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harumwahsa · 24 days ago

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Since his demo's title is "When the Crows Perch", I've done a little digging around about the symbolism of crows. I only knew that crows are related to death and misfortune before, so I was curious if there were actually other symbolisms.

I have puked out my brain. 🙂 I made the important parts in coloured fonts, so I hope it'll be an easy read.

So! About crows.

Known for their intelligence and their capability to adapt to different environments, crows symbolise changes and transformation. They're also believed to be spiritual messengers; thus, seeing them is a sign to take a different perspective in life.

Other than that, crows are sharp and cautious creatures, which is why people deem that a crow's presence is an omen. A bad one? A good one? Either is actually possible.

In Harumasa's demo, however, what we saw wasn't just any crowーwe saw white crows. Is there a difference? I did more digging. White is a symbol of purity and seeing a white crow is a rare occurence, so a white crow is believed to be a symbol of fortune. In other words, it can be interpreted as: there will be a good change ahead.

Now, let's look at the white crow that appeared in the demo.

It has yellow eyes. Like Harumasa. Is it on purpose? Could it be that it's also a representation of who he used to be; a child with pure intentions who people saw as their hope? Was he the white crow of his family/wherever he came from?? Actually, he could very much still be a white crow for those people, considering the fact that he is a prodigy since young.

I have that thought because in the 1.4 Special Program, they mentioned that a lot of expectations were placed on him. While it could be worn like a badge of honour, the weight of the sense of responsibility that comes with it could be like shackles. Ouch.

Anyway...

Speaking of changes, I took a look at these pictures again.

(1) "Something he can't get over or leave behind." Can't blame him. People expect a lot from him, and he also went through terrifying experiences. None of these things could be dropped so easily.

(2) BabyMasa is in the brighter side of the room, while the man is in the darker sideーin fact, the man is in grayscale. The only thing coloured is that syringe filled with unknown red substance, hidden behind his back. Suspicious lil shーanywaaaaay. I think it's safe to assume that this picture conveys that the man is the one who tainted the white crow image Harumasa has been carrying.

Soooooo.

White crow is a sign of fortune, but to Harumasa? Absolutely not. Everytime he encounters white crow(s), he's painfully reminded of the monster inside him. Something he keeps refusing to accept. ⬇️

Scribbling over his medical reports. I can be delusional and say that his doctor was the one who did that out of boredomーbut yeah. Let's be real and drown in agony instead. Harumasa probably reads his medical records often. That thing was on his bedside table with his pills, somewhere easy to reach. Can't sleep? Bedtime story. Oh, would you look at that! I'm sick!! 😦

Let me dump a whole packet of salt into your wounded heart as well while we're at it. I just want to point out the changes of his pictures in his medical records.

18th July.

First scene: A picture of his adult self in his medical records. Harumasa woke up without his choker on. Curtains were closed. It was raining outside. Choker on. Maybe this would contain his nightmarish thoughts? Wrong. Even while he was fighting against the Ethereals, he saw himself in them. Arrow shot, injecting his younger self. In the Special Program, it was mentioned that he has to clock off on time, even in battlefield. I guess we can say that he doesn't want to be surrounded by these things that remind him of his condition.

Second scene: A picture of when he was a child in his medical records. More scribbles. Harumasa woke up with his choker on. The rain has stopped. Maybe the thoughts would stop this time? Oh. Mirror crackedーa sign of misfortune. Horrors persisted.

No picture in the last one. He was also not on his bed in the last scene. The curtains were left opened, there were lights streaming in. The birthday message came in. I would say that he was out and celebrating, or that he was doing a mission. But, I doubt someone would leave their phone behind if that were the case.

"Congrats on making it this far." Did he really? He couldn't accept himself in the current time. He couldn't accept his past either.

.... I don't need to spell out what this particular scene could imply, right?

MOVING ON.

His choker is used to cover up the injection marks. I wonder if they deliberately made four of these marks, given that 4 ('shi') means death. We Harumasa lovers live in constant worry. Actually, scratch that. We Harumasa lovers live in constant FEAR.

Even with the choker on, he still covered his neck with his hands when he was called a monster. It could be that he was recalling all those times he was injected, God knows how many times, by chemicals. It could be an attempt to deny the existence of those marks. It could be a way to reassure himself, to tell himself that he's still a human. Or it could be all of them together.

This "Look closer... it's YOU." scene is also stuck in my head. I just think it's intriguing. This scene could have two meanings, no? "Look closer... it's YOU." WHICH?!? The heroic Harumasa, or the monster he became? Both...?

If this "Look closer... it's YOU." message was from the white crow, then it might be referring to Harumasa being a saviour, regardless of what he is. BUT, the way he interpreted it? Of course he couldn't see himself as such. Not when fear consumes him, nope. All he sees is a murderous monster, through and through.

Okay. I'm done vomitting words. My head is empty YAAAY. 🥳 Thank you for reading! Let's heal ourselves now with a handsome picture of Asaba Harumasa. 💛

#zenless zone zero #zenless #zzzero #zzz #asaba harumasa

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eat-pray-cry · 5 months ago

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All the Light We Cannot See: In Defense of the Netflix Adaptation (Part 7)

PART 7: THE CHANGES THAT I LOVED

WARNING: SPOILER ALERTS

And so we’ve come to this… The final rambling. The changes that I loved.

As I mentioned in another post, I acknowledge that there were many losses when the book was translated into film (or in this case, a mini-series). But this, ladies and gentlemen, is where I discuss the gains. This is where I tell you the parts where the show gave me what the book couldn’t give me. This is where I tell you why, in addition to the book, I loved the show as well.

Without further ado, and in order from what I loved, to what KILLED ME WITH WEEPING JOY:

Madame Manec is portrayed as Etienne’s sister rather than his housekeeper. I actually think this added to the story. For one, nothing is taken away by changing her from a housekeeper to a sister. Both are figures that would have known Etienne since he was a child. Both are figures who would have been present in his home and cared for him. The real game-changer here is how the show utilized the change: moments before Etienne steps back out into the world, Madame Manec delivers a powerful line. She utters, “He looks like my little brother.” (I almost cried.)

Verner’s running sequence through the wall. I find it VERY interesting that some people hated this, saying that it was cheesy and overdramatized. Here’s what I think: (1) Verner running through the city to get to Marie was also in the book, (2) it was necessary to give Verner a heroic sequence because he doesn’t get to have that when he gets to Marie, who saves herself from von Rumpel in the adaptation, and (3) it was riveting to watch!

Marie listens to the professor too. I don’t see the harm in adding this change, but I definitely see the gain. Keep in mind that the book affords us many details to see the connection between Verner and Marie. They’re the only two characters who were shown to solve the puzzle of the model house. We also saw Verner reflecting on how wonderful the house in Number 4 rue Vauborel is - the radios, the books, etc. The show, with its limited platform, can’t afford to give viewers all those details. So what do they do instead? They establish that Marie also listens to the Professor, so much that she and Verner harmonize the same lines throughout the show. So when we finally see them together, we see flashbacks to their childhood where they both listen to the professor… It tells us as viewers of their connection.

Quote added: “The most important light in the world is all the light we cannot see.” Alright, fine, this quote wasn’t in the book and many have claimed that it was silly. Personally, however, I thought it was a lovely homage to the book. For one thing, it was literally a title-drop. More importantly, it echoed the running theme of the book - the beauty of the radio signals that connected Marie and Verner, the light we cannot see. Was the quote a little too on-the-nose? Perhaps. But in the same way that many aspects of the story had to be dramatized visually, so did this running theme have to be highlighted from the book.

Jutta’s goodbye. My god. This scene was beautiful. I know that it was vastly different from the farewell in the book; it doesn’t mean that one is better than the other. As I’ve mentioned several times at this point, the book and the show have intentionally different tones. So, naturally, the goodbye in the book was hauntingly heartbreaking, whereas the goodbye in the show was tender and sad. That said, the biggest gift of this addition is this beautiful line: “Like one of your silly radio stations. Keep the frequency the same.” This was beautiful on so many levels. Beautiful because of the wordplay (radios, frequencies), but more beautiful because of how it reflects on the Verner we know and love, the Verner whose quiet goodness will be challenged.

Verner talks to Jutta through the radio. This was a beautiful, BEAUTIFUL addition because it was something that I, as a reader, couldn’t get from the book. As we all know, Verner and Jutta never reunite in the book. So to be blessed with this scene, to be blessed with the mere POSSIBILITY that they’re going to see each other again… It made my heart weep with joy.

Etienne and his brother are merged into one professor, Etienne and Verner actually meet, Etienne dies. As surprised as I was to find that Etienne dies in the adaptation, I overall thought this was a BEAUTIFUL change when considering Verner’s story arc. Let’s think about it. The show had limited time, they needed to show that Verner carried a lot of guilt, they needed to show that his connection to Etienne (and consequently Marie) was his beacon of hope. What better way to show that arc than to have him by a dying Etienne’s side, who turns to him and kindly says, “You’re a good boy, Verner Pfennig.” It was a big change and a small moment, but said so much. It was a beautiful way to show Verner being absolved.

All additions to Verner and Marie’s time together - the kiss, the dance, the promise to reunite. Listen. I don’t care if this wasn’t in the book. Let me repeat. I don’t care if this wasn’t in the book. One more time. I DON’T CARE IF THIS WASN’T IN THE BOOK. I love the book. I love the bittersweetness of the short time they spent together. I love the haunting heartbreak from the fact that they never got a chance to reunite. This, however, is also why I loved the changes that were made to the show. The show gave me EXACTLY what I didn’t get to have from the book. I spent 500 pages waiting for Marie and Verner to meet. The show gave me what I was waiting for in those 500 pages. The dance scene. The kiss scene. The way Marie twirls her fingers in his hair. The way she touches his eyelid, similar to the way she touched her father’s eyelids a few episodes ago. The promise to return, the line, “I will be listening”, the simple and powerful HOPE that they may see each other again. This is exactly what the show gives me, what the book intentionally (albeit beautifully) withheld from me: hope.

And this, ladies and gentlemen, is why I loved both the book and the show.

The book broke my heart, the show made it flutter.

Thus concludes my defense of the All The LIght We Cannot See, Netflix version.

#all the light we cannot see

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shihalyfie · 1 year ago

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Hi. I'm someone who has come back to Digimon after enjoying it from my childhood and now watching through Ghost Game as well as watching episodes of Digimon: App Monsters. Something I'm wondering about is how the experience of binge watching may or may not be compatible with the various Digimon seasons. I realized that I enjoyed binging App Monsters more than I am Ghost Game even though I do enjoy watching Ghost Game more as it fits a lot more of my tastes.

I define the binge format as involving frequent use of cliffhangers, a larger overarching conflict those cliffhangers tie into, and a three act structure that stretches throughout the season instead of just one episode. I do recognize that both Ghost Game and App Monsters share at least some similarities with this structure, but the main difference seems to be that there isn't a bigger overarching conflict in Ghost Game. However, I see myself going back and rewatching episodes of Ghost Game more than I do App Monsters. To what extent were these seasons built with binge watching in mind? I live in the US by the way, so I imagine that cultural lens might be playing into the questions.

Hi! Welcome back, hope you're enjoying your watch! Also, glad you're enjoying Appmon; that's a series that's especially close to my heart.

Well, as you alluded to at the end of the question here, cultural stuff does play a role here, or more specifically, the fact that Digimon TV series generally use a format that Toei has refined and perfected over the years via their long-running shows, especially Super Sentai and Kamen Rider (tokusatsu and not anime, but with a lot of important factors in common). While it is true that the majority of these series are serialized, they are ultimately still made first and foremost to be watched by kids once a week. That's why there's still a loose monster-of-the-week format for even the more serialized Digimon series, because there has to be a certain self-contained nature to it, and that's why you get those recaps at the beginning of each episode (or sometimes even full recap episodes, like Appmon episode 26, which was released after the series went through a timeslot change). It's not that they think the kids have a terrible attention span or anything, but that even an adult would probably need to be reminded of what was going on after having been out for a week or longer.

If a series is hard to follow when watched this way, that's considered a failure of the writing, especially since the series has a goal of selling toys during the duration of its run and would probably not accomplish this if it's hard to follow. The majority of Toei shows using this format run for exactly a year (with Adventure: and Ghost Game being exceptions due to what I suspect are pandemic delay related issues), so that means they basically have a year to sell as many toys during that period as possible before they pass the baton to whatever occupies the timeslot next. But of course, that doesn't mean people in the writer's room don't also care deeply about what they make, so they'll still try to make works that leave a lasting impression for adults who binge watch later. So that means striking a balancing act between making it possible to follow weekly or when binge watches, and how well they accomplish that depends on the series.

For what it's worth, Ghost Game's extreme episodic nature is an outlier not only for Digimon but also for this kind of Toei show in general; while "resolved in one episode" format is used elsewhere, Ghost Game not calling back to a huge overarching plot often is not often seen. (Although it has been quite successful in certain areas; one famous series I can think of off of the top of my head is Kamen Rider W, which recently got an anime adaptation of its manga sequel -- long story -- and is known for being pretty much entirely presented in two-parters.) That said, Ghost Game's lead writer did infamously say at one point that it was as episodic as it was because of the idea that kids are more into shorter content like TikTok and all that, which got ridiculed as hilariously out of touch, especially since the aforementioned Kamen Rider and Super Sentai are still doing fine without that. I'll let the Sentai experts weigh in more, but the one running right now (Kingohger) is so unusually serialized that it even just had a timeskip!

#shiha's ask box #digimon multi series talk #s3ph1r0th667

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lesson-in-ruthlessness · 5 months ago

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ciara's questionnaire!!

needs:

Enneagram

Cognitive Function

Big Five

questionnaire:

I- General: to introduce yourself (11 questions)

1. What is your age and do you have any mental health conditions?*

I am 16, and I do have a mental health condition. I’m officially diagnosed with intermittent explosive disorder, which is characterized by uncontrollable and eruptive emotions.

2. What social standing did you grow up in?

Middle class.

3. What role does spirituality and beliefs play in your life?

Personally, I’m not the most spiritual person, and my beliefs are pretty baseline. However, I’m very interested in studying religion in an objective way, seeing the impact it has had on society.

4. What are your hobbies and interests, and what bring you interest in them?

I’m very interested in music, entertaining, and fashion. Especially the latter two. I’m a naturally energetic person, and enjoy putting myself out there, hence why I really enjoy acting and performing, I like putting on a show for others. Fashion is a different story, I love two things: looking good and helping others look good. So, I like making clothing myself and marketing them towards people, in hopes I’ll make it big.

5. Do you have goals? What motivates you to pursue them?

I absolutely have goals. (I mean, who doesn’t?) College starts in a couple of years, and I want to double-major in sociology and acting, then minor in linguistics. I’m going to school in Chicago, where I can perform in plays, musicals, and my own comedy. I am very determined to succeed, and I know what I need to do. My short term goals involve public speaking and wanting to get on the regional level speech team, which I fumbled a spot due to my “out of control” emotions. (If we had known what it was, it would not have happened). I never want to fail again, and have taken so many measures to assure I have emotional control.

6. How do you take care of yourself mentally and emotionally?

Mentally, I spend time writing and doing puzzles, giving me something to think over. I also socialize a lot, which helps me both mentally and emotionally. Emotionally, I pour them into my hobbies, expressing myself through that way willingly (I am unwillingly openly emotional, especially on a negative scale. I want to show my positive ones, and my negative ones to a very close circle. I feel great shame whenever my emotions spill out.)

7. How do you experience and manage stress?

I want to handle it well and know I can, but it gets difficult. It tends to be pent up in me, and I get frustrated (albeit more determined) easier. I manage my stress in the same way I manage my emotions.

8. What are your strengths and weaknesses?

STRENGTHS:

Highly determined and decicated. I know what I want and how to achieve it, I have a few strong convictions I abide by, but would do almost anything legal to succeed.

Charisma and adaptability. I tend to have a really good and even fluid personality, tending to match the situation. I know how to present myself and love looking good, making impressions is something that I hold very important, since it’s imperative for people to take a liking to me, I’ve learned and changed myself enough to fit into many situations.

Constant vitality and enthusiasm. I stay lively and energetic, even when life sucks at the moment. I tend to motivate others through seeing the good in them, wanting the people close to me to feel good.

Intelligence. While I’m really skilled at emotional appeal, something I’ve come to terms with is my ability to create intelligent arguments through research and common sense. I see connections and theories naturally and get a genuine kick out of taking closer looks at things.

WEAKNESSES:

Can be very self-centered and selfish, appearing to only care about myself and my close circle, not my family or anyone else. Despite convictions, prone to saying one thing and doing another, cares too much about looking good in the public and being appealing.

Moody. Not out of my own will, but I tend to have quickly changing moods.

Critical. I realize all of my flaws and what I want/need to change, and I kick myself internally when I fail to meet those standards. I also tend to be critical when other people do things that make me “cringe,” whether I judge them internally or externally is up to what that action was.

Overly committed. Will stay with people, especially friendships even when they’re harmful, because they’re important.

Vain. A common critique of my character I receive is that I can be disingenuous and pretentious. Due to being somewhat a chameleon, I give off different images to different people,which makes me seem fake and shallow, even when I do have some depth. Depth I don’t love when people know about outside of my friends, but depth nonetheless.

9. What is your greatest accomplishment?

My greatest accomplishment is, until I hit one of my goals, being a confirmed “important member” of someone’s circle. Being trusted with a responsibility and my abilities believed in makes me feel good, I like being of service to others.

10. How do you handle failures?

I briefly get upset, but always manage to bounce back more resilient. I don’t let my shortcomings get the best of me, I believe I just need to keep going at things like they never happened.

11. What experiences have had the biggest impact on shaping who you are today?

Early childhood experiences, for the most part. We did student of the month at our school, and I never got one. I was never seen as an exceptional person, which internalized itself. From that point, I’ve always strived to win since that point, become upset at myself when I don’t reach that standard.

My mother told me that if I keep having emotional outbursts, then I’ll never be an attractive person. My theory is she meant “attractive personality,” someone charming and friendly. This seeded itself in my, at the ripe age of like 10. It’s something I’ve realized later in life, but in a way my mom is correct. I won’t win anyone over if I’m a wreck. It wouldn’t be for years until I found out why I am a wreck.

In elementary school, we were taking the MAP test. There was some question about a 3D shape and how it would fold up. I grabbed my scrap paper and folded it up in that way. It’s something I just realized that that showed my natural resourcefulness from a young age, how I always wanted to figure out innovative ways to do things.

* If you prefer to keep your age private, you can indicate a range such as "teen', "adult", or simply "private". Same for mental health.

II- Intra-personal: to understand yourself (11 questions)

1. What do you enjoy most about spending time alone? Do you like solitude?

I enjoy the freedom. I don’t love being alone, but when I’m alone, I don’t feel pressure to be perfect, I have time to listen to a video essay and text friends. It can be relaxing, even if I dislike it.

2. What are your long-term aspirations and how do they align with your values?

I aspire to be someone people look up to, whether that’s through my work ethic, starting from literal scraps and never stopping or giving up until I become a fashion empire,or through entertaining. If my performance can make one person feel something, then I’ve succeeded in an aspect.

3. What recurring thoughts or patterns do you notice in your mind?

A deep need that to be successful, I’ll need to be likable. Thoughts about the people around me, and what I may need to do to impress them.

4. Can you identify any limiting beliefs or negative self-talk you may have?

Yes. I often think towards myself that nothing about me is real, everyone actually hates me, things like that.

5. How do you differentiate between facts and opinions when forming beliefs or making judgments?

It’s instinctual for me, if something is fact I’ll be able to trace it back to a source and will present itself that way. If it’s opinion, it’ll use “I believe” or “I think” phrasing. It won’t be objective. My beliefs are formed off of both, I don’t want to believe something wrong, so I’ll fact check. On the flip side, I’ll check my sources to make sure they’re reliable, so my facts aren’t skewed. I do go off of word of mouth a lot and am always open to discussion.

6. Can you describe a situation (can be hypothetical) where you had to balance emotion and reason to make a decision?

College. Figuring out where I wanted to go to college required taking my own emotion into account, since I wouldn’t want to be stuck at a school I dislike, in a major I don’t want to do.. Then, I also considered how others would feel just to keep me anchored. Finally, I rationally think if I’m making the correct choices. Are these good ideas for majors, will I use them down the line, and are there ways for me to achieve my non-school goals are my main questions.

7. What aspects of aesthetics appeal to you the most, and how do they influence your preferences?

Operacore is wonderful, I like vampirecore. These definitely influence my style, dressing in a dramatic yet classy way. It’s really

8. How do you feel in environments that reflect your aesthetic tastes versus those that don't?

I don’t really notice a difference, since these aren’t the most common aesthetics. If I am in places that fit the aesthetic however, I’m truly taken in by the sights.

9. What does a cluttered environment do to your mood and productivity, and how do you prefer to organize your space?

I pretend like it doesn’t bother me, but I do need a somewhat clean space. I’m more tired and agressed when my room is messy, and also lazy. It’s a spiral in that way, since I’m lazy and dont wanna clean when my room is dirty, then I’m like that because my room is dirty. My room looks like a mess, but it’s highly organized honestly. I know where everything is, and the floor is clean, so I tend to be active.

10. Can you find any underlying reasons or emotions behind your fashion choices or presentation?

Oh, absolutely. It comes from a need to impress others, be seen as someone who is worth responsibility. If I’m not well-groomed and have a distinct yet fittingly appropriate style, then I won’t be seen as someone of worth. Impressions and presentations are everything to me.

11. How do your feelings about your surroundings influence your actions?

I notice the environment I’m in, and know how to act (execution is difficult due to the disorder, but I still execute when I can). It definitely changes how I’d act if I was in a different place, an example is a party vs. a speech tournament. At a party, I’ll be smiling and talkative, mingling with the other people until I’m close to all of them, considered a part of their circle. At a speech tournament, I’m more formal in action, while still looking for the spotlight. I talk to larger groups and appear a lot classier than I may in other scenarios.

III- Inter-personal questions: to understand how you see others.

1. How do you adapt to different social environments or cultural contexts?

When in rome, do as the romans do. Sorta. I tend to mix fitting into the social norms, but keeping my style so I can stand out and be more notable that way, since if you’re 100% in the background, you don’t get found out.

2. How do you welcome new people into your social circle?

With open arms. I’m a very friendly person, I enjoy making people feel welcome. I introduce people to the members of my circle, telling them what they need to know.

3. Do you initiate and plan social activities?

Absolutely. I’m the planner of my social circles, often putting things together so I can see my friends.

4. Can you describe a situation where you had to mediate a conflict between friends?

Two of my (at the time) friends were dating. I put them in a groupchat to talk it out, and I oversaw.

5. How do you handle disagreements or differing opinions?

I argue for a bit, then eventually try to find a middle ground. I enjoy both discussing different opinions AND finding a middle ground. I’ll never pass up an opportunity to convince someone I’m right.

6. What role do you believe government should play in addressing social and economic issues?

I believe the government should be doing way more. There’s so much that the government can do, but will not. I’m no politician, but I believe the government should be addressing the way they’re actively trying to take away rights from many, many groups? Better yet, they should keep their noses out of that to begin with. It’s not hurting people, they just want to control anyone different from them.

7. What are your thoughts on war and conflict?

War is dumb, I hate seeing innocent people get hurt. Conflict is useful interpersonally, since without disagreeing with peers, how would we learn? When it’s global and nonviolent, it’s perfectly fine as long as it gets resolved before it evolves into a war.

8. Do you engage in conversations with individuals who hold opposing political views?

Yes. If they’re a good person, I can excuse politics to an extent. If we’re friends, I’ll definitely try to persuade them to change their views, especially if they’re a kind person. If they’re rude and want to argue, I tend to strike down arguments, if they cite sources I’ll do that back. If they don’t, I’m not above attempting to reach an opponent emotionally, asking them how they’d feel in that position, or pointing out how they’d be reacting if the tables were reversed. I will play into reverse/hypotheticals.

9. How do you define the concept of family and what does it mean to you?

There’s blood family, and there’s found family. Your blood family was the one assigned to you, you’re close because you share genes, not necessarily anything else. You can’t pick your blood family, but you can pick for them to be your chosen family. Your chosen family is the friends, the relationships you make along the way. Those close bonds you form with others, the ones you want to hug and never let go.

10. What values or principles do you believe are most important to instill within a family?

11. What role do you play within your family dynamic?

I am the eldest daughter. That’s the most I can say. Even if my parents don’t believe it, there is pressure for me to succeed. I need to be a role model, I need to be a leader.

Please reblog with what you think my type is, thank you!!

#typology #mbti #enneagram #please help me

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ear-worthy · 1 year ago

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"Yeah, I F***ed That Up," With Author-Actor Jill Kargman Released

Irish author Oscar Wilde once said, "Experience is simply the name we give our mistakes." After all, no one makes it through life mistake-free.

And that's the premise of Interval Presents, Warner Music Group’s in-house podcast network, Yeah, I F*cked That Up, which challenges the stigma of failure as the podcast highlights stories of defeat from prominent figures in the entertainment industry. The interview series premiered July 11 with featured guests Kelly Rowland and Steven Van Zandt. I've listened to every episode and with no need for a spoiler alert, I can tell you that the episodes are so fresh and elegant in their narrative about "what I've would have different." The maestro here is the podcast's host is Grammy-nominated hitmaker Billy Mann, who has produced and written songs for some of the world’s most well-known musicians over the course of his 25+ year career. This week’s new episode of Interval Presents’ ‘Yeah, I F***ed That Up,’ with Jill Kargman, who is is an American author, writer and actress, based in New York City's Upper East Side. A common theme in her works is critical examination of the lives of wealthy women in her city. Her 2007 Momzillas was adapted into the Bravo television show Odd Mom Out, which premiered June 8, 2015. In this episode, host Billy Mann talks with Jill Kargman as they discuss her career and series of past relationships, along with the importance of staying true to yourself and following your gut. Check out a clip from the episode HERE. Episode Highlights: ● 10:20 - Billy asks what the Jill Kargman-ingredients would be for a f***-up. ● 12:10 - Jill shares her most public failure, which was her show not getting picked up at NBC. ● 16:05 - Jill discusses her series of past relationships, including two canceled engagements before she met her husband. ● 21:45 - Jill talks about her struggles after her last broken-off relationship. ○ Jill Kargman - “I feel like whatever success you have personally, if family and your personal life is important to you...for me, I was just as ambitious about getting married and starting a family as I was about being a writer and I felt like I was off-course and that I ruined my life.” ● 23:50 - Jill chats about her essay "A Letter To My Crappy One Bedroom," and how in this first apartment living on her own, she really came together as a person and was able to solidify who she was. ● 29:50 - Billy asks what advice Jill would give someone when things go bad. ○ Jill Kargman - “I would say this is specific to women and your daughters and my daughters. But I feel like societally, people always say that women strike from the heart and there’s always emotion. And then now, women can have kick a** jobs and be CEOs, and so our brains are now ratified as well. But I still think that gut and intuition is a male realm, that somehow men are allowed to trust their gut more. And I think that women have to trust their guts. I think somehow there’s something in our wiring or historically where you’re like, pros and cons chart and my heart feels this way and my brain feels this way. But sometimes your gut is the thing that’s rogue, and you have to listen to it.” ● 33:45 - Jill shares the advice she would give to people who have no filter. ○ Jill Kargman - “I think you have to know a time and a place. Like, I’m not disrespectful to elders. I’m not, I’m always a lady at the table. You know, I feel like even though my appearance might not seem terribly mannered, I actually have good manners. I think manners show that you care about people, and I’m trying to raise kids with good manners. However, I do curse and I do express myself. But I feel like if you have no filter, you have to wait for the right time and read the room.”

Check out ‘Yeah, I F***ed That Up,’ and maybe you'll reflect on your own life mistakes.

Think about this mistake! In 1962, Decca Records executive Dick Rowe reportedly passed up on an opportunity to sign The Beatles to his label. “Guitar groups are on their way out,” he said at the time. Wow. What a ...Dick.

#podcast #podcasting #life lessons #celebrities

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themightyaliendwarf · 2 years ago

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First thoughts on the Interview with a Vampire series

It's going to be a long one, so get ready.

From the moment I heard about the details of this project, I was sceptical. After all, to change Louis from a late XVIII century plantation owner to a black man and the owner of brothel houses living in the early XIX century is quite a jump. However, we've seen bigger changes being done and sometimes not only would they not make the story worse, but even go as far as make it better (I find Forrest Gump to be a perfect example). So, how did it go here?

Well... I'm confused.

Which isn't a bad thing in itself! I'd say I enjoyed this first episode, but it certainly felt more like fanfic rather than an adaptation.

If you have read the book you know it has one significant feature: it's melancholic. Rice wrote it after she lost her daughter and each page is filled with incredible grief that is so characteristic of Louis's story. On the other hand, the second book - Vampire Lestat - while still similar in style, it's definitely a lot lighter. I strongly believe showrunners decided to combine those two books and that's why it seems the style is a bit confused at times. After all, how much grief can you put in and still feel genuine if you want your flamboyant Lestat to be Lestat, do Lestat things and steal the show?

Because I don't think you can quite do it. Even the movie from 1994, despite being a very good adaptation, is significantly less painful than the book.

And they actually have Claudia being played by an incredible child actress!

But let's talk about the series. I think they wanted this show to be connected to the book and have Lestat. I doubt Louis as Louis was their priority. Yes, of course, his family story is actually pretty similar to the book... but obviously they decided to add racism to his long list of things he can whine about (for the record, yes, I do think book Louis is rather whiny). While I do think it provides something new to the story (I also think Jacob Anderson is doing a very good job and is giving us something different from what Brad Pitt did), I don't think it improves the story. I love the 1910' aesthetic and jazz, but is it something I want from Interview with a Vampire? Not really. However, if you are able to fully separate it from the novel and the 1994 book and treat it as its own thing, I think you will enjoy it a lot.

Ok, but I can't finish this post without talking about Lestat. I told my friend that this series can be shit, but if Lestat is done well, it's at least a 7/10. And you know what?

Of course, Lestat is amazing.

Again, Sam Reid is giving us something different from Tom Cruise (this Lestat actually speaks French!). I like how they are taking elements from Vampire Lestat - tho, for now mostly in the form of Lestat talking about his family - and that this fabulous bloodsucker is as much of a dandy and asshole as I want him to be.

I mean, the scene of Louis' brother's funeral when Lestat straight up tells him "Nice coffin. Where did you buy it?" is kinda hilarious.

Reid has a very strong screen presence and he absolutely steals every shot. Not gonna lie, I want this show to go for another season purely to see him as a 1980's rockstar Lestat.

I think most people know how important the 1994 movie was for the LGBT+ community. I mean, clearly, gay (or bi) vampires are being played by 3 known actors? That's not something you see every day in the 90s'. A clear difference between the movie and this series is that they are a lot hornier. I don't think we've seen an on-screen kiss in 1994 (I don't think you even have them in the book). Louis doesn't want to give the reader juicy details - you need to wait for Vampire Lestat to read how everybody was Lestat's boyfriend.

This series is not subtle at all with the romantic tension.

So, would I recommend it? The first episode was pretty good. I expect to be disappointed by Claudia's story, tho. Overall, if you can easily separate this series from the original novel, I think you will enjoy it.

#interview with a vampire #interview with a vampire 1994 #interview with a vampire 2022 #louis du pointe du lac #vampire lestat #lestat de lioncourt

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jaskierswolf · 4 years ago

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Mayhaps a wild take : Geralt folds the corners of his precious, centuries old, valuable beyond compare, bestiaries. Jaskier sees and loses his marbles. ( Then gifts geralt a book mark with pressed.. somehow familiar flowers... 👀 )

Hi, hello... So... I got carried away? This is 2.1k? I hope you like it!

CW: mentions of injury (on Jaskier)

________

Monsters mutate. They adapt, change, grow. Geralt was clearly a very skilled witcher with decades of experience, and Jaskier never grew bored of watching him fight, on the rare occasions he was actually allowed to watch that is. Most of the time, he had to make do with second-hand stories told by Geralt himself, which just wasn’t the same. But, sometimes, just sometimes, Geralt would deem the contract safe enough for Jaskier to trail along with a silver dagger gripped in his hands, and sometimes... Geralt got it wrong.

Jaskier was poking at his bandaged thigh where the drowner had bitten him, already beginning to stain red as the blood oozed from the wound. It hadn’t needed stitches but it still stung. The fight, however, oh the fight had been surprisingly spectacular. It was a small drowner nest just outside of town, attacking nearby fisherman along the beach, nothing that Jaskier hadn’t seen before and certainly not ballad worthy, but he’d tagged along regardless. He never wanted to pass up the opportunity to see Geralt in action. The witcher was just so beautiful, dancing with his sword in hand, all grace and elegance and fury. Jaskier was entranced every time. It was truly a miracle he didn’t get hurt more often.

The drowners had been fast, faster than they should have been, and now Geralt was muttering about mutations and skin pigments as he scratched words into a worn out copy of a bestiary. The witcher has borrowed one of Jaskier’s least expensive ink sets to update the centuries old book. It broke Jaskier’s heart to see such a beautiful book treated so poorly but he understood that it needed updating to keep his witcher safe.

The poor book though.

Academics at Oxenfurt would kill to get their hands on it. It would have been treated with the utmost respect, kept away from the grubby hands of the first and second years, only allowed out for special projects, and here was Geralt, covering it in his appalling handwriting, bloody fingerprints and dirt smudges in the margins.

“Oh bollocks,” Jaskier hissed as he jabbed at the bandages a little too hard, his restless energy getting the better of him. The witcher always told him off for picking and scratching at his bandages and scabs, but he couldn’t help it. They were just so scratchable, and the itching drove him mad!

Geralt sighed, glancing up at Jaskier with an exasperated expression. He took one look at Jaskier’s bandage and…

And he fucking folded the corner of his page before closing the book.

Jaskier saw red. He stammered and pointed at the pages, gaping as he tried to find the right words to express his utter outrage. “You-You… Geralt!” he whined.

The witcher’s brow furrowed and he looked between the book and the bard, obviously completely confused by Jaskier’s sudden change in mood. “What?”

“You did not just fold down the pages!”

“Yes?”

Jaskier scoffed, rolling his eyes. “Oh, dear witcher, you and I are taking a trip to Oxenfurt immediately!”

Geralt scowled, looking at Jaskier as if he’d grown a second head. “Why?”

“Geralt, please. Don’t make me suffer your cruelty any longer,” Jaskier pleaded.

The witcher rolled his eyes but didn’t argue any further. He just took Jaskier’s hands in his, keeping them away from the bandages. Jaskier blushed, the gap between them suddenly feeling too small and yet too far all at once. He swallowed, trying to ignore the sudden swell of nerves in his chest, and laced their fingers together, smiling shyly up at the witcher.

______

By the time they reached Oxenfurt, Jaskier’s limp had almost entirely gone. He still got tired quickly and by the end of the day he had to lean on Geralt or ride Roach until they found a suitable camping spot. Geralt had been ridiculously caring, obviously looking out for Jaskier at every opportunity, their days were shorter and well… Jaskier had actually been allowed to ride Roach. That was new. Holding hands had now become almost normal, and Geralt was just so gentle when he took care of the bandages, making sure the bite wound wasn’t infected. It made Jaskier’s heart do all sorts of acrobatics in his chest.

If he hadn’t been in love with the witcher, then he certainly would be after all of this-this… nonsense.

When Geralt wasn’t looking then he crouched at the side of the road, picking up a variety of buttercups and cornflowers and slipping them inside his heaviest poetry book. The supplies he needed from Oxenfurt were specialist ones. He hadn’t made bookmarks in ages, not since his days at the Academy, but he used to make them for all his friends. It was something to do with his hands that didn’t feel like work, and he had always enjoyed giving gifts. He was looking forward to getting back into his old hobby.

“Why are we here, Jaskier?” Geralt groused, glaring around the town with his scary witcher face. Jaskier felt a little bit bad for dragging Geralt back into a busy city but it was important.

He scoffed and waved a hand at the witcher. “You’ll see,” he said with a grin, and booped Geralt on the nose. “Don’t be nosy.”

“Hmm.”

“Hmm,” Jaskier hummed back, sticking out his tongue. “You know your way to my rooms at the Academy?” Geralt nodded. “Excellent! I will see you there in time for dinner, but I have shopping to do. Did you need any potion ingredients?”

Geralt cocked his head, his brow furrowing as he thought. “Blowballs.”

Jaskier grinned and brushed his lips against Geralt’s cheeks before he could chicken out. “Be good, darling, no scaring my colleagues.”

The witcher smirked. “Unless it’s Valdo?”

Jaskier laughed, “Unless it’s Valdo.”

And then they went their separate ways. Jaskier easily navigated the streets of Oxenfurt, basking in the hustle and bustle of the city. It was alive and thriving, as if it had a beating heart of its own. The witcher may hate the city but Jaskier lived for it. He was a bard, a man of the people. He needed to be seen, loved, adored. The bookshop was in the same place that it had been when he was a student, tucked away in the backstreets, only known by the students and professors. Jaskier grinned and slipped inside, the bell ringing as he pushed up the door.

He let his fingers trail along the leather spines of the books, inhaling the musky scent of paper and old parchment. It smelled like home, and a warmth settled in his heart. He knew this shop like the back of his hand, and he easily found the supplies he needed. The pressed flowers from the road would be fixed onto a soft leather strap, and then Jaskier would cut the end into smaller strips, creating a kind of tassel. He also planned to engrave an inscription into the leather, something lyrical, something poetic… something for Geralt to remember him by when they were apart.

“Gods, I’m pathetic,” he mumbled as he worked. His tongue flicked between his lips as it so often did when he needed to concentrate. Each letter took time, a delicate process, and he sat in the little corner at the back of the shop, just as he had in his youth. After an hour the owner, now an old man with a thick grey beard, brought him a cup of herbal tea. Jaskier smiled up at him, and gestured to his work.

“How’s it looking? I’m, well, I’m a little out of practice,” he hummed, scrunching up his nose.

“It’s beautiful, and it’s good to see you back here, Jaskier. It’s been too long. I was beginning to think you’d forgotten us.”

“Oh, no. I would never!” Jaskier reassured him, “and thank you. This one is special.”

The shop owner chuckled. “You used to say that every time.”

Jaskier grinned sheepishly. “This one is extra special.”

He stayed later than he intended, past the closing time of the bookshop, and certainly past dinner time but he just lost track of time, too focused on his task. By the time he finished, Geralt’s bookmark was a work of art. The inscription was written in his finest calligraphy, and the flowers were arranged just perfectly. It had been made with love.

He just hoped that Geralt liked it.

When Jaskier made it back to his room, Geralt was perched on the corner of the bed, a needle and thread in his hands as he made repairs to his armour. His silver hair was loose and falling in front of his eyes, and there were the beginnings of a beard growing on his cheeks. The witcher’s golden slitted eyes were almost completely black in the dim light of the room, and Jaskier was once again envious of his friend’s ability to see in the dark. It was a handy skill, and he looked almost ethereal as the light bounced off his eyes, making them glow.

“Dinner was two hours ago,” Geralt murmured, not looking up from his sewing.

Jaskier felt his cheeks heat up and he scratched the back of his neck. “Ah, umm…, yes, well…”

“Jaskier.”

“You know how I get?”

“Hmm.”

His friend finally looked back up at him, giving Jaskier a soft fond smile that made the corners of his eyes crinkle. Jaskier stuck his tongue out, “Don’t hum at me, witcher, I’m fluent in Geralt speak!”

“Hmm.”

Jaskier rolled his eyes. “Now you’re just being obtuse, and don’t you dare…” Geralt hummed again. “Stop it! You bastard. I’m not giving you your present now.”

“Present?” Geralt cocked his head, looking stunned by Jaskier’s revelation.

“Ha! That got you, oh shit, cock it. It was meant to be a surprise. Fuck!” he groaned and buried his face in his hands. The bookmark was tucked away in his bag but it seemed to be taunting him, and he was suddenly struck by the fear that Geralt would hate it.

Fucking buttercups.

He was an idiot.

Why would a witcher want flowers on a bookmark?

“You got me a present?”

Jaskier nodded “I made you a present, Geralt.”

The witcher looked completely taken aback, a blush painting his cheeks. He set his needle and thread aside, and reached out for Jaskier. It was almost instinct at that point to reach back, taking Geralt’s hands in his. “Can I see?”

Jaskier glanced at his satchel and sighed. “Yes, yeah. Yes, of course. Umm, wait here.”

With shaking hands he plucked the cloth bundle from his satchel and handed it to Geralt, mentally preparing himself for the worst. At least he was already in Oxenfurt, he wouldn’t have to travel alone when the witcher inevitably decided to dump him. Gods, he was such a fool.

Geralt gingerly unfolded the dark blue cloth, humming as he picked up the bookmark. “Buttercups?”

Scratching the back of his neck, Jaskier cleared his throat. “Yes?”

“To my dearest, Geralt. May your days be filled with Destiny, heroics, and love. Ever yours, Jaskier.” Geralt read the words aloud and Jaskier wanted to sink into the floor. It was ridiculous. They weren’t even that good. He was supposed to be a poet for Lilit’s sake.

“It’s shit. I’m sorry, I’m tired, what with my leg healing and the rush to get here, but I just… you fold down the corners of your page, Geralt. I could not sit by and let that happen, and I-I… ah fuck it. I wanted you to have something to remember me by, you know,” he gave a flick of his wrist, one hand resting on his hip, “when you’re stuck up in that mysterious witcher keep of yours, and well, you probably don’t remember but I-I said you smelled like-”

“Death and destiny. Heroics and heartbreak, I remember.”

“Oh, umm… well yes. Death and heartbreak seemed a bit… dramatic? So, I-I changed it… to love.”

“Thank you, Julek,” Geralt murmured, cupping Jaskier’s cheek and pressing their lips together in a chaste kiss that was over before Jaskier could even process what was happening.

He stared wide-eyed up at his friend, his heart racing and the whole universe shifted until Geralt was at the centre, burning brightly in the dark. Jaskier cupped the nape of Geralt’s neck and pulled him back into another kiss, and this time they didn’t break apart, their lips moving in tandem. It was slow, lazy even. There was no rush, just the two of them against the world, their breaths mingling and their hearts beating as one.

#the witcher #geraskier #geralt of rivia #jaskier pankratz #geralt x jaskier #geraskier fic #wolfie's witcher writing

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elamarth-calmagol · 3 years ago

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What actually is LACE? (an informal essay)

What’s LACE?

Laws and Customs among the Eldar, or LACE, is the most popular section of the History of Middle Earth books. It's available online as a PDF here: http://faculty.smu.edu/bwheeler/tolkien/online_reader/T-LawsandCustoms.pdf . There’s a lot of LACE analysis in the fandom, Silmarillion smut fics are usually labeled “LACE compliant” or “not LACE compliant”, and I’ve been seeing the document itself show up in actual fics, meaning that the characters themselves are discussing it.

LACE is an unfinished, non-canonical essay split into several parts. It covers the sexuality of elves, which is mostly what people talk about. It also covers elvish naming (which I want to make a whole different post about), the speed at which elves grow up, changes that happen throughout their lives, their death and rebirth, and finally the legal and moral issues of Finwe remarrying after Miriel’s death. The discussion about rebirth conflicts with Tolkien’s later writings about Glorfindel’s re-embodiment, but to the best of my knowledge, LACE is the best or only source for most of the topics it covers.

However, LACE is not canon since it doesn’t show up in the Silmarillion. Counting all of the History of Middle Earth as canon is literally impossible, considering Tolkien contradicts himself all over the place. It is only useful because it has so much information that is never discussed in the actual canon. Many people consider it canon out of convenience.

Another important thing to remember is that, other than presumably the discussion of the growth of elvish children, the information is only supposed to apply to the Eldar (meaning the Vanyar, Noldor, Teleri, and Sindar) and not the dark-elves such as the Silvan elves and Avari.

The rest is behind the cut to avoid clogging your feeds.

Problems with LACE interpretations

But because it’s hidden in the History of Middle Earth (volume 10, Morgoth’s Ring), barely anyone actually gets the opportunity to read it. I don’t think most people are aware that you can get it online, so it doesn't get read much.

I feel like this leads to a handful of people saying something about LACE and everyone else going along with it. I definitely did this. I was amazed by all the things that were in the actual essay that nobody had ever told me about, or had told me incorrectly. For example, most people seem to believe that elves become married at the completion of sexual intercourse (whatever that means to the fic author). In fact, LACE explicitly says that elves must take an oath using the name of Eru in order to be legally married. Specifically:

It was the act of bodily union that achieved marriage, and after which the indissoluble bond was complete… [I]t was at all times lawful for any of the Eldar, being both unwed, to marry thus of free consent one to another without ceremony or witness (save blessings exchanged and the naming of the Name); and the union so joined was alike indissoluble.

I’ve seen a marriage oath being included in a few stories recently, but most writers leave out the oath entirely and just have sex be automatically equivalent to marriage. What would happen if elves had sex without swearing an oath? I don’t know, but I’d love to see it explored.

Then there’s a footnote that might explicitly deny the existence of transgender elves... or not, but I’ve literally only seen it mentioned once or twice. Overall, I feel like all of LACE is filtered through the handful of people who read it, and we’re missing out on a lot of metanalysis and interpretations that we could have because most fans never see the actual document.

Who wrote LACE?

I mean within the mythology of Middle Earth, of course. Since LACE appears in the History of Middle Earth and not the Silmarillion, we can be pretty sure that J.R.R. Tolkien himself wrote it and it wasn’t added to by Christopher Tolkien. But that’s not the question here. Remember that Tolkien’s frame narrative for all of his Middle Earth work is that he is a scholar of ancient times and is translating documents from Westron and Sindarin for modern audiences to read and understand. The Hobbit and The Lord of the Rings come from the Red Book of Westmarch, and I believe The Silmarillion is meant to be Tolkien’s own writings based on his research (though it might also be an adaption of Bilbo’s “Translations from the Elvish”, but I haven't looked into that). So what does LACE come from?

Christopher Tolkien admits in his notes that he doesn’t know. He says, “It is clear in any case that this is presented as the work, not of one of the Eldar, but of a Man,” and I agree, because of the way it seems to be written as an ethnographic study rather than by someone who lives in the culture. Honestly, it talks too much about how elves are seen by Men (e.g. speculating that elf-children might look like the children of Men) to be written by an elf. This changes once it gets to the Doom of Finwe and Miriel, but that could be, and probably is, a story told to the writer by an elf who was there at the time.

Tolkien actually references Aelfwine in the second version of the text. The original story behind The Lost Tales, which was the abandoned first version of the Silmarillion, was that a man from the Viking period named Aelfwine/Eriol stumbled onto the Straight Road and found himself on Tol Eressea. He spoke to the elves and brought back their stories to England with him. So it makes a lot of sense that Aelfwine would also write about the lives and customs of the elves for an audience of his own people.

Does LACE exist in Middle Earth?

I keep finding fics where first age elves discuss “the Laws and Customs” openly, as if it’s a text in their own world. I usually get the impression that it was brought by the Noldor from Valinor. But did the document actually exist in that time period? For me, the answer is definitely not.

First of all, LACE was probably written by a Man, meaning it could not have dated back to Valinor in the years of the Trees, because Men hadn’t awaked yet. In fact, the closest thing to an established frame narrative for it is that it was written by Aelfwine, who comes from the time period around 1000 CE (though Tolkien doesn’t seem to have pinned him down). This is at least the fifth age, if not later.

But what if you don’t believe that it was written by a Man? It still couldn’t have been written in the First Age, because it discusses the way the relationship between elves’ bodies and souls changes as ages go by. For example:

As ages passed the dominance of their fear ever increased, ‘consuming’ their bodies... The end of this process is their ‘fading’, as Men have called it.

A lot of time has to go by in order for elves to get to the point of fading. As a bonus, here’s another reference to the perspective of Men. LACE also discusses the dangers that “houseless feas”, which are souls of elves who do not go to Mandos after their bodies died, pose to Men. How would they have known about that in the First Age? It further says that “more than one rebirth is seldom recorded” (which isn’t contradicted anywhere I know of), and that’s not something you would know during your life of joy in Valinor, where almost nobody dies. That’s something you learn after millennia of war. This has to be a document written well after the Silmarillion ends.

So what about the sex part? That’s all we care about, right? Well, it is entirely possible that this was written down by the elves and Aelfwine translated it (though my impression is that he mostly recorded stories told orally to him and that elves were not very much into writing, at least in Valinor where you could get stories directly from someone who experienced them). However, why would the elves write this down? They know how quickly their children grow up. They’ve seen actual marriages. They don’t need that described to them. And if they did have a specific document or story explaining the expectations of them when it comes to sex and marriage, why would they call it “Laws and Customs”? That’s a very strange name for a set of rules for conduct. I’m sure they had a list of laws written out somewhere in great detail, like our own state or national laws (that seems very in character for the Noldor, at least). But I seriously doubt that those laws are what we’ve been given to read. LACE is not an elvish or Valinoran document.

Is LACE prescriptive or descriptive?

Here’s the other big question I’m interested in. Prescriptive means that the document describes the way people should behave. Descriptive means that it describes how people do behave. And the more I worldbuild for Middle Earth and the culture of elves, the more I want to say that LACE is prescriptive in its discussion of sex, marriage, and gender roles.

But wait. I’ve been saying for paragraphs that I think LACE is Aelfwine or another Man’s ethnographic study of elvish culture. Then it has to be descriptive, right?

Does it? How long do we think Aelfwine stayed with the elves? Did he wait fifty years to see a child grow up? Did he get to witness a wedding ceremony? Did he meet houseless fea? I don’t think he could have done all of that. Maybe a different Man who spent his entire life with the elves could, but then when was this written? When the elves were still marrying and having children in Middle Earth or when so much time had gone by that they had begun to fade already?

Whoever wrote this was told a lot of information by elves instead of experiencing it firsthand, the same way he heard the stories from the First Age from the elves instead of being there. Maybe it was one elf who talked to him, maybe several different ones. But did those elves accurately describe their society the way it was, give him the easiest description, or explain the way it was supposed to be? If I was describing modern-day America, would I discuss premarital sex or just our dating and marriage customs? Maybe people would come away from a talk with me thinking that moving in together equated to marriage for Americans in the early 21st century. And I don’t even have an agenda to show America in a certain way, I'm just bad at explaining. Did the elves talking to what may have been the first Man they had seen in millennia have an agenda in the way they presented themselves?

Or did the writer himself have an agenda? Imagine going to see these beautiful, mythical, perfect beings, and you find out that they behave in the same immoral ways Men do. Do you want to share the truth back home? Or do you leave out things that don't match your worldview? Did Aelfwine come back wanting to tell people what elves were really like? Or did he want to say “this is how you can be holy and perfect like an elf”?

Anyone studying the Age of Exploration will tell you that Europeans neber wrote about new cultures objectively, and often things were made up to fit the writer’s idea of what savages looked like. For example, my Native American history teacher in college told a story of how explorers described one tribe who (sensibly) didn't wear clothes as cannibals, because cannibalism and going around naked went together in their minds and not because of any actual incident. Unbiased scholarship barely existed yet. Even Tolkien was extremely biased and tended to be imperialistic, as we all know. There’s absolutely no reason to think that Aelfwine wasn’t biased in his own way. (Of course, now we have to consider what biases a Danish or English man from the centuries around 1000 would have when it comes to things like gender roles. I assume he would have been more into divorce and female warriors than the elves are said to be.)

But is that what Tolkien intended? Probably not. He probably wanted LACE to be descriptive. But he also never got much of a chance to analyse the essay after the fact, which might have led to him discussing its accuracy and even the exact issues I just pointed out about explorers. Anyway, we know he's biased, and honestly, what he intended has never slowed down the fandom before.

Conclusion

In short, I take LACE to be a prescriptive document describing the way elvish culture is supposed to be, not a blueprint I have to stick to in order to correctly portray elves. I also don’t believe the document that’s available for us to read existed even in the early Fourth Age, where The Lord of the Rings leaves off. There maybe have been some document outlining the moral behavior of elves, as a set of laws, but thats not the Laws and Customs we have.

Of course, canon is up to you to interpret. If you want Feanor discussing LACE with someone back in Valinor, go ahead. If you want to throw out LACE entirely, go ahead. It’s not even a canonical essay. All of this analysis is honestly useless when you consider the fact that no part of LACE exists in any canonical book.

But that’s Tolkien analysis for you.

#lotr #silmarillion #tolkien #laws and customs of the eldar #history of middle earth #silm #analysis #meta #headcanon #long post #mine

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ctl-yuejie · 4 years ago

Text

How the diverse world of the addictive tv series “Cherry magic” got made

(interview with scriptwriter Yoshida Erika by Yokogawa Yoshiaki)

沼堕ち続出ドラマ“チェリまほ”の多様な世界はどうやって作られたの��【脚本家・吉田恵里香さん】2020.12.22 横川良明

for @howdydowdy because we were talking about what a fantastic character Fujisaki is and the notion of consent when it comes to reading someone’s mind

Currently, societal values continue to change rapidly. On one hand the movement of respecting each other’s diverse individualities and making it easier for each and every one to live in society has become more active, one the other hand it is not a rare occasion to be lost for words when suddenly unconscious discriminatory biases – derived from not being able to cut loose old values that are rooted deep in oneself – raise their heads.

How should we exist within this period of polarization? This series is to create the opportunity to think about this topic by having discussions with the toprunners in the entertainment world. The person I am introducing for the first edition is screenwriter Yoshida Erika.

She is behind the script of “Thirty Years of Virginity Can Make You a Wizard?!”, the tv series that has grabbed the first spot on the oricon satisfaction ranking for 4 weeks in a row, and has gained fast popularity despite its late-night spot. The enthusiasm for the show can be attributed to the soft view Ms. Yoshida has on the world.

Yokogawa Yoshiaki (YY): I am happily watching the series. I really liked the original work, however the way it was adapted to a television format has been brilliant. One big thing is the making of the character of Kurosawa played by Machida Keita. By Adachi’s magic (played by Akasouji Eiji), the voice of Kurosawa’s heart spills out, and while the original text had him be quite blatant in his expressions overall, the drama carefully examines them.

Yoshida Erika (YE): That is definitely where there is a difference in depth. The original has the premise of a work in the BL genre, readers are expecting a BL-like development, so they can take such things in stride, but the viewership of the tv series is more varied. Under them there might be people who do not like BL. That is why I was conscious about how different people from different backgrounds might watch this show.

It is not okay to assault someone just because you were invited to their house, kissing or touching without consent is not okay and being of the same or different sex makes no difference in this. Treating such things as okay because it is BL would be rude to the parties concerned. Because we are using the BL genre, we want to specifically protect the “firsts” of the parties concerned. That is something the producer Ms. Honma Kanami and the director agreed about and I therefore paid extra attention to.

YY: Adachi himself, as he is about to step into Kurosawa’s house thinks “Not that I might possibly get assaulted?!”, and is very vigilant, but with some soul-searching realizes that that is rude towards Kurosawa. To say it briefly, you can feel the probity of the creators.

YE: I thought that a main character that thinks that he will get assaulted when he steps into the house of someone will not be loveable. No matter how well received the person is who acts it out, if we cannot love them on a human level, this drama will not work. Adachi’s power to read people’s hearts is also the action of seeing people’s darker sides on his own volition. That’s why a character we cannot love as a person will receive push-back by the viewers.

YY: Just like you said, the act of reading peoples’ hearts includes great violence. That is why I think that when he realizes that Kurosawa has fond feelings for him, unlike the original where he reads Kurosawa’s heart on purpose, the drama treats it as an accidental force. Over the whole series, it is of focal importance that Adachi doesn’t overuse his magic.

YE: That is where we were extremely careful. In the manga easy comprehensiveness is important and that type of suspense is interesting - and we don’t intend to deny that - but if you do it as a drama, I didn’t want to make him into a young man using his powers at ease. That is why, especially in the first half, he decides and tries very hard not to use his powers when possible. The scene where he reads the CEO’s heart appears in the first issue of the original, but in the drama we pushed it back to the 5th episode. We made it a point to illustrate how Adachi is filled with the emotion to help Kurosawa and that is why he uses his powers.

That what I don’t want others to do unto me, I do not want to inflict on characters.

YY: His colleague Fujisaki (Satou Ryo) is a Fujoshi in the original and that premise was cut from the series. If you decided to have a Fujoshi character on a prime time show, did you think that misunderstandings might arise easily?

YE: That was definitely a thought. In BL as a genre it is not an issue that a character exists that takes the same viewpoint as the reader, and I love Fujisaki in the original, but the people who are acting it out in reality are real people. At that point, loudly fawning about someone else’s’ love life is not perceived as good conduct. At the least, I thought that I wouldn’t want to be treated like that.

YY: It is fine to envision fictional characters as romantic partners, but it is different when you make a real acquaintance the target of that.

YE:

A thought we had was that if Adachi and Kurosawa were to really date it would be one thing, but grinning at someone - who might even be heterosexual – because you inflate your own BL adjacent delusion isn’t much different from a man grinning at a woman with big breasts and calling her sexy. I wouldn’t want to get treated that way, so I didn’t want to inflict that on the characters in the story as well.

When it comes to Fujisaki it isn’t like she isn’t a Fujoshi. We do not clearly state it, but I thought there was no reason to show it in the drama.

YY: You are saying, that it is fine that people might interpret Fujisaki as a Fujoshi when she is smiling at Adachi and Kurosawa.

YE: Yes. That is where you are free to imagine (laughs).

YY: What I thought was very fresh is that instead of proclaiming her to be a Fujoshi, Fujisaki is turned into someone who “is happily living her daily life even without romantic love”. We don’t often get characters like that in Japanese tv series.

Personally, I also like romantic tv series, but while feeling venerated when the main characters have realized their love in the final episode, when trying to build a romantic connection to someone else in real life it might not go well and beyond that, it is not that it never happens that I, who also holds interests in other things than romance, end up feeling empty because of the lonely feeling of having been left behind (when watching a romance on tv unfold).

But with having Fujisaki appear, it felt like I got rescued.

YE: Until now, for several projects I made the suggestion of a character that is not interested in romance, but I wasn’t understood. “Is it necessary to do that?” “Aren’t you overthinking it?” were things I got told often.

But with this production, when I said that I wanted Fujisaki to be asexual or aromantic, no one denied me. From that stage on I thought that this place was a good one, and thanks to the original writer giving her agreement it got turned into reality.

YY: Since this kind of character hasn’t really appeared in a tv series, it felt like people like Fujisaki were assigned to be non-existent in this world. But thanks to you envisioning her like this, seen from a person that like Fujisaki might say “I got used to acting “normal”” and feel a notion of despair when confronted with people not understanding them, it felt like it got emphasized that people like her also exist in our society. Picking such little voices feels like it is one of the purposes of entertainment.

YE: If that could become the case I would be glad about it. 10 to 20 years prior, a “fairytale gay” (describing the flamboyant gay friend, that mentally supports the heroine by giving some harsh but accurate advice) often appeared in tv series from abroad, but this portrayal slowly changed, finally it has reached the point where the view point that being gay isn’t something special has penetrated the public.

So this time, I believe that one of my duties was to tell the story of people that are not interested in romance or people who do not only love one person, not from a standpoint that is convenient for consumption, but to have properly realized characters up to their individual backgrounds.

I hope the time comes where it isn’t necessary to especially say “This is a BL series”

YY: Please let me speak on something that has confused me this far. Prior, when you explained Fujisaki in context of the script, it felt like it wasn’t okay to call her asexual or aromantic because she herself doesn’t use any of those labels. I was somewhat afraid that an outsider would just selfishly declare that “you are asexual, aren’t you!?” in regards to someone who hasn’t professed anything.

YE: There is the point of both of the terms asexual and aromantic not being widely known in Japan as much as compared to overseas and I also think there are people who just wouldn’t use these words. Even when you think you are not interested in romance at the moment, it could also be that you just haven’t found the person that makes you feel that way. That’s why I can understand how labelling someone has a violent notion.

YY: My next question is also relating to that: This applies to Cherry Maho, but generally when I write about over works that feature a lovestory between men I try not to use the word BL.

This is my own opinion but to me it feels like the term BL has too much of a sexual image.

In private I casually use the word BL. However, for the content of an article that is read by an unspecified number of people, I remember stumbling over labelling something as BL. Using BL as an easy genre specifier has the effect that there will be a layer that won’t get looked at. I simply want to have more people enjoy a piece of work. I don’t object to the editor using BL in the title but in the content I write, I try not to use the term BL story but simply “love story between two men” and keep it close to how you’d address it in reality.

YE: I understand that. Obviously, I don’t intend to shame the taste of people that like BL. However, I understand that there are people that feel a sense of resistance towards BL as a genre. That is why I also don’t use the word BL when I promote on twitter. I do think that it would be great to have a new word.

Just like women have things they don’t want to be subjected to, men also have things they don’t want to be subjected to. This kind of awareness has become more broadly spread bit by bit. However, in order to have it really penetrate society it needs for the voices of the affected people to be heard. But it is also the reality of today’s society that violence is directed at people that raise their voice. That is why I feel like it is the job of the people that create tv shows to speak up instead.

At the least, that is how I want to straightforwardly create the world, so that in 10 years without directly stating “this is a BL series” we have a society that takes it in as a “new cool romantic drama beginning” with “the leads being actor x and actor z” and as nothing unusual. Now we really have such a transitional period, and as a writer I want to build the steps towards it.

original article: https://mi-mollet.com/articles/-/27045?page=3&per_page=1

#cherry magic #thirty years of virginity can make you a wizard #30歳まで童貞だと魔法使いになれるらしい #30 sai made #a bit rusty with my translations but i really enjoyed how they were talking about the writing and character composition in the series and #decided that I had to share #long post

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amuelia · 4 years ago

Note

How do you think Roose will meet his demise? Or will he survive? What's your best Roose end game predictions?

Thank you for the question! This will be a long post under the readmore, going into my thoughts on the show ending and exploring what the books may have set up in regards to themes and characterization, as well as a bit of general analysis of Roose' story arc in a Dance with Dragons (and some speculation about Ramsay as well).

If you click on the readmore i will have divided the post into sections with bolded Headers, if you want to only read my specific endgame ideas you can skip ahead to the "His Endgame?" section.

In The Show

The show had him get killed by Ramsay in s6, which informs a lot of the fandom speculation about this storyline.

I am not a fan of the show's scenario as it was both similar to tywin and tyrion as well as a mirror of robb's death; it would also be offscreen in the books since neither of the characters are PoVs and Ramsay would need to do the act in secret. This would ultimately undercut Roose' role and impact, being a death scene that is not very unique and also isn't shown to the reader directly. Since no PoV is even in Winterfell currently, we would just hear of it from afar and not witness the consequences.

The show also has a different dynamic in the Bolton storyline, emphasizing Ramsay as the "main character" of this arc, and elevating him to the main villain for s5-6 to fill Joffrey's shoes as an evil character played by a very charismatic actor. Ramsay's show writing is informed by the needs of a TV setting that wants shocking moments and capitalizes on "fan favourite" actors; his rising importance in the show thus is not necessarily an indicator of his book importance. The show was also missing many central characters like the northern lords and the Frey men in Winterfell.

The show had a tendency to kill off characters early when they wanted to cull storylines or had no plans to adapt more of the character's story (like Stannis, Barristan, possibly the Tyrells...); In Mance Rayder we have the most obvious example, where they killed him off for real in a scene that in the book was a misdirection. We also have characters like Jorah where it appears the showrunners had their own choice of how they want his storyline to end, even if Grrm has his own ending in mind.

"For a long time we wanted Ser Jorah to be there at The Wall in the end," writer Dave Hill says. "The three coming out of the tunnel would be Jon and Jorah and Tormund. But [...] Jorah should have the noble death he craves defending the woman he loves." - Dave Hill for Entertainment Weekly

So a death in the show does not need to be an indicator that the books will feature an equivalent scene, even if it gives a hint as to what may happen. By s5 the show has become its own beast, and the butterfly effects from radical changes they made as well as the different characterizations results in the show having to cater to its own needs in many cases when it gets to resolving a plotline.

"We reconceived the role to make it worthy of the actor's talents." - Benioff and Weiss for the s5 DVD commentary, on Indira Varma's casting as Ellaria

In The Books

(Since this post was getting out of hand in length a lot of these arguments are a little shortened/not as in-depth as i'd like! Feel free to inquire more via ask if something is unclear or you disagree)

In the books i find it hard to make a concrete guess as to how it will end. Occam's razor would be to assume the show sort of got it right and that it will vaguely end the same, which could very well happen and i will not discount the possibility; Ramsay is cruel, desires the Dreadfort rule, and is a suspected kinslayer and has no qualms to commit immoral violence.

"Ramsay killed [his brother]. A sickness of the bowels, Maester Uthor says, but I say poison." - Reek III, aDwD

Reek saw the way Ramsay's mouth twisted, the spittle glistening between his lips. He feared he might leap the table with his dagger in his hand [to attack his father]. - Reek III, aDwD

Arguments against this or for a different endgame come down to interpretations of the themes in the story arc and opinions on dramatic structure/grrm's writing, and are thus very subjective.

The way the story currently is going, Ramsay killing Roose treats Roose almost as a plot device; his death brings no change or development to Ramsay's character as we already know his motivations and cruelty align with such an act, and we can assume that he would feel no remorse about it either. The results of such a scene would be firmly on a story level, as it brings political changes and moves the plot along into a specific direction. Roose himself cannot have any relevant character development about it as he does not have a PoV and we would not be able to witness his reaction from the outside.

“The only thing worth writing about is the human heart in conflict with itself.” - William Faulkner, often quoted by Grrm

Further, killing his father is very difficult to pull off in secret (Roose is frequently described as very cautious, and employs many guardsmen). And even if Ramsay pulls it off (people often interpret Ramsay as Roose' blind spot, assuming he might be caught by surprise, not expecting Ramsay would bite the hand that feeds him), Roose is the one that holds his entire alliance together; The Freys would be alienated by Ramsay who would antagonize Walda and her son as his rivals, The Ryswell bloc appears to dislike Ramsay (especially Barbrey), and the other northmen are implied to not even like Roose himself. Killing Roose would quickly combust the entire northern faction, and hinder Ramsay's further plans (another reason why I am not convinced of a book version of the "Battle of Bastards"). Though this might of course, if we look at it from the other side, be grrm's plan to quickly dissolve this plot and move the northern story forwards.

"Ramsay will kill [Walda's children], of course. [...] [She] will grieve to see them die, though." - Reek III, aDwD

"How many of our grudging friends do you imagine we'd retain if the truth were known? Only Lady Barbrey, whom you would turn into a pair of boots … inferior boots." - Reek III, aDwD

"Fear is what keeps a man alive in this world of treachery and deceit. Even here in Barrowton the crows are circling, waiting to feast upon our flesh. The Cerwyns and the Tallharts are not to be relied on, my fat friend Lord Wyman plots betrayal, and Whoresbane … the Umbers may seem simple, but they are not without a certain low cunning. Ramsay should fear them all, as I do." - Reek III, aDwD

Roose' death at Ramsay's hand also removes him thematically from the Red Wedding, as we can assume such a death might have happened regardless of his participation in the event (seeing as Ramsay is getting provoked by Roose constantly in normal dialogue, and has a general violent disposition). Roose already took Ramsay in before aGoT started, and married Walda very early in the war, which is already most of the buildup that the show's scenario had. It also has little to do with the The North Remembers plot except set dressing, since the northmen are presumably neither collaborating with/egging on Ramsay nor would they appreciate the development.

Themes: Ned Stark and the rule over the North

Roose is treated as a foil to Eddard; They are often contrasted in morals and ruling styles, while also having many superficial similarities that further connect them (they are seen as cold by people, grey eyed, patriarchs of rivalling northern houses, etc...).

Pale as morning mist, his eyes concealed more than they told. Jaime misliked those eyes. They reminded him of the day at King's Landing when Ned Stark had found him seated on the Iron Throne. - Jaime IV, aSoS

They both have a "bastard son" that they handle very differently; Roose treating Ramsay in the way that is seen as common in their society. Ramsay and Jon as a comparison are meant to show that Catelyn had a reason to see a bastard as a threat (since Domeric was antagonized by his bastard brother), but also shows that her suggested plan for Jon would not have stopped any danger either (as Ramsay being raised away from the castle didn't help).

And if his seed quickened, she expected he would see to the child's needs. He did more than that. The Starks were not like other men. Ned brought his bastard home with him, and called him "son" for all the north to see. - Catelyn II, aGoT

"Each year I sent the woman some piglets and chickens and a bag of stars, on the understanding that she was never to tell the boy who had fathered him. A peaceful land, a quiet people, that has always been my rule." - Reek III, aDwD

It appears to me that Roose' story functions in some ways as an inversion to Ned. He makes an attempt to grab a power he was not destined to (becoming warden of the north), where Ned did not want the responsiblity thrust upon him ("It was all meant for Brandon. [...] I never asked for this cup to pass to me." - Cat II, aGoT). Where Ned rules successfully and his northmen honor his legacy ("What do you think passes through their heads when they hear the new bride weeping? Valiant Ned's precious little girl." - The Turncloak, aDwD), the Boltons are largely hated and there are several plots conspiring against them ("Let me bathe in Bolton blood before I die." - The King's Prize, aDwD).

It seems possible to me that in terms of their family and legacy, Roose might also live through an inverted version of Ned's story; where Ned died first, leaving his family behind, Roose already lived to see the death of his wives and trueborn heir, and might thus also live to see Ramsay's death. Ned leaves behind well raised children and a North who still respects his name, and even though he dies it will presumably all be "in good hands" in the end (in broad strokes, obviously this is all much more morally complex). Roose however built up a bad and toxic legacy, and also built his way of life around evading consequences; it makes sense to me that he would be forced by the story to finally endure all the consequences of his actions and witness the fall of his house firsthand. After all we already have Tywin who fulfils the purpose of dying before his children while his legacy falls to ruins, and a Feast for Crows explores this aspect thoroughly.

Roose' arc in A Dance With Dragons

The story repeatedly builds up the situation unravelling around Roose, and him slowly losing a grip on it and becoming more stressed and anxious.

Reek wondered if Roose Bolton ever cried. If so, do the tears feel cold upon his cheeks? - Reek II, aDwD

Roose Bolton said nothing at all. But Theon Greyjoy saw a look in his pale eyes that he had never seen before—an uneasiness, even a hint of fear. [...] That night the new stable collapsed beneath the weight of the snow that had buried it. - a Ghost in Winterfell, aDwD

Lady Walda gave a shriek and clutched at her lord husband's arm. "Stop," Roose Bolton shouted. "Stop this madness." His own men rushed forward as the Manderlys vaulted over the benches to get at the Freys. - Theon I, aDwD

It also directly presents him as a parallel to Theon's rule in aCoK, who similarly experienced a very unpopular rule and his subjects slowly turning against him. Presumably, the point of this comparison will not just be "Ramsay comes in at the end and unexpectedly whacks them on the head". Both Theon and Roose invited Ramsay into their lives, giving him more power than he deserves, and causing Ramsay to make choices that increasingly alienate others from them (the death of the miller's boys for example has repercussions for both Theon and Roose). Grrm is likely steering this towards a difference in how they will deal with this situation.

It all seemed so familiar, like a mummer show that he had seen before. Only the mummers had changed. Roose Bolton was playing the part that Theon had played the last time round, and the dead men were playing the parts of Aggar, Gynir Rednose, and Gelmarr the Grim. Reek was there too, he remembered, but he was a different Reek, a Reek with bloody hands and lies dripping from his lips, sweet as honey. - a Ghost in Winterfell, aDwD

"Stark's little wolflings are dead," said Ramsay, sloshing some more ale into his cup, "and they'll stay dead. Let them show their ugly faces, and my girls will rip those wolves of theirs to pieces. The sooner they turn up, the sooner I kill them again." - The elder Bolton sighed. "Again? Surely you misspeak. You never slew Lord Eddard's sons, those two sweet boys we loved so well. That was Theon Turncloak's work, remember? How many of our grudging friends do you imagine we'd retain if the truth were known?" - Reek III, aDwD

Roose' arc is deeply connected to the relations he shares to the other northern lords, which has been heavily impacted by the Red Wedding. It stands to reason that they are going to be an important part of his downfall, and we see many hints of them plotting to betray him.

The north remembers, Lord Davos. The north remembers, and the mummer's farce is almost done. My son is home." - Davos IV, aDwD

Themes: Stannis and kinslaying

The books set up Roose and Stannis as foils as well; Both lack charisma and have trouble winnning the people's support, Stannis and Roose both parallel and contrast Ned, Stannis appears as a "lesser Robert" where Roose is a "lesser Ned", Stannis represents the fire where Roose represents the ice, both struggle over dominion in a land that doesnt particularly want either of them, etc... What i find interesting is how they are contrasted over kinslaying:

"Only Renly could vex me so with a piece of fruit. He brought his doom on himself with his treason, but I did love him, Davos. I know that now. I swear, I will go to my grave thinking of my brother's peach." - Davos II, aCoK

"I should've had the mother whipped and thrown her child down a well … but the babe did have my eyes." [...] "Now [Domeric's] bones lie beneath the Dreadfort with the bones of his brothers, who died still in the cradle, and I am left with Ramsay. Tell me, my lord … if the kinslayer is accursed, what is a father to do when one son slays another?" - Reek III, aCoK

Stannis is set up as someone who is very thorough and strict in following his own code and his "duty", even if he does not like what it forces him to do.

Stannis ground his teeth again. "I never asked for this crown. Gold is cold and heavy on the head, but so long as I am the king, I have a duty . . . If I must sacrifice one child to the flames to save a million from the dark . . . Sacrifice . . . is never easy, Davos. Or it is no true sacrifice. Tell him, my lady." - Davos IV, aSoS

The armorer considered that a moment. "Robert was the true steel. Stannis is pure iron, black and hard and strong, yes, but brittle, the way iron gets. He'll break before he bends." - Jon I, aCoK

Roose however is frequently characterized as someone who tries to get as much as he can while avoiding negative consequences, and who does not have a consistent moral code and instead bends rules to his benefit to be the most comfortable to him.

It is often theorized that Stannis will end up burning his daughter Shireen; the Ramsay issue might then serve to contrast the two men. If Grrm intends it to be compared by the reader, I can see it going two ways: Either Roose will be forced to finally act in a drastic way after avoiding his responsibility in regards to Ramsay and he will be forced to get rid of his son, making him break the only moral hurdle he has presented adhering to during the story (though analyzing his character, the kinslaying taboo is probably less a sign of moral fortitude and more him using the guise of morals to explain a selfish motivation). Or he might not act against Ramsay and suffer the consequences, presenting an interesting moral situation where some readers might consider his action "better" or more relatable than Stannis', breaking up the otherwise very black and white moral comparison between the two men. It serves as an interesting conflict of the morality of kinslaying compared to what readers might see as a moral obligation of getting rid of a monster such as Ramsay; contrasting Shireen whose death would not be seen as worth it by most. Ramsay as a bastard (who was almost killed at birth if he hadnt been able to prove his paternity) also makes for an interesting verbal parallel with the bastard Edric Storm, and might be used for a look at the utilitarian principle of killing a child (baby ramsay/edric) to save countless people from suffering that underpinned Edric's story.

"As Faulkner says, all of us have the capacity in us for great good and for great evil, for love but also for hate. I wanted to write those kinds of complex character in a fantasy, and not just have all the good people get together to fight the bad guy." - Grrm

"Robert, I ask you, what did we rise against Aerys Targaryen for, if not to put an end to the murder of children?" - Eddard VIII, aGoT

"If Joffrey should die . . . what is the life of one bastard boy against a kingdom?" - "Everything," said Davos, softly. - Davos V, aSoS

However Grrm decides to present these conflicts or which actions the characters will take in the end, it will result in interesting discussion and analysis for the readers.

His Endgame?

Looking at the trends of the past books, it is probably going to be hard to predict any specific outcome; every book introduces new characters and plot elements that were impossible to predict from the last book even if their thematic importance or setup was aptly foreshadowed.

Roose has a lot of plot importance and characterization that has, in my opinion, not yet been properly resolved in a way that would be unique and poignant to the specific purpose his character appears to fulfil. However I also have a bias in that i did not like the show's writing of that scene which makes me averse to see a version of it in the books, and i really like Roose as a character and want to see him have more scenes in the next book(s). This leads me to discount plot speculation that cuts his character arc short offscreen early. Roose is only a side character; however, i have trust in grrm's writing abilities and that he would give him a proper sendoff that feels satisfying to a fan of the character.

"…even the [characters] who are complete bastards, nasty, twisted, deeply flawed human beings with serious psychological problems… When I get inside their skin and look out through their eyes, I have to feel a certain — if not sympathy, certainly empathy for them. I have to try to perceive the world as they do, and that creates a certain amount of affection." — George Martin

Considering my earlier analyis, there is a case to be made for Roose killing Ramsay; however it appears grrm might have a different endgame in mind for Ramsay, foreshadowed in Chett's prologue:

There'd be no lord's life for the leechman's son, no keep to call his own, no wives nor crowns. Only a wildling's sword in his belly, and then an unmarked grave. The snow's taken it all from me . . . the bloody snow . . . - Chett, aSoS

I tend to think something might happen to Roose/the Bolton bloc later in the book that would cause Ramsay to attempt to flee the scene again like he did back in aCoK fleeing Rodrik's justice; perhaps Ramsay is sent out to battle but then flees it like a coward, or he sees his cause as lost. This time, the fleeing and potentially disguised Ramsay would not make it out to safety though, and get killed without being recognized as Ramsay, dying forgotten. This would serve as dramatic irony since Ramsay so strongly desired to be recognized and respected as a Lord of Bolton, without being too on the nose.

As for Roose, i could see him getting captured and somehow brought to justice (either when someone takes Winterfell or in some sort of battle). I see it unlikely that he will be backstabbed like Robb was, because it seems very "eye for an eye" and ultimately doesn't teach much of a lesson except "he had it coming"; But the various people conspiring against him could lead to his capture by betraying him (giving a payoff to the northern conspiracies and the red wedding). I would find a scene of him standing trial interesting since i believe we didn't have one of these for a true non-pov villain yet, and it would be an interesting confrontation that he cannot escape from (he also loves to talk so it would be a good read to see him make a case for himself).

I assume Roose will be out of the picture when the Other plot finally properly kicks into gear (whether dead or "in prison"). With Stannis as a false Azor Ahai and Roose as a false Other (with his pale, cold features), their struggle in the north seems to be a representation of the false "Game of Thrones" that distracts people from the "real threat" of the Others.

As always this is just my opinion, and it could all go very differently in the books! There could always be something that completely uproots my analysis and goes into a direction i did not expect from the material we had; But i have fate that Grrm as a writer will deliver and give me something i can be satisfied with.

#asks #asoiaf #asoiaf meta #roose bolton #valyrianscrolls #a song of ice and fire #not art #anonymous

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a-nice-and-interpretive-fanzine · 4 years ago

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[ID: A cream-colored banner that says "A Nice and Interpretive Fanzine: essays and art about the meanings we've found in Good Omens." There is a photo of a book page with a key on it behind the banner text. The photo source is rosy_photo on Pixabay. /end ID]

A Nice and Interpretive Fanzine: Information Masterpost

Welcome!

This is a zine for those of us who love the subtle, complex work that is Good Omens, and who’ve enjoyed the thoughtfulness of the fandom as people interpret how the many moving pieces of the story come together, creating a slightly different meaning for each of us.

To put it simply, it’s a book full of the fandom’s own analysis and commentary about the Good Omens TV show, enhanced with illustrations from our brilliant artists.

This zine is analytical in the sense that all the writers are expressing their own nonfiction thoughts and feelings about the show, rather than writing fanfic, but it is not meant to be heavily academic. Anybody who likes to pick apart the series and discuss it should be able to enjoy it.

The zine will contain essays by fans who are passionate about analyzing and interpreting different parts of Good Omens - the characters, the plot, the writing techniques for the book and script, the cinematography of the TV show, the popular content of the fandom itself. Accompanying these essays will be black and white illustrations from our artists.

How are you organizing this process?

May 1-May 15: Everyone submits their application to do writing or art through a Google form. Behind the scenes, I’ll be setting up a separate email and Discord.

May 16-20: Applicants will be screened during this time.

May 20: I’ll email everyone to let them know the outcomes of their applications. The final participants will get a link to the Discord server for the zine (totally optional, of course).

May 21: If there’s any clarification or solidifying of ideas that needs to happen, I’ll contact you and discuss with you by this point. This is also when artists will be matched up with essays.

May 22 to August 14: This will be a period of just working on our essays and art. The Discord chat and Tumblr will be there for support and for exchanging ideas!

August 15: Participants need to email their full works to the zine’s email address by this date. No special formatting is needed; I’ll do that in InDesign.

August 15 to August 31: I’ll be putting the zine together in InDesign.

September 1: Preorders will open.

September 30: Preorders will close.

October 1: The zine order will be placed!

October 15: Assuming all goes well with printing and shipping, the zines will be shipped out in waves starting on this date. If the printing or shipping from the manufacturer is delayed, then shipping will just start ASAP.

Writer Application HERE Artist Application HERE Asked and Answered Questions on Tumblr The Fanzine's Page on Twitter

Read below for more detailed information about the zine in a Q and A format!

What are the specifications for the zine contributions?

For writers, I’m starting with 3k words or fewer per essay (approximately 10 pages at the size of this book). This depends heavily on how many participants we actually get, so it may change!

For artists, I’d be looking at black and white works, 300 DPI, 5.5 x 8.5 inches or smaller. If your art is supposed to fill up the entire page (i.e. no white space), please make it a total of 5.75 x 8.75 inches with nothing too important around the edges to account for bleed during the printing process.

Can I submit an essay to this zine if I’ve already posted it on Tumblr?

Not as you’ve already posted it. We don’t want to just copy/paste the exact thing that hundreds or perhaps even thousands of people have already read.

However, it IS fine and maybe even a good idea to take the same thought from your post and refine it, preserving your same thesis. For example, a lot of Tumblr posts are just us fans jotting down 5 or 6 paragraphs of random thoughts at 2 AM, but some of them are really cool thoughts! Expanding them and turning them into a bona-fide Essay would make those posts into excellent zine chapters. And you can copy small pieces of your own language as long as the whole thing isn’t just pasted word-for-word.

How long do essays have to be? Is there a limit?

With the number of writers we have, I've calculated that each person should ideally keep their essay to about 6000 words. There is wiggle room.

There’s no real minimum for your contribution; some analytical ideas are really good but can be expressed concisely, so it’s okay if your essays only come out to a few pages typed. For reference, with our book size, a page is about 300 words.

What happens if the zine sells a lot and you end up not only breaking even, but turning a profit?

It’ll go to charity. While I’ll ask the participants what they want to do for certain if we do make enough money, my suggestion will be donating it to Alzheimer’s Research UK in honor of Sir Terry Pratchett.

I’m not really comfortable calling this a “charity zine” up front since I simply don’t know if it will raise a significant amount. For the most part, I just want the thing to physically exist, which means breaking even, and don’t want to make it more expensive for buyers than it needs to be to afford the printing costs.

What kinds of essays are you talking about? What could be included?

In short, any analytical thoughts about the Good Omens TV show - and possibly even the fandom as it interacts with the show - are possible inclusions for the zine.

To expand a bit, think about the meta posts you see floating around Tumblr. Often these involve analyzing characters, or picking up on patterns in the plot. Sometimes fans use their own background knowledge to write posts about the significance of certain costume choices or the way music plays into each individual scene. Some posts examine the ways the series approaches gender, while others might discuss ways that the characters present as neurodivergent. That’s how diverse the pool of possibilities is for subjects in this zine.

How does art come into this?

Images will be black and white, to match the bookish mood of the project overall. Images can range in size from a half page to a full page.

I’m planning to talk to the artists and authors and loosely pair artists with essays that appeal to their personal interests.

I know how to illustrate a story, but how do I illustrate an essay?

There are infinite answers to this! I’ve seen some beautiful symbolic artwork in the fandom already (e.g. a number of takes on Aziraphale munching on an apple with Crowley in snake form curving around him), and there are tons of symbolic motifs to draw from, but these are not the only options. An artist illustrating an essay about cinematography, for example, could draw a well-known scene from an alternative angle. An essay about Heaven as a capitalist corporation could be illustrated with a cartoon of Gabriel giving some sort of excruciating PowerPoint presentation. A character analysis could be accompanied by a simple portrait. And on and on. I’m not interested in limiting the possibilities by trying to make a list, but just know that there are many and you don’t have to make it complicated if you don’t want to.

If the writers can reuse their essay ideas, can artists reuse their drawings?

Similarly to the writers, if you already have an interpretive drawing that you’re in love with, artists can use the same ideas and the same fundamental composition that is present in their own existing work. However, it has to be redone in some significant way. Whether it’s taking something you drew in 2019 and redrawing it using an updated style, taking a sketch and turning it into a lined and shaded piece, or redoing a full-color drawing so it presents more strikingly in black and white, it shouldn’t be identical to the thing you’ve already posted.

So how are you choosing participants here?

It’ll be based on what people are interested in writing about (or illustrating). I’ll be looking for people who are passionate about their essays, but I’ll also be looking for variety. It all depends on what people want to offer, so I won’t know for sure what it will look like put together until everyone’s application is in.

For artists, I’ll be trying to figure out whose style looks like it would adapt well to illustrations in black and white, and also who demonstrates an interest in the same subjects as the writers.

If we don’t get a lot of applicants, I’d love to simply include everyone, but I can’t commit to that without knowing for sure how many people are involved.

Do I have to use a formal writing style to participate?

No. You should use a style that makes your thoughts and ideas as clear as possible, but as long as it’s understandable, you can also get a little artistic with it. You can “write like you speak,” though perhaps in a more organized way. You definitely don’t need to worry about stylistic rules like not using the first person. This is not academia.

Is this zine going to center only on Crowley and Aziraphale?

That remains to be seen! It depends on what ideas show up in the applications. There will be a lot of the ineffable partners for sure, but whether the whole zine will center on them or whether there’s plentiful stuff about other characters will depend on what the participants suggest.

Do we have to agree with all your personal interpretations of Good Omens to be in the zine?

No! In fact, I’m assuming that a number of essays will contradict each other, too, and that’s perfectly okay. The zine is a sampler of fan interpretations meant to inspire, not instruct. It’s not “Here’s a fan-made guide on how to understand this TV show,” it’s “Look at all these moving parts and how many meanings we can find in them. What does it mean to you?”

However, there are some basic rules and assumptions by which I’m working here.

I don’t personally have the energy to include essays that are highly critical (“negative”) in this zine. It’s analytical but also meant to be fun.

I’m pretty focused on the TV adaptation. This isn’t “no book analysis allowed” but just that the essays will end up being weighted toward subjects that apply to either the TV show or both the book and the show.

Each writer should focus on making their own points over disproving other fan interpretations. If you’re writing in an expository style, it’s normal for the essay to contain rebuttals to opposing ideas, but these should be minor supporting points, not the heart and soul of your essay. For reference, I’d say the majority of meta I see floating around on tumblr would follow this rule just fine.

Essay ideas that seem to contain bigoted or exclusionary sentiments will not be accepted (no TERFy stuff, for example).

What kinds of editing will go into the zine? Are you going to argue with us about the contents of our writing?

While I might ask you to elaborate on certain points in your writing or clarify your thoughts about your subject, I’m absolutely not here to ask you to change the thesis, opinions, or headcanons on which your writing is based. If I really have a problem with your initial idea, I’ll tell you that up front and politely decline the contribution.

While formatting the zine, I’ll make minor edits if I think I see a typo or misspelling, something small and obviously unintentional. As with any other zine, your content won’t be changed without consulting you.

Is this a SFW zine?

Yes. If people want to discuss sexuality in a theoretical way, like erotic subtext, that would be allowed. There are canon references like Newt and Anathema’s moment under the bed that might come up, too. But there will be nothing explicit, and since these are essays instead of stories, there will be no “action” going on between characters. Let’s just say sex isn’t a forbidden topic, but it will be like discussing it in English class.

As for other topics that could make the zine NSFW, like gore or extreme language, I don’t think they will be an issue. Some dark topics, like abuse by Heaven and Hell, may be discussed, but they will be warned for, and these are not stories, so you aren’t going to see violent actions playing out.

Will there be any “extras” like charms or stickers?

I’m not sure yet. I’m most inclined to keep it simple, because of the nature of the zine, but would be open to including some bonus items if there’s an artist who’s really passionate about it.

With that said, I am pretty committed to making a hardcover edition of the book available, in addition to the standard softcover version.

You’re doing this with only one mod?!

Yes. I personally find it easiest. While I’ve worked on multi-mod projects in other domains and adore all of my co-mods, it’s a little bit different when it’s a project with this many moving pieces that includes real-life components like printing and shipping. Though there are a lot of individual things to be done, I am experienced with all of them, so it’s less overwhelming to just take on the whole project. That way, I know exactly what needs to be done and when, and there are no issues with assigning tasks.

What qualifies you to run this zine?

The résumé answer: in fandom, I successfully solo-modded a large not-for-profit zine in the past, the @soulmakazine2018, and while I can’t speak for the whole fandom, it definitely seemed to be well-received. <3 In real life, I’m a case manager and this involves coordinating and communicating with a lot of different people including my 100-person caseload, budgeting services, and filling out all kinds of paperwork on the fly, all skills that can be imported into zine work.

The practical answer: well, I’m the one who decided to start this project, so if you like the sound of it, you're stuck with me. I say with encouragement and enthusiasm that if you’d like to do a different take on a commentary zine, you should absolutely do it.

#good omens #ineffable husbands #ineffable partners #fanzine #good omens zine

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sprawa-przybyszewskiej · 3 years ago

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Ekphrasis in The Danton Case, Thermidor, and their adaptations

Ekphrasis is invoking a piece of visual media into a literary piece. It can be done for a variety of reasons, from entirely pragmatic (mostly grounding the literature in reality - if the invoked piece is a real piece of art, one you could find in a museum, for example) or more poetic (drawing some symbolic meaning between the piece of art and the idea behind the text).

In Przybyszewska's plays ekphrasis is nonexistent, at least on the foreground. I don't recall any clearly established visual, given to the readers by the original author. It's not weird in any way - how many pieces of medai do you recall which refrain from its sophisticated and additional piece of subtext and iformation? Hundreds, probably. The only other artistic thing that she has weaved into her plays is La Marseillaise, which is invoked twice in The Danton Case. There are also three book references to Othello, Orlando furioso and this one book Robespierre summarizes to Saint-Just when he's talking about hatred (but of which I have no idea if it's a real one - it probably is - or not). Other than that - nothing, plus the books count only a little, forekpfrasis should be, as I said, visual in nature.

Of course, the historical aspect of her works is what grounds them in our reality, and so cleverly, too (seeing as they're not really historical plays in any way or form, but manage to fool most anybody). And thanks to her extensive stage directions, we have no need of any additional element helping us visualize the scenes, for she does it perfectly enough on her own.

However, seein as these are plays calls for a mirror ekpfrastic effect and thus theatrical and cinematographical adapations are born. And they, on the other hand, have a potential to be filled to the brim with visual refernces. Here I would like to have a look at a few, which are taken from one of the most well known staging and the famous Wajda movie (plus some). In no particular order, there goes:

This is the very first scene of a controversial theatre adaptation of The Danton Case. Instead on portraying Robespierre as a firm leader, who only in the very end collapsed temporarily under the huge responsibility he now had to bear, the director decided to portray him as someone physically weak, not in the sense Danton meant when he called him a weakling, but in the sense of somebody who already bears so much responsibility, pain, physical ailments, doubts and whatnot. Just: everything, everythin a human could possible deal with, he deals with, and has to do so in a way that doesn't make people suspiscious about his "shortcomings". There is a interesting parallel between him and Saint-Just, whose upright and unbreakeable character is symbolised by a neck braces, something which people wear after a spine endangering accidents - and incidentally, wasn't it Saint-Just who accused Robespierre of "breaking his spine"? But not in this adaptation, oh no - here their very last scene is cut extremely short and they recite the last few sentences along with some Thermidor lines as two floating heads, a vision into the future which awaits them.

Enough about Saint-Just, though, let's focus on Robespierre and Marat. I must admit I know next to nothing about him, only what some passage here and there in this or that historical study might tell me, but I know, as does everybody, that he was known as L'ami du Peuple, which is why of the reasons, I think, why the director took this image and transposed it onto Robespierre: to make him even more likeable, to show for the umpteenth time that it is Robespierre whom we should cheer on and whom we should feel sorry for. This might also be a parallel between their both's tarnished health, their premature deaths and - last but not least - the role of an icon of the Rvolution both of them play in nowadays' audience's minds. You don't have to study history to knowwho Robespierre was, you don't have to study art to know this painting. Even if you don't agree with some more in-depth explanation of linking this person to this painting, it is a good opening image. It captures our attention in a good way.

I had mention Saint-Just and there he is, in the background of the picture, symbolically assisting Danton and his clique in their last moments. Instead of shwoign them in torn shirts, the director went into another direction altogether and enshrouded them in white sheets from heads to toes, making them all look like very stereotypical ghosts, whom they will all become in just a couple of moments.

In Polish culture, the first thing that comes to mind when talking about ghosts is Dziady, an old slavic tradition that is now replaced with the Catholic All Souls Eve. Dziady is no longer, apart from perhaps some small minorities who still practice old pagan faiths, but as a ritual, they are immortalised in a play by Adam Mickiewicz, undoubtedly the greatest Polish poet ever. Everybody know this play, some scens - by heart, and they were and are being staged pretty much constantly from one point on. Needless to say, they inspire a lot of art, and I decided to show this very fmous poster by the most famous Polish poster designer, Franciszek Starowieyski…

…who is important in this case, because he played David in Wajda's movie.

Not many people know - because his other carreer overshadowed by a lot his first one - that Wajda was a painter. Who actually hated his art, some of his pieces are in the national museum of contemporary art in Łódź alongside stars such as Władysław Strzemiński (the hero of Wajda's very last movie), which is a fact he absolutely detested. I dont know, nor do I care, why was that, because what matters is his previous education as an artist at the very least helped him not only to envision the visuals of the movie, but also acquainted him with great works of art. On which he could model this or that setup. I think it's a nice little detail he catsed Starowieyski as David, a real painter acting as another real painter, it adds a layer of reality onto the movie, and presumably makes for a more natural acting in the few scenes he was in his studio (I also think they look alike).

Speaking of David's studio, I once stumbled upon a lecture which drew parallels between some scenes in the movie and some paitings, which was mostly focused on character and costume design, and truth be told didn't contribute much to the overall watching experience of Danton. However, I must admit the lecturer had a very good eye in this one particular case, in which he pointed out that this quick shot in David's studio pretty obviously invokes the Fussli's The Artist's Despair Before The Grandeur Of Ancient Ruins. I don't think it's a coincidence (or at the very least, would be funny if it were) this shot is shown during the scene where Robespierre starts to grasp at desperate measures to save the country/save his own face in the trial. It is an artist's despair, only artist of a different kind. And it is a despair when being faced with a (possible) ruin of something great, even if its greatness is not yet formed, as opposed to the greatness passed.

The very last example I was able to think of was this photo I found of The Danton Case from 1975. It is one of those old, very classical (I presume) adaptations, which are mostly filled to the brim with riddiculosly attractive people and very often deliberately drew from other sources of artistry, like the one pictured above. No matter what the real relationship between Louise Danton and her husband was, in the play it is portrayed as something atrocious, and I cringe whenever directors try to make it something else without good reasons for doing so, so I am very glad in the past at least they stuck with classicaly depicted acts of violation against women, not because it is a violation, but because in the classical stories (like the myth of Persephone shown in the sculpture above) the woman will usually get her revenge. Just like Przybyszewska's Louison did.

Thank you for bearing with me until the end, and if you have any other examples of this come to your mind, I compel you to share them with me!

List of pieces of art in the order of their appearance:

Jacques-Louis David, The Death of Marat

Franciszek Starowieyski, Dziady

Jacques-Louis David, Self-portrait

Heinrich Fussli, The Artist's Despair Before The Grandeur Of Ancient Ruins

Gianlorenzo Bernini, The Rape Of Persephone

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shadowscans · 4 years ago

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Translation of natalie.mu's Interview with Soumatou

Source: https://natalie.mu/comic/pp/shadowshouse03

With the TV anime “Shadows House” starting its broadcast on the 10th of April, Comic Natalie is running a special feature on the work. In this third installment of the series, the original author Soumatou makes their long-awaited appearance. Here, we are given the chance to hear them talk about the behind the scene of the production, the sense of speed that comes from the short amount of time between the adaptation decision and the broadcast, the background behind the creation of the original work where the characters have no face and whose expressions cannot be seen, as well as the story behind the creation of the 2-person unit Soumatou, with Nori in charge of design, and Hisshi in charge of drawing. It should be noted that in this interview, they are answering not as Nori and Hisshi but as Soumatou.

“It’s probably a work that’s hard to adapt into anime”

──Soumatou-san, when did you hear of the anime adaptation?

In 2019, about 50 chapters were made free to read online, and amidst the great response, we learned that the anime adaptation was greenlit.

── Making something open to the public has such an effect, huh?

When “Shadows House” started, it was a relatively subdued serialization. With the chapters being made free to read, people started sharing their thoughts through various means like Twitter, and the paper volumes were selling out. In regards to the public release, back when the person in charge proposed the idea, we approved of it since our impression was that “If not many people were reading it anyways, then let’s just give that a try.” Therefore, in the midst of all that, when we heard of the anime adaptation, we were very surprised. “Is there such a thing?” Because production starts immediately after the decision, it was very speedy.

──With how short the time period is between the decision and the start of broadcast, it doesn’t seem like you have much time to rejoice huh (laugh).

We were happy at the time of the decision of course, but apart from that, “It’s probably a work that’s hard to adapt into anime” was what we thought. In the first place, we’re the type that only believe in something we can see, so it didn’t really sink in for us. We were thinking something like “This project might not even fall through” (laugh). That is why ever since the anime adaptation was publicly announced, the feeling of joy finally sinked in.

──Soumatou-san, in what ways were you involved with the anime?

We supervised roughly all the main processes. When the anime adaptation was greenlit, since the person in charge advised me that “If you will be involved, then be involved with everything. If you won’t be involved, then don’t be involved with anything at all,” we thought “If it’s going to be like that, then we will do as much as we can.” However, the supervision of the script was quite hefty, and having to do that concurrently with the serialization was rather physically difficult.

──I had the chance to watch the first episode, and the thing that surprised me was the original development related to Emilyko’s establishment. Was it difficult to supervise these parts?

We had thought to draw that in the original work, though we decided not to since we thought it wasn’t particularly important. That was just a story from the original work which was added on. However, what was difficult were the adjustments made based on the decision at the script meeting to also depict elements or episodes which are not yet revealed in the original work. We have to think two steps ahead of the current plot of the ongoing serialization, then we have to put in stories or elements that would put us closer to that in the anime. It was a maddening task (laugh).

──If that’s the case, then it seems like it would be fun to compare the original work with the anime huh. Even though it’s difficult, was it refreshing to work on the anime?

Yes. Since we didn’t know anything about anime, or rather, we had no production know-how, so at first, we had no idea how everything would progress. To begin with, we gave them the material created for the serialization. Because we have already created a vast amount of material like the building’s 3D layout, it was easy to say “This is what the layout looks like.” In addition, even though the creation of the colored edition was intended for overseas readers, that material seemed to have been of use for the creation of the colors in the anime. In that sense, there might have been little materials that must be created when it comes to adapting it into an anime.

Supervising as far as the way soot is emitted and the movement of the Clingers

──Soumatou-san, what kind of impression did you have when you saw the anime?

We were amazed by how much more profound the atmosphere was than what we expected. We knew the character’s line drawing and the colors that go on them since we supervised it, but we can’t visualize the final image with just that. However, when we saw the processed recording with the background attached, we felt it was close to the impression of the original work.

──How about the directing?

Expressions that aren’t possible in the manga, such as the movement of the soot, Emilyko rolling on the ground or the inclusion of the song that the Living Dolls sang to themselves, left me with a strong impression.

──As for the soot, I was convinced that it would move like that. Was that also supervised by you?

As for the soot and the clingers, we were shown a few patterns, then we fine-tuned it from there.

──By the way, what kinds of patterns were there?

As for the soot, there was a difference in how it was emitted, be it softly or firmly. For the clingers, there was a difference in the movement, like whether it would move slowly like a cockroach or quickly. Such were the patterns that were there. We did quite a bit of trial and error.

Only the voice actors for Kate and Emilyko were entirely decided by others

──Did you go to the dubbing location?

We only visited for the first time to say hello. The voice actors went through the performance about 3 times. As we listened to the anime staff's directions without giving any input ourselves, we felt it fit our image. On the other hand, when the voice actors were asked by the director “Is there any part you want to re-record at the end?,” they responded with things like “I want to re-record this part” or “would this part be better like this instead,” one after another amending it. It was also the first time we observed a dubbing session, so we were very impressed.

──Well then, did Soumatou-san have any particular request?

There were one or two scenes where we thought “This doesn’t seem to come through, so we want it like this,” and asked them to redo the intonation. However, because anime has a fixed length, I felt that it was better to leave it to the director to draw out the best performance within that time limit. The rest of the time, it was alright for us to really just watch.

──That’s roughly how I imagined it to be. Well, then, please tell us about the impression you got from the main characters. First , how were Kate’s by Kitou Akira-san and Emilyko’s Sasahara Yuu-san?

The rough images of Kate and Emilyko’s voices in our own heads were just “calm” and “cheerful.” That’s why we were able to express our wishes after the audition for the other characters. However, just for these two, we only said, “Please use the person that fits the best'' and left it for others to decide (laugh). When we heard the audition, our impression was that Sasahara-san would fit Kate’s voice, and Kitou-san would fit Emilyko’s voice. However, when we looked at the results, it turned out to be the other way around. There are differences between the performance they did at the audition and at the start of the dubbing, though now we felt that this way was definitely more fitting.

──The other shadow and living doll pairs are played by one person each. What was your impression when you heard of that?

We stated in the original work that the shadows and living dolls have different voices. However, for the anime, when the idea to have the same person performing the roles was proposed, we told them that “we are looking forward to the voice actors doing their best.” The voices are altered based on vocal ranges, and I think the end result is that you will be able to enjoy the voice actors’ varied performances.

──Currently, the cast for four sets of characters has been announced. Please tell us your impressions about each of them.

Sakai Koudai-san’s duet between the hearty, easily carried away John and the cool-headed Shaun is very amusing. Both characters sound good, and their voices are cute. As for Sakura Ayane-san, she was able to portray the very different atmospheres between the lively Louise and the calm Lou.

──Those two consist of clearly different characters so it might be easy to work with, but I felt that the remaining two seem difficult.

Indeed. Kawashima Reiji-san has to play Patrick and Ricky - two characters whose voices and personalities are quite similar, so we thought it was quite a hard role. However, he was able to perform the roles with the understanding of the fine differences in the character of the two. For Shimoji Shino-san who plays the role of Shirley and Ram, there is a lot of dialogue with the imaginary friend, and she has to portray a different image than that of others. She said that “It’s a type of character that I have never played before,” but her voice fitted perfectly.

The pair’s 20-year relationship

──Well then, let’s move from “Shadows House” and let's hear about you Soumatou san, and your past works. You two work together as a pair, but when did you get to know each other?

We have known each other since when we were students, so it is already a roughly 20-year relationship.

──Why did you two start making manga together?

When Hisshi stopped submitting to manga awards, they no longer drew their own manga and ended up settling down as an assistant. I thought that this was a waste of potential, so when I quit my own job, I told Hisshi that I would write my own stories and asked Hisshi to draw them.

──Afterwards, you seemed to have created doujinshi for a while huh.

Yes. Because Nori normally doesn’t read manga and had not created a manga before, we thought to make a lot of them and send them to publishers. Since around 2008, we made a few and showed them at exhibitions. Afterwards, we were able to thankfully get in touch with Shueisha.

──It sure is amazing that you called out and said that you would “make your own story” even though you had no prior experience. Nori-san, what is it about the manga that Hisshi-san made that drew you in?

The composition is very skillful. To phrase it slightly poorly, even if the story is not that interesting, the skillful composition has the power to make you read from beginning to end. That is why Hisshi was able to receive rewards from various magazines.

──I see.

However, since I’m the type to make a manga from whatever episode or idea I want to draw, I have a good grasp on it, but I’m bad at putting things in order over a long span of time. I can draw one-offs, but they did not lead to serialization at all. It seemed like I was slowly running out of things I wanted to draw.

──How do you two divide the work for making the manga? For example, please teach us the making of a single chapter of “Shadows House.”

Firstly, Nori describes the entire course of events, then after bouncing the ideas off of Hisshi, it’s all put together into the plot. With that as the base, Hisshi makes the mini storyboards, which Nori then uses in the briefing session with the editor. Afterwards, Hisshi draws up the real storyboards, and after another meeting with the editor, we head to the rough draft. Hisshi checks that rough draft, then we work on things like new characters, backgrounds, minor characters and the frontispiece’s design. Then, Hisshi inks a pen sketch while Nori does assistant work around the characters. Finally, Hisshi puts the finishing touches and the manuscript is complete. Also, Nori makes the final adjustments to the dialogue right before submission.

──You sure communicate in great detail.

We think we go back and forth more than others whose original works and drawings are separated. Furthermore, we also consult each other when we come to a standstill in our work.

Both “Kuro” and “Girigiri out” have the same ingredients

──Well then let’s return to “Shadows House”, please tell us how and from where you got the idea for the work.

I was staring at a mannequin at a clothing store when the idea suddenly flashed in my mind. The rest is a mishmash of things such as Hisshi’s specialty of clothes and backgrounds, as well as our shared interest in buildings and everyday life in a strange setting.

──Even if you have come up with the idea, it must take courage to make the main characters pitch black, right?

Mangaka are tasked with doing works like drawing facial expressions, though we wondered whether it was possible to present emotions without facial expressions in “Shadows House.” Nori simply thought that “It can be done in novels, so it should be possible in manga too,” and Hisshi hates drawing characters’ faces (laugh). Hisshi even says that “I just want to draw clothes and backgrounds” all the time. Of course Hisshi tries to draw the characters cutely, but that’s without a spontaneous desire to do so.

──That’s surprising to hear, since in your previous work “Girigiri out”, the charm of the beautiful heroine is pushed to the forefront.

Originally Nori was a graphic designer, and Hisshi was a Mangaka’s assistant, so it was deeply ingrained in us to accede to others’ demands. There wasn’t anything that we could say “We want to draw that!” about as Soumatou. Because of that, basically, we are the type to start by fumbling at themes and genres that the editor has an interest in. From there, we come up with various things, and the engine gradually starts. Moreover, at the serialization meeting, among the three works we submitted, “Girigiri Out” was a discarded idea to give the impression that we were trying our best. We thought that if we submitted three works at the serialization meeting then it could look as if we’re trying our best (laugh). Since we didn’t think of anything aside from the 3 chapters submitted at the meeting, when the time came for the serialization, we were worried about what to draw from there.

──”Girigiri Out” is about a situation surrounding a girl who wets herself when she’s nervous, and a boy with the power to suppress someone’s urge to urinate through touch. Even though you have only thought of 3 chapters, during the serialization, you drew quite a few variations on wetting oneself huh.

Generally speaking, we were motivated to make every chapter a different situation (laugh).

──Furthermore, among your previous works, “Kuro” has parts that felt connected to “Shadows House”, but “Girigiri Out”’s style was surprising. I understand now that it’s a story that started from fumbling about with themes and genres of interest to the editor.

However, maybe it’s hard to notice, but the themes drawn in “Kuro” and “Girigiri Out” have quite a bit in common. Everyday life in a strange setting, strange characters that are not people, restlessness, action, surreal jokes, familial love, release from trauma, folk beliefs… the packaging is different, but “Shadows House” also has roughly those same ingredients.

We want to do a gag manga next, but it might be difficult?

──Please let us hear a bit more about “Shadows House.” The story was carefully foreshadowed from the beginning, but just how far ahead did you plan at the start of the serialization?

Since the beginning we have faintly thought about what happens very far ahead into the future, and from there we flesh it out. However, we don’t know how long each part will take if we haven’t drawn it, and parts do change due to the characters’ relationships. For example, at first we had planned for the Debut to end in about 3 chapters.

──In reality it took a volume and a half. That sure is a big change.

We have a bad habit of putting off thinking about the minute details.

──The garden in the Debut also had such a complicated map that I didn’t think it was planned to end in just 3 chapters.

The person in charge is someone who likes exciting and shounen-like things, so we were told that “If I go to the garden then I want a map of the garden.” Though, since we haven’t thought of anything, we spent the next day making a map of the garden as well as all of the gimmicks (laugh). We feel like without that, the story would have been aimless, so we appreciate the advice.

──It certainly has an exciting adventurous feel to it, so the Debut looks like something that would shine in an anime huh. By the way, when I was reading “Shadows House,” the thing that surprised me the most was how screentone was not used at all. I’m sorry that it’s a simple question, but isn’t that quite difficult?

It normally is difficult (laugh). Originally, for a drawing method that suits the work, we wanted something that is reminiscent of old printed works. It started when Nori, who was simply bored, lightheartedly suggested that “This time let’s use hatching (Method of filling in space using uniform parallel lines).” It limits the range of expressions, so now we do regret it a little bit.

──I will continue to enjoy your wonderful drawings from now on. Lastly, you mentioned that “there wasn’t anything that you wanted to draw as Soumatou,” but when you finish drawing “Shadows House,” please tell us what genre you want to tackle next.

Let’s see… how about gag manga? We originally started with drawing gag manga, and the works submitted together with “Shadows House” at the serialization meeting also had comedy in them. However, the gag portion was so hard to do that the editor was put off by it. It might be difficult, but it would be nice if we could publish it some day (laugh).

#shadows house #shadow house

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thelovelyghostwriter · 4 years ago

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Some of my favourite female characters in fiction

This list is not exhaustive and while I do have other characters that I find charming and that I love, I have noted these characters because in my opinion, they have struggled and/or there is a certain analysis to their personalities.

Please take note that some of the characters are not morally good or have done questionable actions. This is not to discuss or say they are role models, but rather to write up what they represented, their role in the story or simply their personalities. I’m not here to justify the character’s actions.

Remember that a well-written characters do not have to be morally good.

Also, a lot of them are from memory and the analysis aren’t well-structured.

Let’s dive in:

1. Daisy Buchanan from The Great Gatsby

Daisy, in my opinion, is incredibly misunderstood and unjustifiably hated among the readers. Her betrayal to Gatsby is indeed vile and it did upset me, I definitely think that she is materialistic, shallow and hurtful.

“I hope she’ll be a fool—that’s the best thing a girl can be in this world, a beautiful little fool.”

Daisy did shit on Gatsby [trying to avoid spoilers here].

However, I do like to note that I think part of her materialism and shallowness is because of how women were in the 1920s. They did not have any freedom or agency. To Tom, she seems to be a trophy wife for him to keep; and to Gatsby, he only liked the idea of her, he wasn’t in love with her. To everyone around her, she was an item, a beautiful doll to be possessed, rather than a person. I think that’s why she turned out like that.

She's materialistic because men around her sees her as an object. Nonetheless, Daisy is still “careless” and hurtful; and I think this stemmed from the life she had led that were a compilation of choices that were made for her. Her betrayal towards Gatsby is what makes her character rather disappointing to most readers. The whiteness in her dress as described in her first appearance? It’s not innocence, but rather a void and jadedness.

2. Neon Nostrade from Hunter x Hunter

Yet, another girl in our list that loves to be hated by the fandom. Though honestly, most of her haters are Chrollo and Kurapika stans who gets jealous because Chrollo got to hang out with her and Kurapika works under her. Also her repulsive hobby - although this is actually what makes me like her.

I have addressed this in my other posts before, but let me just copy and paste them (and modify a bit): Her upbringing and exploitation by her dad makes her materialistic and emotionally detached. This materialism and detachment is manifested in the form of her hobby as a dead body parts collector. But other than that, she’s really a normal girl, just sheltered and spoilt. The money she spends are even from her talent Lovely Ghostwriter, her father will be nothing without her. So I don’t see an issue with her spending them on shopping etc.

In fact, I would argue that she bathes in materialism to fill the emptiness that she has. Her father is more concerned with her ability and power, she has no friends and is guarded 24/7 by employees.

All the times she threw tantrums and the way she talks… it’s a different speech pattern altogether when she interacts with Chrollo - which may suggest that the whole spoilt attitude is exaggerated to gain attention from a father who is indulgent in terms of material gifts, but not in terms of affection and time for her.

When Eliza cried, she was willing to forgo bidding the auction physically. Yes she did not care about the bodyguards because she is more focused on the living and the present (Eliza) than the dead.

The reason why she didn’t seem fazed when Dalzollene and the others died is because a) they were her bodyguards, it’s their job to put their life on the line to protect her, b) she mentioned to Chrollo that her fortune-telling is for the living, she likes to live in the present and doesn’t believe in the afterlife.

Neon is more focused on who is alive, rather than the dead (which also represented by her hobby of dead body parts collecting). She focuses on the present, unlike her clients who likes to know their future or people who dwell in the past. Kurapika on the other hand, is the complete opposite. He dwells on the past and likes to focus on his dead clan rather than the present times with his friends (which is completely understandable).

Another significance is that her fortune-telling ability is very useful and helpful, she says that she wanted to make people happy with it; but however, it is commercialized and used as a means of power (knowledge of the future = power) by her father and pretty much everyone around her. Just like how she objectifies dead people by collecting their parts, the people around her sees her as a tool due to her fortune-telling abilities, rather than see her as a person. Even Kurapika chose to get employed under her, for his own agenda (he is bound to meet dead body parts collectors at some point).

She treats people like objects because people see her as one.

Of course, collecting dead body parts is a pretty fucked hobby; but what she represents and her role as a minor character is what makes her an outstanding minor female character in the show.

Yes. She has traits that are not your typical role model, but neither are other hxh characters. She’s not independent, naive, can’t fight, in need of saving, uncaring at times and spoilt. She is far from so-called “strong female character” that we often look up to. She is a character with bad traits which is a result of being a victim. But that’s what makes me love her as a character in hxh. It reminds us that there are girls out there who has lack of freedom and control over their own fate; and their only way out is through materialism and detaching themselves from people.

In fact, she might be even relateable to some people more than other female characters because there is vulnerability in her character.

3. Hua Mulan (Mostly the Chinese 2009 film, though the most well-known is the Disney 1998 animated film)

There has been various adaptations for this character, with the Disney Animated version being the most prominent.

However, my favourite one is definitely the Chinese film Hua Mulan: Rise of A Warrior (2009). It portrays the horrors of war and the suffering it brings, nationalism, camaraderie among the army - all while giving us the admirable Mulan climbing up to the ranks of being a war general.

I highly recommend this adaptation. I know the Disney Live Action 2020 version did not receive good reception, and we honestly did not need one because this 2009 Chinese film does the job well (I like their soundtrack though). It's not really well-known because it's a Chinese film (which is hella ironic because Hua Mulan is a Chinese character? Lmao).

"Today we will stain the battlefield with our blood. Behind us is our homeland. If we have to bleed out our last drop of blood, if we have to become bleached bones in this desert, we must defend it to the death! We must let the Rourans know we Wei warriors will never surrender and will never compromise! Soldiers may rebel against me, generals may leave me for dead, but I, Hua Mulan, will never betray my country!"

Generally, I either have an issue with strong female characters because they are just shallow (meaning they are only physically strong, often viewing rudeness, misandry and independence as strength). I like female characters who are so much more to that.

Mulan, in this film, not only showed her badassery in fighting the war for more than a decade, but we also see how much she struggled. Everytime her comrades die, her heart gets broken. Yet she has to learn how to pick herself up and become the leader that they need. She dislikes war, she dislikes the bloodshed; yet she fights for her country.

To me, a strong female character is not just a feminist icon or someone who can fight. In fact, a female character doesn't need to be someone capable of fighting, what makes her strong is to be able to overcome turbulence with determination.

I think this is something that is lacking in recent "strong female characters" - showing us their strength through perseverance.

As for the Disney's counterpart (talking about the 1998 film here), it is less morbid but we also see her trying her best to make her family proud and protect her country. Like the song Reflection and Loyal, Brave and True, she struggles with finding her purpose and her role in her family.

"The greatest gift of honour, is having you for a daughter."

4. Blanche Dubois from A Streetcar Named Desire

It's been years since I had analysed Blanche, but among all the 6 books that I had to study for English Literature, A Streetcar Named Desire has been my absolute favourite.

I think what struck me in this book is not just the style, but Blanche's vulnerability. Her actions are definitely not morally good: she misrepresents things, she lies, she even had sex with an underage student. She's paranoid, mentally unstable and prissy. Which was why, her polar opposite character, Stanley, is so annoyed with her.

After her husband's suicide, we see Blanche relying on the company of men to fill the void of her loneliness and misery. She is also concerned about her beauty fading with age - I find that highly reliable. It sounds incredibly "vain", but beauty does play a part.

Based on Evolutionary and Mating Theories among humans, appearance in women are especially important (also for men but not as much as women). Of course, there are other factors and traits that people find attractive, but Blanche's concern is valid here. She needs to find a husband to escape from her financial troubles; and her age, beauty and chastity plays a huge factor in her search for getting a man in the setting she was in (which was Mitch in this case). Ironically, these are the very traits that she has "lost" and so desperately tries to hide it.

Her ending is truly a devastating and upsetting one. [Will not talk about it due to spoilers]

"I've always depended on the kindness of strangers."

5. Haibara Ai/Shiho Miyano from Detective Conan

Perhaps one of the girls that is a wasted potential. In a series where the characters are mostly flat, she's arguably the most multi-faceted (but somehow I had heard that she no longer has the same complexity as she used to have - it's been a while since I followed this series).

But I remember absolutely loving this character.

Her background story is really unique in the show and one that is embedded within the Black Organisation plotline (why her character was dropped... Forever frustrating for me).

From the moment she was first introduced, we see Conan taking an immediate distrust towards her. A guy who is a detective who had been catching criminals - yet one ex-syndicate member stands before him. The one that actually helped to develop the APTX4869 that changed his life.

Yet, we see that it wasn't entirely within her control. Both her parents were syndicate members and when her sister tries to get both of them to leave, her sister dies.

Ai starts off as seemingly cold, pessimistic and avoidant. But as her arc goes on, the iceberg around her melts. We see her quirky sarcastic replies, her taste for fashion and she genuinely desires to be happy. Her relationship with Conan developed into a beautiful one - to the point where Conan trusts her with anything and they would risk their lives for one another.

Yet, we also empathies with her impending jealousy and heartache. The boy she has fallen for already has someone else. What's more, the girl is genuinely kind and is a splitting image of her sister. After Ran saved her from Vermouth, she quickly warms up to Ran as well.

She's also the key to developing the antidote for Shinichi to be back with Ran - an almost painful metaphor for her to give him away (he never belonged to her in the first place). Yet, she doesn't really stop them from being together (even though in some cases she appears jealous or phrase ShinRan's reunion as a word of caution).

I definitely think she is the most compelling character in Detective Conan because of her character development and the struggles she faces. It's definitely upsetting that her character has been neglected.

“Don’t judge people from the outside. Like any rose has thorns, the more the person appears nice on the outside, the more you should doubt the inside.”

6. Misato Katsuragi from Neon Genesis Evangelion

Who is the best female character in Eva? Asuka or Rei? My answer will always be Misato, Risato is a close second (I wanted to analyse Risato, but I’m trying to keep it to one person per series). Misato is one of the 90s anime babes. She definitely captivated many people’s heart.

I must say though, I have a soft spot towards female characters who has some sort of daddy issues (why I like Neon Nostrade). It’s been a while since I had watched Eva, but I’m going to try to remember why I like her.

I think the concept of Hedgehog’s Dilemma has been echoed throughout the series, and all the characters seem to struggle with emotional attachment towards people. I actually like to phrase the Hedgehog Dilemma as “Avoidant-Fearful Attachment Style” - wanting connection with people, yet not being able to do so out of fear of being hurt.

For Misato, when I initially first watched Eva, I compared her a little to Blanche Dubois in how they cope with loneliness - their sexuality. I remember being confused with her interactions with Shinji, who was half her age. At times, she serves as his guardian/mother figure; but at some moments (I think it was sometimes after Kaji’s death), she tried to seek comfort with Shinji by attempting to initiate sex (which Shinji rejects). I remember coming across a comment somewhere that Shinji and Misato’s relationship is somewhat like Humbert and Dolores (from Lolita) - can’t comment on this as I only read the first chapter of the book.

It makes me think that she uses sex as a way to cope and the only way she can connect with people (and it’s superficial), which doesn’t work for Shinji because she needs to be her guardian (and ultimately fails to be purely his guardian once she crossed that no-no boundary).

Another thing to note was her backstory about her dad. There seems to be a dissonance, given that she resented her dad for not spending time with her due to his work, but he ended up sacrificing her life for her. I do think it’s a bit of guilt (because resenting her dad but he saves her - these two contradicts one another). It’s clear that her issues to connect stems from her backstory regarding her father.

It’s interesting how she compares Kaji to her father. I do think she loves Kaji, but “reminds him too much of her father” (as to put it simply). There is this... stereotype that we find someone similar to our opposite-gender parents, no matter how shitty they were towards us. I believe that it is because we tend to stick to something that is familiar to us, even if those type of people aren’t good for us (I think to break this cycle is to practise self-awareness and know what is good for us).

Anyway, Misato is a character that I really liked (as all the characters in Eva) because they highlight Hedgehog’s Dilemma that stemmed from their parental issues. Maybe I have not watched a lot of anime, but female characters with issues with their fathers are not as explored deeply as male characters and their parental issues. A lot of times, female characters (especially in shounen) serves as a romantic interest and yes they can have really sad backstory, but not issues towards their father and how it affects their relationship with other people. So far, the only ones I had seen is Mukuro (Yu Yu Hakusho), Misato and Neon Nostrade.

7. Disney's Cinderella

First of all, she has been a victim of abuse since she was a child. It's not easy for her to escape her predicament. Where can she go? It's not that easy.

Boy. I hate how much people remember Cinderella wrongly and attack her for being "backwards", which is actually factually wrong.

Cinderella always get flack for using the Prince to "escape" her predicament when "she can do it herself".

I say that's bullshit. I actually came across a youtube video: Cinderella Stop Blaming the Victim [please check it out for more in-depth analysis]

Despite all that, she's doesn't internalize it. She knows she doesn't deserve to be treated this way, and she does to a certain degree stand up to them (whenever the cat makes her tasks harder). She knows when to fight back and restrain herself because it might endanger her life.

After years of suffering in this domestic household, she remains kind, compassionate and hopeful. Which is not an easy feat. The problem is, these traits are often seen as feminine and synonymous with being weak. But it is actually, in fact, signs of strength. The mental fortitude she has to remain kind after all she went through is a sign of strength.

The Fairy Godmother only appeared when she was losing hope - take note that she ends up crying because her stepsisters tore her mother’s dress (which is the most disturbing scene in the film).

Even I had remembered this wrongly - one crucial fact is that... She did not want to go the ball to nab the Prince. That was her stepsisters. Homegirl just wanted to chill. She did not even know she was dancing with the Prince!

When Lady Tremaine locked her up to prevent her from reaching the Prince, it wasn’t the Prince that saved her. She and her animal friends got her out of the room, and proceeded to prove that she was indeed the maiden that had danced with the Prince. Her marrying the Prince was only a fitting end to her because it provides her a home and an escape from an abusive household; however, it was her resilience for holding onto fate and being mentally strong, and her initiatives partially contributed to her happy end. The Prince is more like a passive character.

I highly think that people tend to brush her traits - e.g. compassion, having fate, being kind is listed as feminine. However, it is far from being weak, which most people would deem it as. But that is definitely not true.

“No matter how your heart is grieving, if you keep on believing, the dream that you wish can come true.”

8. Mikasa Ackerman from Attack on Titan

Mikasa is either a hit or miss among AOT fans. Some people like Mikasa because she is physically strong and her loyalty to Eren is admirable. On the other hand, some people think she’s clingy and her being physically strong makes her a Mary Sue.

Whether or not you like Mikasa, there is a fact that she is not a Mary Sue. The definition of a Mary Sue is a female character lacking in weakness and seems perfect.

She is physically strong, yes - I believe that Isayama wanted to distribute traits to the trio. Even Hannes has said it in S1. Armin represents intellect, Eren represents grit and Mikasa represents strength. So her being physically strong makes sense, and Isayama also provided an explanation for it (being an Ackerman).

However, this does not mean she lacks any weakness. Arguably, her loyalty to Eren is both a liability and her strength. This “weakness” has been highlighted by her dilemma between her loyalty towards Eren and her belief that mass genocide is wrong.

[I won’t go into details about the manga parts that have not been animated as of 2021, can’t spoil it too much].

#daisy buchanan #mikasa ackerman #misato katsuragi #evangelion #cinderella #mulan #haibara ai #ai haibara #detective conan #shiho miyano #neon nostrade #hxh #hunterxhunter #blanche dubois #a streetcar named desire

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