#from a translation standpoint

[thisiseditsandstuff]

just learnt that the German translation of Peace Walker has Kaz and BB use the formal you for each other which- is the biggest "no homo" choice I've seen in a while in German translations and genuinely makes ... no sense.

[dooblebugss]

Guys correct me If I'm wrong but doesn't quirrel use a super specific and archaic descriptor in the Japanese dub that only like. Swordsmen used?

[jjbacharacterthemethrowdown]

Fun Fact: Chikayo Fukuda, the composer of the ASBR OST is also the composer of the Eyes of Heaven OST!

[eizneckam]

linguists. i am begging you. when you transcribe things into english, you need to use roman letters. i'm sorry. im not saying that the ipa is a bad idea, it isnt, but if you tell me outside of a scholarly context that a word is pronounced ɝɸuʔ i am going to bite you. no one knows what that says

[morningmask27]

Hey so, do you ever feel.. Iffy? Bad? Disappointed? That the Fandom at large only became interested in whistlepaw thanks to faer ship with Frostpaw? I admittedly was feeling a bit like that when the ship first started popping up, although I understand that Whis is quite a background character aside from that (and up until then, more or less). So like I get why fae would gain more traction only now but Idk. I can't help but feel a little sad about it since you've made me develop an attachment to this cat. Just curious about your thoughts on the matter!

I get chronically attached to background nobodies, so I'm used to people not really caring about my faves and I honestly like it more that way because popular characters are A Mess of discourse and drama,

but yeah it is a bit sad that Whis is only really seen as a love interest for Frostpaw in the major fandom, but in a way that's also what fae is in the books. Whistlepaw does nothing outside of supporting Frostpaw (and that annoys me So Much for daily whis purposes, I want more material!!!) and I can't blame the fans for not latching onto background WindClan cat #78 and making up a whole world around them

in the end the fandom portrayal is kinda bland, but inoffensive at least. I made Whistlepaw my little silly and have never really cared about the fandom at large; Fae's basically my oc at this point and if a few people enjoy what I do then I'm content

[welcometoteyvat]

feeling ??? about ga-ming's mando with a canto accent

[iriis2]

"When I was in the West Bank this spring with palfest I spent my time on the bus translating this anti-Zionist Yiddish pamphlet by Bund leader Viktor Alter. Written in 1925, when Palestinian Arabs made up 90% of mandate Palestine, it’s a damning look at the early days of the Zionist project. Alter speaks to everyone from kibbutzniks to the Palestinian nationalist leader Musa Kazim Pasha (former mayor of Jerusalem who was later beaten to death by the British).

In the pamphlet, Alter rejects the idea that biblical history entitles Jews to a state in Palestine. Palestinian Arabs have been living there for a thousand years, he says. From the standpoint of history, they are indisputably in the right

He goes further to reject the idea that ones right to live, work and flourish anywhere depends on blood-and-soil claims, such as the ones by Polish nationalists that were making Jews’ lives hell in his own country. Jews had a right to feel as home in Poland, he wrote. “If they don’t it’s because of antisemitic agitation which tries, in the name of ‘historic rights’ to divide the population into Masters of the Land and strangers. Jewish nationalist circles have seized on the same ideology. Zionism is the greatest beneficiary of antisemitism”

(The full translation is not online and I’m not gonna post it, because it’s for my book project. Anyone who wants to read about Bundist anti-Zionism in English should check out Jack Jacobs’ piece in Rebels Against Zion)"

By mollycrabapple

[katrafiy]

I think about this image a lot. This is an image from the Aurat March (Women's March) in Karachi, Pakistan, on International Women's Day 2018. The women in the picture are Pakistani trans women, aka khwaja siras or hijras; one is a friend of a close friend of mine.

In the eyes of the Pakistani government and anthropologists, they're a "third gender." They're denied access to many resources that are available to cis women. Trans women in Pakistan didn't decide to be third-gendered; cis people force it on them whether they like it or not.

Western anthropologists are keen on seeing non-Western trans women as culturally constructed third genders, "neither male nor female," and often contrast them (a "legitimate" third gender accepted in its culture) with Western trans women (horrific parodies of female stereotypes).

There's a lot of smoke and mirrors and jargon used to obscure the fact that while each culture's trans women are treated as a single culturally constructed identity separate from all other trans women, cis women are treated as a universal category that can just be called "women."

Even though Pakistani aurat and German Frauen and Guatemalan mujer will generally lead extraordinarily different lives due to the differences in culture, they are universally recognized as women.

The transmisogynist will say, "Yes, but we can't ignore the way gender is culturally constructed, and hijras aren't trans women, they're a third gender. Now let's worry less about trans people and more about the rights of women in Burkina Faso."

In other words, to the transmisogynist, all cis women are women, and all trans women are something else.

"But Kat, you're not Indian or Pakistani. You're not a hijra or khwaja sira, why is this so important to you?"

Have you ever heard of the Neapolitan third gender "femminiello"? It's the term my moniker "The Femme in Yellow" is derived from, and yes, I'm Neapolitan. Shut up.

I'm going to tell you a little bit about the femminielli, and I want you to see if any of this sounds familiar. Femminielli are a third gender in Neapolitan culture of people assigned male at birth who have a feminine gender expression.

They are lauded and respected in the local culture, considered to be good omens and bringers of good luck. At festivals you'd bring a femminiello with you to go gambling, and often they would be brought in to give blessings to newborns. Noticing anything familiar yet?

Oh and also they were largely relegated to begging and sex work and were not allowed to be educated and many were homeless and lived in the back alleys of Naples, but you know we don't really like to mention that part because it sounds a lot less romantic and mystical.

And if you're sitting there, asking yourself why a an accurate description of femminiello sounds almost note for note like the same way hijras get described and talked about, then you can start to understand why that picture at the start of this post has so much meaning for me.

And you can also start to understand why I get so frustrated when I see other queer people buy into this fool notion that for some reason the transes from different cultures must never mix.

That friend I mentioned earlier is a white American trans woman. She spent years living in India, and as I recal the story the family she was staying with saw her as a white, foreign hijra and she was asked to use her magic hijra powers to bless the house she was staying in.

So when it comes to various cultural trans identities there are two ways we can look at this. We can look at things from a standpoint of expressed identity, in which case we have to preferentially choose to translate one word for the local word, or to leave it untranslated.

If we translate it, people will say we're artificially imposing an outside category (so long as it's not cis people, that's fine). If we don't, what we're implying, is that this concept doesn't exist in the target language, which suggests that it's fundamentally a different thing

A concrete example is that Serena Nanda in her 1990 and 2000 books, bent over backwards to say that Hijras are categorically NOT trans women. Lots of them are!

And Don Kulick bent over backwards in his 1998 book to say that travesti are categorically NOT trans women, even though some of the ones he cited were then and are now trans women.

The other option, is to look at practice, and talk about a community of practice of people who are AMAB, who wear women's clothing, take women's names, fulfill women's social roles, use women's language and mannerisms, etc WITHIN THEIR OWN CULTURAL CONTEXT.

This community of practice, whatever we want to call it - trans woman, hijra, transfeminine, femminiello, fairy, queen, to name just a few - can then be seen to CLEARLY be trans-national and trans-cultural in a way that is not clearly evident in the other way of looking at things.

And this is important, in my mind, because it is this axis of similarity that is serving as the basis for a growing transnational transgender rights movement, particularly in South Asia. It's why you see pictures like this one taken at the 2018 Aurat March in Karachi, Pakistan.

And it also groups rather than splits, pointing out not only points of continuity in the practices of western trans women and fa'afafines, but also between trans women in South Asia outside the hijra community, and members of the hijra community both trans women and not.

To be blunt, I'm not all that interested in the word trans woman, or the word hijra. I'm not interested in the word femminiello or the word fa'afafine.

I'm interested in the fact that when I visit India, and I meet hijras (or trans women, self-expressed) and I say I'm a trans woman, we suddenly sit together, talk about life, they ask to see American hormones and compare them to Indian hormones.

There is a shared community of practice that creates a bond between us that cis people don't have. That's not to say that we all have the exact same internal sense of self, but for the most part, we belong to the same community of practice based on life histories and behavior.

I think that's something cis people have absolutely missed - largely in an effort to artificially isolate trans women. This practice of arguing about whether a particular "third gender" label = trans women or not, also tends to artificially homogenize trans women as a group.

You see this in Kulick and Nanda, where if you read them, you could be forgiven for thinking all American trans women are white, middle class, middle-aged, and college-educated, who all follow rigid codes of behavior and surgical schedules prescribed by male physicians.

There are trans women who think of themselves as separate from cis women, as literally another kind of thing, there are trans women who think of themselves as coterminous with cis women, there are trans women who think of themselves as anything under the sun you want to imagine.

The problem is that historically, cis people have gone to tremendous lengths to destroy points of continuity in the transgender community (see everything I've cited and more), and particularly this has been an exercise in transmisogyny of grotesque levels.

The question is do you want to talk about culturally different ways of being trans, or do you want to try to create as many neatly-boxed third genders as you can to prop up transphobic theoretical frameworks? To date, people have done the latter. I'm interested in the former.

I guess what I'm really trying to say with all of this is that we're all family y'all.

[thehmn]

I’m in love with the podcast Data Over Dogma where a biblical scholar and a comedian (both named Dan) educate the listeners on the Bible and Christianity (and occasionally related religions) in a way I love.

They explain what the original texts actually said and how they were translated in different bibles and how different versions of Christianity, Judaism and Islam interpret the stories and commands and we get explanations for little known facts like one story seems to confirm the existence of another god who beat the god of the Bible because Bible God was on their land and the other god got a power-up from a blood sacrifice. And which Ten Commandments are people talking about and what did they mean when they were written down? And does God being a jealous god insinuate that there are other gods who aren’t jealous? Can God lie and change his mind in the Bible? Was Jonah being a little piss baby?

I highly recommend the podcast if you’re interested in religion from a scholarly standpoint. Scholar Dan is a practicing Christian so he takes it seriously while also being able to joke around and take the text with a grain of salt and they have guests on who talk about the Bible from different viewpoints like disability, lgbtq, non-white, Jewish, feminist and so on.

[markrosewater]

As someone who only recently got properly into Magic this year my stance on the recent UB Standard legality is that so long as the mechanics are good, fun to play, and work well with the other Standard legal sets then I don't particularly care if Final Fantasy is legal.

But.

There is something about the Marvel Universe being Standard Legal that feels off. Final Fantasy shares many aesthetic and gameplay similarities to Magic that make it slide into the general ecosystem better from a Look/Feel perspective. Meanwhile, as much of a Spider-Man fan as I am, it is going to be incredibly weird seeing Peter Parker or Miles Morales face off against the critters of Bloomburrow, even more than Thunder Junction or Duskmourn do.

I will attend the Final Fantasy and Spider-Man prereleases because I love playing Magic and I am interested in both sets, but I cannot shake the feeling that this decision makes the overall play experience strange, especially since SIX Standard sets of a year is way overdoing it (maybe 3 In-Universe sets and 1 UB set would be a better balance?)

I understand the decision from a logical standpoint but the emotional reaction to Magic losing some of its Qualia is something that I can't ignore

I have read many of the responses to my request for emotional responses yesterday (I will continue reading - there are just a lot of people sharing). A common through line is the feeling of loss, that the decisions we’ve been making are taking things away from them.

So, I wanted to take a moment to talk about something that I believe Universes Beyond is adding to the game. I’m not talking about value to other people that aren’t you, but something that is upside to the enfranchised players that are the backbone of the game.

As I’m head designer, my focus is on mechanics and the core gameplay experience of playing the game. Universes Beyond has been a bolt of energy for the design of the game.

Because so many of you are sharing personal stories, I’ll use my own experiences as a way to illustrate my point.

One day, when I was seven or eight, I woke up and went downstairs to see that my Dad had bought me a comic book and left it out on the counter for me as a surprise. It was Spider-Man.

I must have read that comic ten times. It was the start of a life long love of comic books. I’m not quite sure why the superhero genre, in particular, spoke to me so strongly, but it did.

As a teenager I was a bit of an outcast, and when I stumbled upon the X-Men, it felt like a story that was core to my lived experience. I too was an outsider, but out there were people like me and if I could find those people, we could bond over our similarities.

I enjoy designing Magic. I mean really, really enjoy designing Magic. I don’t throw around the term “dream job” lightly. It is truly a lifelong passion. I spend so much time writing about it because it is something that brings me so much joy, and there is a desire to share that joy with others, my found family that shares my similarities.

Designing Marvel cards has been electrifying. I have spent years mastering the art of Magic design. Getting to combine that with my love of Marvel characters has been inspirational. It has inspired to make designs I would have never thought of.

It has pushed me in directions I couldn’t have predicted and resulted in designs that tickle both my inner Mel and Vorthoses.

And it hasn’t just affected my own designs. I have given more notes on card designs than I have in my twenty nine years at Wizards.

For example, the amount of back and forth with Aaron who designed the five Secret Lair cards we recently revealed at New York ComicCon was exhaustive. He and I have long bonded over our shared love of Marvel, so getting to translate that into Magic with him has been amazing.

And each Universes Beyond product we’re making has people as equally passionate about that property.

My point is from purely a design perspective, Universes Beyond has had huge dividends. It has inspired us to make fresh new designs. It has sparked creativity. We are making awesome card designs, mechanics, themes, and sets, things that most likely wouldn’t have come into existence otherwise.

The passion that beloved characters and worlds has inspired in us is translated into amazing Magic design, something that will make the act of playing Magic better for anyone who enjoys the nuts and bolts of the raw gameplay of Magic.

[starbunii]

NO BCUZ YOU MAYBE ONTO SOMETHING!!

...gorou and tighnari with an s/o that loves to gush over their ears and tails? 👀

Have a cookie again. 🍪

— 🍪 (Might as well be cookie anon-)

. petting him 𓂃 ♥︎

𝜗𝜚 ┈ tighnari and gorou x reader (seperate) !

notes: AAA COOKIE ANON IS BACK THIS IS GONNA BE GOOD WAHAHA <33 i loooove this request sm there is nothing i love more than the thought of petting both of their ears (and maybe the horns of a certain oni, but that's a story for another day, teehee)

headcanonsノ fluffノgn! reader ノcanon universe

second person pov !! please enjoy! ˶ᵔ ᵕ ᵔ˶

-- ♡ --

❝ whh...?! d-dear, i have to finish strategizing-! oh- oh fine...just a little scratch.. ❞

secretly loves getting scritches, especially from you. he knows it's mostly from a curiosity standpoint for you, but to him, it feels like all the love in the world, being transported to his head right from your pretty hands

of course, there's certainly a time and a place. if he's in the middle of a meeting with his men, touch might be more restricted

in front of kokomi? absolutely not!!

he feels like he has to prove himself as a top general. he's weak with you, especially when you touch him. there is no way that's gonna happen in front of other people

however, there's nothing he loves more than cuddling up beside you, kissing your cheeks as you stroke his ears and gently brush through his tail

he's trying so hard not to let it wag

❝ h-hey, stop that-! I won't be able to focus if you keep touching me like that, you lummox-! ❞

he's so sensitive; maybe even more so than gorou. ear touching isn't as common of an occurrence with tighnari, no matter how much you wish it was

tighnari is very protective of his ears and tail, even if you guys have been dating for a while

after a few months, he might allow you to pet his ears, stroking the soft fur on the inside, watching as his ears and little nose twitch from the sudden touches

will grow extremely flustered if you ask to touch his tail; let alone brush it.

his tail is much more sensitive than his ears, which is why he prefers to groom it in private. he doesn't let anyone touch it aside from you and the occasional curious child he stumbles across when going out

only allows you to pet him in private. if it's in person he will literally die and explode into a million tiny pieces. only you can pet him; only you can see the way he reacts and relaxes at your light touches and careful strokes

starbunii 2024 — all rights reserved. do not redistribute or translate to any other platforms

[snarp]

Official version of the final cutscene:

Lord brother. I'm going to be a god. If we honour our part of the vow, promise me you'll be my consort. I'll make the world a gentler place.

Unlike the Remembrance, the content of the Japanese text isn't significantly different this time, but the tone has again been stripped out. My translation:

Nii-sama I'll definitely - definitely become a god, so - so if we honor our part of the vow, please become my king. …I just… want to make the world kind.

Explanation:

兄様 Nii-sama

When Miquella says "Lord Brother," this is always what they're saying. It's also what Malenia calls Miquella when she apologizes for losing.*

私は必ず、神になります I'll definitely - definitely become a god,

The comma is there to show hesitation, and the "definitely" ("kanarazu" / 必ず) is defensive: Miquella is defending their ability and/or willingness to become a god. With the sentence structure of a panicking child promising an angry parent they'll clean up after the puppy.

ですから、私たちが約束を守れたら So - so if we honor our part of the vow,

Again, the comma's there to show hesitation or stuttering. The connective "so" ("desu kara"/ですから) is characteristic of a nervous person trying to bargain.

(There's no indication of who else or how many people "we" includes.)

私の王になってください please become my king.

They don't say "promise" - too aggressive.

…世界を、優しくしたいのです …I just... want to make the world kind.

They do not say "kinder", and they do not say "will": this isn't a promise, but a justification. As with everything else here, it sounds hesitant and conciliatory.**

The implication of this scene - the defensiveness, the promises, the honorific language, and the fact that Miquella is kneeling - is that Miquella has been apologizing to Radahn for some failure. Most likely, Radahn accused Miquella of being unable or unwilling to become a god, and so of failing to hold up "their" half of the vow, and Miquella is trying to reassure him.

From an emotional standpoint, I think it's pretty obvious what this is supposed to tell us about Miquella's motivations.

"What did Radahn want from Miquella?" is the question being asked here. Freyja asked it at the beginning, and the final cut-scene asks it again, to remind us that we still don't know the answer.

And from a plot standpoint, it tells us this: Radahn's half of the bargain is "marry Miquella and so become Elden Lord". So - by definition - that cannot be what Radahn asked Miquella for.

And whatever Radahn's half is, he wants it first. And, apparently, Miquella provided it - immediately before the final battle, with assistance from Malenia and the Tarnished.

"Figure it out!" says FromSoft. "Tee-hee-hee."

---

* On losing, Malenia says:

"…Aa, nii-sama …Aa, nii-sama, nii-sama. I'm sorry… Malenia lost…"

Referring to yourself in the third person is basically baby talk. As with Miquella, a lot of Malenia's Japanese-language dialog sounds childish. There's currently no way to know for sure if she was always like that, or if it's part of her post-Caelid mental deterioration… but Millicent talks like an adult.

(Malenia is saying "nii-sama" in "My brother will keep his promise", too - but there, she seems to be half-asleep and mumbling, and can't remember the kanji for "sama".)

** The way Japanese verb endings work, it's easy to accidentally land on a "no desu" (のです) like Miquella does here when you blurt something out carelessly, start regretting it before you end the sentence, and want to make it more polite. In "professional Japanese" classes, you get a lot of reminders not to end sentences that way because it sounds "weak," "pitiful," or "like you're always apologizing."

[oracleofdiscord]

#holy shit this is like. such a good thing to point out

#bc we NEVER FIXED THE WIZARD PROBLEMS#WE FIXED ADAINES PROBLEM

#SHE GOT RICH AGAIN#BUT WE LEFT THE SYSTEM INTACT!!

(tags via @kipperlillyforpresident)

#i do get the canon though like even though it was supposed to be a bit i think about

#the girls in my hs spanish class who were from DR and spoke spanish every day w each other and at home

#and they weren’t great at spanish class! bc it was hard for them to articulate Why they were saying what they were saying

#it just made sense to them

#so i can definitely see jace being like i Know magic and i know that i’m good at it. but when you ask me to put down on paper how to cast

#a spell i can’t just put it into words. i just Do it

(tags via @t4tozier)

i guess it’s supposed to be canon that jace failed taking levels in wizard because it was too much work or he’s just not smart, which is fine i guess, haha very funny but have we considered the narrative parallels if it was actually because jace was (and still is, on a teacher’s salary? lbr) a broke bitch who couldn’t afford barrels of diamonds much like adaine??? have we considered that jace is a struggling artist turned grade school teacher because he didn’t have the money to invest in higher education? this man took online courses at his local community college and still somehow is buried under student loans. of course he went evil.

[asnowperson]

A short Takemiya Keiko interview from 1998

My "All Things Takemiya" detective friend, Platypus, provided me with a two-page Takemiya Keiko interview scanned by @97tears from the now discontinued Hato yo! (鳩よ! - Oh, Pigeons!) magazine. It was a literary magazine published between 1983 and 2002—a publication you probably wouldn't look at if you were searching up on Takemiya, ig.

You can see the Japanese original taken from the 1998 April issue of the magazine, and my (poor) translation of it under the cut.

Takemiya Keiko Interview from issue #4 of Hato yo (1998) 

An interview with a master mangaka herself! 

I’ve always wanted to meet them! 1 – Takemiya Keiko 

“I wanted to draw real love” 

Takemiya Keiko. Born in Tokushima in 1950. Debuted with “Ringo no Tsumi” in 1968. Won the 25th Shogakukan Manga Award with “Kaze to Ki no Uta” and “Terra e.” Representative works include “Pharaoh no Haka” among others. “Tenma no Ketsuzoku” is currently being serialized in Asuka Magazine.  

I read “Kaze to Ki no Uta” during elementary school. It has left a very deep impression on me. I remember that when Ms. Takemiya is mentioned. It was like I was looking at something I was not supposed to look, and I still remember the thrill I felt.  Takemiya: Oh, is that so? (laughs) 

Thank you so much for being with me today.   Takemiya: And thank you for having me. 

Shall we start with what prompted you to become a shoujo manga artist?  Takemiya: Fundamentally, I was not suited for shoujo manga. I debuted in COM, and my dream was to draw manga that was neither shounen nor shoujo. But alas, the magazine in which I could draw my ideal manga was no more. My style didn’t have much “power” in it, so I inevitably had to choose a shoujo manga magazine. I think my art style was really uncommon at the time. But it was what it was, and I thought to myself, maybe capitalizing on that was the path I should take.  

Your works have an extraordinary depth as far shoujo manga goes... They have a unique art style...  Takemiya: It hasn’t always been like that. My shoujo manga technique was the fruit of what I have studied. It was not a result of my personal taste, nor my innate skills. Girls like that feathery, light touch. They like fine lines. But I didn’t have any of those. So, I figured drawing things girls would like a lot was my only choice. For instance, when I thought how they must like Europe at the end of the 19th century, I went on a trip as a result. I saw the real thing at its source, and did research on it.  

Then was Kaze to Ki no Uta born because you thought girls would like it?  Takemiya: That might have played into my choice of the time period the story’s set in. However, romance stories between a boy and a girl was the norm in shoujo manga at the time. You could only draw “And they lived happily ever after...” stories. And that happiness was only on the emotional level. It was normal to exclude all physical contact. But that is simply “affection.” I wanted to draw “real love.” I admit it was a little too sensational, but I thought doing it through same-sex love was the best way to go about it. That’s how I drew Kaze to Ki no Uta.  

The sex scenes between men were quite a shock for me as a little child. That’s how I learned homosexuality existed.   Takemiya: At the time, there was an official notice published by the Ministry of Education that stipulated that “You shall not draw a boy and a girl getting intimate!” However, if it was two boys, things were somehow fine... I thought I’d found a loophole! (laughs) 

These days, there are more extreme books labeled as “yaoi.” What do you think about them?  Takemiya: At the end of the day, doujinshi are doujinshi. They focus on personal enjoyment of a group. I consider myself a “craftsman,” and if I look at it from a craftsman's standpoint, I am not wholly satisfied with how they leave many things unexplained, or how they have no conclusion. At their level, I’d liked if those artists too felt more dissatisfied... If they aimed to be more conclusive. They have the talent to draw, so I’d love them to polish those skills. I’m sometimes told that it all started with “Kazeki,” and that I must take responsibility. And every time, I think to myself, “Oh... Re-really? Dit it?” (laughs) I wish someone drew something so awesome that it would blow Kazeki out of the water... 

I’d love that too! You called yourself a “craftsman,” but what exactly makes you think so?  Takemiya: I really love the word “craftsman.” I’m not interested in trying to reach an ideal of art that would not resonate with the public. I believe manga is something aimed at the general public. Otherwise, I would not consider it to have artistic value.  

Spoken like a real pro... Which brings me to Terra e... I think that’s the most widely-accepted manga of yours by the general public, and it was published in a shounen magazine. Why is it the outlier to be published in a shounen magazine?  Takemiya: I received an offer for it, but the truth is, I had always wanted to draw for a shounen magazine. That’s why accepted. But I needed to draw in the shoujo manga audience too, so I wanted the story to offer the best for both demographics. So I tried to have the concept to be that of shoujo manga, and the style to be that of shounen manga as much as possible.    

Is it different to draw for a shounen manga magazine, and a shoujo manga magazine?  Takemiya: You don’t have to hold back in shounen magazines. It fine to draw more hardcore stuff. But in shoujo magazines, that’s out of the question. There’s a trend that dictate that you should explain things in long-winded ways and spoil the reader, because girls like it when you reveal things to them through subterfuge, so don’t hit them directly with hard stuff. 

But after that, you’ve never drawn for shounen magazines which allowed you to draw as you wished.  Takemiya: Shounen magazines are mostly weekly. I cannot keep up with that. My art has fine details, so it takes me a lot of time to draw.  

Then will you be solely drawing for shoujo magazines in the future?  Takemiya: I can’t really say that I will. I’m currently working for a shoujo magazine with “Tenma no Ketsuzoku”, and with volume releases. I recently released an illustration book titled “Hermès no Michi.” I needed to base myself on documents and explain them in drawings. And they couldn’t be any kind of drawing, they needed to be interesting. Trying to come up with ways to do that was a very fun experience. So for starters, I’d like to undertake a work like that again. That kind of work I’m working on right now is a story about the fugitives of the Heike Clan in Tokushima.* 

*T/N: She is referring to “Heian Joururi Monogatari.”  

To finish our interview off, I’d like ask a question about the Year 24 Group (shoujo manga artists born around the 24th year of the Shouwa Era like Takemiya Keiko, Hagio Moto, and Ooshima Yumiko, who have influenced the shoujo manga world in the following years) which is still very prominent: Are you still conscious of it?  Takemiya: Year 24 is a thing of the past in the modern manga scene. I think it’s irrelevant now. Manga is evolving, becoming something else after being painted over continuously. I had fun when I was part of that group, but I don’t feel like dragging it out. I don’t want to cling to nice memories of the past as I work, and want to focus on how I currently think and feel. I want to do what I think is most fun at the moment.  

[apas-95]

As a Marxist-Leninist, when I critique e.g. the student movement for its flaws and shortcomings, I do not mean to condemn it in its entirety or claim it is reactionary. Everything in existence has both positive and negative aspects, and an objective assesment of the facts is necessary for any political understanding or action. These more 'backwards' movements among the people, while objectively progressive from a historical and political standpoint, are however fragmentary, incomplete, and short-lived on their own. The criticism of (again, e.g.) the student movent, must be understood principally as an attempt to win over, and raise political consciousness among, these advanced segments of the people - fundamentally, there is a better and more effective method of work to carry out the needs of the people that they could be using, but are not, because they have not made use of correct political theory.

Mao said:

In all the practical work of our Party, all correct leadership is necessarily "from the masses, to the masses". This means: take the ideas of the masses (scattered and unsystematic ideas) and concentrate them (through study turn them into concentrated and systematic ideas), then go to the masses and propagate and explain these ideas until the masses embrace them as their own, hold fast to them and translate them into action, and test the correctness of these ideas in such action. Then once again concentrate ideas from the masses and once again go to the masses so that the ideas are persevered in and carried through. And so on, over and over again in an endless spiral, with the ideas becoming more correct, more vital and richer each time. Such is the Marxist theory of knowledge.

[ineffectualdemon]

The weirdest thing about being politically pacifist is people get so angry with you because you say you think humans shouldn't kill other humans and governments really shouldn't kill people

My own mother called me a pacifist the way other people have called me faggot

A lot of times the argument is "so you wouldn't defend yourself if attacked" and that's not even what I was talking about! I was talking about governments not having the authority to kill anyone ever including in war

But for the record defending yourself against violence isn't the same seeking to commit violence

Just because I think fighting to get away or to protect yourself from violence directed at you is fine doesn't mean I'm pro violence

I don't believe in seeking violence and I believe in de-escalation and prevention as much as possible

And yes I am aware the world isn't in agreement with me

But my personal policy of violence is bad and people shouldn't do to each other and governments especially shouldn't be able to do it to anyone shouldn't be a hot take or divisive

I'm not even judging people! I'm just saying that I think the world would be better if people didn't kill each other!

That's all!

And all it translates into my world view is being anti war, anti death penalty and critical of all governments and political groups that enact or promote violence on people

On an individual level the only person who I am holding to this moral standpoint is ME

I don't control the rest of you but I would hope most people would agree "killing people is bad"

I genuinely don't understand why people get so very angry with me when I say "killing people is generally not good"