact with none of them, only to find them older and frailer. The party’s leader, the hero Himmel, passes away shortly thereafter, and Frieren breaks down at his funeral, having realized exactly too late how important he was to her and that she’d never really bothered to get to know him as a person.

Some time later, she’s called by the surviving human member of the party, Heiter, under the guise of translating an old text, but soon realizes that he duped her into helping train the young orphan girl he adopted, Fern, as a mage. Upon Heiter’s death, Frieren and Fern head out together, carrying out odd jobs and retracing Frieren’s steps from the journey that changed her more than she realized. They soon learn from the other surviving member of the party, Eisen, that (ooh) heaven is, in fact, a place on earth, and that Frieren may be able to properly pay Himmel his final respects in person. In order to do so, they must make a trip to the north, past the Demon King’s castle. The story of Beyond Journey’s End is, quite literally, a nostalgia trip.

Frieren's story is one of grief and regret, but also how we can use those emotions as a way of moving forward rather than looking backward. Her history is a long one and her memories seemingly everlasting, but she uses them to pave the road ahead of her rather than let them shackle her to the past. This is best exemplified by Fern herself, as well as the other companion they pick up along the way in Eisen’s former trainee, Stark. Frieren can carry on the legacies of Heiter and Eisen by helping their young wards grow into the capable young adults they’re meant to be, while Himmel’s legacy lives on in the memories of the towns and villages he helped save along Frieren’s new path, and most importantly, in Frieren herself.

The degree to which Himmel truly mattered to Frieren becomes more apparent to her as the story goes on, and it becomes more evident in her actions. Himmel was a gentle, selfless (if self-aggrandizing) man who was every last bit the hero the modern world believes him to be. With every statue of him she cleans, every flower she plants in his name, every core memory that returns to her, we are watching Frieren become more and more like him in real time. You would expect a thousand-year-old woman to be pretty set in her ways, but we see her holding off on old, bad behaviors because of how Himmel would react to them back then. As Fern and Stark grow into young adults, we see her beginning to treat them the same way Himmel treated her. Frieren doesn’t realize it until later in the season, but it’s apparent to us early on that Himmel well and truly loved her, and I feel that it’s dawning on her that she loved him too and didn’t recognize it. That is tragic in and of itself (this show absolutely is a tearjerker at times and I will cop to getting misty-eyed as I write this), but there is something beautiful, well beyond my grasp, in being able to honor the memory and carry out the legacy of a loved one in how you treat those around you. I don’t think anything could have made Himmel prouder.

Frieren herself is a really goddamn good character too (and expertly voiced by Atsumi Tanezaki, best known for voicing Anya Forger in Spy x Family). Though she is portrayed as quiet and uncaring for the early part of the story, it’s been really delightful to watch her open up, and above all, inadvertently reveal that she’s actually just Really Fucking Weird. For as self-assured and put together as she always seems on the surface, it was great to learn that she’s just an enormous slob (she just like me fr), and any outward expressions of smugness or her offbeat sense of humor are always a joy. “Deeply weird person trying to act normal” is always fun, and there’s just something so consistently delightful about seeing someone so typically calm and intelligent get caught in a mimic chest every single time.

I still can’t get over how fucking good this show looks. Beyond Journey’s End features some of the most intricate, loving animation I’ve seen for stuff as simple as someone putting on a jacket. Action scenes are few and far between, but not a single frame is wasted when shit pops off. Not everyone is as detailed as possible at all times, and they don’t need to be, but everyone looks incredible when they do need to. It’s well above my pay grade to accurately say so, but this show could be a lesson in proper animation budgeting. I could go on and on and on, but I’ve written nearly eighteen thousand words about anime, so I’ll wrap it up. 

The debut season of Frieren will continue into 2024, and if the quality remains a constant, it could very well be one of the best anime of next year too. It has remained as MyAnimeList’s top-rated anime ever for its entire run, warding off the legion of Fullmetal Alchemist Brotherhood fans. Frieren deserves it. I say with no hyperbole that this is one of the most perfectly realized things I’ve ever seen on television. This is an essential watch for anyone who likes fantasy anime, anime in general, or fantasy in general.

[juliewillruinu]

Garden of Forbidden Melodies | Chapter two | Sukuna x oc

Tw: Mentions blood, death, and brothels/prostitutes.

ᴘʀᴏʟᴏɢᴜᴇ, ᴄʜᴀᴘᴛᴇʀ ᴏɴᴇ, ᴄʜᴀᴘᴛᴇʀ ᴛᴡᴏ, ᴄʜᴀᴘᴛᴇʀ ᴛʜʀᴇᴇ...

𝑪𝒉𝒂𝒑𝒕𝒆𝒓 𝒕𝒘𝒐: 𝑲𝒊𝒏𝒈 𝒐𝒇 𝑪𝒖𝒓𝒔𝒆𝒔

Suki led Hana through the narrow, winding streets, her infectious energy lighting up the night as she animatedly shared stories of her married life, the daily struggle to make ends meet, and her husband's noble profession. With each step, the bustling sounds of the marketplace faded, giving way to the lively chatter of patrons and the heady aroma of food and drink that filled the air.

As they neared a wooden structure adorned with hanging lanterns and vibrant flowers, Hana felt a wave of unease. This was not the serene setting she had envisioned for her music; the atmosphere was lively, almost intoxicating, yet there was an undercurrent of something darker lurking beneath the surface.

"Welcome to the Shizuka House!" Suki announced with a flourish as they reached the entrance. "It’s not just any establishment; it’s a place of joy and comfort!" She pulled the door open, and its creak reverberated like a warning, ushering Hana into a world that was both overwhelming and disorienting.

Inside, the room was lavishly decorated with silken drapes and plush cushions strewn about, but it was the scene before her that truly seized Hana's attention. Men in brightly colored garments laughed loudly, their boisterous voices blending into a cacophony of raucous energy. Women, their kimonos revealing more than they concealed, moved gracefully between the tables, their languid movements almost hypnotic. Some lingered close to the patrons, exchanging flirtatious banter, while others filled cups with sake, their smiles seemingly permanent as they catered to every whim.

Hana's heart raced, a mix of confusion and unease tightening in her chest. This was not the environment she had been prepared for.

"I thought you said you were the only one working here..."

"Oh, I might have bent the truth just a little," Suki admitted with a mischievous grin.

"Does that mean you're not married?"

"No one wants to marry a prostitute," Suki replied, her tone light but laced with bitterness. "You wouldn’t have helped me if I’d told you the truth."

"I would have!" Hana's voice rose with conviction before she lowered it again. "I would have helped you, even if you’d told me the truth."

"What a strange man you are, Mister," Suki giggled, her laughter dismissing the seriousness of the conversation. "Now, where’s the boss, I wonder?"

As Suki’s words hung in the air, Hana felt an ominous presence tightening around her. The air thickened with a malevolent energy that sent chills down her spine. It was unlike any curse she had ever encountered—a suffocating force pressing down on her, emanating from just beyond a nearby door. The dark red ooze pooling at its base pulsed like a living entity, promising nothing but doom. Even her biwa seemed to sense the danger, its strings vibrating softly against her fingertips in a warning.

“No,” Hana whispered, shaking her head as if she could wash away the terror encroaching on her. She longed to retreat, to escape back to the comforting sounds of nature, the chirping birds, and her brother’s playful footsteps around the shrine. But she couldn’t. Not when she knew there were people here, blissfully unaware of the creature lurking among them.

The atmosphere grew colder, the cursed energy seeping through the walls, wrapping around Hana’s mind, amplifying her fear. It was a power so dark, so potent, that it threatened to consume her entirely.

“What’s wrong?” Suki leaned in, her face inches from Hana’s, who was now frantically shaking her head, trying to ward off the encroaching dread.

"You need to get out," Hana urged, her voice trembling.

"Huh?"

Without waiting for a response, Hana moved with purpose, grabbing a candle from a silver rod by the door. She methodically pressed the flame against the fine curtains, watching as the fire took hold, spreading quickly. The growing flames soon caught the attention of the patrons and workers, their drunken laughter replaced by shouts of alarm. Amid the confusion, only Suki seemed to realize that Hana was responsible for the blaze.

"Hey! What do you think you’re doing, Mister?" Suki yelled disbelief etched on her face.

"Everyone, there’s a fire! Get out now!" Hana shouted, her voice cutting through the chaos.

The panic spread like wildfire. A group of prostitutes, their faces pale with terror, were the first to burst from the confines of the brothel, their frantic screams piercing the night. Eyes wide with disbelief, they stumbled into the open air, glancing back as if the horrors they had left behind might follow.

Behind them, a disheveled crowd of men staggered out, their previous revelry shattered by the reality of the situation. The scent of stale alcohol clung to them, but fear had sobered them quickly. Their laughter had turned to cries of panic as they scrambled for the exits, some tripping over their own feet in their haste, others shoving past in a desperate bid to escape. The alleyway, dimly lit and shadowed, came alive with the sounds of their desperate flight, a chaotic symphony underscored by the crackling flames that consumed the Shizuka House.

Hana's breath came in ragged gasps as she stood at the edge of the burning Shizuka House, her eyes fixed on the door that seemed to pulse with malevolent energy. The cursed aura emanating from within was overwhelming, a suffocating force that threatened to drive her to her knees. But she couldn’t afford to falter—not now.

The last of the panicked patrons and workers had fled into the night, leaving the brothel an eerie shell of what it had been moments before. The crackling of the flames was the only sound that filled the air, but beyond that door, Hana sensed something waiting. Something powerful, something ancient.

She gripped her biwa tighter, the strings humming softly in response to the cursed energy that surrounded her. It was as if the instrument was alive, resonating with the fear and determination that coursed through her veins.

With trembling hands, Hana pushed the door open, her heart pounding as she stepped into the darkened room beyond. The stench of death hit her immediately, a sickly sweet odor that made her stomach churn. Her eyes widened in horror as she took in the scene before her.

The room was dimly lit, the only source of light coming from the flickering flames outside. Bodies were strewn across the floor—women in various states of undress, their lifeless eyes staring up at the ceiling. Blood pooled around them, glistening darkly in the low light. Hana’s breath caught in her throat, her mind struggling to process the carnage before her.

And there, in the center of the room, sitting casually amidst the carnage, was Sukuna Ryomen.

A large man with two pairs of muscular arms sat on a pile of cushions, his posture relaxed, one hand resting on his knee while the other held a half-empty cup of sake. All four of his crimson eyes, marked by the distinctive double pupils, gleamed in the darkness as they locked onto Hana. The tattoos that adorned his face and body only added to the air of menace that clung to him.

His lips curled into a wicked smile as he regarded Hana, his gaze sweeping over her with an intensity that made her skin crawl. “Well, well, what do we have here?” he drawled, his voice low and smooth, laced with dark amusement. “A little birdie who’s wandered into the lion’s den?”

Hana’s heart pounded in her chest, fear clawing at her insides. She could feel the cursed energy radiating from Sukuna, a crushing weight that threatened to suffocate her. But she couldn’t turn back now—not when the lives of her village depended on her.

Summoning all the courage she could muster, Hana took a step forward, her biwa clutched tightly in her hands. “What… what are you?” she asked, her voice barely above a whisper.

The man's smile widened, revealing sharp teeth that glinted in the dim light. “Someone you won't be able to handle, I'm afraid. Seeing as the barrier you placed on this village was brittle and weak. All I had to do was touch it, and it broke,” he said, his tone mockingly casual.

Hana’s blood ran cold. This wasn't a curse. It was a sorcerer. She hasn't seen a sorcerer in forever, and she doesn't remember them having such immense aura. Did that mean this man was stronger than the one she met before him?

He took a sip of his sake, his eyes never leaving Hana. “And you,” he continued, his voice dripping with amusement, “you’re an interesting one. That biwa of yours—it’s no ordinary cursed tool, is it?”

Hana’s grip on the instrument tightened. She could feel the power of the biwa thrumming beneath her fingers, a power she didn’t fully understand. But Sukuna’s gaze was piercing as if he could see right through her, see the potential she had yet to unlock.

“Why don’t you play for me?” Sukuna suggested, his tone deceptively light. “I want to see what you’re capable of, little bird.”

Hana hesitated, fear and uncertainty warring within her. But she knew she had no choice. Taking a deep breath, she began to pluck the strings of the biwa, the haunting melody filling the air. The sound was eerie, almost otherworldly, resonating with the cursed energy that surrounded them.

As she played, the room seemed to come alive with a strange, ethereal light. The cursed energy that had been pressing down on her began to recede, pushed back by the power of the biwa’s music. Hana’s confidence grew as she continued to play, her fingers moving deftly over the strings.

Sukuna watched her with growing interest, his eyes narrowing as he felt the shift in the energy around them. This girl… she was more than she appeared. The biwa was powerful, yes, but there was something about the way she wielded it—something raw and untapped.

When Hana finished the piece, she looked up at Sukuna, her chest heaving with exertion. The light that had filled the room slowly faded, leaving them once again in darkness.

For a moment, there was silence. Then, Sukuna began to laugh—a deep, rumbling sound that sent chills down Hana’s spine.

“Not bad, little bird,” he said, his voice dripping with amusement. “Not bad at all.”

Hana swallowed hard, her heart still racing. “I’m not here to entertain you,” she stammered, trying to keep her voice steady. “I’m here to stop you.”

Sukuna’s laughter died away, and he regarded her with a predatory smile. “Stop me?” he repeated, his tone mocking. “You? A little girl with a cursed tool she doesn’t even know how to use?”

Hana’s hands trembled, but she refused to back down. “I won’t let you hurt anyone else,” she said, her voice stronger now. “I’ll do whatever it takes to protect my village.”

Sukuna’s smile widened, and he rose to his feet, towering over her. “Oh, I don’t doubt your resolve,” he said, his voice low and menacing. “But you’re out of your depth, little bird. You have no idea what you’re up against.”

He took a step closer, and Hana could feel the heat of his cursed energy washing over her, suffocating in its intensity. “But I’ll tell you what,” Sukuna continued, his voice dropping to a whisper. “You amuse me. There’s something about you that I find… intriguing.”

Hana’s breath caught in her throat as Sukuna reached out, one finger brushing lightly against the strings of her biwa. The instrument hummed in response, the sound reverberating through the room.

“How about this?” Sukuna proposed, his tone silky and smooth. “You come with me, play your biwa solely for me, and I’ll spare your village. I’ll even teach you how to unlock its full potential. Imagine the power you could wield, little bird. The power you could use to crush whatever foes dare to get close.”

Hana’s pulse quickened as Sukuna's proposition hung in the air, a dark allure that seemed to weigh on her chest. The thought of surrendering to this monster, of playing her biwa solely for his twisted amusement, made her blood run cold. But even as fear threatened to overwhelm her, she knew that she couldn’t allow herself to be swayed. Not by him.

“I refuse,” Hana declared, her voice stronger than she felt. “I will never serve you. My only wish is to protect my village, no matter the cost.”

Sukuna’s eyes narrowed, the amusement fading from his expression as a dangerous gleam took its place. “Is that so?” he murmured, his voice low and laced with menace. “A pity, little bird. I had hoped you’d be more… reasonable.”

Hana’s heart pounded in her chest, but she forced herself to stay calm. She had to think, had to act quickly. If she couldn’t defeat Sukuna outright, then she would have to find another way to contain him—at least long enough to get him far from her village.

Without hesitation, Hana began to play her biwa again, the haunting melody filling the room. But this time, there was a different energy to her playing, a focused intent that caused the cursed energy in the room to ripple and shift. The light that emanated from her biwa was no longer just a barrier against Sukuna’s power—it was something more, something deeper.

Sukuna’s expression shifted to one of curiosity, his eyes narrowing as he watched Hana’s movements with a keen interest. He could sense the shift in her aura, the change in the biwa’s resonance, but he didn’t fully understand what she was doing—until it was too late.

Hana's melody grew louder, more intense, as she poured every ounce of her cursed energy into the instrument. The light surrounding the biwa intensified, growing brighter and brighter until it filled the entire room, engulfing Sukuna in its glow. The cursed energy that had once radiated from him began to falter, bending to the will of the biwa’s music.

Sukuna’s eyes widened as he realized what was happening. “You little—” he began, but his words were cut off as the light surged forward, swallowing him whole.

Hana played on, her fingers moving feverishly over the strings, her heart pounding with the effort. She could feel the resistance in the air, the sheer force of Sukuna’s power fighting back against her attempt to contain him. But she didn’t waver, didn’t allow herself to falter. She knew she had only one chance to pull this off.

With a final, powerful strum, the light surrounding Sukuna collapsed inward, pulling him into the very heart of the biwa. The cursed energy in the room vanished, replaced by an eerie silence that left Hana gasping for breath.

She stumbled back, clutching the biwa to her chest as she felt the weight of Sukuna’s presence within the instrument. He was still there, his malevolent energy contained—but only just. Hana knew that she hadn’t truly defeated him, only trapped him for the time being. His power was too great, too overwhelming, to be held for long.

Hana extinguished the flames she had started, the flickering light dying out as the brothel returned to darkness. The only illumination now came from the dim glow of the lanterns outside, casting long shadows across the room.

Breathing heavily, Hana turned and fled from the Shizuka House, her heart racing as she navigated the winding streets. She had to get out—had to get as far away from the village as possible before Sukuna could break free. Her thoughts raced, panic bubbling up inside her as she ran.

No one saw her as she slipped out of the village and began the long, arduous climb back up the mountain. The path was treacherous, but Hana didn’t slow down, didn’t allow herself to think of anything but the need to protect her people. The biwa felt heavier in her hands with each step, the cursed energy within it thrumming ominously, a constant reminder of the danger she carried with her.

Finally, she reached the small shrine at the mountain’s peak, her sanctuary, her home. She collapsed on the ground, clutching the biwa as if her life depended on it. Tears welled up in her eyes as the reality of what she had done began to sink in.

Sukuna was far too powerful for her to keep contained forever—she knew that. But she had bought herself some time, time to think, time to come up with a plan. She had to find a way to deal with him to protect her village from the terror that she had temporarily sealed away within her cursed tool. She knew this wouldn't be the last of this man.

[hexacasts]

Do you think ctron is a short loser a medium boy or a tall freak thanks

Important question. There are many crosscode height scholars who have come before me and done pixel by pixel analysis to determine everybodys height in feet and inches but lets not worry about that. we only need to figure out if he is short or tall. so for simplicitys sake lets base this off the portrait sprites bc that is where the height differences are most visually evident.

We dont have super concrete information about anybodys height except lea who is canonically, textually Short. Emilie looks to only be a little bit taller than lea. As for c'tron his stupid fucking hair may throw you off at first but if we measure his and emilies hairlines they seem to actually be almost exactly the same height.

Conclusion: He's Smalled

however we can take this further. to be truly fair i think we should compare him to the rest of the first scholars

measuring by the same standard, lukas and albert are significantly taller than him while hlin and buggy are juuuuuust barely taller by like a pixel or 2. nonetheless making him the shortest in this lineup.

Conclusion: He's Fucking Smalled*

*or medium. I guess in the end it really depends on how much taller c'tron and emilie actually are compared to lea. Anyway, what i feel to be true in my heart is that he is medium-short, but it doesnt really matter because i often end up drawing him taller by accident anyway.

Bonus spoilery height comparison under the cut

Yeah this height difference is pretty funny. i love how nonthreatening everything about him is in comparison. imagine being shizuka and your evil murderous boss from hell reincarnates as a short king and everybody loves him and wants to keep him around because of his sweet and polite demeanor. id want to beat the shit out of him too

[shinayashipper]

my usual ships for post-canon setting, or basically just the other ships that happens alongside post-canon rivalship:

1. Kaiba x Yugi - ESTABLISHED. UNBOTHERED. KINGS. 💅💅 (no need explanation for this lol)

2. Jou x Anzu - they're in LDR and to their surprise it's Working 😂 always going with the flow. it started with Jou who had a fcked up sleeping schedule and Anzu who lived 13 hours away and they're the only ones available to voice chat 😂 rivalship happened first but devotion gonna be the first one Getting Married. They're Married Couple material. very american-style wedding.

3. one-sided Otogi->Yugi - Otogi dates a lot of people and is Always Open but his Affection for Yugi cannot be erased... Poor guy QwQ it will never happen bro.

4. Bakura x Malik - Bakura travels to different countries a lot and one day finding himself back in Egypt and Malik guides him around for old friends sake and Things Just Flowed from there 😂 (DARK THEMES tho. Strictly Dark Themes for them) (Like if I always made rivalship being sunshines and rainbows and funny, these two gonna be dark DARK and Messed Up, idk how to explain) (it's called angstshipping for a reason i guess)

Sometimes, for Fun:

5. Mokuba x Shizuka AND Mokuba x Sera (if following DSOD canon) - always HC-ing Mokuba being like a shonen harem anime protag 😂 he and Shizuka are only 2 years apart and they could've gone to same school together, or maybe same cram school if assuming Mokie goes to Private High School in Domino and Shizuka a public high school somewhere else. Sera's case is just to add more comedy. I don't know her exact age and since she's a Plana and was already there since Bakura's young I assume she's Much Older than she looks 😂 BUT she's a Plana aka she's a Magical Girl. she WILL go to Mokuba's class BECAUSE I SAID SO and she's the Mysterious Transfer Student trope. Shizuka is the sweet senpai trope. Let's GO Mokuba's funny little harem. Maybe add Mokuba x Rebecca too. She's the tsundere know-it-all trope. ALL-IN. Mokuba's getting all the Girls in here. (Shizuka: dandere type. Sera: kuudere type. Rebecca: tsundere type. Holy trinity. For YOU Mokuba!!)

[dragonpigeons]

Scene from Chapter 1

[Story takes place after the events of Part 3]

Jotaro throws a China cup at Shizuka during their first encounter. The actual scene is more serious than I make it sound here. Shizuka is asked by her homeroom teacher to visit Jotaro after he's been skipping school for a month to tutor him on all the missed lessons. She goes over there, comes across the photo of the Crusaders in the desert and Jotaro throws the cup at her so she doesn't touch it. Since Shizuka knows nothing about what this photo means, she runs out of there thinking Jotaro is crazy, because who throws a cup at someone for seemingly no reason?

It's not the best first impression, but Shizuka never had a good opinion of him to begin with, so this encounter just made things worse. In her mind, this act of aggression consolidates his reputation as a violent brute; this good-for-nothing delinquent known as Jotaro Kujo is simply a danger to society. And since he's not the type to bother explaining himself, nor does he care what others think of him, it's easy for misunderstandings to grow between them.

Poor Shizuka, she deserves better. And Jotaro needs a timeout in a bathtub of ice.

[projectmokyuu]

"Green Jasper Diviners (Part 1) - NOW AVAILABLE!

Introducing Shizuka Tokime, head daughter of the Tokime Clan and a powerful Diviner. A straightforward and honest soul - and a bit naive about the world outside the village. See her in action in Project Mokyuu's dub of Green Jasper Diviners (Part 1) - NOW AVAILABLE 

Event Description: Chiharu Hiroe’s mystery begins when her family receives a phone call summoning her to the ancient Tokime Village, a secluded nook in the mountains. Upon arrival, she asked to participate in the clan’s Diviner Ceremony and gain the power to fight for sake of the land of the Rising Sun against evil spirits called Devils. Being a girl who loves intrigue and has always dreamed of becoming a hero, just like her favorite TV show character Detective Todoroki, she accepts. However, she quickly senses that all is not what it seems in Tokime Village. A mystery is brewing! Will she and her new Diviner friends be able to escape the tides of fate, or will they drown in the dark secrets of the village?

[albertonykus]

Is Shizuka a Good Friend to Nobita?

The answer to that question should be self-evident from even a cursory familiarity with the Doraemon franchise, but let's unpack it a little more, because this seems to be an aspect of the story that is frequently overlooked.

I often emphasize Shizuka's flaws and recurring struggles to offset the common fandom misconception that she is meant to be a perfect character who does no wrong. However, it is also strangely common to swing the pendulum too far in the other direction, to claim that Shizuka is indifferent to Nobita at best or only acts friendly to him out of some ulterior motive (usually, as the argument goes, to gain access to Doraemon's gadgets).

These are baffling contentions, to put it mildly. Although it is not rare in works about child protagonists for the main character's primary love interest to at least start out as a somewhat distant figure that they barely know, Doraemon stands out for how much this is not the case! I've even touched on this already while comparing the character dynamics in Doraemon to those in other works by Fujiko F. Fujio.

In Doraemon, Shizuka is established as one of Nobita's close friends from pretty much the very beginning of the series. Not only that, but later stories would reveal that they've known each other for ages. In "The Do-Over Device", Nobita sends his own consciousness back in time to when he was four years old, and it is shown that he was already friends with Shizuka (as well as with Gian and Suneo) then, many years before Doraemon entered the picture. A minimum of six years would count as a long time to most people, let alone to 10-year-old schoolchildren.

That on its own is more than enough to debunk the ludicrous claim that Shizuka only befriended Nobita for the sake of Doraemon's gadgets. The related suggestion that Shizuka would go on to marry Nobita for access to gadgets is just as ridiculous. All indications are that Doraemon leaves Nobita by the time the latter finishes school, long before Nobita and Shizuka would decide to get married.

The meme often goes even further than this, alleging that Shizuka only hangs out with her other male friends (Dekisugi, Suneo, and Gian) to take advantage of them as well. Analyzing her relationships with each of them would make this post even longer than it already is, but suffice it to say that there is nothing to support this in canon either.

Okay, so Shizuka has known Nobita for a while, but could it be that she only tolerates him because they happen to go to the same school and live in the same neighborhood? After all, it seems like many of their interactions in the series are initiated by Nobita (usually when he wants to show off the latest gadget he's borrowed from Doraemon). Why doesn't Shizuka ever invite him over or come visit him herself?

The answer is that she does, actually. All the time. These aren't even all the examples that come to mind. They aren't token gestures of politeness, either; in many of these cases she is seeking out his company specifically.

On several occasions, she willingly makes plans with him that don't include Gian and Suneo.

As I've highlighted in some previous posts, there are certainly times when Shizuka loses patience with Nobita, or makes fun of him, or would rather hang out with other friends. As most people can probably attest though, these are hardly atypical occurrences in real-life friendships. Indeed, the moments when Shizuka acts out would not be nearly as noteworthy if she weren't generally friendly with Nobita.

When the chips are down, there can scarcely be any doubt that Shizuka cares a lot about Nobita's well-being. She often actively worries when she thinks that something is wrong with him.

(On that note, Dekisugi doesn't get enough credit for being Nobita's friend either.)

One of the clearest demonstrations of how much Shizuka values Nobita's friendship is in "Parting is Sweet Sorrow". The story here is that Nobita creates an alternate timeline where he has to move away from his friends to the United States. Gian and Suneo are also saddened by this turn of events, but Shizuka takes the news especially hard.

I would be accused of negligence here if I didn't mention "Goodbye, Shizuka". In this story, Nobita worries that Shizuka will be miserable if the two of them get married in the future, and decides that the solution to this is to distance himself from her at all cost. To accomplish that, Nobita takes pills from Doraemon that will make him unbearably repulsive to others. However, he takes too many at once, which immediately causes Doraemon to flee the house along with Nobita's mom, leaving Nobita feeling extremely sick.

Shizuka, who through a series of misunderstandings has been under the impression that Nobita is contemplating suicide, is initially also driven away, but when she overhears Nobita's cries for help, she fights against the pills' effects to aid him.

I find that this scene is often taken out of context, sometimes characterized as Shizuka saving Nobita's life. Although Nobita was undeniably in severe agony from overdosing on the pills, there is no explicit indication that this would have been deadly. It is also occasionally treated as evidence that Shizuka's concern for Nobita surpasses that of Doraemon or Nobita's own mother, but it should be kept in mind that the latter two left before they even realized that Nobita was in any discomfort. Shizuka, on the other hand, was operating under the belief that Nobita was in life-threatening danger.

Be that as it may, it is a very dramatic example of how far Shizuka is willing to go for Nobita when push comes to shove. Perhaps what matters most to this post though is what she says afterward:

All right, but if Shizuka cares so much about Nobita, why does she seemingly not do much about his chronic bullying problem? Why does she continue to hang out with Gian and Suneo, including when Suneo ostracizes Nobita from their activities?

As I've been saying all along, Shizuka isn't perfect. It's possible that she isn't prepared to go as far as to cut off ties with Gian and Suneo, or give up on the possibility of experiencing something new and exciting when she's invited, or sometimes perhaps even overlooks the fact that bullying is going on.

(Kind, compassionate Shizuka would never be oblivious to someone else's suffering or put her self-interest before others, you say? Let's not forget that when she and Nobita swapped bodies, she declined to change back because, in her words, she was "having way too much fun", even though Nobita was practically begging for the body-swap to be undone at that point.)

Also, she is a child. There are probably plenty of adults who would struggle to break off longtime friendships or turn down fun, unique opportunities, even if it might be in their best interest to do so.

That being said, the assertion that Shizuka is indifferent to Nobita being bullied is hardly accurate. She is clearly bothered when she does notice it happening.

(In the final instance above, Gian and Suneo eventually get in trouble with their teacher for their pranks, implying that Shizuka told on them.)

Many times she also takes concrete action to support Nobita in a variety of ways. These include protesting Suneo's exclusionary behavior...

... validating Nobita when Gian and Suneo make fun of him...

... directly intervening...

... and tending to him when he is injured.

The last two examples above stand out in particular. In both cases, Shizuka was in the midst of being angry with Nobita, but when she realizes that he needs help, she drops everything to provide it.

The bottom line is that Shizuka's narrative role is far from being a passive love interest who is mainly there for the main character to admire from a distance. Other than Doraemon, she is Nobita's closest friend, and is indisputably his best friend within his actual peer group. If anything, a much stronger argument could be made that Nobita is often not a very good friend to Shizuka. Not much may go right for Nobita on a day-to-day basis, but with that in mind, he is frankly very fortunate to have a best friend like her.

Shout out to @itsameeruza for giving me the impetus to finish writing this post! Their Doraemon fanart is adorable and I enjoy seeing their takes on the characters.

[koushirouizumi]

{H.O.L.I.C} ~ Dōmeki & Kohane + W A T A N U K I + Dōmeki's E G G

"Please TAKE CARE OF Watanuki."

"...For the sake of WHAT WILL HAPPEN Hereafter."

{Cap by Me} (Please ASK to Use)

[akehoshimystar]

Chapter 1

Ito: (.….Save the report file and put it in a monthly folder)

(Enter the schedule of the cafe staff members on this sheet.)

(A direct message will be sent to those who have not contacted me by noon the day before the submission deadline.)

After finishing the in-store duties for the Administrative dept. I took over some of the simple tasks that Kise-san was responsible for as my daily tasks. Today marks the fourth day since I was allowed to focus on deskwork under the right amount of guidance, with the words “Take your time to learn.”

Ito: (Truly a workplace with great support...)

Kosaka-san has been in the small room in the reference room for about an hour. Inside the office, only the sounds of typing from Kise-san and myself can be heard.

Yuzuru: It's already 7 o'clock.

Yashiro-san, if there’s nothing urgent, you can wrap it up now.

Ito: Ah... You’re right. Thank you. Well, I'll stop here for today.

Is it okay if I start work at 10 tomorrow as well?

Yuzuru: Absolutely.

It looks like the next special service will occur soon, so I'll explain it in detail tomorrow.

Ito: Understood.

Then, I’ll be off now.

Yuzuru: Thank you for your hard work.

Ito: (... Oh, there’s something I need to do first.)

Excuse me. Yesterday, I had a quick chat with Kou-san at lunch….

Yuzuru: Eh?

I guess he didn't expect me to bring up a new topic after I'd already gotten up and said my goodbye. When I turned around, Kise-san looked like he was caught off guard, and that was very unusual of him.

Yuzuru: And then?

Ito: Depending on the timing, it is possible for the cafe to be extremely short on staff.

I was wondering if it might be helpful if I could help on a temporary basis in the future.

Personally, I'd be happy to help... but what do you think?

Yuzuru: Ah. I see.

There is definitely a problem with shifts. In fact, recently, other departments have been working on a number of requests….

It appears that Kou-kun and the rest of the staff barely managed to keep things going.

Ito: I see...

(The cafe business isn't just run by the Simulation Dept. and Kise-san after all.)

(It was explained to me at the beginning, but I kind of forgot about it because I’ve never met anyone else.)

Yuzuru: If Yashiro-san is fine with it, I'd really like to take her up on that.

How about you try it out once on a day when there’re enough time and manpower?

Ito: Yes. No problem.

Yuzuru: Thank you. Let me check the schedule first.

Ito: I’ll be in your care.

Sorry again for the weird timing. I left yesterday without saying anything, so I want to let you know before I forget again.

Yuzuru: It’s okay. Is there anything else?

Ito: No, there isn’t. Well, this time for sure... Thank you for your hard work.

Yuzuru: Take care.

…………

Yuzuru: ……………Haaa..... That could have gone worse, I guess...?

Ai: Exactly.

Yuzuru: ! Ai-san.

It was unnatural after all.

Ai: I think it's within the acceptable range, but be careful.

Especially when there’s a person who told you to keep your mouth sealed and said something like, “If you want to talk to that person, keep my name out of your mouth.”

There's no reason to say anything now, is it?

Yuzuru: Right... That was careless on my part, sorry. I'll be more careful.

Ai: It's not a mistake that needs to be taken too seriously. Anyway, is the report ready?

Yuzuru: Yes, I can send it out anytime now. Whom do you want to have access to this report?

Ai: Kiho-san and Riku-san. After that, you can send it to the head of other departments at your discretion.

It's still undecided whether to share it with the whole company, so just wait and see the situation.

Yuzuru: Understood. The special service requested for the Watchdog Dept. has already been finalized, so I'll send it to Shizuka-san.

Ai: ….………Yuzuru.

Yuzuru: Yes?

Ai: What do you think of her?

Yuzuru: ………………. My impression of Yashiro-san isn’t the same as what Kou-kun said before.

That's why I think this matter needs to be approached carefully.

For Yashiro-san’s sake and for Aporia's sake.

Ai: …....I see.

Thank you for your hard work.

I would like to share with you the report that the Head of Simulation Dept. Ayato gave me after the completion of special request for his department.

Please refer to the report file for specific details.

Kou: ...I have no problem with the way she works, but...

I'm a bit interested in her "way of accepting."

Yuzuru: The way of accepting..... What do you mean?

Kou: Basically, other people's convenience and desires are mere ego.

I think most people would hate it if something like that was directed at them unilaterally.

Her reaction was very weak. You could almost say it's zero.

Yuzuru: So she accepts other people's egos too easily?

Kou: Yeah. Yuzuru has something like that as well, but I feel like it's a little different.

She doesn't seem like a saint who believes in "always live a devoted life and stay close to the hearts of others."

In addition, from the way she works, I don't think she's the type to have a mental block.

Then why? I’m really stuck on that.

Yuzuru: ……….

Kou:  Regarding this incident, both Moe-san and Akehoshi were honestly behaving like what human would do.

Even though she was dragged into the quarrel, she didn’t seem to think badly of either of them. Like, not at all. Isn't that amazing?

Maybe she just made it clear that it was for work.

Ai: How is that not normal? There’s nothing unusual about it.

Kou: Even so, I think it's incredible and quite rare to suddenly be so decisive like that.

The word "well-made" is used for machines and system, right?

That's my impression of our deputy.

Yuzuru: Well-made...?

Kou: Our service is basically a jelly broth of egos. I think she’s cut out for this job.

Though I don't know if that's a good thing or a bad thing.

Ai: Is today's purpose to praise Yashiro behind her back?

Kou: That's unfortunately not the case. I just want a basic instruction manual.

Yuzuru: Huh?

Kou: Like a machine that is so well made that even if people don't know the mechanisms, anyone can handle it to some extent. That's just how it was made.

But if you touch it without any understanding, it might suddenly break at an unexpected time for some reason.

Since our deputy is a human being, not a machine, I don't think I can take that much responsibility.

Yuzuru: ...Yashiro-san’s instruction manual.

Kou: Like…. Why was she well made? How was she actually made?

I kind of want to understand that....

So that troublesome and unpleasant things won't happen.

Ai: ………

This report is not intended to call into question the work attitude or ability of the acting owner.

I believe that she is able to carry out her duties without any problems, including the in-store agent job just as planned.

The Main Office will be in charge of dealing with this matter.

If there is anything, please do not hesitate to share with us

Shizuka: …………… If there is no problem, then this should be fine.

Takeru: ? What's wrong, Shizuka and his dead expression?

Shizuka: I have this face since forever.

Takeru: I thought you’ve just received some troublesome messages.

Shizuka: Just the usual business stuff.

Takeru: That's no different. Isn’t it past working time? This is just awful.

Shinobu: …..Knock knock, coming in!

Shizuka-san, the room over there is almost done. What should I do about the air conditioner filter?

Shizuka: When was the last time it was cleaned?

Shinobu: Probably the end of the year? It's not that dirty yet, so half price is fine.

Takeru: You still managed to charge half price. What a sneaky boy.

Shizuka: If you have time after the meeting, do it.

Shinobu: Yay, more cash! Thanks for your patronage!

Oh.

Soyogu: Pardon my intrusion. Good work.

Shizuka: Yeah.

Shinobu: Good work, Gucchi~

Soyogu: Wow, there's plenty of room to stand. It's been a while since I've seen it this clean.

Takeru: I said the same thing 10 minutes ago.

Shinobu: Nyahaha, I think I'll put up a portrait that says "I did that".

Takeru: On the floor?

Shizuka: What nonsense are you blabbering? Place your feet on the floor and there you have it, a room to stand.

Soyogu: You sound like a ruler.

Shizuka: Since we're all here, let's get started and finish at once.

Shinobu: Sure thing.

Shizuka: Today’s main agenda is about the next job. This time, we'll form a 5-person team.

Shinobu: Five? Which means….

Shizuka: The application for this request has been approved. We'll have acting owner, who has been popular recently, to join us as well.

Shinobu: Oh!

Takeru: Oh my, we finally get to work together. I'm looking forward to it.

Soyogu: Yashiro Ito... I heard from Sei-san that she is a promising newcomer. I wonder what that means.

Shizuka: I hope that's exactly what he means. I'll leave it to you.

Soyogu: Huh? Leave me what?

Shizuka: "Preparation". I entrust you with that task, Shinkai.

Do your best.

Chapter 2

[helmetjellyfish]

first person pronouns & honorifics for magmell main cast and then some

edit log:

10/27 - updated Okijirou's section under Shinya and vice versa. these lean more towards "what they call each other" than honorifics/titles, but one of them does have some fun trivia attached to it.

11/2 - updated Ryou’s personal pronouns. forgot to include that he uses “watashi” when he’s closeted.

—

so kuragebunch (the website the manga is hosted on) is celebrating its 11th anniversary, and as part of the festivities all chapters of the japanese raws (except for ch. 51) are currently free to read until 10/28 11:59AM JST. i figured i'd take advantage of that and put together a chart of the first person pronouns and honorifics that the characters use in japanese. here it is as an image.

the characters have been divided into four categories: magmell (koutarou, minato, nagisa, shizuka, asahi, ran, haruno, ryou, natsuhiko/deputy director); the fishermen (shinya, okijirou/oki); the parents (kouyou, asumi, nagiko); and other (mahiro, naru, mikako, seira). a blank space means they have never directly referred to that character in conversation before, at least not by their name/title. multiple names/titles listed for a character means that all are used interchangeably unless indicated otherwise.

criteria for selecting characters was 1) having a full name, 2) having made at least two appearances*, and 3) having been featured on the cast page and/or having interacted with at least two other characters who already qualify. ex: seira counts because she was on the vol. 8 cast page and appears in ch. 30/32/40/41-42, naru counts because he's talked to both oki and shinya and appears in ch. 12/21/43, but ren and namikazu do not qualify.

*for the sake of convenience, "one" appearance can be defined as either a) showing up once in a single-chapter story or b) showing up in both chapters of a double-chapter story.

i'll also be formatting it as a list under the readmore, in case that's easier to view! formatting will be as such:

Category

Character A

Self: "(Personal Pronoun)"

Character B: (What Character A calls Character B)

fair warning that this will be very, very long. here we go!

Magmell

Tenjou Koutarou

Self: "Boku"

Minato: Director ("Kanchou"), Minato-kanchou, Minato-san (Starts using in ch. 14)

Nagisa: Nagisa-chan

Shizuka: Shizuka-san

Asahi: Asahi-san

Ran: Ran-kun

Haruno: Doctor ("Sensei"), Haruno-sensei

Ryou: Ryou-kun

Natsuhiko: Deputy Director ("Fuku-kanchou")

Shinya: Shinya-san

Okijirou: Okijirou-san

Kouyou: Dad ("Otou-san" [Young], "Tou-san" [Present])

Asumi: Mom ("Kaa-san")

Mahiro: Mahiro-kun

Mikako: Mikako-san

Osezaki Minato

Self: "Ore"

Koutarou: Koutarou

Nagisa: Nagisa

Shizuka: Shizuka

Asahi: Asahi

Ran: Ran-kun

Haruno: Haru

Ryou: Chibata-kun

Natsuhiko: Natsuhiko-san

Kouyou: Kouyou

Asumi: Asumi-san

Nagiko: Nagiko

Osezaki Nagisa

Self: "Nagisa" (Third person. This is common in small children)

Koutarou: Koutarou-kun (Written only in hiragana. Likely also to reflect her young age)

Minato: Daddy ("Papa")

Ran: Ran-chan (Written only in hiragana.)

Haruno: Ghost Man ("Obake no Oji-san")

Nagiko: Mommy ("Mama")

Nagaizumi Shizuka

Self: "Watashi"

Koutarou: Koutarou-kun

Minato: Director, Minato-kanchou, Minato-san

Nagisa: Nagisa-chan

Asahi: Asahi-san

Ran: Ran-chan

Haruno: Haru-san

Natsuhiko: Deputy Director

Mahiro: Mahiro

Yui Asahi

Self: "Boku" (Written only in katakana. I do not know the significance of this)

Koutarou: Tenjou-kun

Minato: Director, Minato-kanchou, Minato-san

Shizuka: Shizuka

Haruno: Haru-san

Dougashima Ran

Self: "Ore"

Koutarou: Koutarou

Minato: Minato-san

Nagisa: Nagisa

Shinya: Shinya-san

Haruno Izuho

Self: "Watashi"

Koutarou: Tenjou-kun

Minato: Minato-san

Nagisa: Nagisa-san

Ryou: Chibata-san (Initial), Ryou-kun (Present)

Natsuhiko: Deputy Director

Chibata Ryou

Self: "Suzu" (Young) [This is third person again], “Watashi” (Around his mother), "Ore" (Present)

Koutarou: Senpai (Initial), Koutarou-san (Present)

Minato: Director

Shizuka: Shizuka-san

Haruno: Doctor, Haruno-sensei

Seira: Seira

Mito Natsuhiko

Self: "Boku" (Young), "Watashi" (Present)

Koutarou: Koutarou-kun

Minato: Minato-kun

Nagisa: Nagisa-chan

Shizuka: Shizuka-san

Shinya: Shinya-kun

Okijirou: Oki-kun

Kouyou: Kouyou-kun

Fishermen

Shirahama Shinya

Self: "Ore"

Koutarou: Koutarou

Minato: Minato

Ran: Ran

Natsuhiko: Natsuhiko-san

Okijirou: Mister ("Oji-san") [Initial], Oki-san, Master ("Shishou"), Old man ("Jijii") [This is derogatory, like "old geezer"]

Naru: Naru

Sagara Okijirou

Self: "Ore"

Minato: Minato

Natsuhiko: Natsuhiko

Shinya: Kid ("Bouzu") [Initial; This is familiar/derogatory language, like "sonny". May be wordplay, since it's the same kanji as the fishing term "bonzes" from ch. 36], Shinya (Present)

Parents

Tenjou Kouyou

Self: "Boku"

Koutarou: Koutarou

Minato: Minato

Asumi: Asumi-san

Nagiko: Nagiko

Tenjou Asumi

Self: "Watashi"

Koutarou: Koutarou

Minato: Osezaki-san (Initial), Minato-san (Present)

Kouyou: Kouyou-kun

Mikako: Mikako-chan

Osezaki Nagiko

Self: "Watashi"

Minato: Minato-kun

Other

Uchiura Mahiro

Self: "Boku"

Koutarou: Mister ("Onii-san") [Initial], Koutarou-kun (Present)

Shizuka: Shizuka-san

Kitagawa Naru

Self: "Ore"

Shinya: Shinya

Okijirou: Oki-san

Suzuki Mikako

Self: "Watashi"

Koutarou: Tenjou-kun

Oomori Seira

Self: "Atashi"

Ryou: Chibata-san (Initial), Suzu (Until end of vol. 8 presumably)

feel free to let me know if i've missed anything or if there's any mistakes! i hope this was useful (or at least interesting) information to learn ^_^