#him protecting his shiki and then denying that he's doing that. the looks on his face as he watches the way natsume interacts with youkai

[coquelicoq]

[Image description: Two stills from an episode of the "Natsume's Book of Friends" anime and a panel from the manga. In the first image, Matoba looks back over his shoulder while saying to Nanase, "Since I don't see him, Natori probably went to seal it away." In the second, Nyanko-sensei is perched on Natori's shoulder and is headbutting him in the cheek and saying, "Look everybody, it's the exorcist Screw Up Natori!" The third is a manga panel in which Matoba is smirking slightly and saying, "You have to use what you can. I just want strong ayakashi so I can protect humans. If you worry yourself over being despised, or about the price, you can't be in this business." /end ID]

Rewatch: S3E7 Exorcist

🎯Summary Revenge, tears, and Matoba being a jerk.

🎯Canon Notes +this episode corresponds to all of manga volume 7 +paper with ink symbols can be used as binding charms +matoba needs a charm over his right eye, to protect it from being eaten +the matoba family curse is explained (long ago, an ancestor asked a youkai for help and promised away a right eye in return. he broke that promise, and now the youkai chases after every matoba head after, trying to claim that eye) +matoba already has an old wound over his eye +nyanko upgrades natori’s nickname from “that shady guy” to “the screw-up exorcist natori” +matoba fights using bow and arrows, and is also capable of using paper dolls as a tracker on people

🎯Comments

originally, natori is said from his first appearance to hate youkai. but right away in this episode, we get an extremely cute scene of natori carrying nyanko-sensei around on his shoulders (because he’s a stuffed animal, see?)

i also have a previous post that goes into more detail on the canon interactions between nyanko-sensei and natori. at the very least, from the amount of times they have encountered each other, nyanko-sensei is willing enough to hang around natori and also bicker with him, the way he might with natsume (“look everyone! it’s the screw-up exorcist natori! rahhh!”)

nyanko-sensei also asks about more info on matoba from natori, to which natori replies: “He’s the type who’s not afraid to use dangerous youkai for his own ends.”

nyanko-sensei asks if that was why natori had left behind his own shiki. natori denies that he was trying to protect his own shiki from matoba. with his own shiki, hiiragi clearly worries about natori, even if she claims she was not mad that natori didn’t take her with them so she could protect him.

and in an interesting twist, while the current natori is not entirely a jerk to youkai, he does understand the expectations that the exorcist community has. youkai are either servants or not, are either useful or to be banished.

while sympathetic to the woman who had lost her crow shiki, he says “In this line of work, the youkai we use are…[nothing but tools].”

matoba’s own view on youkai lines up with this sentiment that natori expresses.

“I just want to have strong youkai to protect people. If that means people hate me, or that I pay a price, that’s fine.” “[Natsume, thinking] He’s an exorcist, but he’s very different from Natori-san.” “I can’t use that youkai. I’m leaving.” “If you don’t need a youkai, then don’t spend time on it. Blast it to nothingness.”

matoba is all ruthless efficiency, expediency. if a youkai or a person is not interesting to him, he abandons it immediately.

we don’t really get a full picture of what it means to matoba to protect people, but from his family’s curse, we get an inkling; for matoba, any interaction with youkai is a life-death situation, and each time, matoba will choose to protect himself (to protect the clan).

matoba seiji and his clan is powerful, yes, but it rests on a precipice, drawing entirely from a bargain based on fear, on bloodline, and half of his sight (which allows him to watch out for enemies, both youkai and human).

both matoba and natori are exorcists, and both of them are acquainted, at least. in issues of sight, both of them seem to struggle with skewed perceptions; natori and his fake glasses, which he thinks would help him see youkai better. matoba and the paper charm on his right eye, which protects him and blocks half his sight.

as for any relations between natori and the matoba clan, we are reminded again how nanase-san is familiar with natori’s personality, when he is hiding something, and how he would react in certain situations (“Natori? I only teased him a little and he came running. What a child.”)

matoba seiji also seems to know natori, at least is aware of natori’s abilities and personality as well.

one of matoba’s earliest comments to natsume, after natsume is trying to break a paper binding charm, is to mention natori’s name: “Interesting isn’t it? Normal people can’t see that paper. Ah, the Natori family knows more about that paper than I do. Ask them.”

when in the end, natori goes back into the cave to seal the youkai, matoba does not seem surprised (“Since I don’t see him, Natori probably went to seal it away.”) both are exorcists, yet both choose different paths of action in this episode.

and in the last scene, as natsume is wrestling with his understanding of the casual cruelty of the Matoba exorcists, natori sounds more resigned when he just tells natsume not to worry about it, that: “Some people are like that. That’s all it is.” 

was matoba always like that? is that all it is? natsume wants to protect friends both youkai and human; so what is it that matoba or natori hopes to protect?

Previous posts: S1E9 rewatch. S1E13. S2E3. S2E11. S2E12-13. S3E6. More exorcists meta can be read here.

[shiki-aki]

(loooong post analyzing Akira's characterization/character development, and why I think it works in Shiki's route but not the others)

I feel like Shikiaki fans just have a different interpretation of Akira's character from the rest of the fandom lol. Like, imo, on a fundamental level, there's nothing wrong with Akira being standoffish or closed off. What is presented as a conflict in Akira's character is the fact that he's a nihilist, because it prevents him from living life to the fullest, and it prevents him from appreciating human connection with others. His nihilism is what made him not bother trying to understand Keisuke, not the fact that he has trouble understanding his own emotions, or understanding others. Akira thinks life is meaningless since everyone will die in the end anyway, and that's why he never bothered trying to understand Keisuke or form a deeper connection with him.

I particularly dislike how Akira's character development in the non-Shiki routes hinges so much on how he has to become more perceptible to people's emotions and understand others, rather than him learning to overcome his nihilism. The game at the start sets up Akira's character flaw to be his nihilistic outlook on life, not his lack of interpersonal skills, but it doesn't fully follow through on that except in Shiki's route. His lack of interpersonal skills is a symptom of his nihilism, but it's not the root cause of his character flaw lol.

And like... Akira being emotionally stunted, socially inept, bad at communicating verbally with others, but also comfortable in his own tersity, is what makes him, him. That's his whole appeal imo. The only reason why him being closed off seems like a character issue is because the narrative frames it that way by making Akira seem like an asshole when he dismisses Keisuke's feelings. It just kind of feels like the narrative is saying Akira has to change because he was "mean" to Keisuke and didn't bother trying to understand him, rather than saying Akira has to change because he needs to find a reason to live. The former makes Akira's character development dependent on Keisuke (which, I don't think works out in the long run because it's why Akira ends up acting so OOC in nearly every route), while the latter is more focused on Akira's personal conflict and agency.

Now, this is more subjective, but I feel like the blame for why Keisuke and Akira's relationship breaks down lies more with Keisuke than Akira lol. Akira was perfectly fine and comfortable with the relationship he had with Keisuke; he never looked down on Keisuke or intentionally tried to make him feel lesser/unwanted. It was Keisuke who made up a bunch of bullshit in his head about how Akira looks down on him, or that Akira is just stringing him along and tolerating his existence, or that Akira doesn't actually like him, and he projected his own issues and inferiority complex onto his relationship with Akira, which is like... a pretty shitty thing to do. None of this is Akira's fault, but it feels like the narrative is blaming Akira for these "miscommunications" by trying to say that Akira never bothered to understand Keisuke, when first and foremost Keisuke's the one who never bothered to understand Akira, and instead he just assumed a bunch of shit about Akira.

During the scene where Keisuke and Akira have their fight in the rain, Akira goes on this speech about how he realizes that people fight and live to protect someone important to them, and for Akira, that important person is Keisuke. It very much feels like he's just parroting Takeru's words here. I'm not denying that Keisuke is important to Akira, since clearly, the narrative frames it that way, but this is how the game makes Akira get over his nihilism: by making him realize how precious life is because he wants to protect Keisuke. And... it just doesn't work for me lol. Akira gets over his nihilism in the span of a week when it was presented as a much deeper, intrinsic character trait for him at the start of the game.

Like I haven't actually seen Akira undergo the character development in which he stops being nihilistic; in fact, all Akira does is navel gaze about how he never bothered trying to understand Keisuke, and that he should have been more honest about his feelings. Which actually feels OOC to me, because it doesn't make sense that someone as emotionally stunted as Akira would navel gaze and reflect so much about his feelings, let alone have the emotional intelligence to come to the conclusion that life actually is meaningful, and it's all because he wants to protect Keisuke and fix his relationship with him. What was the point of setting Akira up to be so emotionally stunted and incapable of understanding emotions at the beginning of the game, when he's actually quite emotionally intelligent when it comes to analyzing his relationship with Keisuke? lol

After this, the game drops the whole nihilism character conflict for Akira, and instead makes his character conflict all about his lack of interpersonal skills. The only route that doesn't do this is Shiki's, and it in fact continues Akira's character arc in becoming a more willful person who discovers a reason to live. And that's why Shiki's route feels the most consistent for me when it comes to Akira's characterization and his character development. In Shiki's route, Akira doesn't have to angst over improving his interpersonal skills like he does in Keisuke's/Motomi's/Rin's/Nano's; he angsts over what it means to live and have autonomy, and like... the latter is literally a central theme of Togainu no Chi (or at least, it was in the common route before the game dropped it midway).

I find it very telling that Akira and Keisuke's conflict is all about how they didn't understand or know a thing about each other, and that's why their relationship is flawed. So Akira has to try and understand Keisuke, because it was ~bad~ that he didn't communicate with Keisuke and try to put himself in Keisuke's shoes. (Keisuke's route has a really bad habit of antagonizing Akira while glorifying Keisuke, but whatever lol).

Whereas Shiki's route is actually the complete opposite of this lol. Akira tries to not understand Shiki throughout the majority of Shiki's route (because he's afraid that if he understands Shiki, he'll end up humanizing him instead of hating him, which is just *mwah* perfect angst). And in Shiki's ED1, Akira straight up acknowledges that he doesn't understand how Shiki feels about him, nor the nature of their relationship, but Akira feels comfortable by Shiki's side in spite of that. Now, I think Akira and Shiki do understand each other, but it's on an instinctual level. They recognize each other's character traits, and understand why the other behaves the way they do, but they don't need to verbally communicate how they feel about each other (and if they do, it's done in a very natural and subtle way).

So like, there's nothing wrong with Akira having trouble understanding his own emotions or his relationships with others, and Shiki's route shows us how Akira can still have a healthy and possibly romantic relationship with someone who's just as emotionally stunted as him, and still make it work lol. At the end of the day, Shiki will never antagonize Akira for not communicating with him like a normal, socially well-adjusted person, or encourage him to be more open and honest about his feelings with him, and it's why I feel like he's the only LI who actually accepts Akira for who he is, and Akira doesn't have to change for him. Akira does change as a character in Shiki's route, and he does so by overcoming his nihilism and finding a will to live, but he didn't do that for Shiki's benefit; he did it for himself, because Akira did feel internally conflicted about his nihilistic outlook on life, as evidenced by his opening POV in the game. Whereas I feel like Akira has to change for the other characters' benefits in the other routes.

[kumikomochidesu]

Frenemy (AllenKana fanfic)

Disclaimer: I do NOT own Paradox Live nor any of its characters.

Note: Set during the celebratory party of cozmez.

Ugh. Too loud.

Kanata grunted and stood up from the cushioned seat. The only thing that he wanted to do today was to sleep. He wanted to go home so bad but seeing Nayuta conversing with them made this party a bit worthwhile.

Noticing his brother's irritating look every time Compla Daimao hovers over him and Shiki, made Kanata snort. He's trying so hard.

As much as he wanted to deny it, these people have been a part of their journey. They won and if it weren't for these people, he wondered how will he hold on to his sanity.

With a yawn, he strode towards the veranda and was immediately greeted by the soft breeze. Kanata removed his cap and ruffled his hair. He leaned forward and rest his arms above the terrace while watching the train pass by from afar.

"Kanata?"

Kanata internally groaned when he heard that voice. He lazily replied, "What?"

He had gone outside to escape the noise but another disturbance ruined his peace.

The red-haired hip-hop junkie tentatively strode towards him. "I couldn't find you inside so I guessed you'd be here."

Kanata sighed. "Why do you even have to find me? What do you want?"

"Grumpy as always," Allen clicked his tongue and leaned on the terrace, mirroring Kanata's posture.

After a moment of silence, Allen spoke. "It's great that Buraikan accepted the final battle. Just thinking about it made me fired up! Have you got any plans already?"

Kanata just shrugged and yawned. "Yeah. Maybe. Haven't started yet. We're just waiting for the right momentum."

"Heh. But they're the kings, though. You two should be more prepared."

"The fuck... aren't we the kings too?" Kanata irritatingly and confidently said. "Don't underestimate us. We will beat their assess that they'll have no choice but to give us the crown."

"I'm not underestimating anyone. It's just that... you know, the legendaries will be up against the two of you. The reputation of Buraikan has been engraved on people's minds for years, they're going to protect it. They won't let the crown be worn by someone else." Allen thoughtfully said.

Kanata snickered. "Then we wouldn't let them wear the same crown coz it's fated to rest on our heads now. Buraikan's reputation? We already made our own."

Allen stared at him for a moment before releasing a chuckle. He shook his head and grinned. "As expected of you. You just don't waver, do you?"

Kanata didn't answer but he smirked. Of course. He and Nayuta - together they will reach the top. They don't waver to anything or anyone. Whatever or whoever they encounter, both of them will stand at the ground that they have worked to death.

This is just the beginning.

"With Nayuta beside me, everything will be a piece of cake." He proudly muttered.

Allen smiled thoughtfully. "Nayuta... he really came back, huh."

"Yeah."

Still smiling, Allen stretch his limbs and placed his hands inside his pockets. "To be honest, I almost lose all my hope for you. But when I was walking down that stairs, away from your house, something nags inside me. Something tells me that it wasn't the end."

Kanata clicked his tongue in annoyance. "Do you really need to bring that up? Aren't you happy?"

"Of course not! I was devastated!"

"Tch. Drama."

"Hey, I'm serious! I was thinking of ways how to snap you out of it. Maybe... a punch or something."

Kanata immediately rolled his sleeves and clenched his fists. "Well, if that's what you want, it's not too late."

"W-Wait, no! I mean, before! That time! I was desperate..." Allen momentarily paused, looking back on that day "...angry...frustrated...I want to do something even though I know I won't be a help."

Kanata stared at him for a second and looked away, fixing his sleeves back to their places. "You can't do anything about it."

"Y-Yeah," Allen scratch the back of his head and awkwardly laughed. "I realized that... no matter how I desperately want you to snap out of it, the pain you've felt that time was immeasurable. I'm sorry for barging in like that."

Another moment of silence.

"Well... I guess your words helped... a little bit."

"Eh...? EHH!?"

"I said, 'a little bit'!"

Allen chuckled in glee. "But still! Knowing that I somehow helped you--"

"Yeah, yeah, but after that day, I was planning to leave the town," Kanata interjected.

"W-What!?"

Kanata snorted at his reaction. "I met Shiki and we talked that day before I leave and that's also when Nayuta made his presence. Nayuta and Shiki are the ones who actually helped me not you."

"Is... that so?"

"Yeah," Kanata smirked at Allen's dejected expression.

The wind suddenly blew around them. There was an impending rain from afar as the surroundings darkens because of the heavy clouds.

Kanata wore his cap and his mouth formed into a small smile. "Still... thank you."

Suddenly, the sky roared. Lighting flashed against the clouds as it thundered, making the ground shake.

Allen's eyes widened to what he just heard. He was about to speak when the door leading to where they are suddenly opened.

"Oh, found him."

Kanata immediately looked back when heard the voice. "Nayuta? What's wrong?"

Nayuta shook his head. "Nothing. Suiseki-san's just looking for you."

Kanata sighed and lazily strode inside. "Yeah, yeah, I'm coming..."

When Kanata was out of his sight, Nayuta looked at Allen.

Allen smiled at him. "Hey, what's up, Nayuta?"

Taking his time, Nayuta stared at the red-haired boy. Kanata told me that he's too annoying and that his presence alone can irritate the hell out of him. But... I don't see it that way, though?

Nayuta walked towards Allen and stopped right in front of him. "Hey..."

Allen blinked in surprise. "Hmm?"

Nayuta smiled. "Thank you... for being Kanata's friend."

"Eh...? F-Friend...?"

Nayuta smirked. He rested his hands inside his jacket's pocket before turning around to leave. "That's all I wanted to say. Bye."

Not able to contain his emotions, Allen smiled widely and cheekily laughed. "G-Good luck! I'm definitely rooting for cozmez to win the final battle!"

Nayuta just put his thumb up while walking away.

[alexis-medina]

Dissecting: Edens Zero Ch. 130-134

Kleene/Jinn

I was reading Ch. 83 and found this.

See, I don’t know if Mashima plans his story out or if he develops certain plots on the spot because everything is connecting. “Oh, I could use this later...” Brilliant. Amazing. For real though, I was like damn it’s the Mildian/Sun Jewel arc again (Xiaomei’s battles foreshadowing).

Shura vs Ziggy

It was interesting to read that Shura isn't the biological son of Nero. This leads me to think...what if Shura and Shiki are related? I mean they both have gravity ether and they both were taught by Ziggy. They both are also strong in their own right. We also have the theme from Fairy Tail of Good vs Evil (Zeref and Natsu) but in this instance it would be Shura and Shiki. We also don't know where they came from - their origins. Plus, Nero says that his power was incompatible with Shura but he was able to match with Ziggy's gravity powers.

Later, when the crew of Edens Zero find another relic (Robo Cola cap), they infer that Mother could be a place and a person. I was also thinking that because in FT: 100 years quest, Aldoron was a dragon god but his body was home to 5 cities.

So, if I'm right then, Shiki and Shura maybe are from a city on Mother...and maybe even Rebecca.

I'm noting that Shiki is younger than Shura. When Ziggy was training Shura, that was 15 years ago but, that's also the same time Ziggy found Shiki as a baby....unless Ziggy is lying and he has false memories. 👀👀👀 Is Ziggy truly good or bad? Does Shiki have additional powers like Rebecca?

What is the all-link system? Looks like Shura and Ziggy have the same idea. I think if Shura and Ziggy battle - Ziggy will win. What did you guys think?

Xenolith and the Crew of Edens Zero

I wonder why Xenolith's maintenance is lasting longer. Perhaps it may be revealed in the future. I would laugh if he moved his consciousness/personality data into a younger robot body.

Weisz stays being a perv lol with the bondage training.

Did Xenolith teach Shiki 'Black Sky?' For me, I feel like in the next arc, when Shiki is facing a really tough opponent we will get flashbacks of his training with Xenolith and him learning Black Sky. Then, he'll perform it against the enemy...which could be Ziggy. So, yes, I think Xenolith did teach him. Could be wrong but we'll have to wait and see!

Both Xenolith and Xiaomei have stated that Rebecca's power will change/save the world/universe.

- Xiaomei (Ch. 64): "She has only just begun to unlock the secrets of Leap’s real power. This power may truly save the universe one day."

- Xenolith (Ch. 132): "Her power is weak…but it is the most special. Special enough to change the world."

Witch calling Rebecca a 'Chrono Witch' is giving me Scarlet Witch vibes...

Math for Dummies lol

Stronger heart = Stronger gravity Strength + Tranquility = Strong Heart = Rise from darkness Strength - Tranquility = Weak Heart Weak heart = Weak gravity = Fall to darkness

Fan service with the bath scenes but, at least it is keeping the story going, in that, she has to train in the bath in order to get stronger. Sister makes me geek, "You better get out of those ropes before this turns x-rated." When I read that scene, it gave me Virgo vibes from FT.

I also want to see how Xenolith met Ziggy. So, I'm wishing for a flashback.

I don't know if I put this on a post before or not but, my thoughts are that Ziggy did reach Mother and found Shiki there. He erased the Four Shining Stars memories because something bad would happen if he didn't (like they would get infected the way he is now). So, he did it to save them.

UGHHHH BUT THAT CLIFFHANGER...WHYYYYY - It'll probably blow my mind when it gets revealed.

Also, WOOHOOO! Jinn and Kleene joined the crew. That cute ass smile!!! OOOMG his face when he isn't able to untie Kleene. 🥺🥺🥺

The Oceans

So cool to see the winners of the Edens Zero character competition featured as the Oceans 6! I'm a fan of all of them and don't you worry...we won't forget Shura's assistant even though she's not part of the 6. However, she might be since Shura killed off Cyca. Yikes.... RIP Cyca

Their designs are so clean!! (Sorry if the images look blurry Tumblr only allows 10 photos per post so I tried stitching them together in Illustrator but I think the file size is too big for Tumblr so that's why it may be blurry but, I hope you get the gist of their designs.)

Holy

I wonder what she means by that...I feel like this will be important later. We also don't know much about the other members of the Oración Seis Interstellar. I'm excited to see what their ether gear is...especially Eraser. 👀👀👀 Does his ether have something to do with erasing things? Are they corrupt or good guys? I guess we'll found out soon...

B-Cube

Rebecca has carved 'Edens Zero' onto her B-Cube. Did you guys notice in Ch. 134 that Rebecca's ingrained B-Cube is the same one we see in Ch. 4? That's the scene where there are two robots 20,000 years in the future who find two bodies (a man and a woman) and a B-Cube which we can now confirm is Rebecca's.

The Ships + Other Notable Mentions

LOL I feel like if I was a B-Cuber, I would be an entertainment/fashion channel....basically like Sorcerer Weekly but make it Space Weekly or a cool name like Into the Void. Maybe a play off of 'Cosmopolitan' but shorten it to 'Cosmos.' So many options.

Anyways lets get into the ships. I talked about this first ship in a recent post.

#1 Homura and Creed

I'll say it again...I SHIP IT! I am hoping for some more scenes with them together. He always looks so cute when he blushes <3 He's a Homura stan too hahah. 🥺🥺🥺

Predictions: - Creed and Homura will fight - Creed will protect Homura again - Homura will save Creed - Creed will join the Edens Zero crew

Now, I was reading on a few discord channels that people are comparing Creed to Mest (Fairy Tail). Now, I am really trying to understand this comparison because frankly, I don't see it. Creed has a crush on Homura. That's valid. Also, Creed doesn't just have pictures of just Homura, he has Weisz, Rebecca, and Shiki. He's not creepy like Mest.

Mest was a weird guy when we first met him laying in the pool or eating flowers. Their personalities are totally different IMO. We could talk ages about the age gap stuff but I'm not really gonna go into that.

Do you see the comparison?

#2 Rebecca and Shiki

Shiki escaping from his restraints to save 'Rebecca' made me happy lol. It makes me think what he would do if it was Homura or Weisz in that situation. What would Shiki do? Plus, after the simulation was over...we can see Rebecca in awe and blushing.

Then, Shiki is hugging Rebecca and they're both blushing 💕 That's a cute moment ngl.

"I'm not THAT into Shiki." - So, you don't deny that you like him 😉

#3 Hermit

I don't know if I mentioned this but I fucking love Hermit's name. It's such a cool name.

#4 Justice

Ch. 130 he was looking gooooood with his bandages. 🥵🥵🥵

Ps. Did you get a chance to view Edens Zero PV 2?!?

Did you notice the homage to Fairy Tail in Ch. 134? "Why are your ideas so Fairy Tale?"

[having-a-hyperfixate]

The Final Day’‘

This is absolutely going to be long and rambley af so I’mma just put a cut here. This is just one massive post for the entire rest of the game.

Rindo is back in the RG somehow. Which makes less than no sense. What was that crazy beam. Shibuya is GONE there isn’t an RG to send him back to, even if someone did want to send him back?

That beam reminded me of the Jesus beams not gonna lie.

But… Fret. Presumably Nagi and Beat too. They’re. Gone. Poor Rindo… That’s the worst kind of gaslighting. Reality itself is gaslighting this poor kid. ‘Your best friend in the world is gone, so gone that no one remembers him. You don’t even get to mourn properly because there is no one TO mourn.’  I am also not okay.

I assume this random talking to us at Hachiko is the dude I saw a brief glimpse of in a screenshot from the final trailer. Hazuki Mikagi, okay. Everything about this is supremely weird. 

Leading this weirdo around and he asked how we feel about emotions? Um, what?

Was he responsible for that beam of light?

This whole thing is extremely unsettling, I don’t think I like it. The music is all… serene, this guy keeps asking existential questions, who even comes up to some kid clearly having a bad day and demands a tour of the city.

He knows Rindo’s name even though we never told him. Not sure if that was a slip or an intentional nudge that Something is going on but there we go.

‘I should take this chance to apologize for Kubo. He’s a real piece of work.’ WHAT. YOU SEND HIM TO SHINJUKU?!?! IS THIS KID GOD!? WHAT!??!

‘Exorcised’. Like a demon. Which is a psychic rank you can get in the first game, and probably this game, ergo, a thing that exists in this universe.

Okay. So this Hazuki guy is Something Else. I dunno if he’s an Angel or higher or WHAT. He’s something. And he “exorcised” what Fuckwad had Fallen to when he decided not to stop at Shinjuku and continue on to Shibuya. But he only did this after Rindo faught so hard to stop it. And then he gave Rindo what he thought Rindo wanted. And now he’s here trying to understand why Rindo is miserable. Which to us, as humans, is obvious: the people he loved, the connections and family he had made through the game are all gone and worse, no one remembers they ever existed.

And now he’s being offered the chance to try again. This feels like a double edged sword. And I don’t care.

Okay I actually kind of appreciate the thing Hazuki is pulling here. He knows what it is that Rindo wants, I’m pretty sure he’s listening to his thoughts, actually, and in order to make Rindo own up to it he’s arguing the ‘no’ position. Giving Rindo someone to argue against so he can convince himself.

WHY DOES EVERYTHING HAPPEN AT UDAGAWA.

Bruh some of these clips were in the announcement trailer.

(I can’t wait to read the secret reports. That’s gonna be a wild ride.)

Oooooh that’s what ‘exorcised’ means. That is hardcore. He definitely deserved it but that is uh. Slightly inconvenient.

Can we actually contact Rhyme this time PLEASE. Oooh Rindo worked out Kaie is waiting for Rhyme. :O I’M FINALLY GONNA GET MY MASSIVE COUNTER OFFENSIVE FUCK YES. AAAAAAAAAAAAAAAAAH I’M PUMPED LET’S FUCKING GOOOOOOO!!!!

Who’s gonna protect them. Beat. Really. Just give them the damn pins at this point. They both know their ways around a fight and Kaie might need the backup. If we lose, we’re all toast regardless, and if we win everyone gets put back where they belong.

AAAAAAAAAAAH SHE’S HERE!!! RHYME!!!! Aw… She can’t see Neku and Shoka cuz they’re actually dead. That’s really depressing. Makes sense but like. Oof. Especially for Neku.

I love that Rhyme still has a saying for everything.

This timeline is going to be a mess by the time I get everything positioned correctly lmao

Beat’s ‘How do you know about my sister?! Right, future.’ is never going to NOT be funny. It’s very refreshing to have a time travel plot where people just listen when he tells them shit needs to happen.

Is it acutaly Shiki time ohh my god. I might cry. Please tell me she has a face now. If her face is still illegal I will actually scream.

I’m offended. We didn’t get to go see Shiki. The betrayal. OH but now we might be? Stop playing with me, game. GIVE. ME. SHIKI.

Rindo was freaking out that we weren’t gonna be able to get rid of all the Noise around the café and I definitely threw my hands up and yelled when I saw the word ‘zeptogram’. And I read it before he said it, cuz I read v. fast. Nice to see you again, idiot. Please don’t go berserk again.

I am. Very impressed that Minamimoto managed to work out where the Dissonance Noise are coming from, down to the exact energy source that creates them. He nailed it. Well done sir.

I think… he’s proposing we awaken the city and use the energy generated by the thoughts and emotions of the living people to neutralize some of the Dissonance Noise that are waiting in the pin. Erode some of its power.

“How about this: I’ll talk, you type.” Lmao.

I got denied Shiki again. Part of me is annoyed. The other part of me is like ‘are they saving her entrance for when she can see Neku again properly because I can live with that’.

OH the Hishima cutscene is voiced now OKAY. Guess that means this is the one. Rhyme is voiced too. This is gonna be it.

And she speaks Minamioto. Coo.

Huh. Neku’s power is to sync with people. Which he learned to do in the first game. From Mr H, with the harmonizer pin. (Twister is playing and I have Emotions help) And now he’s gonna do it on an absolutely MASSIVE scale. This is insane. I am 1,000% here for it. Sync, Dive, Remind. And if I had to guess, we’re doing this atop 104.

Alright Shiba. ‘Mere. Tsugumi’s eyes aren’t all freaky anymore yay. Oh snap. He’s gonna unleash the Plague Noise against the Dissonance ones. Nice. Turnabout is fair play. I’m kinda sad Fuckwad isn’t here to witness that.

Alright. Change. Our. Fate.

SHIIIIIIIIIIKKKKKKKKKIIIIIIIIIIIIIIIIIIIIIIIIIII!!!!!!!!!!!!!!!!!!! I gave myself a headache ow.

“07734.” “Ew. Hey! Don’t just spout off numbers and walk away, you jerk!” That was amazing.

FUCK ME SIDEWAYS. OH MY GOD. OH MY GOD. NO. NO WAY. I DIDN’T THINK THERE WAS ANY WAY. OH. MY. AAAAAAAAAAAAAAAAAH. This is the first time Neku’s seen him since Joshua failed to stop Coco from killing him. I’m. A puddle. Help. Neku looked so happy. My cat is slightly concerned haha.

Neku still holds his hands like he’s got the headphones. The same pose as in the first game when you scan. This gives me all the feels.

“They’re just mindless thoughts” Okay so I’m mentally exhausted at this point and I processed that as ‘thots’ and it was hilarious. BEGONE THOTS.

Okay this thing right here? This is a final boss. And it is cool as fuck. Too bad it’s trying to END ME. So cool. SO. COOL. Here comes phase 2 lol. I died and had to redo it. FML.

That. Was awesome. A worthy successor to the epic final strike of the first game. 999% eh?

I continue to not like Shinjuku rules. Once you’re a Reaper, leaving means you get erased once the game ends? Disrespectfully, fuck that. Oh don’t you dare, Shoka. Don’t. You. Dare.

Oh, Joshua is here. PLEASE. Lmao Shoka’s reaction. I’m sure he appreciates that, the drama queen.

*facepalms* Joshua strikes again. I’ve missed you, you little shit. You are terrible, but I missed you. Rindo, I’m pretty sure she’s fine. I think captain helpful over here reincarnated her for you. Since you saved him and his city. I guess I’ll see though.

Uzuki and Kariya continue to be adorable. I love them. And yeah, good luck calling in that debt from Minamimoto, Coco. Gooooood luck.

I’m having a lot of Joshua centered emotions right now there is too much Joshua all at once help. “I should have known I could trust you.” You are killing me dude. You really, really should have. I’m going to turn that line over in my head for way too long, I just know it, but let’s try to get through this before my brain turns off completely. “Let’s not keep her waiting.” OKAY THANKS I’M GONNA CRY AGAIN.

What Hazuki was saying about ‘purifying’ as opposed to ‘destroying’ Shinjuku makes me think that restarting it in some form was always part of the plan, so hopefully they’ll have luck with that. It’s still profoundly fucked up that any of that happened, and even more so that it was sanctioned. I’m. Going to be hung up on that for a while once it sinks in.

This poor idiot hitting on Rhyme is about to get got oh no XD

Shiki is breaking my heart. Aaaaaaaah!!! Reunioooooon.

Ooof it’s been a month since Rindo saw Shoka. Big oof. Joshuaaaaaa.

And then they almost got hit by a car lmao. OMG HE MISSED HER FRIEND REQUESTS AHAHAHAHAH YOU GOOBER. Neku really should have warned them that Joshua is Like That lol. Even when he’s being helpful it’s in the must backhanded way possible.

I would very much like to know why on earth Shinjuku needed to be obliterated though. Like. Does that… Happen often? Maybe the secret reports say.

Speaking of, time to get those, along with the rest of the trophies.

!!!! The title screen updated, NICE. Can’t let anyone who hasn’t beaten it see that but NICE.

There’s another Another Day. Oh boy. I am not ready for that madness yet.

Random thought as I was moving this from word, where I typed it: I’m really, really fucking glad they didn’t decide to deal with Mr H the way they dealt with sleezy mcfuckwad. That would have been… I don’t have a word.

[oveliagirlhaditright]

The Amulet

https://archiveofourown.org/works/33828238

Neku and Shiki as Spike and Buffy from Buffy the Vampire Slayer. AU. Oneshot. I tried to write this so you don't have to know Buffy to like or understand this story (like, I try to explain and summarize stuff). But if you do know Buffy, you might get more understanding and enjoyment out of this, of course.

Slight attempted rape TW. It’s there because it happened in Buffy, unfortunately.

“Stalker,” said Neku, as the two of them locked eyes in her laundry room. “…We don’t have to do anything. You don’t have to prove anything to me because I got pissy about Josh being here earlier. I meant what I said before, about me loving you having nothing to do with me—because I can’t have you; I know I can’t; so my loving you has nothing to do with that—… like I said before, I love who you are. I love how you try-”

And Shiki shut Neku up with a kiss to his lips.

And to be fair… the two of them had kissed plenty of times by this point. They’d also had sex a ton now. But their lips had never danced together like this before.

It was even almost enough to make Neku believe that Shiki might have actually loved him, as she pushed him against the wall. “Shiki,” Neku gasped, his eyes rolling back into his head some.

And this probably wasn’t manly in the slightest—but then again, when had he ever cared about that, with the sort of reversed gender roles of vampire and Slayer?—but Neku found himself wrapping his legs around Shiki to bring her closer. And she did bring herself over to him, with a delighted little squeak leaving her lips as she did so, that Neku thought that he could have gleefully remembered for the rest of his days… even though those were seeming to be pretty numbered right now.

They both went to remove each other’s shirts at the same moment. And then laughed, and let one move first. Neku took Shiki’s off, and she did away with his; though Shiki’s top got caught on the little short ponytail that she was wearing for a minute, but Neku swiftly found a way to maneuver it over it. But damnit, if that somehow didn’t just make Neku love her all the more. She was just too cute. And then they were back at again, with lips, tongue, and teeth.

Shiki was suckling Neku’s collarbone now, and he found his head falling back to hit the wall… and even the side of the dryer beside it making a loud bang, that then halted both of their actions.

Neku and Shiki looked at each other blankly, and with slight fear in their eyes, for a moment before they both chuckled.

“That sound is probably going to get your little sister, Rhyme—or as you know I like to call her, ‘Nimnew’”—to wake up… We should probably stop.” And the fact that Neku was able to say this now, was definitely testament to the fact he had a soul. Because past him, without a soul—even though he had loved Rhyme even then—would have selfishly wanted to continue ravishing her sister, not caring if she saw or not.

“…Yeah, you’re probably right…” Shiki agreed, pulling away from Neku. And fuck, if he didn’t feel cold without her body heat right up against him now. Though it hadn’t escaped his notice that the two of them were still holdings hands. “We should at least stop here… Let’s go back up to my room.” And the smirk Shiki gave Neku then was decidedly naughty. But Neku knew that Shiki could certainly be that, thank you very much. He’d done things with her that he wasn’t even sure he could spell, after all.

They both gracefully sped towards Shiki’s room then—so that they wouldn’t make more noise, and hopefully none of their friends, Shiki’s sister, or the potential Slayers would come looking for them—but they did still use a lot of their vampire and Slayer speed to get there, yeah.

And were then mercifully uninterrupted, and blissful.

…

Their story had certainly been an interesting one, Neku found himself thinking now, as he kissed the strands of Shiki’s hair in the morning, and tried to live in this moment before it was maybe lost to them.

Shiki, bless her—while maybe not even being in love with him—was basking, too, as she leaned against Neku’s chest and absentmindedly doodled things onto his arms. She was always drawing, this one, since she wanted to be a fashion designer.

And Neku sincerely hoped that she would survive this gruesome final battle, awaken all the other Slayers—so she wouldn’t be the only one in the world anymore—and then finally get to accomplish her dream. She more than deserved it, after all she’d suffered.

But, back to their story… Neku and Shiki had been enemies at first. Of course they had. Neku hadn’t had a soul back then, and Shiki had gotten in the way of all the killing he’d wanted to do.

…Though then they had found themselves becoming unwitting allies for one second, when Josh—Shiki’s first love, who she maybe loved over him; and who had gotten a soul back before Neku had—had become soulless and wanted to destroy the world (and it was hard to find humans to drink from, if the Earth was destroyed) and steal Beat from Neku, and Neku hadn’t liked that.

So, Neku had worked with Shiki and they’d gotten all of that sorted out—though Neku was going to leave an evil Joshua to kill Shiki when she seemed at her limit, to be honest—and she miraculously survived.

Then they met up a few times after that and fought some… But what really forced their fates together, was when some government agency had caught Neku and implanted a microchip in his head, that kept him from attacking anyone who was innocent. He’d had to go to Shiki and her crew for help then, despite his better judgement, because she’d been looking into info about the Commandos, too, and Neku had thought that they could come to some sort of deal there. Plus, since he couldn’t hunt—and a lot of the vampire bars wouldn’t even serve him anymore—she and hers could get him some blood packets.

And this was really when Neku had started to fall for Shiki, deep-down, and as he saw all that she did, and how hard she always tried to save the world, even when the odds were insanely stacked against her.

But Shiki hadn’t liked him at all. She’d thought he was a monster: a soulless demon who couldn’t change—and to be fair, he really had been that—and she had wanted him to get out of her face more than once.

It wasn’t until Neku had helped to protect Shiki’s little sister Rhyme from a Big Bad who wanted to kill her—and eventually, Shiki even sacrificed herself to save Rhyme, and the world—that her feelings for him started to change.

And then… and then Neku continued to take care of Rhyme even after Shiki was… dead—and her dumb doll, Mr. Mew, too. Neku made sure he was in pristine condition on her bookshelf—because what else could he do?

And it was at that point that Neku was really thinking about killing himself, if he should keep his promise, and wondering about the point of existence all around, that Eri brought Shiki back to life… which was the happiest moment of Neku’s life, yeah. Who was he to lie, after all?

…But Shiki was fucked after Eri brought her back. She’d been in heaven, and Eri had unknowingly ripped her out of there. For some reason, Neku had been the only reason she could connect to about it then. Probably because she couldn’t bear to tell the rest of her friends (like Eri, Ai, and Mina) what they had done to her.

…And through that… the two of them had started to sleep together. A lot.

And, of course, looking back on it now… Neku realized it had been a real dick move on his part, since Shiki hadn’t been in her right mind at all. But of course he had been like that, because he still had been soulless and didn’t fully care. He’d just known the girl he’d wanted for so long was finally throwing herself at him, and he couldn’t easily say no.

But eventually, Shiki had tried to take that away from him. She’d found her strength again, and she had told Neku that she couldn’t love him without him having soul… that she was using him, and being selfish and weak and that it was killing her, and that she truly was sorry.

Neku had really started to think that maybe she loved him before that—that, perhaps, she felt it when he was inside of her—…and so then, he tried to do something unspeakable to her.

Thankfully, Shiki had stopped him and he had immediately been horrified by what he had tried to do. Neku had left Shiki then and hadn’t looked back. He’d found a way to get a soul—going through rigorous tests and torture—and had done it.

And he had come back to Shiki, still loving her… Neku reckoned he’d always love her until the end of his days, unfortunately—perhaps it was written in his soul to, like it was for him to love art and music—and he returned to Shiki to help her with this new threat, but while not expecting anything from her. He didn’t want anything from her, because Neku knew he didn’t deserve her. If he couldn’t forgive himself for what he’d done to her, how could she do so?

…But in some ways, Neku thought that maybe she had. Because she understood that what he did soulless, wasn’t really him?

It hadn’t been easy.

And it had been painstaking.

But they’d mended their bridge to each other this past year… And their relationship was healthier than it ever had been.

There may have even been some kind of love here, Neku thought—in the rare moments he would let his mind go there, before he swiftly denied it—but he figured she would always prefer Josh over him.

…How Neku hated Josh. He had actually known him before Shiki had—and had somewhat been sired by him, so to speak—and let him tell you-

But none of that mattered now.

What mattered was that, in a few hours… they were all going to be fighting the First Evil to ever exist, and there was a good chance none of them were going to survive it.

Putting on the amulet that Shiki had given him around his neck, Neku prayed that if anyone had to go out in this war… it would be him. Especially over Shiki.

“You don’t have to be so melancholy, y’know!” Shiki chirped now, sitting up and then turning around so she could give Neku a chaste kiss on the lips, while she helped him to button up his shirt.

And this one was so nice, too. Even better than the ones they had when they made love. And Neku thought that he could wake up with Shiki like this every day, he could certainly live out the rest of his days in peace…. and just rest. Wouldn’t that be nice, after all the horror and calamity of his life?

“It’s not the first war we’ve fought, and it’s certainly not going to be the last! Let’s treat this like any other day. Oooh! I know! Let’s try and make a cute felt bow for Mr. Mew to wear. You said you would help me do that someday, Neku! Let’s do that today!”

“…And I will, Shiki,” Neku replied, blushing. And he straightened out his shirt some, unable to meet her eyes. Good God, why did the thought of doing art with the girl he loved make him so shy, when all their sexcapades somehow didn’t? “But I still think having some time to reflect right now might be wise. And if everything goes well today, at least you won’t be fighting alone anymore, right?”

“…That’s a nice reminder, Neku. Thanks!”

And Shiki took away the amulet that Neku was wearing and put it on Mr. Mew instead.

And because of that… Mr. Mew did have to go up in flames to save the day, unfortunately, as did Shiki’s whole house, but it and the whole town of Sunnydale was already going bye-bye for the greater good, anyway.

And some potential Slayers were murdered in the battle, before Eri’s spell to activate them weaved through…

But Shiki didn’t die and Neku didn’t, either (and neither did Josh in L.A., Neku would hear later, curse him).

And as the dawn broke on Shiki and Neku’s new life together, they got to kiss like lovers in some sort of cheesy movie… and realize that they had found love together, after all.

Of course they had.

Author’s Note: So, this story actually has a slight alternate ending to Buffy:)

Also... in some ways, I feel like Neku would fit Angel better (but also not. And also Neku has some of the Spike humor. So IDK). I also feel like Josh doesn't fit Angel at all, really, but oh well. LOL.

And Neku calling Shiki "Stalker", as opposed to Spike calling Buffy "Slayer.";)

I should also probably explain the soul canon in the Buffyverse. Basically, when a human becomes a vampire, they lose their soul: the thing that makes them them and a demon takes over their body. So the horrible things they do without a soul really aren’t the former human’s doing/can’t be attributed to them.

[kanasmusings]

[Translation] TsukiPro Yaminabe Drama Track 5 - “Gray Fate”

AH!! I completely forgot to post this translation! I had it in my Word drafts and I was going through them thinking like I was forgetting something orz Anyway, here it is~! You’ll bear witness to doting Papa Kurotsuki Dai in this drama track~! They also talk a lot about destiny www 

The focus is on the managers this time around~! After this will be Arata’s drama tracks and the rest of the Yaminabe Vol. 2 tracks~ 

※ Please don’t re-post the English translations without permission. Please just like/reblog them instead ^^

Under the cut, enjoy~!

Track 05: [灰色の運命] “Gray Fate”

[0:00]

  KUROTSUKI: (sighs) My oshis, Procella, were super cute and cool today, too~!

HAIDUKI: I won’t deny that they were but, are you alright in the head?

KANADE: (nervous chuckle) Haiduki, your real thoughts are coming out.

KUROTSUKI: Hey, you guys!

HAIDUKI: (laughs) I was just kidding!

KUROTSUKI: Geez, this is my happy time admiring the unit I’m in charge of, you know?

KUROTSUKI: Don’t make fun of me for it.

KUROTSUKI: I mean, look! Look, Haiduki! Look at this magazine that was sold today~!

(Kurotsuki waves a magazine in front of Haiduki)

KUROTSUKI: It started with a poster but now, the special feature for them is 26 pages!

KUROTSUKI: There’s multiple pages for each of them~!

HAIDUKI: Oh~? Isn’t that amazing?

KUROTSUKI: Man, for real~!! When I think of how the little baby birds I was raising then would be given a special feature like this, I~

KUROTSUKI: (sighs dreamily) It makes me reminisce~

HAIDUKI: (quietly) It’s not like… I’m jealous or anything.

KANADE: (chuckles before whispering to Haiduki) I’m so sorry about Kurotsuki being so lively, Haiduki.

HAIDUKI: Ah, no, it’s okay!

KANADE: I think that’s a coping mechanism for him.

HAIDUKI: Coping…?

KANADE: Hm… It seems like his mother back home kept grinding him about when he’ll get married or if he already has a girlfriend and all that.

HAIDUKI: Ah, I see now. Kurotsuki-san’s mother does send matchmaking pictures to the agency.

HAIDUKI: I’m pretty sure she really wants him to get married. That mountain of files on Kurotsuki-san’s desk…

HAIDUKI: Weren’t they all matchmaking pictures?

KANADE: Hm… I have met his mother and greeted her but normally, she’s a very kind and compassionate woman.

KANADE: But, lately… There have been people bragging about their grandchildren in their neighbourhood so… You know…?

HAIDUKI: Hm, I understand the situation now. People marry early in local areas like that and it’s like marriage is an absolute must-do thing, huh?

HAIDUKI: Kurotsuki-san’s hometown is in Aomori, isn’t it?

KANADE: Yeah, and so…

KUROTSUKI: Ah~! This cut is so cool! Maybe I’ll take it with me and decorate my room with it~

KUROTSUKI: This is what they call a manager’s privilege, right~? AHAHAHAHAHA!!!

KANADE: His super doting “I love my children~” is worse than normal…

HAIDUKI: Isn’t that just called “running away from reality”?

KANADE: (chuckles) I won’t correct you there.

[02:33]

  HAIDUKI: Kurotsuki-san, who’s my senpai as a manager, and is seven years older than I am is—

HAIDUKI: His former job was an SP, a bodyguard in the Metropolitan Police Department’s special defences department.

HAIDUKI: He was a policeman in charge of protecting important people, in other words.

HAIDUKI: That man who has a strange history of professions, stands taller than me even though I’m already 180 cm tall.

HAIDUKI: He’s a good man with a good build.

HAIDUKI: Since he is often in shot on camera with those important people, it seems like he worked on having a manly build fitting for an SP. He’s pretty smart, too.

HAIDUKI: And yet these past years, not only does he have no girlfriend but he doesn’t seem to be interested at all.

HAIDUKI: And because of his mother’s fretting, his desk has slowly become a stockpile of matchmaking session pictures.

HAIDUKI: Normally, it’s one’s own decision if they want to get married or not. I think it’s no big deal if one chooses not to get married but…

HAIDUKI: It’s undeniable that his “papa tendencies” towards the unit he’s in charge of has increased since he passed 30 years old.

HAIDUKI: Before, we joked about calling our units our “kids” but lately, he’s been taking it so seriously…

(Haiduki starts remembering what Kurotsuki once told him)

KUROTSUKI: My kids are so cute…!

HAIDUKI: (sighs) Honestly, it’s a bit scary…

HAIDUKI: Of course, since he’s a capable manager, he never excessively dotes on his unit when they’re on set.

HAIDUKI: But, when he’s talking about them, it’s like he’s a different person and his eyes shine so proudly.

HAIDUKI: Excited and sparkling eyes, really.

HAIDUKI: And I slightly, just slightly, understand why his mother, who probably wants to do the same thing, would want to tell him to hurry up and get married so he can have his own kids.

[04:45]

  KUROTSUKI: Shun’s as carefree as usual and the photographer had a bit of trouble giving instructions to him but, it’s because of his very playful heart that they could come up with something like this! Isn’t that amazing~?!

KUROTSUKI: Look, look! They look so amazing~! They’re works of art, right~??

KUROTSUKI: Man, it’s cute, huh~? It’s troubling, isn’t it~? My kids are so cute and so cool!

HAIDUKI: Please calm down, Father.

KUROTSUKI: As if I can! It’s my children’s best looks yet, got it?

HAIDUKI: It’s not rare for Procella to get featured in magazines, you know?

KUROTSUKI: You don’t understand! You just can’t, Haiduki!

KUROTSUKI: No matter how small an article it is or no matter how small the picture is, every page of my kids’ best looks are important!

HAIDUKI: Yes, yes. I understand that it’s special but please, arrange the papers on your desk. Some of them are spilling over to my desk.

HAIDUKI: I’ll throw them away if you don’t.

(Kurotsuki panics and stands up quickly from his chair)

KUROTSUKI: AHHH!!! YOU GLASSES-WEARING FIEND!

HAIDUKI: Glasses-wearing fiend?!

KANADE: Please let him off the hook, Haiduki. I said this a while ago but Kurotsuki’s been tired lately.

KANADE: He got a very long call from his mother right after he came back from a location shoot.

KANADE: It seemed like they talked for three hours about why he won’t go to a matchmaking session.

KANADE: He’s a bachelor who just wants to escape from reality.

HAIDUKI: I guess you’re right~

HAIDUKI: But really? For three hours? That’s kinda like a long movie already, huh?

KUROTSUKI: Don’t say it! Don’t make me remember! I’m in the middle of doting on my cute children!

HAIDUKI: Eh…? Kurotsuki-san… Aren’t you being teary-eyed…?

KUROTSUKI: I’m not crying! Even though I want to…!

HAIDUKI: (nervous chuckle) There, there. The people of the Kurotsuki Household are passionate in a lot of ways, huh?

HAIDUKI: Their love is deep or rather… Heavy, I should say…?

KUROTSUKI: Don’t say it! I’ve started thinking that, too…

KANADE: (chuckles) Kurotsuki, how about trying to go to one matchmaking session at least?

KUROTSUKI: Impossible!

KANADE: Why? If you go to one, won’t your mom feel at ease for a bit? You might get to meet someone great, you know?

KANADE: Maybe they’ll be your “destined person” or something similar~

HAIDUKI: Destiny? Kurotsuki-san, you were wishing to meet your soulmate?

KUROTSUKI: Sh-shut up! It’s not bad to wish, right? In any case, a matchmaking session is a no-go!

KANADE: It’s okay! We’re not telling you to abandon those feelings. We’re just saying to try a matchmaking session once in a while.

KANADE: Your destiny and romance might be waiting beyond, you know~?

KUROTSUKI: If I say it’s impossible then, it’s impossible!

KANADE: (laughs) You’re so hard to convince, huh? I don’t think it’s something you should reject strongly though.

HAIDUKI: He’s right, Kurotsuki-san. Don’t say that love can’t happen in a matchmaking session.

HAIDUKI: It’s a great way to meet, too, after all.

HAIDUKI: How about entertaining your mom’s wishes once in a while instead of just focusing on work?

KANADE: Yeah. My parents got married via matchmaking session, too. They get along very well even now.

KUROTSUKI: EH?!

HAIDUKI: (suddenly standing up) Is that true?!

KANADE: Yeah, it is.

KUROTSUKI/HAIDUKI: I can imagine…

KANADE: E-eh…? Is it even common to have parents who got married via a matchmaking session?

HAIDUKI: Ah, no, somehow… It’s the atmosphere…?

KUROTSUKI: You might think this laughable but…

HAIDUKI: Hm?

KUROTSUKI: I think this is fate, too.

KANADE: “This” being?

KUROTSUKI: My meeting with Procella.

KUROTSUKI: It might not be with a “soulmate” and all but, I think that this is destiny, too.

KUROTSUKI: I mean, even though it’s not love or if we’re not related, to be able to think “I want to treasure them!” or “I want to support them!”… I think it’s kind of like fate, too.

KUROTSUKI: No, it’s destiny without a doubt.

KANADE: Kurotsuki…

HAIDUKI: Kurotsuki-san…

KUROTSUKI: That’s why… I want to spend more time with this “destiny” of mine. Just to see how far I can go with them, you know?

HAIDUKI/KANADE: (smiles)

KANADE: Kurotsuki…

HAIDUKI: Kurotsuki-san.

HAIDUKI/KANADE: Your love is too heavy.

KUROTSUKI: WHAT?! That’s how you react?! This is where you’re supposed to be moved since you’re both managers, too!

KUROTSUKI: Listen, you guys! As a manager—

(Kurotsuki knocks the coffee on his desk and it spills on his papers)

KUROTSUKI: AH!

(Things continue to get knocked off his desk)

KUROTSUKI: AHHHHHH!!!!!!

HAIDUKI: W-wait, Kurotsuki-san!

KANADE: Ahhh, go get some tissues!

KUROTSUKI: My precious magazine!!!

(Kurotsuki begins sobbing loudly)

KANADE: This is because you were getting too wild.

HAIDUKI: I told you to not— Just hurry and bring some tissues, come on!

(Their voices fade out)

[09:34]

  HAIDUKI: Hm… Destiny, huh…

SHIKI: Haiduki, is something wrong?

HAIDUKI: Ah. (chuckles) Just a little something.

SHIKI: Hm? Ah, what is it?

HAIDUKI: Oh, it’s nothing. I was just thinking about how you have the eyes of a music idiot. (smiles)

SHIKI: Huh? You’re being rude all of a sudden.

HAIDUKI: (laughs)

HAIDUKI: Those narrow and straightforward eyes are definitely the eyes of a music idiot.

HAIDUKI: They look dull but they’re very sharp and yet sometimes, it’s the opposite.

HAIDUKI: He’s a music idiot and a work-a-holic to boot. He was my co-worker before but now, he’s the leader of the unit I’m in charge of.

HAIDUKI: I think that his simple honesty towards people is really very fun. He’s that kind of guy.

HAIDUKI: That kind of guy made a unit and I, under direct orders of the President, became their manager.

HAIDUKI: They’re all very unique on their own but, unlike me, they’re kinda like me when it comes to not bearing any ill will at all.

HAIDUKI: They’re all beautiful, they’re smart, and their personalities are… Well, they’re quite honest.

HAIDUKI: No matter what angle you look at it from, it looks like they’re all living the easy life and yet, they’re a unit who was formed because they’re all still somewhat awkward and pure.

HAIDUKI: That’s who SolidS is.

[11:25]

  HAIDUKI: Hey, Shiki. Do you think that “destiny” exists?

SHIKI: Hm? That’s pretty sudden. Did you fall in love at first sight in a bar again?

HAIDUKI: Again, you say. You sure bring up some old stuff. That’s from a pretty long time ago, isn’t it?

SHIKI: As if I’d know. You’re a guy who’s fickle and has a lot of love to give after all.

HAIDUKI: What sort of false information is that? I’m unexpectedly wholehearted, you know?

HAIDUKI: So? Shiki, do you believe that destiny exists?

SHIKI: … “Destiny” sounds dramatically romantic but, at the same time, it’s fickle and unreasonable.

SHIKI: That’s why, I don’t overthink too much on the topic of destiny.

SHIKI: Destiny is something you grab with your own power.

SHIKI: Though, I might put something different if it’s for a lyric.

HAIDUKI: (laughs) That answer’s so like you!

SHIKI: I feel like I’m being made fun of if you laugh after I answered but… You’re the one who asked, aren’t you?

HAIDUKI: I’m not making fun of you. I just—I just really felt like laughing after thinking that answer is something you’d definitely say.

SHIKI: Isn’t that normally making fun of someone?

HAIDUKI: There, there~ It means “It’s so like Shii-kun that it’s wonderful~”

SHIKI: Hm. I wonder why I can’t honestly accept it when Fumi-chan says it like that~?

HAIDUKI: You’re so mean~

  HAIDUKI: I don’t know if being with SolidS is my destiny or not.

HAIDUKI: But… I’ll make sure to work my best to make it my own destiny.

HAIDUKI: It’s true that it’s fun providing back-up for them. To someone like me who rarely gets excited over anything, that much is already amazing.

HAIDUKI: It might be enough.

HAIDUKI: I… I put my destiny in my own hands with my own power.

  ==END==

※ Please don’t re-post the English translations without permission. Please just like/reblog them instead ^^

[pmiller1]

Strength to Protect from this Theory (Riku is the Light, Strength to Protect. Debunk)

Page 264

Discamer. Wild I don’t ship SoRiku as a romance pairings and do ship SoKai. I feel like there just being disrespectful to Riku as a character. I do not hate Riku, the people who ship SoRiku romance, SoRiku itself nor anyone who dislike SoKai and maybe SoRiKai. You are free shipped whatever you like, You do not need me to tell you that. Also, If there is anything you like to add and point any error, Feel free for the feedback. Also, I'm only going agent the Theory, not the person behind them. I do not know them personally.

This one is something I think there misunderstand, what Riku ment with the Strength to Protect. Thinking that he only wish to protect Sora. Not Kairi, Not Mickey, not even the other Guardians of Light.

With young Riku tell Terra about the Strength to Protect, being the reason why Terra pick him. And what Date Riku (a.k.a. jiminy's journal) said to them. And how Mickey said that Riku find the strength to protect.

This to me. Tell me that Riku want to protect that what matter to him. And what matter to him it his friend, Sora and Kairi.

Now I’ll say that yeah, he would want to protect Sora. Best Friend and All. But Kairi. Yeah, He want to protect Kairi. To the point that once he think Sora doesn’t matter to him and Only kairi. He push him aside, kidnapped Pinocchio, made a heartless that look like Sora, stole Sora keyblade even if it belong to Riku in the 1st place, took into the darkness as power wearing that tight bodysuit. That let him being taken over by the formless Ansem. This to me seem like he didn’t want to protect Sora because to him Sora didn’t matter for him.

Heck, he only resist Ansem controlled when Ansem was about to attack Kairi. He only know regret when he in the Realm of Darkness, telling Sora to take care of Kairi for him. Know that he have the strength to protect Kairi.

When he find out that Sora was in his deep sleep to regain his memories. He there to protect Sora, working with DiZ and Naminé. He could have taken down Xion himself, but even if Xion was the memory of Kairi, he couldn’t do it, only telling her to think about her chose. Wild keeping himself distant both Sora, Kairi and Mickey, as he feel like he would hurt them (and that Ansem linger inside him.).

And even still, after Sora was awaken, he take Mickey to protected Sora for time and them, even then, Riku give Sora a club, protected him back in Land of the Dragon (well he attack Sora but that more of testing him or whatever), even going the extra mile to wear the emperor from the Heartless Boss, help Kairi from going to Twilight Town, saving her form Axel, give her a keyblade. Protected Kairi from Saix blach pushing him and her from the battle, Told Sora about Roxas, And after he came back being himself, Join with Sora in the World that Never Was.

I don’t need to tell what Riku did for Sora, as the theory going with this, But it seem like there are forget that he did protect Kairi and Mickey as well.

I mean, it not just them, Remember Shiki?

He just keep this strangled girl save from the dream eater and when she was safe, he was about to leave, but Shiki call him out about it and even joke (putting up her Eri persona so to say) that he a knight in shining armor. As Riku deny it.

Well he kinda is. That he is a Knight, As knight are the one that would protect the people in need. That what he is.

So Yeah. Riku is a Guardians of Light, There that. Now let move on The Power of Waking.

So yeah, Sora as it turn out never loss the power of waking. Ven made it clear of that.

However like to point out that Sora was asking Herc about his lost of Strength and how to reclaim it. I mean he was back to Level 1 again.

So yeah it not really related here. But about how Riku use “Sora” as Situation Command, Being the Power of Waking.

Yeah. I’m not doing the J. Jonah Jameson laughing gif again. But wow. Just wow. Are you saying that Sora is there, coming from a door in the sky to land next to Riku by the Power of Waking?

I’m sorry but have you miss this?

Sora find Eraqus's keyblade, the one that made Sora summon the door that let to Realm of Darkness. Riku even ask how he got here and Sora repay by saying he have help as he summon the Eraqus's keyblade.

Eraqus's keyblade led him to Riku and Aqua. It was Eraqus’s keyblade let Sora save Aqua and Riku, even letting him go the Realm of Darkness.

Also, also, Good Job showing that The Three Realm Glossary. You just debunk your own theory right there! As a reminder there is no such thing of a 4th realm, the realm of sleep. It it clear that there are Realm of Light, Realm of In-Between and the Realm of Darkness.

(Edit here: Wild there is the uncharted realm where most of the sleeping world are at. I highly doubt it that even the Realm of Darkness is in another Realm, being a Realm itself. Must less all the world being sleeping worlds to be in this D-Realm.)

And it not just Mickey’s keyblade, I mean how did Mickey even got to Realm of Darkness? SImple, he stay in a world that was already fallen into darkness. And you seem to forget that Sora and Riku did end up Dark Margin after there was at “The World of Nothing” (Now the wiki said Realm Between's side of the Dark Margin. So... kinda, but you know what I'm saying here)

And I don’t think the Door itself is the Power of Waking. Not even as it intended purpose. Plus you are saying this as if there are within Realm of Sleep where you said that Saving Aqua is impossible. This really it falling apart and I haven’t got to the Self Sacrifice part.

Specking off. Even if there is true love from all of this, And that there is a self-sacrifice in all of that, there all are alive thank to another love back.

But there could be reason for how each of them able to survive that. Hercules is a Demigod and was able recame his invincibility. Rapunzel even besaid her New Seven Hearts have a magical flower born with her body, given her golden glowing healing hair, But it wasn’t just the hair, her teal was also blass with the flower magic too. And Anna, at is at least that one can be undone by true love only, But as Elsa would discover love itself that melt ice.

Still. Riku being the last two to take Demon Twister, he does what he does best.

Protected!

No matter if he dead, he will protected Sora till the end. Now this would mean that Riku love Sora that he would dead for Sora. Of course it love, just not the love we are talking about here, Riku is Sora best friend that all his is at best, And why would he, Sora is the only one that matter now. Kairi, Mickey, Aqua, Ven, Lea, Donald Duck, Goofy they're all gone. He must protected the one thing that matter now.

And Riku is the one that told he doesn’t believe he is worthless, that Sora know that he isn’t worthless, Because Riku know he have it in him. He will save them all. Not just him. Riku have his Strength to Protect alright and it Sora! Sora is his Strength. Not the one to protect!

Sora power (and maybe Level) is friendship! And Sora even said he feel stronger with Kairi, because Love it better then friendship and Kairi is indeed stronged. He felt worthless because he lost Kairi, he feel stronger because of Kairi.

Sight... Having a Theory that there in Realm Sleeping would be alright without this SoRiku biased. It would still be debunkable, sure. But all this is doing it being very biased by the fact your SoRiku ship isn’t Canon.

And yeah, there no romance between the two, but there those friendship between the two. It just, it being misinterpreted as the two being gay for each other, witch is impossible because of Japanese being homophobia even before there allow LGBT. (I think, I not really sure)

I mean, I could buy that Lea and Isa being lover, or Eraqus and Xehanort being guy couple. But I could also buy there those guy are just best friends to each other. Heck I can even see a boy and girl are just friend and that is find, Even girl and girl as friends or lover.

And it not like your need the ship to be canon, You can have SoRiku, You can have SoKai, You can even have Sora being a biseuxal dork that are in love to his two best friend for your SoRiKai. Heck, Kairi can also love Riku. Your fic, your fan art, having a ship that is canon doesn’t mean you can’t do SoRiku, RiKai or SoRiKai.

Still there two more, The Final World and Light in the Darkness to debunk in this Riku is Riku is the Light.

[swans-anime-ramblings]

An examination of LuNa in Strong World

*note: I’ve had quite a few new followers in the past 10 days or so, hooray! But because of that, I just thought I’d give a quick FYI. I occasionally post about LuNa on my blog, so if that isn’t your jam, no worries! Just block the lunami tag so you don’t have to be subjugated to my ramblings on this specific topic 😊. I always tag accordingly, so you don’t have to worry. I hope we can still be friends!*

Let me start off by saying that I don’t consider myself a multi-fandom hardcore shipper. I definitely enjoy certain ships, but on the whole I’d say I don’t particularly care who ends up with who for most of the anime/manga I’m into. However, LuNa is a whole different story. It really is my OTP.

I’ll admit, I resisted becoming attached to LuNa. I wanted to keep an open mind, and honestly, shipping complicates things. It sets you up for monumental disappointment because there’s a chance your ship will not become canon. And if this happens (and it happens a lot), it taints your experience. I’ve never believed you should invest in a story solely for shipping, but the disappointment remains all the same.

For me, Strong World was a big factor in shipping these two. I remember smiling and thinking, “yeah...I want these two to find romance.”  And so, I think it’s high time for me to go through their biggest moments in the movie and why I think they have meaning. Be warned, this gets lengthy!

1. Luffy is Nami’s emotional anchor/ support

This is one of LuNa shippers’ biggest arguments in favor of them finding romance, so I won’t explain why this is a thing, but I think there’s two major instances in the movie.

When Shiki first abducts Nami in the beginning of the movie, Luffy yells for her and his attention is focused on her while everything else is in chaos. She immediately responds by yelling his name back, but it’s too late and he’s knocked away. I think this exchange sets up the movie being about their relationship, and reinforces that their bond is strong.

The second, and perhaps more potent time, is when Nami hears of Shiki’s plan to wreck the East Blue. She’s napping inside the house when Xaio comes in excitedly because her friend’s dad came home. Shiki is leaving and he’s going to destroy the East Blue. After Nami hears this horrible news, she immediately says, “Luffy” as she gets up and goes to find him. She’s dazed, scared, and there’s a terrifying situation about to happen. Saying his name is completely reactionary because he is her rock.

2. Luffy and Nami find each other

Unlike the other Strawhats who were separated into groups, Luffy is completely on his own. It’s a convenient, purposeful way to give them some time alone when they happen to meet-up. Nami sees the Sunny and she exclaims, “Sunny-go!” And then moments later Luffy runs out of the forest, sees Sunny and also exclaims, “Sunny-go!” Luffy sees Nami and starts running towards her. Some hilarity ensues, but luckily Billy is there to save the day.

3. Luffy’s tenderness toward Nami

Normally, I wouldn’t peg Luffy as a “tender” guy. He’s usually getting into all sorts of trouble, is brutally honest, yells a lot and has a monstrous appetite. In this movie there’s a couple instances where Luffy’s boisterous nature is calmed, and here we can find Luffy focused on taking care of Nami.

After they are reunited, Luffy is cooking up some food and turns toward Nami giving her a tender smile while he tells her to eat. She refuses since it’s scorpion, but I love his moment. That smile is so irresistible.

Another good tender moment is after they’ve reunited with some of the other crew. Everyone is exhausted and Xaio’s mom invites them to come in and rest. As far as I can tell, it was an open offer, and before anyone has a chance to respond, Luffy says,“Nami. Why don’t you go and do that?” He knows she’s been through a lot, and gives her an opportunity to rest without any other interference. When the crew sleeps outside, Luffy is the one closest to do the door.

This type of quiet caring is the right type of caring. It’s natural, non-intrusive, and has such a lovely feel. Nami is an independent woman, so smothering is annoying to her. I think Luffy cares for her instinctively like this since he’s not the type to do things that are unwanted. For Nami, I feel this works best for her.

4. They’re comfortable with each other

One of things I love about the scene where Luffy and Nami are reunited is how relaxed they are talking to one another. I feel like there’s this common misconception that Nami is yelling at Luffy every waking moment of the day, but that’s simply not true. I bet they talk like this often. While Nami is changing, she’s asking Luffy where everyone is and he responds while cooking his scorpion. Honestly, this feels to me like a couple who has come home from a long day at work. After they’ve been reunited, someone starts cooking while the other gets out of their work clothes. “How was your day?” “oh just fine. It’s been busy at the office since everyone is off for vacation.”

Their comfortability with one another is shown again just a short time later when Nami is riding on Luffy’s shoulders with her hands gently sitting on top of his head. While flying, they’re casually discussing where the rest of the crew might be. I feel like if Nami were in this situation with anyone else, she’d be furious, or at least we would’ve seen her temper flare before accepting her fate.

Luffy is angry at Nami

This right here is the big one. After Luffy and the others are pulled out of Shiki’s trap, Luffy is somber because he’s lost. Ussop says, “she went with Shiki to save our hometowns” and everyone, including Luffy, heard Ussop say this. Luffy doesn’t react beyond continuing to look defeated.

When they start playing the message Nami left them, Luffy hears Nami’s words about how they (i.e him) isn’t strong enough to face Shiki. And Luffy is furious. His hands start shaking and he starts screaming. It makes him so angry that he goes and punches a rock out of frustration.

This isn’t like Luffy at all. And interestingly enough, we have something to compare it to. Robin’s departure from the Strawhat’s is over the same circumstance. Robin leaves so that the crew will not die because she believes they aren’t strong enough to face the World Government. After the failed attempt to rescue Robin, the crew explains what happened to Luffy. His response is seen below (also shutout to Luffy+Nami yelling at each other over it hahaha).

Now, he’s definitely angry but there’s one key difference. Luffy is angry at Robin for not worrying about her own safety, not because Robin doesn’t believe Luffy is strong enough. He isn’t taking her leaving personally.

But he does take it personally with Nami.

This idea of Nami “not believing Luffy is strong enough” fits in the category of things that you absolutely DO NOT say to a man you’re in a relationship with, in real life. This is a thing, and even an implication of  “you’re not strong enough” can be hurtful. I’ve seen this firsthand. But for confirmation I googled “things a woman shouldn’t say to a man they’re in a relationship with” and got a bunch of listicles (some of which were weird, I grant you). However, in the ones written by men, this was close to top. Here’s a random one I found.

From Glamour Magazine:

4. “He’d kick your ass.”

Telling us that anyone--even a grizzly bear or some sort of terminator from the future--- can beat us up is equivalent to us flipping through a magazine and physically pointing out the women we think are betting looking than you. It’s ridiculous, I know, but we like to think we’re tough (true story: an ex told me her friend, a mixed martial artist,could kick my ass--- my response: “not at Jeopardy”).

And absolutely, a couple of men don’t speak for the whole of masculinity, but I think it’s safe to say a lot of men would feel this way. Luffy’s reaction tells me Nami’s words cut. He was expecting the trust he places in her to be reciprocated (to quote Warlordgab). The idea that she didn’t was too much for him and he reacted. I don’t think I’ve ever seen him this angry at one of his crew members.

Luffy protects Nami’s honor

Despite Luffy being furious with Nami, he will not allow her to appear weak in front of Shiki, who makes fun of her sacrifice. “You’re an idiot,” Luffy scowls. “Nami didn’t sacrifice herself, she just came to fight as our vanguard, is all!” before the Strawhats begin shooting up the palace. What’s funny about Luffy’s statement is it’s truer than he thinks. But she was gone and could not defend herself, so he did instead.

Luffy holds a grudge

Luffy’s anger toward Nami isn’t just a gut reaction. He stays angry at her, and when I watched this movie for the first time I was surprised. You can feel his anger when he’s about to beat the crap out of Shiki. “Nami. I’m gonna beat this guy up and then we’re going home.” He can’t talk with her about his anger until later, so he doesn’t even mention it, but it’s written all over his face. Even though he’s angry, he reaffirms to Chopper and Ussop to take care of Nami. Again, I feel like this is an accurate response to how a real man would act if they were in a similar situation.

Luffy scowling while fishing would probably be funnier if the circumstances hadn’t been so serious, but it’s evident he’s been by himself stewing for a while. When Nami is better, Luffy lets Nami know EXACTLY what he thinks. “You said some really mean things! I can’t believe you didn’t have faith in me after all this time!” And it’s then, the truth is revealed.

Nami is embarrassed at her message

At the very end of Nami’s message, she quietly asks to come be saved and doesn’t want Luffy to hear it now that the situation has been resolved. Sanji says it was “a message of love,” and Nami doesn’t even deny it. She just moves on to the next thing which is..something.

I think the reason Nami is embarrassed by the message, is that it does show her care for Luffy. Nami says that she directed the message to him because “you’re denser than anyone else”. So Nami, in the middle of Shiki breathing down her neck, is worried that Luffy will be angry by the message she’s being forced to give, and tries to say something so he understands. That she DOES believe in him, and she wants him to come get her. Nami understands Luffy.

What does all of this mean?

Well, that’s a good question. Because at this point in the game, are we really seeing “romantic love” from these two? I don’t think so, despite some of their reactions normally stemming from romantic love. So what is it then?

Recently, a good friend of mine has been going through One Piece. He is extremely analytical to the detriment of him enjoying shows at times. He told me admittedly that he doesn’t care about shipping nor does he pick up on shipping cues. As he’s watched One Piece, shipping isn’t a thing I’ve ever asked him about.

He watched Strong World right after finishing Thriller Bark, and this is what he had to say while giving me his thoughts on the movie.

"Luffy and Nami have a cool relationship. It’s an unstated love that’s purely platonic but incredibly strong. It’s not brought up much but I have sensed it.”

Honestly, I was wowed by his statement. He was able to put into words something I was having a hard time categorizing. The movie makes them feel like more, but at the same time it’s not romantic. This bond, which at the time of Strong World is platonic but strong nonetheless. They care for each other deeply and they have a special relationship.

So how does it progress?

Have you ever fallen in love with your best friend? I have, and I can tell you there was a single moment when everything became crystal clear to me. Afterward, I spent hours trying to sift through my feelings. When, exactly, did my caring for him transition to love? Did I always love him and was incredibly dense? Or was it gradual, and like a flower, it had been growing for some time beneath the surface and had just sprouted?

Yes…I think that was it. The seed; our friendship. The water; our caring for one another. The earth; the time we spent together. The sun; our shared laughter.

I think this analogy best describes Luffy and Nami, too. As my friend picked up, there’s something beneath the surface, something strong and lovely. Will Oda give it a chance to bloom? I don’t know, but I hope so.

I really hope so 😊

[recentanimenews]

Kemono Jihen – 09 – Kabane the Casanova

After she was born and learned to control her golden webbing, Aya had been treated like a tool, and when she was insolent she’d be beaten “like banging on a piece of malfunctioning equipment”. Still, she knew Akio needed her so she was able to live in relative comfort with dresses and books. When Aya learned she had a brother, she imagined him to be like the Prince Charming in her book, taking her and their mother away to live happily ever after.

While a happy ending was deferred, it is still possible. Aya learns this when Shiki welcomes her into the hospital room where their mother is resting. Aya may think she’s a bad seed that should be “done away with” like the other kemono Akio created, but thinks Shiki won’t kill her simply because she looks like a little girl and speaks. But that’s not the reason.

Shiki does not detest Aya, he’s grateful to her for being with their mother and keeping her alive, even though she was all on her own while her big brother had run away and was living in comfort. When she hears Shiki and Aya talking together over her, she wakes up and opens her eyes, and the Tademarus are a family united for the first time. It’s perhaps the sweetest and most moving scene in the entire show, and it was perfect.

Of course, Kumi now being alive and awake means Shiki has some things to think about, and is away for a week, causing Akira to frets and Kabane to bear an all-too-forced smile when asked how he feels about it. Shiki may have his family back and will need to help support them, he promises Kabane he won’t leave the agency before he helps Kabane find his family.

Unbeknownst to Shiki, Aya followed him to the agency and we see that her own style is quite a bit more…modern and mature (read: jailbait) than the frilly dresses Akio gave her. Her precociousness extends beyond wardrobe, however: she’s already planning to work with Granny at her clinic, with plans to start her own “kemonopathy” clinic using her healing webbing.

When Shiki begs Kabane to talk his sister out of this, as she’s only eight, he simply responds “If she has a power shouldn’t she use it?” It’s that cold, certain, honorable logic that draws Aya to Kabane’s side, and she declares him her boyfriend. Then Kon shows up, armed with the absolute worst timing—she had a week to see Kabane alone!

Just like that, Kabane has not one but two would-be lovers, who immediately exchange lightning glares. Inugami interrupts the spat to announce that they do have actual business to attend to: there have been reports of an invisible kemono ripping pieces of women’s faces off in stylish Harajuku.

The three who will go investigate are Kabane, Aya, and Kon, the latter relaxing her no-working-with-tanuki policy by declaring herself a mere “observer”. Really, she wants to closely observe Aya to ensure nothing happens, but it’s also never a bad idea to bring some kitsune muscle as backup.

After Kon’s failed attempt to impress Kabane by trying to order a cop around (Inari’s power doesn’t extend to her anymore), Aya ends up being the kemono’s next victim on accident when she pulls on her hair. Taking the form of a black smoke cloud filled with floating pieces of women’s faces she collected, the kemono’s story is pretty simple: she fell in love with a man who works in the area and wanted to look more human so he’d notice her.

When Kabane says love is about giving, not taking, the kemono is unconvinced, because Kabane has a girl on his arm. Instead she appeals to Kon, who looks like she’s in pain like her. She’s not wrong; ever since watching Kabane and Aya together she’s felt all “mushy” in the chest.  Being with Kabane has always been fun until now, and Kon blames Aya for making it not fun anymore.

Taking on her kitsune form, she tries to eat Aya, but only ends up biting Kabane’s arm. Then she runs off in tears. Aya uses her webbing to create a human body for the kemono, and referred her victims to the clinic where she’ll be able to heal him. Back at the agency, Akira is threatened by Aya’s frightening competence, while Aya thanks Kabane for protecting her with a smooch on the cheek.

Kabane may not quite understand love, romance, or jealousy, but he knows he and Kon didn’t leave things in a good place, so he rushes to the park where she lives and shakes her out of the tree (the gag about her never landing on her feet never gets old). Sure enough, Kon’s face is a mess of big soppy tears. She thinks Kabane must hate her for trying to eat the “bug-smelling girl.”

To Kon’s surprise, when Kabane takes her cheek in his hand, all the chest-mushiness goes away instantly. She sees that Aya wants to be Kabane’s “number one” because in Aya she sees herself having worked tirelessly to become Inari’s number one. Well, Kon wants to be Kabane’s number one, and asks what she should do to do that?

The obvious answer is to kiss Kabane, but not only does Kon not know that, but even if she did kiss him neither of them might understand what it means. They’re basically the most adorable, most hopeless couple ever and I will never stop shipping them. I won’t deny Aya is both cute and capable, but she’s also way way way too young for Kabane. Also, Kon was first!

We get a nice scene of closure where Inugami helps Kumi arrange a memorial for all of her children who were killed. She ask him to keep it secret from Shiki and Aya, but in truth I think they’d understand her need to honor all of the life she created, as they’re in that group too.

Kon is realigning her primary allegiance from Inari to Kabane, but Aya once again beats her to Kabane’s arm at the agency. The two stare each other down once more, with Aya even telling Shiki he shouldn’t mind if she and Kabane married, since that would make them brothers. Akira, the Best Boy, finally steps in to break it down for Kabane: he can only have one lover, so he has to choose.

For Kabane, “lover” simply sounds like “one you love”, which he extends out to the terms “boyfriend” and “girlfriend”. As such, the one he chooses is Inugami, again failing to grasp the difference in kinds of love, and also shocking both Aya and Kon with his apparent confession to “preferring older men”. Inugami, meanwhile, obviously wants no part in a Kabane love polygon!

By: braverade

[theshatteredrose]

Soo~. What was the first moment your many, many Good Boys first thought to themselves the "L" word, and what kind of thought was it? (eg "I think I love him" vs "What? Love him? Naaaaaah.")

Annnnd I’m gonna answer this in such a way where I’m plotting and scheming potential oneshots/drabbles. Because it’s fun to plot and scheme. Part one of two because I’m getting totally and utterly carried away with this prompt :D

CtS Crew:

Lynus – He’s unable to pinpoint the exact moment he fell in love with Axel. It’s something that had always been there. But it wasn’t until Axel kissed him before leaving him behind at the inn to fight in the labyrinth did he realise that he not only loved Axel, he was IN love with him. “I love him…” No questioning, no doubt, no disbelief. He thought it, accepted it, and resolved to always be by Axel’s side~

Axel – Like Lynus he doesn’t know the exact moment he fell in love with him. But he remembers when the word love crossed his mind. When Lynus approached him before he had to fight the hellion and looked at him as if he wanted to ask him to not go, to stay with him. “God I love him…” before kissing him~

Jhon – He realises during a conversation with Julian, the guard who raised him. “Why are you so adamant in being Tobyn’s bodyguard?” “I just want him to be happy and safe.” “Is that the only reason or is there something else?” And it slowly dawns on him. “Am I…in love with him? Is that what he’s asking? I…”

Tobyn – After Keshet’s death he has the practice of not getting close to anyone and has been known to ditch people who tried to get too close. But Jhon is the only one who he hasn’t ditched. He hasn’t really tried. He simply claims it is because Jhon is too stubborn to leave, but someone points out that he hadn’t tried very hard in getting rid of him. And they wonder why and sarcastically make the comment about being in love with him. And that thought rumbles through his head “Why haven’t I…? Love? Is that the reason? No, that couldn’t be. What nonsense.”

Magnus – He first had admiration for Shen for his kindness and willingness to take him under his wing and protect him. But that soon developed into something more. It occurred to him when Shen took him into his arms and comforted him and Magnus, wide-eyed but snuggled tightly against his chest did he realised that he liked being in Shen’s arms and being with him. “I…think I love him…But he wouldn’t…would he?”

Shen – At first he helped Magnus as a way to repay him when he saved his life unknowingly all those years ago. But that turned into endearment as Magnus was not only very sweet, he was vulnerable yet strong. A bit of a contradiction that garnered his interest. That endearment turned into a soft of friendship with Magnus. And that shifted into something more when Magnus fell asleep with his head on his lap and Shen is looking down at his sleeping face. “This warmth…could I have fallen in love with him? This is not good…”

Macerio – Despite his naïve nature, he actually figures out rather quickly that he might have a crush on Lirit. His heart skipping a beat when Lirit touches him, butterflies in his stomach when Lirit smiles at him from across the room. “Holy shit…I think I have a crush on him?!” and then too “Oh my god…I…I think I love him?????”

Lirit – He’s another person who will quickly realise that he’s crushing on Macerio. He grew up in a travelling band of troubadours, and a few of them had the tendency to croon about love and falling in love, so he realises the cliché signs quickly. After Macerio does something cool and adorably gloats to Lirit about it, he thinks “He’s so adorable. And his smile…I want him to keep that smile always…” then Macerio turns to smile directly at him and then “…I think I’m in love with him…”

Rahas - Hasn’t happened yet, but he has had the thought of “he’s adorable…Wait, shit! Nope! Totally didn’t think that! Fuck!” and then deny anything and everything about Simmons for a few hours afterwards. Probably hide himself in bed for a while as well :3 (leaving this one open because I want to keep you all guessing :D)

Hamza – After Hamza ‘saves’ Cedric from an overly ambitious admirer, a guildmate starts teasing and asking questions. “Ah, rescuing Cedric again, eh? Keeping him all to yourself, are you? Haha, don’t be shy! Admit your love and sweep him off his feet!” And Hamza stills and thinks “Love? Is this…why I’m always rescuing Cedric?”

Cedric – He was also teased by a guildmate after it was made obvious to that guildmate that Cedric adored being ‘rescued’ by Hamza. “So, when’s the wedding~?” “What do you mean?” “Oh, come on! The way Hamza is always ‘saving’ you from those ‘admirers’? You’re loving it way too much!” and Cedric pauses and thinks “Loving…love? Oh god, a-am I in love with him? No, I…god it’s true, isn’t it?”

Simmons – To be fair everything is love to this precious boy, but there are difficult degrees and levels to his love. So of course he loves Rahas. He loves everyone. “Rahas is nice and kind. I love him too :D”

Gerald – He realised that he was crushing on Shiki before he got married, when they were still ratbag teenagers. But it was only when Shiki started dating Sandra and announced their wedding did he realise that he was in love with him. It broke his heart thinking he’d lose his best friend and first love, and it was actually Sandra who approached him about it. She was supportive and adamant that she won’t break them apart, and that she’s willing to share Shiki with him. Sandra is/was a good girl and Gerald liked her too. He got her to promise that she wouldn’t tell Shiki he is in love with him, though. His feelings remained all these years and when Shiki returned to him he just had to blurt it out to him.

Shiki – He’s the type who needs someone to be completely upfront and frank with him. No innuendos, not subtle hints. Get in his face and tell him. That was what Sandra did and he liked that. Gerald was very, very important to him. Closer to him than Sandra was. He loved Sandra, truly. She was his wife but he thought Gerald to be just as important. However, it wasn’t until he was kidnapped and thought he’d lost everything did he realise that he once again held Gerald in the same thought as Sandra and Simmons. As he wandered in the labyrinth he realised that he loved Gerald too. He was essentially his husband, and bitterly he thought he lost everything. “I love him as much as my wife and child. And now he’s gone…fucking damn it. I could have…made him happier…” When he is reunited with Gerald again he internally vowed that he would do anything to make him happy. And when Gerald uttered the words “I love you. I’ve loved you for a long time.” he couldn’t be happier.

Darrell – There’s a lot that isn’t known about Darrell as he keeps to himself mostly and doesn’t form bonds easily. But something about Ryker drew him in and caught his attention. He knows that Ryker is hiding from a painful past, too, so his attention was out of empathy to start with. But it soon turns into genuine friendship, before that turns into protectiveness. And that turns into something else when he realises that he’s a little more “adamant” that Ryker takes care of himself and comes to him with his injuries. “Why am I so obsessed with that guy? It’s not like I’m in love with him or something….wait…ah, fucking shit…”

Ryker – Again, there’s a whole lot that isn’t known about Ryker and he’s very, very self-efficient. He doesn’t get too close to people and he tries not to let them get too close to him. So Darrell is a total wild card to him. First he was genuinely baffled that Darrell was so persistent, and well ‘physical’ in his ‘care’ for him and that it appeared genuine, and he wasn’t looking for something from him. He tried to avoid him as much as he could because of REASONS, but Darrell always found him. First he ran from Darrell due to fear and being a bother, afterwards though he sincerely didn’t want to worry him. So why let him continue to ‘pursue’ him? That what he asks himself. “It couldn’t be because I…like his attention? Maybe a little. But it’s not like love or anything of the sort. It’s just because of the…attention…yeah…”

[skater-brain]

groovepawn​:

Beat (Temporarily).

Read More Now!

Shiki apparently didn’t get the hint that he wanted to drop it... but Beat had never been very good at hints, so it was disappointing but unsurprising that she felt the need to interject. It still made no sense, though, that she reacted with shock and affront to him stating such an obvious truth, and tried to convince him that he was blameless when she clearly resented that he’d lost Neku. (She did, right? Why would she keep bringing it up if she didn’t?)

“You couldn’t do anything,” he repeated her, strangely level in correcting her take of the facts even as his voice got a shade quieter. It felt weird being the one setting the record straight for someone jumping to nonsensical conclusions, instead of the other way around. “I could. You wasn’t even there -- I was right next to him. I was close enough I could’a shoved him outta the way, or slugged that chick, or jumped between ‘em, or something... an’ I didn’t. I jus’ froze up ‘n’ let it happen.”

Even if she wanted to argue that Neku’s death couldn’t be due to the inaction on his part, it was impossible to deny that he’d caused Rhyme’s suffering by the actions he did take. “An’ the day me ‘n’ Rhyme died, I was the one who dragged her out. An’ the time she got erased, I ran straight into that Noise when I was s’posed to be protecting her. An’--” He couldn’t continue, because he knew that neither partnering up with Neku nor treasuring Rhyme enough to be taken as an entry fee were things he could rightfully add to his list of mistakes -- but his heart panged with regret no differently at the thought that losing her a third time had been a direct consequence of him betraying the Reapers. Instead, he ended his guilty ramble with: “I done worse’n just not saving her.”

Shiki’s sad look pulled at his heartstrings; of course getting into this depressing topic had only served to upset her again (her fragile mood was just one more thing Beat kept messing up). He tried to steer the conversation again, this time running a strong, soothing hand up and down her shoulder as if she was the one who needed comfort in the face of his bad memories: “But that was then. It ain’t happening again -- an’ I ain’t losin’ you, no matter what.”

Naturally after just listing the worst of his failures, there was a nagging doubt that he could be Shiki’s hero and her everything without fucking it up -- but dwelling on the past and getting hung-up on what-ifs definitely wouldn’t help in living up to her expectations. He’d hesitated before to promise not to hurt her or do something stupid again, in case it wasn’t possible, but if she had that much faith in him-- “You got my back, so I know I can’t let ya down.”

[rem-is-best-almond]

The right door route is where I constantly scream : wHY iSN’t LindAzu a pOPULAr sHIP IN tHE FANdom ?

I know I’ve said before that ShikiAzu is a favorite rare pair but after playing the game, Shiki barely even interacts with Azuna and I’m just wondering where the ship came from lolol

Meanwhile, Lindo and Azuna are like parents to Ritsuka in the right door and NO ONE FUCKING SHIPS THEM??? like Azuna is totes a reliable girlfriend for Lindo, heck she acts like she’s his girlfriend in Shiki’s route, fetching his necessities to the exorcist society where he’s recovering from his injuries .

Don’t give me that BullShit that Lindo only has eyes for Ritsuka because he’s loyal to her and only her like look here pal, Lindo’s feelings for Ritsuka doesn’t have to be fucking romantic in the other routes ,OK? His love for her not being romantic doesn’t in anyway denounce how much he cares for her. They grew up as siblings and it’s not impossible if Lindo loves her deeply as a little sister. Stop acting like older brothers are horrible beings that don’t love their sisters and if they do, they must be romantically invested in them like fuck you if you think that way.

I admit that I’m not the biggest fan of the LindRitsu ship but that’s because I don’t see the point of their relationship being romantic just because Lindo is her cousin, moreover, a direct cousin, that still means it’s incest as much as you would like to deny it . Like does Lindo’s feelings not being romantic makes his sacrifices for Ritsuka less selfless? No, in fact, I think it makes Lindo a much more stronger character rather than your typical siscon.

On the other hand, the reason I think Azuna works as a better love interest for Lindo is because she's able to support his goals, that is to keep his family safe, particularly Ritsuka. Not only that, but she also acts as a voice of reason for Lindo when he's going overboard when protecting Ritsuka and reminding him that it's OK to let go. Being an exorcist, it's likely that Azuna is the closest to him in the exorcist Society since they are assigned to protect Ritsuka. Any exorcist troubles that he faces is possibly the most consultable when it comes to Azuna.

It's pretty disappointing that the franchise doesn't develop their relationship on a deeper level just because Lindo has to be romantically in love with Ritsuka, which I think was what underminded his character's potential. Seeing fans condoning such a romantic relationship is rather baffling to me cause as long as a brother and sister are the least bit 'unrelated'to each other, any sort of affectionate interactions between them must be romantic.

I'll end this rant here today and save my full thoughts on the siscon trope when I get to Lindo's review.

[dshanks-op]

Do you may know some LuNa moments where you can see romantic feelings are involved? I know they have many sweet moments but is there really something romantic in their relationship? :'D

Well tbh to me, true romantic feelings (like Kyros and Scarlet) are pretty much nonexistent between any of the StrawHat’s atm. It’s just the way Oda has decided to depict them till now. So that’s my answer on that. I think there is great amount of potential in their relationship to evolve into something romantic though. 

However, I also asked this question over at the FC and will share a few responses on which moments they think can be considered “romantic”:

“The most romantic moments between them are Luffy passing the hat to Nami in Arlong Park and Luffy's determination to save the sick Nami by climbing the mountain in Drum Island. Luffy being serious and caring towards Nami is the most romantic moment for them.The reason why I considered the passing of hat as a romantic moment is because of its vague meaning behind it. Luffy speaks more with actions and entrusting his hat to Nami with a helping hand to her means a lot more to her. Nami is the only one who knows the importance of his treasure at that moment and understood why he did so. Luffy continues to trust her and she began to believe in him as time passed. Thousand words can be explained by this moment and for me, this is beyond romantic.You can feel how concerned Luffy is and is willing to do anything in order to save Nami, he almost died back in Drum due to frostbite and bleeding just to save her (two actually, including Sanji but they were to save Nami in the first place so...)The hug in Zou is close since you can see how intimate Nami embraced Luffy. Her expression clearly shows how happy she is to see him again and rushed to his arms for like comfort and relief. This is also the time where she expressed her grief with him, in his arms where she feels secure and protected. Can this even get more romantic?” - Wordell

“Her reaction when Chopper tells her Luffy and the others finally arrived to Zou, how releived and happy she looked . The fact that she only mentions his name and run to his arms to give him a hug as if her eyes could only see him at that moment.. all of that was a little bit more than just nakamaship for me.All of the GOLD and SW moments: The " love message" that was supposed to be for him, Luffy's exaggerated reaction when he thought she didn't have faith in him, what he did to Shiki and Tesoro for trying to hurt her..And of course the mother of all the moments: When Tesoro sees himself in Luffy's reaction and uses Nami to irritate him even more because he knew back then how it felt when Stella was in danger. You can't deny that even if you're blind or don't know a thing about the manga.LuNa is just perfect Edit: Oh! I forgot about the hat scenes” - Corazonada

[robhainesauthor]

The World Ends With Youth

This is a reprint from Unwinnable Weekly #66 (22 October 2015), available to buy here.

You wake to the same music you heard yesterday, the same music you'll hear tomorrow. The bustle of the busy street is too loud. Who are those people rushing to work, to school, back-and-forth like shadows? You don't know, don't care. They're not important. Head down, 'phones on, don't make eye contact. You'll get by just fine without them.

What's the point of other people, anyway?

---

The World Ends With You’s protagonist Neku initially seems cut from the same antisocial amnesiac cloth as Final Fantasy's Cloud and Squall. Yet where those archetypal teenagers often felt teenage by design only - young men emotionally stunted for the purposes of plot and marketing - Neku is utterly defined by his adolescence. The epitome of teenage isolation, he's tried to understand other people, but his total lack of adult empathy makes them intrinsically unknowable, an unsolvable enigma. Faced with this failure, he cuts himself off from the rest of humanity with his iconic headphones; everyone else is just noise, unnecessary complication.

When Neku wakes up lost in the crush of Shibuya's iconic Scramble Crossing - his memories taken as entry fee for the Reapers' Game, an otherworldly contest for the recently-deceased to fight for a second chance at life - he's forced to reassess these preconceptions. Under attack by physical manifestations of the hated Noise, it isn't until he teams up with another Player, budding fashion designer Shiki, that he's able to fight back. If he can't learn to cooperate with his new ally, to make friends and forge alliances with the other teenagers trapped in the Reapers' Game, he faces erasure. Only by surviving seven days of increasingly challenging trials can Neku win his promised resurrection, and to do that he's going to have to trust his partner, leave behind self-centred introversion and take his first steps towards emotional maturity.

While adolescent protagonists are an overused default in JRPGs, adolescence is rarely anything but lazy shorthand. The stereotypical teenager is driven by a desire to shrug off parental influence, leaves home to forge a place in society, and in the process needs the workings of the adult world explained to them by those they meet along the way. Plot elements can be easily concealed by a teenager's lack of self-awareness and reticence to share secrets or show weakness, and any meagre character arc feels dramatic when it begins with a blank slate. Rarely does a narrative attempt to explore the realities of passing through adolescence, the confusion and conflicting expectations of growing up and being expected to navigate the complex rules and systems of adult life with little explanation.

By comparison, Neku's journey is a teen odyssey. Shibuya is presented as an adolescent playground, its disorienting web of streets and alleyways lined with all manner of music and clothes stores, ramen restaurants and fast food joints, concert venues and a hipster cafe run by an enigmatic graffiti artist who may or may not be ultimately responsible for the existence of the Game. Bands gather to argue in the street, while hyper-popular fashionista bloggers descend upon their chosen delicatessen du jour, driving their fans into a fury of consumerism. Collectible pin-badges are released by noted local designers, change hands for extortionate prices, then are smashed into each other in a playground game somewhere between marbles and conkers. Friends shop together, break up, make up, break up, make up, promise never to argue again. The latest tunes blare from mobile phone speakers while faceless businessmen scurry past like shadows on their way to whatever soul-crushing tedium consumes their days. If it wasn't for the threat of casual annihilation by passing Reapers - and the demonic-red countdown timer seared into the back of his hand - perhaps Neku could've eventually found some semblance of maturity wandering these streets within the protective aegis of his headphones.

Plunged into the Reapers' Game, however, Neku is forced to rise to a challenge he doesn't understand, bound by arbitrary rules and restrictions, utterly reliant on other people with their own conflicting agendas. His natural inclination to withdraw is denied by the necessity of cooperation - it's made clear from the outset that a Player with no partner is defenseless against the Noise - and it's only through Shiki's quick thinking when she first encounters Neku that his aversion to teamwork doesn't immediately get them both erased. Depriving him of his childish escape from the real world is a vital step towards emotional adulthood, of learning to trust people's intentions rather than dismissing them as unknowable.

Easing his passage into this enlightened state is a distinctive skull graffito pinbadge that all Players receive upon entering the Game, granting them telepathic powers over the living world. As Neku hurries through the streets of Shibuya on his Reaper-assigned tasks, he can peer through the veil and listen in on the thoughts and aspirations of the bustling masses he's tried so hard to ignore. Sometimes the missions require him to interfere with the real world, incepting concepts to nudge someone onto a different path, but more often than not Neku is merely a voyeur, the pin giving him the opportunity to look past someone's public façade and see the person beneath. It's another pillar of revelation on which his maturity is built, a symbolic awakening of empathy for other human beings.

But the Player pin's powers are limited to the living. Other Players are immune to its effects, so Neku must somehow trust them without the crutch of knowing their innermost thoughts. If he can accept Shiki for who she is, accept help from Beat and Rhyme and the other Players not yet eliminated, perhaps they can all reach the end of the Game unscathed.

---

Just as in the real world, nothing in The World Ends With You is quite that simple. The black-winged Reapers controlling the Game are far from neutral arbiters; in the manner of Greek gods, they pick favourites, set impossible tasks and incite moral dilemmas, toying with their prey before snuffing them out with all the empathy of a magnifying glass-wielding toddler. Beyond the petty machinations of low-ranking Reapers, the Game itself reflects the power struggles at the top of Reaper hierarchy, and Neku soon discovers he's little more than a pawn in a much larger game with the fate of all humankind at stake.

Despite the illusion of structure and clearly defined conditions for victory, the adults in charge of the Game have absolute power over the ever-shifting rules. The Reaper grunts in red hoodies loitering on Shibuya's street corners block Neku's path on a whim, demanding petty appeasement akin to schoolyard hazing before they'll deign to let you pass, while their immediate superiors vie amongst themselves to erase Players to both boost their own lifespan and advance their careers. Invisible, impassable walls spring up to herd Players like running bulls through their designated missions, truly little more than busy-work: an arbitrary gauntlet to weed out the weak and uncooperative. Without understanding the true motives of the triumvirate of Reapers vying for power over the Game, Neku has no chance of winning his freedom; a truth only fully brought home when his triumph on the seventh day is annulled, propelling him into a second week of the Game - and then a third - without Shiki at his side.

The recurring seven-day structure is key; it implies not only that there are set rules to the Game, but that it's possible to become good enough to win within the boundaries of those rules. It's the same uncomfortable fallacy society promises all teenagers as they approach adulthood: join the System, play the Game by the Rules, and if you work hard and don't make a fuss you too can Win. The seven-day structure aligns our expectations to Neku's, and we share his confusion and betrayal each time his well-earned victory is snatched away on a technicality. He's once more plunged into the crucible to be tempered by other partners, the infuriating and secretive Joshua, and Beat, a Player-turned-Reaper.

---

Despite widespread acclaim, The World Ends With You was criticised on release for being unnecessarily obtuse, its systems interlocking in often counter-intuitive fashion. The combat is strikingly unorthodox, your party fighting simultaneous fast paced real-time battles on the Nintendo DS's two screens, torn apart but forced to work in sync. Neku and his partner share a health bar, as do their opponents - who exist in both fights simultaneously - yet the two screens play nothing alike. Neku's is an isometric touch-oriented brawl of sweeping stylus strokes, frantic tapping and split-second evasion as the suite of pinbadges which power your abilities recharge. Meanwhile, your partner combos through strings of D-pad mapped attacks, each chain matching cards to fuel screen-wiping superpowers. It's initially baffling, and beyond a static tutorial screen little effort is made to help you understand the intricacies of the combat.

It helps that you're given responsibility for the degree of challenge you wish to face, neatly sidestepping concerns of whether you'll grok the game's systems. If you're unable to cope with the rub-your-stomach-pat-your-head synchronicity of the combat, you can delegate your partner's actions to a mildly inefficient AI, while a generous difficulty slider is freely available to be tweaked at whim. Characters and pinbadges level up in typical RPG fashion - even when you're not playing the game - making grinding an option if you get stuck, but this is neatly balanced by a strong risk-reward incentive: by choosing to temporarily sacrifice character levels you boost the drop rate of ultra-rare pinbadges only available on harder difficulties, which can be further enhanced by stacking multiple fights together into a single overwhelming encounter.

Viewed as part of this confusion, the combat is thematically apt. It's a wake-up call, a declaration to the player that things aren't going to be comfortable and familiar, and just like Neku, you're going to have to try to keep up. Just like the transition to adulthood, the key is gaining enough competence to survive, and after that you can choose to either strive for mastery or settle for doing the absolute minimum.

Critically, The World Ends With You's opening hour is very clearly intended to be baffling, to unsettle the player and characters in equal measure. Neku is torn from his oblivious teenage existence and wakes up already fighting for his life, while the arbitrary nature of the Game's objectives, the opaque motivations of the Reapers and Neku's own struggles to remember who he is and how he died all contribute to the sense of being carried along by unfathomable tides, desperate to stay afloat. Outside the cocoon of childhood it's impossible to know everything; adults often have to figure things out as they go, and for the first time Neku is forced to engage with the adult world - abstracted into Reapers and Games – and discovers it to be more complex than he could possibly imagine. Like the rest of us, he can only push forward and hope he learns enough about how things work before his ignorance of everything else destroys him.

For the player, the chaos of battle accentuates this desperate sense of displacement: two screens full of tribal-tattooed kangaroos and missile-launching porcupines, demonic rhinos and concrete-dwelling landsharks, two different sets of evasions and attacks competing for your fine motor control as you dash between foes and unleash devastation with a fury of taps and flicks. Alternating combos between your characters boosts your damage further, synchronising their disparate actions into a single stream of discordant aggression. In mastering this unconventional combat, you're bringing Neku and his partners to a new understanding: teamwork isn't easy, but if you trust in your friends, learn their rhythms and support their weaknesses, you'll achieve things you never would have been capable of on your own.

Empathy isn't just an unintended side-effect of the Reapers' Game, but a prerequisite for the emotional maturity Neku must attain before he - and his newfound friends - can bring the Game to its necessary conclusion. The Game acts as both a literal and symbolic purgatory through which he must pass to enter adulthood, but as the Game begins to unravel around him he discovers its true purpose: to judge whether humankind deserves its continued existence. If the kid who wanted nothing to do with other people is now unable to prove their inherent worth to the godlike figures passing judgement upon them, there may be no adulthood for him to return to.

He can't save the world alone, but when the credits roll, it's not Shibuya that's changed. It's Neku, a child no longer, his eyes finally open to the world he's abjured for so long.

---

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[chanoyu-to-wa]

Rikyū Chanoyu Sho, Book 6 (Part 10b):  from the Sōtan Nikki [宗湛日記], (1590) Ninth Month, 20th Day; Midday (Part 1).

The Sōtan Nikki [宗湛日記]¹ provides us with one of the very few detailed descriptions of many of the utensils used by Sōtan's contemporaries -- and in this case, it is enlightening with respect to several of the utensils that Rikyū used frequently during this period in his life, but which have baffled scholars (precisely because Rikyū himself says little -- and that the utensils themselves have in some cases not been correctly identified, even when they do still exist).

10b) 22nd Day; Midday [廿日・晝]².

￮ Rikyū-rō:  (at Juraku) go-kai [利休老　（聚樂ニテ）御會]³.

￮ Guest:  Sōtan, alone⁴.

￮ 2-mat room⁵.

￮ Irori [��爐裏]⁶; ◦ unryū-gama [雲龍釜]:  matsu-kasa kantsuki; kan (karakane); tomo-buta (folded inward)⁷; ◦ nakatsugi [中續]⁸; ◦ kuro-chawan [黒茶碗]⁹, with the [other] utensils placed inside it¹⁰; ◦ ceramic mizusashi¹¹; ◦ Seto mizu-koboshi [セト水下]¹²; ◦ hikkiri [引切]¹³.

￮ During the time for washing the hands¹⁴, the ō-tsubo [大壺] Hashi-tate [ハシタテ = 橋立] was placed in the toko ([tied] inside a navy-blue ami¹⁵, with the himo tied in a foreign-style knot)¹⁶.

    After koicha, the ami was removed from the ō-tsubo when it was thrown-down on the mat in front of the toko to be inspected¹⁷.

▵ The mizusashi is a foreign[-made] piece¹⁸.  The mouth is constricted, and a pale-green glaze was poured over it¹⁹.  On the outside there are [a pair of] uprights, and scratched lines [as decorations]²⁰.

▵ With respect to the chōzu-bachi, [in] a large natural stone [a depression] was hollowed out²¹.

▵ As for the hishaku, it was larger than usual²², and [the angle of attachment made the cup] face upward²³.

[Sōtan’s comments continue in the next post.]

_________________________

¹The Sōtan Nikki [宗湛日記] is the diary of Kamiya Sōtan [神谷宗湛; 1551 ~ 1635].  Sōtan was, therefore, 39 years of age at the time of this gathering.  Rikyū was 68; and to put things into perspective, Toyotomi Hideyoshi himself was 53 years of age.

    Kamiya Sōtan was also a masterful chajin, and he owned one of the most famous chaire of his day -- the Hakata bunrin [博多文琳], which is shown above.  So renowned was this chaire that Hideyoshi himself coveted it -- and, on one occasion, after succumbing to its beauty, even tried to have it stolen.

    It may have been because Sōtan owned such a treasure that Rikyū decided to use a plain shin-nakatsugi as the tea container when serving tea to him during this chakai.

    The Sōtan Nikki has been attacked as a forgery -- because, like most of the contemporaneous writings (including Rikyū’s own densho) it does not support the version of history that the Sen family (or the far right-wing politicians*, with whom the tea schools were generally aligned†, who, in the early decades of the 20th century, sought to use chanoyu as a way to inculcate “Japanese traditional values‡” and a xenophobic “nationalism” -- particularly on their women) prefers.  Nevertheless, its descriptive accuracy (with respect to the details of many of the historical utensils that Sōtan mentions which still survive) can and has been be noted on numerous occasions, and so this should make it a creditable source also with respect to things that have been lost (or misidentified) since that period. ___________ *This is the same faction that has been responsible for the various attempts to rewrite history, both in the early part of the century (especially after scholarly investigations revealed the extent to which Japanese “traditional culture” was little more than a transplanted version of Korea’s old culture), and in more recent years (with respect to denying the rapacious predations committed in the name of the occupying government on the continent in the years leading up to the World War).

†A relict of the Edo period wherein virtually all of the schools of chanoyu were associated with one of the daimyō families, in a system (conceived by Hideyoshi) that was deliberately crafted to protect against a resurgence of the Ikkō sect of egalitarian Buddhism by ossifying the social classes (thereby preventing non-military individuals from taking up arms); and, in the case of the samurai, subordinating the different ranks strictly under one another, with the ranks above held responsible for any indiscretions contemplated by those below.

‡This is something that is now being overwhelmingly rejected by Japanese society -- as shown by the general lack of interest in things like chanoyu (and other “disciplines” that were imported, primarily from Korea, in the fourteenth and seventeenth centuries), and the liquidation of collections of tea utensils by the younger generations that have, in many cases, been in their families for a century or more.

    People do not reject their own culture, since it is part of their mentality -- in truth, inherited as part of the biology of their brain.  But they do overwhelmingly reject foreign elements when the generations that were duped into believing them (and human beings are capable of believing just about anything -- even in the face of indisputable facts to the contrary) to have been authentic parts of the nation’s cultural tradition begin to die off.  And (I suspect) in this case, no amount of effort, or spending, or concentration or focus on reestablishing chanoyu in Japan (as I have heard a certain someone say) will ever bear fruit.  Because the young generations are going off in search of their true and authentic cultural identity, the culture that comes from their innermost beings, while rejecting such imported irrelevancies.

²Ni-jū-nichi ・hiru [廿日・晝].

    This date in the Sotan Nikki corresponds to Tenshō 18 ku-gatsu ni-jū-nichi hiru [天正拾八年九月廿日晝] (Ninth Month, 20th Day of 1590, midday).

³Rikyū-rō ・(Juraku ni te) go-kai [利休老・(聚樂ニテ) 御會].

    Rikyū-rō [利休老] would translate the Elder Rikyū (rō [老] was a polite suffix appended to the names of persons of advanced age:  Rikyū would have been in his 68th year of life at this time, having been born in 1522).

    Juraku ni te [聚樂ニテ] means "at Juraku[-tei]).  In other words, the gathering was hosted at Rikyū's residence within Hideyoshi's Juraku-tei complex.

    Go-kai [御會] a polite word for a gathering.  In this case, a cha-kai [茶會].

⁴Kyaku ・ Sōtan hitori [客 ・ 宗湛 壱人].

    Sōtan attended this gathering alone.  However, while it might at first seem (to us) that this was an atomi no chakai [跡見の茶會], in fact this gathering was probably arranged first, and the morning gathering added as an expedient, perhaps to accommodate Mizuno Moritaka and Takeda Sa-kichi (and keep them entertained) while they waited for an audience with Hideyoshi.

    Sōtan had come to Kyōto to help Hideyoshi plan the Korean part of his invasion, having traveled freely in the country "on family business*" while in fact acting as Hideyoshi's spy.  Thus, their discussions at this time would have focused on logistics -- the best roads, where his troops could be lodged, and so forth -- as well as financing (Hideyoshi was relying on the coffers of both the Hakata merchants, and their counterparts in Sakai, to subsidize this expedition). __________ *The ancestors of the Koreans of Sakai and Hakata had arrived in Japan during the second half of the fifteenth century, fleeing the virtual genocide of the republican faction that had been unleashed by proto-government's pact with the Ming government in an effort to restore the Korean monarchy (under a Chinese hegemony).

    While the people in Sakai were generally disinclined to involve themselves in Korean politics, it seems that the Koreans in Hakata were actively involved in various attempts to destabilize the Korean monarch, and so maintained households on the peninsula (while their wealth was stashed in Hakata), and thereby effect a restoration of the Han republic.

    It appears that Sōtan's advice (he was one of the group of Hakata citizens who approached Hideyoshi while he was in Kyūshū the previous year, and proposed the idea that he might consider invading China through Korea, and setting himself on the Chinese throne, thereby fueling Hideyoshi's ambition in that direction), and subsequent actions, were originally calculated to bring about this effect.  (Unfortunately, for him, Hideyoshi, focusing on the big picture, preferred to minimize his aggression in Korea during the first phase of the invasion and keep his troops fresh for the actions against the Chinese, probably to Sōtan's chagrin; and ultimately the goals of the Hakata Koreans went unfulfilled.)

⁵Ni-jō shiki [二疊敷].

    This is the same 2-mat room in Rikyū's Juraku-tei residence.  However, Sōtan’s description of this room differs somewhat from the traditional opinion (which is what my previous sketch was based) in one important respect:  he notes that this room had a dōko [洞庫]*.

    This was not a mizuya-dōko [水屋洞庫], such as he made in the Mozuno ko-yashiki; it was an ordinary wood-floored dōko-dana [洞庫棚] of the type created by Jōō (below)†, featuring a single shelf above the wooden floor.  Rikyū’s dōko, like Jōō’s, had a single paper-covered door across the front‡, which slid open from the foot of the mat towards the head (as indicated by the arrow in the above sketch).

    The dōko would have facilitated the bringing of the utensils onto the utensil mat at the beginning of the za, and their removal at the end, without having to deal with the hinged katte-guchi**.  And also, since the guests would often pass through the katte as they moved from the small room into the hiroma††, having a dōko would prevent the katte from looking cluttered.

    More will be said about the arrangement of the utensils in the dōko-dana in the next post. __________ *In none of the contemporaneous sketches or descriptions of Hideyoshi’s Juraku-tei complex is a dōko mentioned in the 2-mat room in Rikyū’s residence.  A dōko is discussed only in relation to the 4.5-mat room (which was the usual place where one would expect it in the Edo period Sen-family/machi-shū dominated world of tea).

†Jōō's dōko-dana was, in turn, inspired by the earlier yoshi-dana [葦棚] that had been placed outside the fusuma at the side of the utensil-mat, and in which the various utensils were arranged so that the host had only to slide the fusuma open to access them, making additional trips out and back through the katte-guchi no longer necessary.

    A sketch of the earlier yoshi-dana is shown above.  The primary difference between the dōko-dana and the yoshi-dana (other than the fact that the dōko-dana was made entirely of wood, while the yoshi-dana was covered with woven reed panels) is that the dōko-dana had a floor, while the yoshi-dana simply sat on the tatami that covered the floor of the katte (or passageway, depending on how the chaseki was oriented).  Because the koboshi can be damp on the bottom, the wooden floor would prevent damage to the matting.

‡On the side of the dōko-dana facing the katte (or mizuya, depending on the design of the room) various kinds of doors were possible to obscure the activities taking place on the outside from the eyes of the guests.

    However, in hot weather it is said that Rikyū occasionally removed the doors on the katte/mizuya side entirely, so that a breeze could blow in through the open dōko to keep the interior of the chashitsu from becoming too hot.

**Because the katte-guchi in this room swung open (rather than sliding open, as in most rooms), it was not possible for Rikyū to place anything on the floor near the doorway allowing the host to simply lift them into the room after sliding across the sill.  The presence of a dōko resolves this conundrum nicely.

††In the ichi-jō-han [一疊半] room, on which the use of this 2-mat room was based (this apparently was Rikyū’s first 2-mat room), guests witnessed the sumi-temae in the small room, and then moved into the katte for the kaiseki.  Thus even at an ordinary gathering, the guests would be entering the katte at least during the sho-za.

⁶Irori [圍爐裏].

    The ro.  As usual, it was 1-shaku 4-sun square, and separated from the far wall by a mukō-ita [向板]* 2-sun 5-bu wide†. __________ *This board is sometimes called a ko-ita [小板].  Because this can be confused with the name for a 9-sun 5-bu square shiki-ita, care must be taken when reading documents from this period.

†As has been discussed previously in this blog, due to a misunderstanding over the classical measurements (and the fact that the mukō-ita is cut into two pieces in the summer, with the larger piece -- 2-sun wide -- placed in front, and the smaller piece -- 5-bu wide -- on the far side), the Sen families came to use a mukō-ita that is only 2-sun wide.  This throws off the entire argument for kane-wari (which is why this tradition was downplayed, and eventually abandoned, by these schools).

⁷Unryū-gama, kantsuki matsu-kasa nari, kan (karakane), tomo-buta (ori-ire) [雲龍釜、貫付松カサ也、貫 (カラカネ)、友蓋 (ヲリイレ)].

    Here Sōtan describes the small unryū-gama*, as he saw it.

◦ Kan-tsuki matsu-kasa nari [貫付松カサ也]†:  kan-tsuki [鐶付] are the ears into which the kan [鐶] fit.  The semi-circular kan-tsuki that can be seen in the above photo were described as matsu-gasa [松カサ  = 松笠], which means pine cone.

◦ Kan (karakane) [貫 (カラカネ)]:  the small unryū-gama is always suspended over the ro on a bamboo jizai [自在].  Because it hangs deep in the ro, ordinary iron kan would become too hot for the host to handle them during the sumi-temae.  Therefore kan made of karakane [唐銅] (bronze)‡, such as those shown above, would be preferable, since certain alloys of this metal do not conduct heat well.  The kan that Rikyū used with this kama, rather than being extremely large (like they are now, for a tsuri-gama), were actually a little smaller than the ordinary kan.  The large kan only appeared in the Edo period (apparently to increase the distance between the mouth of the kama and the tsuru -- because certain schools were handling the hishaku with extravagant gestures that were rendered impossible when the distance between the kama and the tsuru is minimal; Rikyū, on the other hand, preferred insufficiency to superfluity whenever possible, and his small kan and tsuru leave little room for hishaku acrobatics).

    Some accounts of this kama (from the Edo period) suggest that the kan were fixed in place (and could not be removed), as were the kan on the shi-hō-gama that Rikyū was using at this time; but Sōtan makes no mention of this (which, however, does not mean it is not true).

    The kama was hung on the jizai by means of a bronze (or brass) tsuru [弦]:  Rikyū‘s tsuru is shown below.

◦ Tomo-buta (ori-ire) [友蓋 (ヲリイレ)]:  a tomo-buta [共蓋] is the lid for a kama (or mizusashi, or other kinds of futa-mono [蓋物] -- lidded containers) that was made by the same craftsman (and, implicitly, of the same material as the container itself).  Thus the tomo-buta for the small unryū-gama was also cast iron.

    Ori-ire [折り入] means folded inward or depressed, and looking at the lid in the photo, the reader will notice that it is stepped slightly, so that the middle is lower than the rim.  This basically imitated the shape of the original sheet-copper kakeko-buta [掛け子蓋]**, albeit with some slight modification, according to the nature of the material (the original lid was beaten or pressed sheet-copper, while Yojirō’s lid was cast iron -- so it has a more deliberate shape). __________ *At the time when Sōtan made this entry in his diary, there existed only two unryū-gama -- both of the same size (i.e., the small unryū-gama).  The first one, which Rikyū designed to be used with the large Temmyō kimen-buro, had a lid made of sheet copper, and kimen-kantsuki (that matched those of the old Temmyō furo).  After giving this kama (and the furo) to Hideyoshi, to use in his two-mat Yamazato-maru tearoom in Ōsaka castle, Rikyū had Yoshirō cast a second kama of the same size and decoration, but with matsu-kasa kantsuki (matsu-kasa [松笠] means pine cone; but the kan-tsuki are actually simple semi-circles with a scale-like surface texture).  This second kama seems to have had both a sheet-copper lid, and a lid cast of iron by Yoshirō (it is said that the handle of the lid seen in the photo would have been technically very challenging to cast in one piece, and perhaps the copper lid was provided so that the kama could be used temporarily while a suitable lid was being made).

    Other kama made by Yoshirō around this time also seem to have both sheet-copper and cast iron lids (one well-known example being the Tōyōbō-kama [東洋坊釜]).  Bronze lids, of course, were not made in Japan until the bronze craftsmen were brought back from Korea when the army returned following Hideyoshi’s failed invasion of China.

†Kan-tsuki [貫付] and kan [貫] are non-standard ways to write kan-tsuki [鐶付] and kan [鐶], respectively.

‡Possibly, like the tsuru [弦], or handle that joins the kama to the jizai, the kan were actually shinchū [眞鍮].  The natural colors of the two metals are similar, and become different only after they have been oxidized (which, in the case of bronze, is usually deliberate).  Both bronze and brass are alloys of copper and tin, with the difference being in the proportions of each.

**A kakeko-buta [掛け子蓋] is a simple kind of lid that fits into the mouth of a vessel, rather than simply sitting on top of the mouth.  The sketch shows this kind of lid in its most basic form, which is the way the lid for the first unryū-gama was made.

    The lid is sunken into the mouth so that it will not fall off if the kama begins to boil violently.

    A more elaborate version (this is usually what is imitated when the lid is cast in iron or bronze, rather than being made of beaten copper) features two folds, as shown above.

⁸Nakatsugi [中續].

    A shin nakatsugi [眞中次], and a shifuku for the same.

    This chaki was made for Rikyū by the lacquer artisan patronized by Hideyoshi, known as Seiami [盛阿弥].  Hideyoshi honored this man with the designation ten-ka-ichi [天下一] (“first under heaven”), hence he is often referred to in contemporary accounts as Ten-ka-ichi Seiami [天下一盛阿弥].  Seiami is said to have specialized in making lacquered containers with a kiri-ai-guchi [切り合い口].  This kind of chaki, being nearly airtight, will keep the matcha as fresh as possible.

     Rikyū probably had several reasons for using a shin nakatsugi as the chaire for this gathering.  First, as mentioned above, he owned nothing comparable to Sōtan’s own Hakata bunrin [博多文琳], and avoided comparisons by using something decidedly inferior (even if Seiami was the most celebrated lacquer artisan of his day, his pieces were still new, and therefore expendable).  Second, by using a lacquered tea container, he was able to continue the visual effect of the morning’s gathering.  Yet, by using a nakatsugi (rather than a natsume), Rikyū is clearly indicating that the tea is both different from what he served in the morning (the koicha in the morning was made from tea which Rikyū received as a gift from Mizuno Moritaka), and that he will serve both koicha and usucha during the same temae, using matcha from the same container.  In this way Rikyū is contrasting his vision of chanoyu with what he knew to be Sōtan’s personal style.

    The chashaku used with a nakatsugi has a nearly straight handle, and Rikyū naturally would have carved it himself.

⁹Kuro-chawan [黒茶碗].

    The Kitano kuro-chawan [北野黒茶碗] is shown below.  Historically speaking, it seems to be from the same period as the Naga-tabi [長旅] bowl that Rikyū mentioned that he used at this gathering.

    In fact, it is only by adding these two accounts together that we are able to deduce that the Naga-tabi chawan was one of Chōjirō’s early kuro-chawan.

¹⁰Dōgu irete [道具入テ].

     Sōtan means that the chakin and chasen were arranged inside the chawan, with the chashaku resting across the rim, as usual.

    Some commentators argue that the nakatsugi was placed inside the chawan, but this is both illogical*, and inconsistent with the disposition of the utensils within the dōko [洞庫]† (which Sōtan describes later in the entry‡). ___________ *Since the mizusashi was placed in the dōko, along with all of the other portable utensils, Rikyū could not be doing something like chasen-kazari [茶筅飾] -- since it is not possible to lift the mizusashi out of the dōko with the chakin and chasen resting on top of its lid -- (and neither would there be any reason for him to contemplate attempting chasen-kazari, considering the utensils that he is using); and so there would be no other way to get the chakin, chasen, and chashaku onto the utensil mat than inside the chawan.

†The dōko [洞庫], to sum up what was said in footnote 5, above, is a sort of cupboard closed by a sliding door, that was located in the wall to the left of the utensil mat.  Because the host’s entrance to this room had a hinged door, it would be difficult for the host to bring any of the utensils in with him as he entered, and the presence of a dōko simplifies his entries and exits immensely.

‡Though his description is idiomatic enough that someone could believe that he is saying the nakatsugi is inside the chawan -- if that is the conclusion that the reader was intending to “prove.”  (See footnote 6 in the following post, entitled Rikyū Chanoyu Sho, Book 6 (Part 10b):  from the Sōtan Nikki [宗湛日記], (1590) Ninth Month, 20th Day; Midday (Part 2), for more on this.)

    It is generally better to approach these kinds of documents with an open mind, and allow the words to speak for themselves as a unified whole, rather than being guided in ones understanding by the conventions espoused by whichever modern school the reader is affiliated. 

¹¹Do-mizusashi [土水指].

    Sōtan (later in this entry) gives a detailed description of the hake-mono mizusashi* (as Rikyū called it):  “mizusashi, kara nari, kuchi shimete ao-gusuri kakaru, soto futa-tate ni kaki-me ari” [水指、唐也、口シメテ青藥カヽル、外二立ニカキメ有].

    This description translates, “mizusashi:  a foreign-made piece†; the mouth is constricted [and] a pale-green glaze is poured over [the jar]; outside, two uprights‡, and [decorative] scratch-mark lines.”

    If Sōtan’s description is accurate, and if this is the same mizusashi that Rikyū refers to throughout this kaiki as his hake-mono mizusashi [はけ物水指]**, then all of the arguments have to be reconsidered.  This mizusashi is rarely seen; it is in the possession of the Hosokawa family.  In terms of size, it appears to be large enough to hold sufficient water for the small unryū-gama temae. ___________ *In the entries for both this and the later gathering hosted for Kamiya Sōtan, the Rikyū Chanoyu Sho states that the mizusashi was the hake-mono mizusashi [はけ物水指].

†Kara [唐] literally means Tang period China.  However, it was used to mean an imported object, whether it originated in China, Korea (the kanji for Korea, Han/Kan [韓] is also pronounced kara), or anywhere else in Asia.  The mizusashi shown above is described as a Namban [南蛮] piece, meaning that it was brought to Japan in one of the Portuguese trading ships.  The country of origin is still subject to scholarly debate, with Okinawa, Taiwan, or South China being the most likely candidates.

‡Futa-tate [二立]:  tate [立] can mean uprights (for example, the word hashi-tate [橋立] means the upright stone stanchions on which a bridge rests); futa-tate [二立] would mean two uprights (“ears”).

    The interpretation of this phrase is problematic (for Japanese scholars as well) because Sōtan writes the phonetic elements with katakana, where the particle ni [ニ] is virtually identical to the kanji for two, ni [二] (which has historically been pronounced fu, fū, futa, and so on -- though ni is generally preferred today) -- both in printing and in a handwritten document.  And, of course, as always when dealing with these old documents, it is difficult to determine which of the surviving manuscripts is Sōtan’s original, and which were near-contemporary copies made by other people who, themselves, may have been confused by his constructions.  In fact, ni [二] means the number two, while futa [二] means two (things).

    Nevertheless, some commentators on the Sōtan Nikki argue that the kanji tate [立] is itself a miswriting or abbreviation of the word tate [竪], meaning “vertical” – so “vertical scratch-marks.”  But if that is so, the phrase tate ni kaki-me ari [竪にかきめ有] is grammatically a little odd.  Again, not associating Sōtan’s description with a specific mizusashi will increase the likelihood of misinterpretation.

**Some scholars argue that Rikyū used the word “hake-mono mizusashi” generically, to mean a number of different pieces.  Still, none of the scholars (at least those with whose work I am familiar), have ever suggested that hake-mono mizusashi refers to this specific mizusashi (though some have stated that the name refers to a Namban piece).

¹²Seto mizu-koboshi [セト水下].

    In the notes accompanying the gathering that Rikyū hosted for Mizuno Moritaka and Takeda Sa-kichi in the morning of this same day – where most of the utensils and other arrangements were essentially the same – I suggested that Rikyu may have used a mentsū as his mizu-koboshi.  This, however, has no bearing on the present chakai, since a mentsū was used only once and then discarded.  In fact, on a previous occasion where one gathering followed another, Rikyū specifically did not use the same koboshi both times (perhaps feeling that the koboshi would not be clean if it were reused immediately).

   Mizu-koboshi [水下] is yet another way in which this word was written.

¹³Hikkiri [引切].

    A take-wa [竹輪]; a bamboo futaoki.

    Hikkiri [引切], which literally means lopped off with the blow of a sword (and more commonly used in reference to punishment by decapitation), was primarily used as a name for a bamboo futaoki by samurai (rather than townsmen), who imagined its being cut by two perfectly aimed strikes of a sword*.  Perhaps Kamiya Sōtan, as Hideyoshi’s primary spy on the continent, was playing at being a soldier.

    The take-wa was placed inside the koboshi when the utensils were arranged in the dōko during the naka-dachi. __________ *There is a martial exercise where the sword-player demonstrates his skill by chopping through a piece of bamboo with a single stroke of his sword.

    In practice, however, green bamboo is usually used -- not the old dried-out material preferred by Rikyū for his take-wa.

¹⁴Chōzu-no-aida [手水ノ間].

    During the naka-dachi.

    Chōzu-no-aida (which literally means “the time for washing the hands”) was the earlier term (since naka-dachi [中立] -- “standing up in the middle” -- was an unseemly expression, suggesting that the user was having difficult sitting in seiza).

    In fact, in Rikyū’s day, people were only required to sit in seiza when receiving the chawan from the host, while drinking the koicha, and when returning the bowl.  At other times, they were free to sit in whatever way was most comfortable.  Chanoyu became an endurance contest only in the Edo period.

¹⁵Kon no ami ni irete [コンノ網ニ入].

    Kon [紺], was the second most difficult (and so expensive) color* to produce using natural dye-stuffs, because the piece must be dyed successfully twice -- first crimson, and then over-dyed deep blue.

    Thus, kon is a shade of dark blue with an overtone of crimson†. __________ *The most difficult and costly color to dye was murasaki [紫], a brownish-purple color that is shown below.

    The shade on the left is the original color referred to as murasaki [むらさき = 紫] (and later hon-murasaki [本紫]) in antiquity; but by Rikyū’s day, the darker hue had become more common (because the local dyers had mastered the technical side of the process), and it was this color that was used for the little furoshiki in which lacquered containers of gift tea were tied (these furoshiki, in turn, came to determine the size of the temae-fukusa after Furuta Sōshitsu began to use them for that purpose).

†It is, however, more blue than violet.  A range of shades is possible, depending on how long the cloth or cordage remains in the dye-vat (and how white the original material was to begin with):

¹⁶O kara-musubi ni [緒カラムスヒニ].

    This phrase refers to the kuchi-shime no o [口締めの緒], which ties the kuchi-ōi [口覆い] to the neck of the cha-tsubo.  (These terms can be understood by referring to the photo of a ruzon cha-tsubo, below.)

    There were various ways to tie the kuchi-shime no o, and Rikyū used a knot that was fashionable on the continent.  When Hosokawa Tadaoki [細川忠興; 1563 ~ 1646] returned from co-generalling* the invasion of 1592, he brought with him a book detailing the various Korean knots that were used to tie different types of cords, and this document is still preserved by his family. __________ *The two generals of the 1592 invasion were Hosokawa Tadaoki and Furuta Sōshitsu.

    Hosokawa Tadaoki was the eldest son of Hosokawa Fujitaka, one of Rikyū’s closest friends, for which reason the young Tadaoki was accepted as one of Rikyū’s private disciples.  Upon his retirement, Tadaoki took the name Sansai Sōryū [三齋宗立], and he is probably better known as Hosokawa Sansai to Western readers.

¹⁷Ō-tsubo wo ami wo nokete, toko no mae nage-goro ha shite miseraruru [大壺ヲアミヲノケテ、床ノ前ナケコロハシテミセラルヽ].

    Nage-goro ha shite [投げ頃はして] translates "at the time when it was thrown down...."  The meaning is that, after the ami was removed, the jar was laid on its side so that Sōtan could inspect it carefully (since jars were often signed with the owner’s kaō, written with lacquer on the bottom, laying the jar on its side allowed the guest to inspect the bottom; for the guest to turn the jar on its side by himself might be considered dangerous, and so was something that people were taught not to do).

    The Hashi-tate [橋立] cha-tsubo was signed on the bottom by Rikyū.

¹⁸Mizusashi, kara nari [水指、唐也].

    This means that the mizusashi was an imported piece -- kara [唐] (and karamono [唐物]) being used to describe products made anywhere in East Asia.

¹⁹Kuchi shimete ao-gusuri kakaru [口シメテ青藥カヽル].

     This means that the mouth is constricted; and that a pale gray-green glaze covered the piece.

²⁰Soto futa-tate ni kaki-me ari [外二立ニカキメ有].

    Futa-tate [二立]:  as proposed above, tate should be interpreted as a reference to an upright member*, of which there are two (futa [二])†.  The expression thus would refer to the two elongated “ears” (if they may be so called) on the left and right sides of this mizusashi.

    Kaki-me [掻き目] means lines of scratch-marks -- as can indeed be seen on the mizusashi shown under footnote 10, above. __________ *Some commentators, as I mentioned above, argue that tate [立] is a miswriting or an abbreviated form of the kanji tate [竪] (which means a lengthwise, or vertical, orientation), and so suggest that this phrase refers to the orientation of the scratch-marks.  While the kaki-me on the side of the vessel are indeed vertical, those on the shoulder, surrounding the mouth, are oriented horizontally. 

    All of these markings (whether vertical or horizontal) are kaki-me, and were produced by scratching the greenware piece with a nail (or some such object) before it was glazed.

†Because Sōtan uses katakana -- and because it seems that none of the scholars working with the Sōtan Nikki has associated this description with a specific mizusashi -- most commentators seem to read futa [二] as the particle ni [ニ] (which, depending on the handwriting, or typeface, can often be identical).

    It could also be possible to pronounce ni-tate [二立] as futa-tate [二立].  This would make Sōtan’s meaning clearer; but it might also be more controversial.

²¹Chōzu-bachi, shizen-naru ōishi wo kurite [手水鉢、自然ナル大石ヲクリテ].

    Kuru [刳る] means to hollow out, bore (a hole), gouge out.

    Sōtan is saying that, rather than a carved chōzu-bachi, such as were traditionally used in the days of Jōō, Rikyū has had a basin cut in a large, natural stone.

    The stone was much larger than the hollow, and it appears that this is what gave Sōtan a surprise.  Two such chōzu-bachi (that are said to have come from Rikyū’s roji) are known, and these are shown in the photos, above.  The largeness of the stone is more obvious in the right-hand photo.

²²Hishaku ha, tsune yori oki nari [ヒシヤクハ、大キナリ].

    The “usual” hishaku was, since Jōō's day, the small one that was used in the “usual” kind of chashitsu (among the merchant class, of which Sōtan was a member) -- the inaka-ma yo-jō-han [田舎間四疊半] (a room covered with 4.5 inaka-size* tatami).

    The small rooms, with a daime†, were mostly restricted to the Sakai and Kyōto areas‡, and even there were mostly used only by people closely associated with Rikyū and his group.

    Sōtan, of course, was from Hakata, where the earlier Jōō-style inaka-ma yo-jō-han was still the usual setting for chanoyu. __________ *Inaka-ma tatami [田��間疊]:  this kind of tatami is 5-shaku 9-sun long, and 2-shaku 9-sun 5-bu wide.

†The present room that Rikyū is using seems to be the first example of a 2-mat room.  According to his contemporaries, he derived it (and its temae) from the ichi-jō-han (1.5-mat room) -- indeed, some accounts refer to this 2-mat room as an ichi-jō-han (making modern commentators wonder just how many tearooms Rikyū managed to squeeze into his small residential compound within Hideyoshi’s Juraku-tei complex).

‡Rooms with daime utensil mats were included among those designed by Rikyū for Hideyoshi's complex at Hakozaki, near Fukuoka, to be sure; but even in this case, they were mostly 3-mats plus a daime, and so much closer in size to an inaka-ma 4.5-mat room than to the tiny rooms that Rikyū was using in Sakai and the capital.  (Jōō used his inaka-ma yo-jō-han for most of his life.  The daime- and smaller rooms only appeared after Rikyū's return from the continent, just short of a year before Jōō's death near the end of 1555.  Consequently, neither the rooms, nor the special conventions associated with them, were well known outside of Sakai and the capital.)

²³Ao-mukete nari [仰テ也].

    Ao-muki [仰向き] (Sōtan has contracted the compound into a single kanji) means that the mouth of the cup faced upward more than usual when the hishaku was laid on a flat surface, such as on a shelf.  In other words, the angle of attachment between the cup and the handle was greater (when viewed from above).