#i like how they expanded on her from the manga

[kushanna]

top three oniisama e characters 1. mariko 2. rei 3. fukiko. there are no other options

[daisyachain]

there’s one version of an f/m/m triangle that crops up so often I’m surprised there isn’t at least a tvtropes/vernacular name for it. Miyokichi/Kiku/Shin. Molly/Fitz/Fool. Asuka/Shinji/Kaworu. Futaba/Taichi/Touma. not-really-but-you-could-shove-it-in-here Luthien/Beren/Finrod. Utena/Touga/Saionji is a twisted spun-on-its-head version of it. Specifically comprising:

masculine male character A: either is the protagonist or a character on to which male viewers can project.

female character B: a secondary character and A’s official love interest, often kept apart from A by story/circumstance/gender roles. Shows some resentment of the trials she’s put through by the story in being A’s lover such as being shoved to the side, cut out of his life, or put in danger.

less masculine male character C: another major character, A’s devoted sidekick, feminine and/or conspicuously cold toward women or sexuality, somewhat ill-used by A but not resentful about it, as a contrast to B.

The dynamic is used pretty equally by female and male creators, though probably with different purposes. Outside the story, there’s a clear explanation for how the roles are divided: men are main, women are peripheral. Obviously the female love interest has to be on the margins of the story. Obviously the male main character has to have an ally in-story who can bounce dialogue back. Any human person has to have a best friend (for men, has to be male) and a lover (for men, has to be female). The major character male bestie and the minor character female gf is the minimum character dynamic you need to sustain the main character as a believable construction.

Except within the story, the dynamic begs far too many questions. On B’s part: her other half and love interest uses her for sex once every few chapters and dumps her to go off on another plot-relevant adventure. She’s kept in the dark, talked down to, pushed away, and distrusted. Her place at her sweetie’s side is occupied by Some Dude and no matter how much she puts into their relationship, she’s always going to be a prize for after the mission. Why does she stay with him? What could possibly attract her about this bestubbled grunt machine whose passion for the sword outmatches anything she’s given him?

On C’s part: he gets used as an emotional support crutch, designed to service his best friend’s every need at the expense of his own goals or story. He’s a housewife, he’s a domestic, he does every thankless story task with a smile because he has to provide the exposition/set up the plot/set the plan in action that carries the main male character to victory. He doesn’t have a love interest of his own, meanwhile the most important person in his life is obsessed with a woman he barely speaks to. Why should he care so much about someone who only takes? Why is he committed to this one-way friendship? What does he think of taking the backseat, providing support, submerging his own will for the sake of a person instead of an ideology?

On A’s part: if he’s a red-blooded heterosexual male character who pursues a woman as is acceptable, why does he dig himself so deep in with his designated ally? Through dialogue and because he has to in order to show the audience, he exposes his heart and soul to C and keeps him in his pocket for as long as we are watching, so why then does he cast him aside so easily? He invests the most time and energy into his relationship with C, cultivating love and loyalty there, but he draws the line so firmly in the sand that the audience is sure he’ll never, ever step aside for one minute to follow the friend. Why does he choose a man for his emotional battery? Why doesn’t he communicate with his supposed partner? Why does he choose to use B and C for sex and solace respectively, and why don’t they ever mix?

The gender dynamics wrap around to simple: women aren’t up to being equal partners to a cool guy, so you need a male wife to do everything for you and appreciate the protagonist’s sick abilities. romance with a man is perverse and impossible, so you need a female love interest to prove that the protagonist isn’t gay and fulfil the audience’s needs. But in-between all of that you could ask some interesting questions of the spoke character, A, the male protagonist whose actions are taken as normal. the question being: bro. what’s wrong with you

[valeriehalla]

I am so utterly fascinated by “Saki”, the 18-year-running mahjong manga in which you, the reader, become gradually, frog-boilingly aware (over the course of nearly two decades’ worth of mahjong tournaments) that none of these girls are wearing underwear and most of their boobs are slowly expanding.

I need you to understand that I have, like, an anthropological level fascination with this comic. From the perspective of someone who is also a comic artist and writer, two things delight me about it:

the fact that I understand completely how an artist gets from “the fans can have a little hint of skirted asscheek” to “the pussy is completely out on center page” over the course of 18 years; and

the way in which the pussy being out is treated by the characters and diegesis as being utterly unremarkable.

Okay. Point 1. The frog-boiling.

Let me put this in perspective for you. There was already a meme about how the characters in “Saki” don’t wear underwear when I was in middle school. I am thirty now. Okay? And it’s still going.

In the time since, this has stopped being a joke. It is now indisputable canon. This is not because anyone outright says it at any point. It’s because the underwear ran out of places to hide. I’m obsessed with this thought: somewhere in the over 20 volumes of “Saki”, there is a panel in which underwear was objectively deconfirmed. And it would be so hard to figure out where that panel actually is. Maybe the artist didn’t even realize it when she drew it! The frog? Boiling!!

And of course there is also the breast expansion. I don’t know how to put a spin on this. They are just expanding. Like, this happens a lot with artists: you define a character as being, in your mind, “the one with the big boobs”, and over the years you emphasize that trait further and further so that the signal doesn’t get lost in the noise. It’s just that normally—in like a wildly popular manga series about mahjong published by literally Square Enix, for example—normally there would be a point at which the boobs stopped getting bigger. Like, an editor would step in or something. Or you would get to the point where you cannot draw the character in the same panel as her mahjong tiles without her breasts spilling over the tiles, and you’d go, “Well, this is now untenable.”

That did not happen. There is no ceiling. The frog is soup.

Point 2. The complete and utter mundanity of all of this.

It’s like this, okay: there’s no shortage of trashy ecchi manga out there. There’s a million other comics doing wildly bawdier things with wildly more improbable bishoujos.

The vibe with “Saki” is different.

It’s hard to explain this, but it feels like the world of the comic is fundamentally uninterested in the fanservice happening on the page. I cannot describe it as “leering”, because I cannot conceive of a person in the story from whose point of view one would leer. I think the artist is probably into it—I can’t imagine anyone is making her do this—but “Saki” the comic has no opinion on the matter.

There are essentially no male characters in “Saki”. Like, there was one guy? Kind of? At the very beginning? But he is gone now. They put him back in the toybox. He does not exist. It appears to be some level of canonical that in the world of “Saki”, almost all humans are women. Those women are sometimes romantically into each other. According to comments the artist has made on Twitter (which I cannot source), they have lesbian baby technology, so it’s no problem. It’s so much not a problem that the story is about mahjong, instead of any of that.

So, like, the fiction here appears to be this: this is the, like, meta-narrative of the fanservice of “Saki”, right: it’s just normal that they don’t wear underwear and their boobs are arbitrarily big. It’s been normal. It was normal before the story of the manga began. It’s just how things are. Nobody bats an eye about it, and if they do, it’s in sort of a lesbian kind of way so like what’s the problem, we love lesbians here. This is literally normal for girls.

The fanservice simply diffuses into this all-encompassing aura of disembodied, ambient sluttiness. The framing of the panels demands you acknowledge it, and the story demands you already be over it, because it’s mahjong time now, and we’re playing mahjong.

Do you get??? why I’m so fascinated??? Are you not a little enraptured???

Anyway, I have no idea how to end this weird post. I guess the conclusion is that women stay winning????

[mekatrio]

this line does insane things to me. i didnt catch it the first time bc well like ive stated before i was crying so fucking much when i read novel 8. but ive been (VERY BRAVELY) rereading a few parts and coming across this was very. yeah

[kashilascorner]

the after the rain manga has me sad because the reason why i enjoyed the anime was because it was complex but things were taken seriously and most importantly, the story never actually turned into a romance. in the manga though... Aside from the blatant fanservice in some of the chapters/volumes, kondou explicitly admits to being in love with akira 😬

[loriache]

Kabru, impossible mutual understanding & unknowable objects

Despite his concerted and constant efforts to understand other people, it’s established in a few extras that Kabru believes that true mutual understanding between certain different races is impossible. Specifically, between long-lived and short-lived races, and between humans and demi-humans. Partially, we can trace this conviction back to specific hang-ups caused by his life; the trauma of the Utaya disaster, prejudices he carries from his childhood, and his experience of racism among the elves. In this “little” essay, I’m gonna discuss how I think those experiences formed this belief, how it comes out in his actions, and how some of his actions seem to contradict it. The question of whether it’s possible to reach mutual understanding with other living beings despite our differences is one of the core themes of the manga, and I’ll also touch on how this aspect of Kabru’s character links to that.

Seeking understanding

Kabru is a character who devotes a huge amount of time and effort to understanding people, and he is very good at it. In his internal monologue, we can tell how advanced and complex his skills of analysis are. He is able to read a huge amount of information just from looking at people's faces and body language.

People are, to him, what monsters are to Laios. This is something that's been expanded on at length in other, excellent meta. It's the fact that they're foils; it's the fact that Kabru is also very easy to read as autistic, with a special interest which is the opposite and parallel of Laios'. It's something that came out of trauma and alienation, as Laios' special interest in monsters also began as a coping mechanism.

The complicated origin of this "love" for monsters and for people comes through, I think, in the fact that one of the places we see both characters use their fixation is in being very, very good at killing the thing that they love. This also ties into the idea that loving something isn't even remotely mutually exclusive with using it to sustain your own survival; using it for your own purposes; hurting it or killing it. Love can be, and often is, violent, possessive and consumptive. This understanding is part of what makes Kui's depiction of interpersonal relationships so compelling to me.

While Laios fixated on monsters and animals to seek a place of escape, in both his imagination and his self-image, from the humans who he couldn't understand and who couldn't understand him, Kabru seems to have fixated on understanding people in order to navigate the complex, socially marginal places that he has been forced into throughout his life. As an illegitimate child raised by a single mother with an appearance that marked him out as different to the point his father's family wanted to kill him, and a tallman child raised among elves who didn't treat him as fully human and wanted him to perform gratefulness for that treatment – treatment that, after he met Rin at age 9, he certainly always understood could be a lot worse – his ability to work out what people wanted from him, whether they were friendly or hostile or had ulterior motives, wasn’t just an interest. It will have been an essential skill.  

Milsiril, I think, was a flawed parent who tried to do her best by Kabru and did a lot of harm to him despite her best intentions. She may have treated him much better than an average elf would have, but like Otta and Marcille's mother, there are other elves with different outlooks on short-lived races. How would they judge her treatment of him? We don’t have any insight on what it could be, but to be honest, the person’s whose opinion of her I’d be most interested in knowing is Rin’s.

But even if she'd been perfect, living as an trans-racial adoptee in a deeply hierarchical nation with a queen who is a 'staunch traditionalist' who wouldn't even acknowledge the existence of a half-elf like Marcille (according to Cithis) is an experience that would deeply impact anyone.

Elves & Impossible mutual understanding

While Kabru was living with Milsiril - in other words, while living in the Northern Central Continent - he came to believe that "there was no way to achieve mutual understanding with the long-lived races."

This is evident in his political project: he wants short-lived races to have ownership over the dungeon's secrets. Despite his dislike of the Lord of the Island, he's a useful bulwark to stop the elves taking over. Despite his doubts about Laios, Laios needs to be the one to defeat the dungeon, because if he doesn't the elves will take over.

Kabru still carries a deep scar from Utaya, one that was exacerbated by the fact that he never got an answer to any of his questions about what happened or why. This, despite the fact that Milsiril knows about the demon and how it works. Do you think Kabru, with his social perceptiveness that borders on the superhuman, wasn't aware that she knew more than she would tell him?

Given that, the fact that he gets to a place where he "doesn't have any particularly negative feelings about [elves/long-lived species]" .... well, to put it bluntly, I believe that he thinks that's the case, but I kind of doubt it. After all, if he did have resentment, of Milsiril (someone who was his primary provider and caretaker since age six, and who despite her flaws, loves him and who I do think he loves) or of elves (who he has had to play nice with for most of his life, in order to survive, and will still have to play nice with in order to achieve his goals, since they hold all the power) what would that do except hurt him and make his life harder? Kabru is Mr. Pragmatic, so I don't think he'd let himself acknowledge any such feelings he did have. Exactly because he can't acknowledge them, they're well placed to get internalised as beliefs about the Fundamental Unchangeable Nature of the World.

However, these stated beliefs seem to contradict his actions. Despite his belief in the impossibility of forming a mutual understanding, he certainly seems to try to understand long-lived people, just as much as he does short-lived people. There's no noticeable difference between his treatment of Daya & Holm versus Mickbell & Rin that isn't clearly down to their relationship with him. His skills of human analysis were honed and developed while living amongst elves, and as soon as he's alone with Mithrun he immediately sets to understanding him - his interests, his motivations, his needs, and his past.

He treats him considerately and without bias, and despite the fact that Mithrun conquering the dungeon for the elves is both a reenactment of a core part of his childhood trauma and a political disaster for his aims, that doesn't seem to colour his perspective on Mithrun negatively at all.

This is something I find extremely laudable about Kabru, and it's another way he parallels Laios. He seems to understand that people, as a rule, (in Laios' case, he understands this about monsters - and eventually, all living beings) will act in their own interests, and if those interests conflict with yours, might harm you. But that's just their nature, and it's not something that should be held against them; you're also doing the same thing, after all. The crux of Laios' arc is precisely that he has to accept the responsibility of hurting someone else in order to achieve what he wants.

Kabru is deeply concerned with his own morals, what he should and shouldn't do, but mostly in the context of responsibility for the consequences - a responsibility he takes onto himself. He isn't scrupulous about what he needs to do in order to create the outcome he wants, but if he fails to create that outcome, then....

He blames himself to the point of thinking he should die. He doesn't blame Laios, or seem at all angry with him, despite concluding he should have killed him to prevent this outcome. That's because in his eyes, ultimately Laios was going to act according to his own nature, and it's Kabru's fault for not understanding that nature well enough. He's extremely confident in his ability to understand and predict others, (including elves and other long-lived people). Then, where does his conviction that mutual understanding is impossible come from?

Partially, it's the "mutual" part. I'm sure Kabru, who isn't able or willing to deny Otta's insinuation that Milsiril saw him more like a pet than a son, has felt that his full interiority, the depth of his feelings and his ability to grow, act, and think as a fully equal being, was something that the elves around him just couldn't grasp. Because that was their excuse for it, he came to understand this as a gulf between short-lived and long-lived beings, an inevitable difference in outlook caused by their different lifespans.

This experience might be part of what leads to his iconic “fake” behaviour. He trusts his ability to understand others, but if they aren’t able to understand him, then there isn’t any benefit to being honest about his feelings and thoughts. If his attempts to reach mutual understanding with his caretakers were never able to be fulfilled, then it isn’t any wonder that he reacts with such surprise and horror at blurting out his desire to be Laios’ friend.

In his experience, making yourself vulnerable in that way only leads to being hurt. Soothing him, hushing him, lying to him, talking to him like a child that isn’t able to use proper judgement – that’s an inadequate and deeply hurtful way to respond to genuine distress, the desire for autonomy, or disagreement. Ultimately, I think that’s why he comes out on the side of being grateful to Milsiril; because she did equip him with the skills and knowledge he’d need to reach his goal, and let him go.

Though he could understand them, they couldn't understand him. To the extent that was true - which I'm sure it was - it wasn't due to anything about lifespan. It was due to the elves’ racism, and the solipsitic mindset & prejudiced attitude that it caused them to approach him with.

Because, if it needs to be said, the idea that there is an unbreachable gap in understanding between the long-lived and short-lived species is not true. Marcille and Laios have a much greater difference in lifespan than any full elf from any short-lived person, and they’re able to understand each other – maybe not perfectly, but better than many other people who are closer in life-span to them.

That doesn’t mean that I think Kabru is wrong about this, however. Because there’s an interpretation of his statement that is reflected in his actions and is true. When he talks about his problem with elves, it’s not just their attitudes: it’s their power, and what they use it to do. They “explain nothing and take everything”. Though it’s presented in the guise of ‘guiding and protecting’, in fact it’s a simple case of a powerful nation using their military power, wealth, access to resources, and historically stolen land – including the island itself – to protect their own interests and advance their own agenda. That’s why they’d be able to show up, seize the dungeon, and forcibly take Kabru’s party and Laios’ party to the West. If Kabru wants to stop that from happening, or change that status quo, persuasion or a bid to be understood would be completely pointless. Between the political blocs formed by long-lived species and the interests of short-lived species, “mutual understanding”, given their current, unequal terms, would be impossible. This is something that we see reflected in Kabru’s actions; before he asks his questions about the dungeon, he grabs Mithrun as leverage. He never really attempts to persuade the canaries to see his point of view, because that would be pointless: they’re agents of the Northern Central Continent’s monarchy, and will act in its interests regardless of any individual relationship with him.  

I don’t think Kabru sees the different dimensions of this belief of his in quite such clear terms, however, as is evidenced by the other group who he thinks it’s impossible to communicate with.

Demi-Humans & Unknowable Objects

The other place that we see his conviction about the impossibility of mutual understanding is in the kobold extra.

I'm including the whole thing, because I think it's an excellent and clever piece of world-building. Aside from what it says about Kabru, which I'll expand on shortly, what this extra does is deconstruct and call into question the usual "fantasy ontological biology" present in these sort of DnD-like settings. Essentially, the kind of worldbuilding where a race (such as kobolds) can be described as war-like, and that's establishing something essential about their biological nature. That's common to the point that if Kui didn't include this, some people would probably come away thinking that's the case about, e.g., the orcs.

But here, despite what Kabru is saying, the information the reader actually gets is:

the conflict between short-lived humans and demi-humans such as kobolds is mostly over access to material resources that they need to survive.

These resources are scarce because powerful nations, such as the elves, have monopolised them.

Kabru, who has grown up in a place at the centre of these conflicts, ascribes essential, negative traits to a cultural group which was in direct conflict with his own. Communication with this other group is impossible; they aren't people, they're more like objects.

oh yes! just like this conflict between groups of tall-men, a conflict which the reader will immediately interpret as more clearly analogous to real-life racism. Our other protagonists also carry prejudices from growing up in a place where a marginalised group was in conflict with the dominant group over scarce resources. It's definitely impossible to communicate with these people, and you can only kill them.

Woah, when you say it like that, it sounds pretty bad!

But also, nobody walks away having had a realisation or unlearned their prejudices - because they don't have the tools they need to do that work. Yet. I do think, to an extent, it could happen - especially with Kabru, since it's suggested in the epilogue that Melini might become a safe-haven for demi-humans.

To focus in on Kabru, the key here is his statement that you should think of demi-humans as "unknowable objects". Even his extraordinary powers of understanding have seemingly hit a limit. Part of this is just inherited prejudice, and doesn't need to have a complicated psychological explanation, any more than the elves who were prejudiced against him need one.

But also... this is probably somewhat linked to the way demi-humans seem to be considered "pseudo-monsters". They're the place that the strict delineation between the human and the monstrous is permeated. Laios, who is not interested in humans, remembers and is excited by Kuro. Chilchuck and Laios argue over whether it's OK to eat a mermaid. Kabru's prepared to (pretend to) roll with the idea that Laios ate the orcs.

But these are people, aren't they? Of course, this is a social construction, as we see from the fact that in the Eastern Archipelago, the label of "human" is reserved for tallmen, but in most of the rest of the world it depends on some obviously arbirary classification based on number of bones; "demi-humans" aren't in any essential way monstrous, except to an extent in their appearance, and physical location - due to their marginal social status, they're pushed out to live in unsafe places such as dungeons.

Therefore, Kabru's view of demi-humans as fundamentally "other", unable to be understood - monstrous - could be read as akin to abjection, the psychoanalytical concept described by Julia Kristeva. In order to create a bounded, secure superego, that thing which permeates and calls into question the border between self and other, human and animal, life and death, is rejected and pushed to the margin.

“Not me. Not that. But not nothing, either. A "something" that I do not recognize as a thing.[...] On the edge of nonexistence and hallucination, of a reality that, if I acknowledge it, annihilates me. There, abject and abjection are my safeguards. The primers of my culture.” (Kristeva et al., 1984, p. 11) “It is thus not lack of cleanliness or health that causes abjection but what disturbs identity, system, order. ” (Kristeva et al., 1984, p. 13) “The pure will be that which conforms to an established taxonomy; the impure, that which unsettles it, establishes intermixture and disorder. [...] the impure will be those that do not confine themselves to one element but point to admixture and confusion.” (Kristeva et al., 1984, p. 107) (discussing food prohibitions in Leviticus)

This is both (due to its affinity with food-loathing and disgust) a very fruitful concept to apply to dunmeshi, and a psychoanalytical theory which I wouldn't exactly cosign as True Facts About Human Psychological Development. You may also know the abject from its utilisation in the classic essay "Horror and the Monstrous-Feminine" by Barbara Creed - that's a lot more approachable than Kristeva if anyone's interested.

Key here, though, is that through the symbol of the "demi-human" is embodied a step between "human" and "monster" - and that's a prospect that puts at risk the whole notion of an absolute separation between those two categories in the first place. To Laios, that's something wonderful, and to Kabru, it's terrifying. We can see this principle further embodied in the relationship both characters have with the notion of becoming monstrous.

To Laios, this is transcendent, and represents a renunciation of everything human - in fact, if it didn't, it wouldn't "count".

To Kabru, it's a deeply-held fear, established by his childhood alienation (due to his illegitimacy, his eyes, and perhaps also his neurodivergency), deepened by monster-related trauma and the sense of responsibility and survivors guilt he feels for what happened at Utaya. His identity as a human who is not monstrous is key to his sense of stability and safety; he doesn't want to touch monsters, he doesn't even want to see them.

To acknowledge a kinship, a possibility of similarity between the things he loves (humans) and the things he hates (monsters) would be more than touching them - it would be putting them inside him. We know, quite explicitly, that this notion is triggering to Kabru. He literally has what seems to be a flashback when he's about to eat the harpy omelette.

So he abjects it, classifying the demi-human as fundamentally unlike him - an unknowable object, or an object that he refuses to know. Because in understanding it, he would interject the things he hates and fears into his self, which is already, always under threat by that hated and feared object.

Of course, again, Kabru isn't very good at enacting this refusal in practice. For one, when he chooses between his desires and ingesting the feared object, eating monsters... he eats monsters. Part of this is treating himself badly, the "ends justify the means" mentality. His goal is to destroy all monsters, so if he needs to become monster-like to do that, he will. But part of it is also the other motivation that he didn't even seem to know about until he said it: he wants to become Laios' friend, and to learn from him how a person can like monsters. He wants, at least in some part of him, to reconcile the feared and hated object into something he can understand.

For another:

Kabru can speak the kobold language. In the first place, while this may have been common in Utaya, it also could have been something he chose to learn, an early expression of his interest in understanding and talking to all sorts of people. It isn't the kind of thing you learn if you believe that communication between yourself and the group that speak it is impossible, is it?

It's possible to harbour prejudices against a group while being kind to an individual, and given Kabru has those prejudices regardless of his reasons, that is what he is doing. But also, his treatment of Kuro doesn't reflect a sincerely held belief that he's an "unknowable object" at all. His approach is exactly the same as it is to any other person: an analysis of goal and motive, and an attempt to help if he's sympathetic and their goals align - going out of his way to give language and local knowledge lessons in secret. His conviction that Mickbell and Kuro will truly become friends when they can properly communicate is completely contradictory to any sense of demi-humans as fundamentally different, or impossible to reach mutual understanding with. To me, it seems like this self-protective shield against the corruptive force demi-humans as an idea present to his identity, this abjection, when Kabru is face-to-face with one, just simply can't hold up against his finely honed skill of intellectual empathy. Perhaps because he's autistic, it seems his "empathy" is less an emotional mirror response, and more a set of cognitive skills for analysis of others. That instinctual, emotional empathy might not trigger when presented with a member of an out-group, but if it’s possible for Kabru to turn his cognitive empathy off, we don’t see him do it.

This isn't to say that this prejudice doesn't affect his behaviour. For one, it could negatively impact his judgement of politics and policy, where individual people don't enter into it. For another, I'm not convinced he'd be willing to overlook Mickbell's exploitative relationship with Kuro if Kuro wasn't a kobold. As it is, since both of them are satisfied, he doesn't feel like he needs to intervene, regardless of the fact Mickbell isn't paying Kuro. But if Daya and Holm were in a relationship, and Holm took both Daya's and his own share from their ventures, but only compensated her in living expenses and kept the rest, do you think he'd tolerate it, for example? Even if she said it was OK?

Conclusion

The kelpie chapter establishes that "people can never know what monsters are really thinking." That isn't just true of monsters, though.

True mutual understanding is impossible - between anyone. We can never truly understand another person's heart. This is touched on in, for example, the existence of shapeshifters and dopplegangers. Even a monster that seemed like a perfect copy of a person wouldn’t be that person, and wouldn’t be a satisfactory replacement.

We’re intended, I think, to understand the winged lion's repeated suggestions to just replace people who have been lost with copies as something uncanny, which demonstrates the way that the winged lion never manages to attain a complete understanding of humans. A version of a person who was created to fulfil your memories of them, to be the person who you wanted them to be, would be a terrible, miserable thing.

Disagreeing, coming into conflict, and misunderstanding each other, are essential parts of what it means to be living beings, as fundamental as the need to eat.

The only thing to do is not to take more than you need to eat to survive, and not impose your own desires onto others. To do your best to sincerely communicate your desires, even if they're embarrassing or vulnerable or strange, like Kabru eventually does with Laios; like Laios does, bit by bit, with the people around him; like Marcille does, Chilchuck does, Senshi does... to hope they will accept you, and do your best to understand them in return.

We can re-examine, in that context, Kabru's line about the elves' tendency to "explain nothing and take everything".

They have the power to impose their preferred "menu" onto less powerful groups. And in that context, mutual understanding being impossible just means that they won't give up their power because they're asked nicely. Kabru's goal is to seize the truth that they won't give to him, and to create a situation where they can't take everything. Because he's accurately surmised that nothing about the treatment of short-lived races will change so long as the power imbalance remains. Despite the way he mistakenly ascribes part of that to "long-lived vs short-lived" or "human vs demi-human", the actual gulfs in understanding he identifies are structural, are about power and about access to material resources and safety.

I think he could come to recognise this. Yaad is teaching him political science after all, and while a prince's lessons on political science won't exactly get at much that's radical or invested in the interests and perspectives of the marginalised (Capital is a critique of for a reason after all...) I believe in Kabru's ability to learn critically and get more from a lesson than it was intended to teach.

[nezuscribe]

i love LOVE arranged marriage gojo already omg!! I cannot wait to read more of it! you’re such an excellent writer. sending you so much love 🫶

i would also love to see some hcs about them as the series progresses! im so excited already ♥️

yay!! i just started working on the fic so hopefully it'll be out soon!

some hcs i have rn for gojo is that he's a playboy, that's why his parents rushed this marriage sm, he was tarnishing their name. he's a really good warrior, i hc him having a more built build like toji in the manga, and so far he's just really aloof

reader i hc as just being a hopeless romantic. she comes from a family that always rejected her (I'll expand why in the fic) and so she's always hoped to be in a happy enough relationship. she's more jaded about things around her bc this isn't really how she grew up, so the lavish lifestyle that gojo lives in is a lot to take in. she might seem gullible but she's really just confused

[iamtheonethinginlifeicancontrol]

I have thoughts on this week's episode of Ranma 1/2 (ep 11)!

I thought that the re-framing that the anime did of Shampoo and Akane's match was very interesting. Choosing to have Akane lob a desk at Ranma and then have him hit in the head by a football (holy head trauma, Batman!) was such an interesting change to make! Ranma being unconscious for a minute or two before running off in search of Akane gave the match more time to occur, built more suspense, and gave Ranma himself more urgency in his search.

The rest of what I have to say contains spoilers (can we say this of a manga series that finished in 1996?) for the end of the manga, under the cut

I'm a die-hard 乱あ shipper and have been since I first read Ranma 1/2, so this episode delighted my little shipper heart. There are some small but significant deviations from the manga that I wanted to expand on, and one particular change that is narratively significant in light of manga canon.

Putting aside the issues of Shampoo's newer fixation on Ranma-as-male as her future husband per Amazonian law and how that impacts the dynamics of our tsundere couple in this ep, I'm choosing to focus on the scenes related to Akane's showdown with Shampoo and the changes that the anime made from the manga (and why I'm living for them).

As mentioned, the decision to knock Ranma unconscious is an interesting change to make, but I'd argue that it works well and was a well thought-out deviation from manga canon. As I said above, it gives the match more time to occur—whether that impacts the duration of time that the Xi Fa Xiang Gao technique takes is yet to be seen. It also builds suspense for the audience, especially in light of the younger generations/newer audience members who may be interacting with Ranma 1/2 for the first time. Most importantly, though, it gives urgency to Ranma's search for Akane that isn't quite there in the manga. Sure, he's worried as he runs after Shampoo and Akane after he gets delayed (by Akane slamming a window in his face lol), but the time that elapses between the two girls going off to fight and Ranma going after them is very short. Maybe 30 seconds, 60 at the very most. I'll include a panel below to illustrate this:

And of course, I'm not arguing that Ranma isn't worried about Akane or fearful that she'll get hurt. But there's a fairly significant difference in how this is portrayed (see below) versus how the anime chose to approach this.

For one thing, the framing is very different. Akane getting injured, while of real concern, is being shown in a humourous way; her facial expressions (like the swirly eyes) and Takahashi-san's characteristic "るーみっくサイン" (rumic sign) are used for comedy, to make it seem like any hurt Akane might incur won't be too serious. Plus, while Ranma does try to diffuse the tension after Akane grabs P-chan from the tray and gets the Kiss of Death for her trouble (lol Shampoo just gives those things out like party favours, doesn't she?), and tries to avert the fight between the two girls, the time that passes doesn't truly allow his concern to sharpen further. As seen above, Ranma's worried-but-determined. He's not flooded with anxiety (or particularly intrusive thoughts imo).

However, the anime chose to allow Ranma to actually lose consciousness at the beginning of the girls' match. We don't (and probably won't) know how long Ranma was actually unconscious, but it certainly was long enough to warrant his frantic search for Akane.

And frantic it is! This man starts running around the entire campus yelling her name, escalating to screeeeaming by the end. Please see below (subs are Akane's name [あかね] and onomatopoeia/sound effects for running and heavy breathing):

But don't worry, guys, he's super laid back, super chill. Jk just in these screenshots alone, he's calling/yelling her name 10 times.

Let's talk quickly about framing here! This is pretty starkly different from how the manga frames these scenes. The colouring is dark, the sky is cloudy, there's no lightheartedness to be seen, and Ranma's frantic and anxious, underscored by the, uh, musical scoring. The anime is treating this as Serious Business, which does make a lot of sense, given that Shampoo chased onna!Ranma all over China trying to kill him, and that experience is what's informing Ranma here. He has an interspersed imagination spot (see below) of Shampoo hitting Akane point blank in the chest with one of her chuí, and we see Akane exclaim in pain, fall to the ground, and remain motionless. He's panicking because he knows how dangerous Shampoo is, and he's afraid for Akane. He doesn't want her to get hurt; he wants to protect her wellbeing, especially because he's seen that she's less concerned with that than he thinks she should be. His insult from the skating arc makes another appearance here: he calls Akane "鈍い女" [nibui onna; slow/dull girl chick], which in his imagination looks like Akane leaving herself completely open for a sternal strike? But his anxiety is informing this mental image, so he's probably imagining a worst-case scenario. I'd hope that his opinion of Akane's capability would be higher, but I digress.

After he stops running about and screams Akane's name in desperation, he quickly hears Ryouga-as-P-chan's voice, he dashes toward the sound, finding Akane unconscious on the ground: fears confirmed!

And here's where, to me, it gets really interesting. We see that Ranma is calling Akane's name and cradling her in his arms; very different to this scene in the manga, where he's on his knees next to her, calling her name and saying, "hey, [untranslatable word that could best be read as] just..." (see below):

And in the anime, this becomes what I think must be an intentional reference to the end of the Saffron arc in the last volume of the manga (38). Ranma says the same thing in one of the last scenes of that story arc, cradling an unconscious Akane in his arms, calling her name, and begging her, "起きろよ、あかね" (okiro yo, Akane; wake up, Akane], among other things. See below for comparison of the manga (upper left-hand panel, specifically) vs the anime:

And here's episode 11's parallel:

Well, gee, what does Ranma screaming her name while holding her with tears in his eyes remind me of? I'm glad you asked! It's the next panel in the manga!

Spoilers, but really.

I've reached my pic limit on this post, so I can't compare and contrast much more, but I do have more to say on this parallel. Might make another post later, so that I can show more pics for illustration.

Whether I make that follow-up post or not, my immediate thought when I saw this in the episode was both that it was an intentional reference to Jusendō, and that it was intended to be the first of a pair of narrative bookends (i.e. recurring or similar scenes meant to refer & compare to one another within the narrative to illustrate something, whether character growth, story progression, relational changes, etc). If we do get the Full Ranma Series animated (may it please God), this is both foreshadowing and bookending, and I'm delighted by it!

Also, even if we don't get to see the Jusendō arc animated, Yamaguchi Kappei will have had the opportunity to play a version of that iconic scene from the manga and do his best "Akaneeeee!" scream.

[wordslikesilver]

I am once again thinking about Hoarah Loux, the only man Marika ever trusted and the only man she ever loved. It’s such an insane thing to think about the fact that the second last boss of Elden Ring is Some Guy. He is literally just A Human Man. Marika looks at this fucking raving barbarian man and decides to My Fair Lady him into a Lord like the deranged woman she is by assigning him a babysitter to perpetually gnaw on his neck whenever he’s in public. As insane as all that sounds, let’s break down that imagery a little because it’s actually really good! His babysitter is the king of beasts, a lion named Serosh, who digs his claws and his fangs into Hoarah Loux’s body to keep him suppressed and restrained enough in temperament to now be fit to be named Godfrey, The First Elden Lord of Queen Marika.

Serosh is frankly quite mysterious as far as what he actually is goes but as far as story themes go, he’s a really interesting symbol of lordship. The lion basically IS Godfrey’s crown, it’s what makes him Godfrey. The symbolism is essentially stating in a very overt way that this man is more savage than all the beasts of the world. In Elden Ring, beasts with five fingers indicate an enlightened or elevated intelligence, blessed by the greater will. It’s fascinating how it’s basically stating that Serosh is more intelligent, refined and noble than Hoarah Loux, that this man is more wild and savage than the greatest of all the beasts in the world. That only a beast king could teach this man to be a Lord. Godfrey can rip him apart anytime but he doesn’t. It takes more than strength of body to wear a crown and he knows it. He needs Serosh to honour and do right by Marika. He is showing his opponents a courtesy, as he puts it. Morgott takes after his example and so too is Radahn inspired by him. It’s really wonderful imagery.

There’s more to the symbolism. My knowledge of alchemy is, I completely admit, too surface level to elegantly speak at length but I’ve done some light reading online to back up my confidence in what I’m saying. We know Miyazaki loves dark edgy anime like Berserk and I posit that he also gained inspiration from the anime/manga Hellsing, in which the main character recites the line “I am the bird of Hermes, eating my own wings to make me tame.” This line comes from the Ripley Scroll and is theorized to have many meanings but popularly is presumed to mean giving up higher philosophy and knowledge to live normally on the earth as a human. Miyazaki uses lots of alchemical symbolism in his works, Elden Ring especially (go watch Quelaag’s videos!) so I could be totally full of shit about hellsing but I’m completely confident that Godfrey is meant to be an inversion (like literally everything else about his character) of what the Bird of Hermes represents. Godhood is a prison, a shackling. The entire plot is Marika (and Ranni tbh) trying to escape that imprisonment. Godfrey loves Marika enough to chain himself down, to eat his own wings, to pull out his own teeth and claws for her to make himself tame and ascend to lordship.

What’s especially fascinating about him is that he carries Serosh out into the badlands with him, as the opening cutscene shows. Cut dialogue indicates he already knew the Elden Ring would shatter and the tarnished would be beckoned to return. That Marika told him her plan in full before she took from him and his warriors the grace of gold and sent them away. A line from him saying to trust in gold, always, that it will guide our fates to our true destiny has wonderful implications I would certainly love to expand on in another post maybe. Hoarah Loux was just a human man and Marika trusted him enough to tell him everything. Trusted him with her gambit to escape the shackles of godhood. This is the fascinating part about taking Serosh with him. Keeping himself disciplined enough to remain a Lord when he returns. To hold back his aching heart just enough that he could follow through on this dark plan and allow his wife to protect him from the machinations of the greater will by sending him away. Also note that in that opening cutscene, he’s being crucified, with a lion about his shoulders and spear buried in his abdomen. They could not be milking the Jesus imagery harder if they tried. The Bird of Hermes is also thought to represent Christ, more points for that symbolism.

I love Godfrey so much as a character. He loved his sons and he loved his wife. The tenderness that he holds Morgott with is enough to make me cry. How he wished he could’ve seen him sooner, I’m all too sure. He’s the only other character we see guided by grace in the entire game. Marika guides you and her beloved husband, that’s it, that’s how much she trusts him. When he rips Serosh from his shoulders, you understand how Marika felt such faith in him. In Elden Ring, it is through battle that you face the true self of an opponent. Godfrey reveals to you Hoarah Loux, Warrior Chieftain of the Badlands. It is a test. Are you worthy to free her? Can you do what I could not? I have shown you courtesy enough as a Lord. You served me well, Serosh. I relieve you of your burden and feel only gratitude for your service. Now begins the test. Are you, tarnished, stronger than the only man who was strong enough to bear the burden of Lordship? Are you stronger than the only man that Queen Marika ever trusted? Are you stronger than the only man she ever loved?

[dunmeshistash]

As of... actually several episodes ago but more so on this episode, I'm starting to think there's something (a reason/correlation?) to the anime not going all out on the animation (youd think ep23 part 1 would have gotten more attention) or when its not doing a 100% panel-for-panel adaptation of the manga (ie cutting out gags and some other parts)

Its almost like the anime is slightly just a little maybe advertising the manga? but idk, you dont really get this feeling if youve never read the manga. It only torments those who have who know what's in the manga that the anime-only's are missing out on. and there's also the dungeon tidbits that dont/havent been adapted that expand more on the story.

lets be real tho, some things in the manga just would not translate as effectively into anime. (ie the manga covers that look raw as all hell)

tl;dr i have a feeling the anime is not doing the manga 100% perfect justice because animation restraints AND it wants you to read the manga as well.

I've actually been thinking about that too. But objectively I think the dungeon meshi anime is effective/overall good adaptation of the manga.

The feeling of "NOO IT'S MISSING X THING" as far as I can tell is only for people who have read the manga, everyone else doesn't seem to feel there's a lack of quality. I call it the cursed knowledge of the manga lol.

The fact is that the manga is just PACKED full of so many details an adaptation that has ALL of it is just impossible, and trigger's anime isn't necessarily bad just because it doesn't have it <- I say begrudgingly cause I wish it had all

From what I can tell they have been pacing themselves within their budget/time constraints and focusing on what the medium of animation can serve the best to compliment the manga, which is action scenes, they seem to be focusing most of their efforts into giving us BREATHTAKING animations during the action and honest I LOVE IT.

I recommend @swampjawn's animation breakdowns if you wanna really appreciate it in a more technical aspect, its so good.

But another thing I've been noticing is how much content Ryoko Kui does related to the anime? Like the merch, the blu-ray boxes the collabs. Is that something common at all? The manga author doing so much content related to the anime of their work?

Maybe it's an exception cause she finished publishing Dungeon Meshi before the anime came out but I hope that her gorgeous art inspires people to read it.

Anyway I'm not sure if trigger is on purpose doing "manga advertisement" but just where I believe they'll stop this season is probably gonna make a lot of people want to read so it's a win in my book.

[sirazaroff]

Any headcanons or AU style things with Weiss

Hey friend~

Weiss is one of my fav lil goobers, but I realize I haven’t really sat down and thought much about her character. My brain just turns off when I see her it's just 'mm yes is Weiss :)'

Anyways, I gave it a go. If there’s anything specific you’d like to know (shipping/character relationships/her take on canon events) just ask me further. Enjoy my ramblings:

The eyelid of Weiss’ scarred eye is damaged, permanently drooping

She’s the queen of puppy dog eyes

I like to think she takes after Willow a lot. There’s a lot of shared personality, characteristics, even looks between them. She’s a mama’s girl and Willow’s ‘favorite’

Weiss is forever cold, always liking to bundle up in some aspect. If anyone warm is around, you can usually find her snuggled up with them

I'll ship Weiss with a lot of the main gorlies. Big fan of polypiles

I feel like she wears red because of her grandfather, keeping his colors around as a reminder, but eventually she also associates the color with Ruby. Seeing her as a leader and partner to look up to and rely on

She is so easy to read. There is no hiding how she’s feeling

I like to think she hates wearing heels, but damn if she wont continue just to keep the slight height she can afford

She likes to pet Blake and Vel's ears sometimes. Soft, warm, it's chill. (This comes from the anthology manga)

The sexual tensions between her and Coco sets off geiger counters

She will steal other’s clothes, having at least one item from just about everyone she’s on good terms with

There’s a response Miles gave about how her kebob incident with Cinder played a large role in shaping her current personality, and I totally agree with it. Escaping death def changes a person

Expanding on that, I also think Weiss is now rather anxious/paranoid about Cinder the way she keeps being targeted by her. Sudden fire startles her and Weiss refuses to split off on her own if on missions or anything open like that

Weiss eventually surpasses Yang in humor but it's cause of her dry wit, never the puns

Post Atlas, her and Winter are on more equal terms. Her sister's been knocked down the pedestal some in her eyes, but she still holds respect for her all the same. She can just act more casual with her like she does with team rwby

Weiss knows a lot of 'cultured' skills because of her privileged upbringing such as chess, orchestral instruments, dancing, sports like tennis and badminton, even cooking, but the one thing she could never manage was baking and it haunts her cause all she wants to do is make a yummy batch of cookies for Ruby 🍪

Weiss prefers coffee as her hot drink of choice, but she makes attempts to drink Blake's favorite teas so they can bond over that

[class1akids]

I just caught up and dude I don’t think appreciating endeavor as a character makes someone a pro-abuser how could you say that. The director was wrong about the title change but why are you dragging her kinks into it? It’s separate from more concerning things like the title and missing scenes. Her primary problem was putting emphasis on the family instead of spotlighting shouto. Now I’m seeing misinformation from ppl I follow that it’s solely about her liking endeavor when that’s not the case.

Let me clear it up - I'm not a purist in any way. Appreciating Endeavor as a character or shipping him with whoever doesn't make you a pro-abuser, but manipulating or altering canon content to fit certain untrue framing can make someone's storytelling pro-abuser.

Let me sum up the issue and expand on what I mean:

Director announces her promotion to series director with a tweet with EndHawks plushies. Some fans raise eyebrows, but most don't react.

Director tweets about liking Endeavor fat ass and various other kinks from the same account she uses to communicate from as one of the official faces of the anime.

Director changes scenes that get widely interpreted as Shipping additions (Endeavor getting giant fire wings that don't exist in the manga and making sure his ass is in plain view)

Director changes the pre-agreed title of Todoroki Shouto: Rising last minute, even though the episode is Shouto's last episode and one for which he is very clearly the focus character connecting part A (his talk with All Might about becoming who he wants to be) with part B (the Todoroki climax and Shouto becoming who he wants to be).

She knows full well that it will anger fans. So instead of a title that applies to Shouto, we get a title that "might apply to Shouto" but also might apply to the family Endeavor. (We all know it wasn't about All Might who had three more episodes coming up and where they didn't even bother to adapt the famous middle schoolers panel). So now instead of a title that celebrates a beloved character's coming into his own as a hero, who did 90% of the work when it comes to Touya and the family, we have a title that apparently applies to the character who ironically was "never there" and even now is only there to do a murder-suicide. It obfuscates the fact that the family coming together meant total annihilation until Shouto showed up with a solution.

Trying to stretch All Might's "I'm here" which can apply to Iida and Shouto to Endeavor, who caused the entire tragedy in the making and frame the episode that this is "also" Endeavor's "I'm here" moment rather than his reckoning is a pro-abuser interpretation and clearly goes against Horikoshi's authorial intent of story-framing.

The Todoroki family climax is compressed into a 10-minute part B, where miraculously none of Endeavor's scenes are cut, but Natsuo's flashback is (isn't he family?), and so are the kindergarten kids rooting and smiling for Shouto despite them being prominent in the manga, not to mention Shouto's big double spread, Hawks hugging Tokoyami or Geten and Compress discussion. Yet there was time to give the TogaChako fight with the same amount of chapters 1.5 episodes.

The Director expresses a kink for Endeavor crying and as a strange coincidence the episode makes the change from the manga (where Endeavor is not crying) to the anime with Endeavor crying big tears.

On the episode MVP, even though most votes were for Shouto, Touya and Iida in this order, they changed the second place for the "Todoroki family", to include Endeavor even though in Light Fades to Rain they refused to accept votes for the UA Big 3 (and Mirio didn't even make the list). Ironically, this change in the counting meant that Endeavor won a place on the MVP, while All Might for whose "big and impactful moment" the supposed title change was, didn't make the MVP ranking.

Fans asked the official account to tell them if it was Todoroki Shouto Rising episode - it was trending for days. The official didn't respond or address those concerns in any way. I can tell you, Shouto fans were in real distress for days as Japanese fandom could not conceive that someone could cut the Rising title and it ruined the episode experience for many fans. Then the following week during the TogaChako episode, the official account tweeted "Rising this week and last week" which made the fans feel mocked and even more angry and wondering if the staff is truly this dense or downright malicious.

Btw, she was also behind the OP storyboard in S6 where Ochako was made to seem single-handedly save Deku while the entire Class A was erased almost completely. BK/DK fans were furious at the time too and she was widely criticized for that choice, but at least it was "just an OP" and not actual source material adaptation. So it's not just Shouto fans who feel that she's not the most impartial when it comes to the anime adaptation or understanding the manga.

I'm sorry, but the evidence is pretty overwhelming that certain changes are being made to fit Nakayama's personal ships, kinks and character preferences. I don't care normally who she ships or what fetishes she is into. I don't care if people like Endeavor, as long as they don't try to alter the canon content to deny his wrongdoings.

However, she was the one using her work account to tweet about Endeavor's ass - people didn't go digging into some obscure side account. The Japanese fandom was talking about it for days. I find that truly unprofessional.

I don't want someone in charge of adaptation of the manga who thinks that it is ok to flaunt her ships and kinks on the same platform she uses to tweet about her work. Plus her thirst tweets taint the work of her colleagues - many of whom worked hard on amazing sequences that were faithful to the source material and showed deep understanding of the content. It's disrespectful to them. They made the episode shine in spite her intents.

And it is clear that she is unable to stop herself from filtering her preferences into the adaptation. She is not writing fan fiction or making a fan video. She is adapting the manga into the one and only official anime for the entire fandom and she needs to be able to take off her Endeavor-fan hat, her EndHawks shipper hat or her Ochako fan hat and stop alienating and disenfranchising fans of other characters. Shouto fans, in this case whose Rising from now on will only exist in the manga. (Or you know the two people who were looking forward to for years seeing Geten and Compress one last time in the anime).

It's also good business not to alienate fans whose viewership generates ad money and who spend money on merch which eventually finance her job.

And with these very questionable things, I do think people questioning her real motives is both normal and fair.

Not to mention, Shouto fans are demonized for complaining, but 90% of the comments were simply asking to add the "Rising" subtitle to part B for the home DVD release which is honestly a no brainer if they want to boost the otherwise pitiful sales of the BlueRay / DVD.

[sapphic-agent]

Imagine the mentality of the individual who spent 10 years tormenting someone's life, just because that same person tried to help him.

One thing I will agree with Bakugou fans on is that he DOES need help. His ego, leaps in logic, entitlement, and borderline paranoia aren't normal.

The problem is that Bakugou fans tend to a) paint Mitsuki as abusive to excuse his behavior (or blame anyone else other than him) and b) think that he deserves everything he wants/gets in the manga when it should be the opposite. If Bakugou was going to grow and learn to be better he should have been:

Called out on his behavior

Made to face the consequences of that behavior

Forced to learn that he isn't owed anything, least of all from his victim

Able to learn how to save to save, not save to win

A big issue with Bakugou's character is that instead of actually addressing his actions, the narrative excuses and perpetuates them. Bakugou is looking down on Uraraka? Nah, he's actually respecting her by telling her she should have given up. Bakugou continuously assaults Izuku? Oh well you see it's funny. Bakugou is displaying villainous behavior? That's okay because he's too good to join those losers anyway!

The story has even gone out of its way to compare him to Endeavor and it's never expanded on. Like, HUH? All Might pointing that out could have been a great moment for Bakugou to self-reflect since he's well aware of Endeavor being abusive. But even in the middle of his redemption he never takes the time to reflect on his terrible behavior.

The only time he ever does is in his terrible apology but he couldn't even get that right

[runabout-river]

Thoughts on JJK chapter 269 (spoilers)

(TCB still doesn't have their own translation but some parts of this need to be cross checked with more translations. I'll do that tomorrow.)

We start the chapter with an ominous flashback that brings Mei Mei to an old woman before we make a hard cut back to where we left off last chapter

To my pleased surprise Yuta managed to get his body back though truth be told I did NOT understand the minute details on how that happened. Need to read up on that.

Megumi still feels the aftereffects of Gojo's UV that had crippled Sukuna's DE. This could mean Megumi himself will have trouble expanding his domain but would that be a short term problem or possibly even a long term problem 👀

(Way back when, I had also made a speculative post that Gojo's UV that hit Megumi's soul might've left Megumi with Gojo's ultimate knowledge from all his life but that doesn't seem to be a thing in the end.)

The first years are told not to feel guilty about anything and to be teenagers again. This echoes what Gojo said in the beginning on how children should be able to enjoy the spring of their youth.

We learn then how Yuta survived: because of Rika who independently kept his body alive. When Kenjaku's CT burned out after Yuta used Gojo's DE, he should've died because he couldn't keep the connection to Gojo's body.

Kenjaku shouldve had the same problems but they speculate that he circumvented that with barrier techniques.

Now comes the part where I need better translations because what's said here is too confusing: which CT recovered and was Yuta now dead or unconscious when Kenjaku's CT burned out?

The next question is: how did his consciousness end up back in his body? All this time I thought Kenjaku transferred his entire brain from body to body but that's not the case apparently? 😄

Also, the biggest question right now: what happened to Gojo's body?

I made a speculative post on how this body hopping through Kenjaku's CT might actually end up reviving Gojo.

The main point for that theory is that Kenjaku revives the bodies he transfers into. Second and third points are that the revival is a one time thing and isn't bound to the continuous use of the CT (speculation) and that Yuta "dies" through the end of the CT and through other means

Say what you will but this about Miguel and Larue was extremely funny but also give Larue some respect, Sukuna was in love with him for a few seconds.

The part where everyone discusses their battle strategies is interesting. Gege does sth here I have done while writing fanfics as well: acknowledging how varied and complicated the choices in the plot where and have the characters discuss it.

This gives the chain of events that did end up happening in the end a grounded feel and here it also gives the characters room to interact with each other.

My complaint about these scenes are that they downplay Sukuna's threat and power

Talking about what they should've done differently and how they could've won more easily is ok, but for me this entire conversation was too couched in "we won because of course we did, this was easy but it could've been easier"

Higuruma is alive though but I had that on my bingo card already, his apparent death was pretty vague

It's a funny reveal how the watch room was Rika this entire time, and apparently Yuta/Maki is basically canon

We also learn that it was indeed Miwa who clung to Maki and used Simple Domain against Sukuna to stop his MS. Todo managed to get her and Maki out with his CT at the end.

Without Ui Ui the battle would've been lost, so he really is the MVP

Now comes the part about the New Shadow Style: Simple Domain that was interesting but also added unneeded elements into the story this late in the manga

Some parts of this was mentioned previously like how you made a Binding Vow to learn NSS. There was a woman in a wheelchair once that resembled Miwa in parts who was probably one of those people who's lifespan was sapped away by the Shadow Head.

But did we really need to give this so much panel time? I guess with the mention of Tengen (who was apparently the one who told the good guys who the Shadow Head was) we'll go back to what happened to her and the merger in the next chapter.

What we also got was commentary on how JJ society hindered itself from becoming better because of the greed of people who wanted more power.

Mei Mei speaks of sorcerers who could've survived with Simple Domain and she probably means Nanami. Their stories in Shibuya acted like foils to each other (without that or them being in conflict with each though) so it's relevant to Nanami what she said here.

Overall I think some parts of this chapter should've been cut so close to the finish, especially when this really is the end of the manga. I still have hope for Part 2 though, this chapter was (as I expected) ambiguous about that happening or not.

[imagobin]

🔯Zoldyck Family HCs🔯

I wish this had been explored more in the actual manga, because to me the Zoldyck family is one of the most intriguing things in HxH.

We did get this chart which is very interesting, but I wanted to expand on it with a couple more headcanons and speculations. Doesn't include Maha, Zigg or Grandma Zoldyck cause there's too little info on them (Seriously Zeno, where do you keep your wife?)

---

🪭Kalluto🪭

Starting with Kalluto because he's the youngest and also gets very little time to shine.

It is commonly agreed that he cares about Killua a lot and wishes he'd pay attention to him, and I think so too.

His relationship with Illumi is possibly one of mentor and apprentice, they go on missions together and Illumi supervises him to make sure he carries out assassinations properly, without toying with his victims too much.

We don't see him interacting with Milluki at all aside from flashbacks, but the two might have a pretty positive relationship. I think it still means a lot to Kalluto that his shut-in brother would take time out of his day to go on walks and play with him, even if that hasn't happened in a while.

As for his relationship with Silva and Zeno, I do like the idea of both father and grandpa being proud of Kalluto for mastering Nen at such a young age, though Silva might be a bit disappointed that Kalluto disobeyed him and became part of the Phantom Troupe.

---

🧸Alluka🧸

Such a sweetheart aaaa I wanna see more of her and Killua's future adventures.

Ever since her ability was discovered by the other members of the family, Alluka's either been used to get something (Looking at you, Milluki), or feared. Silva and Kikyo definitely fear her powers, and Zeno probably does too. Though... I have a weird feeling that unlike the rest of the family, Zeno would be like Killua and at least respect Alluka's pronouns, if she likes 'she/her', Zeno doesn't see the problem with referring to her as a girl.

I think Alluka on the other hand really wants to love the members of her family, despite how horribly they've treated her. She probably doesn't even understand why they all became so cautious around her at one point.

The only family member that Alluka does not like is Illumi for... pretty obvious reasons. Illumi isn't subtle at all with his desire to control her and her powers; plus, Illumi's hurt Killua the most, I don't think she could ever be okay with someone who's hurt her big brother so much (even by Zoldyck standards).

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🪀Killua🪀

Not much to say about Killua since we see him interact with most of his family a bit more in-depth... aside from Kalluto-

Killua has definitely always favored Alluka over Kalluto, despite how much the youngest Zoldyck strives to get his attention. This is probably because of how close Kalluto is to his mom.

Killua finds Kikyo annoying, and definitely doesn't trust her, so since Kalluto spends a lot of time with their mother, by proxy, Killua can't bring himself to trust his younger brother either.

Aside from Alluka, whom he obviously trusts deeply, the other member of the family he trusts the most is probably his grandpa; Zeno clearly favors him and seems to be more supportive of Killua's choices compared to the rest of his family.

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🎮Milluki🎮

Milluki my beloved, how I wish you weren't just the butt of a joke 90% of the time.

Physically speaking, he's probably the weakest Zoldyck besides Alluka, so he's most likely afraid of the other men in the family, and would definitely not want to get on their bad side.

He obeys and respects both Silva and Zeno, but I also think Milluki would like to be treated like Killua by his grandpa, that's why he shares his invention ideas with him; he wishes Zeno would praise him some.

Milluki is 100% a mama's boy, he cares about her so much, he definitely had the strongest reaction out of everyone when his mother's safety was threatened by Nanika's powers. Despite this, Kikyo doesn't seem to give him any particularly special treatment, again, that is reserved for Killua.

He's most definitely also the unlucky middle child, I think he was definitely put to the side once Killua was born; his family fully focused on Kil since he's the heir, and left Milluki to kinda do his own thing. I feel like this consequentially brought him to be jealous of Killua and all the attention he gets.

I swear he's even worse off than Kalluto, cause at least he's got his mother's love, Milluki's basically neglected even by Zoldyck standards.

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📍Illumi📍

Man's the family's workaholic, you can't change my mind, he's also a little fucked up, but we love him for it.

He definitely cares about his whole family in his own twisted way. That includes Milluki too, they were the first two Zoldyck siblings so until Killua was born, they most definitely spent a lot of time together. Illumi doesn't really understand his brother, but he humors him.

His relationship with Kikyo is never really explored, but I see them as being definitely close, not as close as she is with Kalluto, but close. They share the same mindset when it comes to Killua. Illumi was also her first child, so she definitely poured her heart and soul into training him into being the perfect assassin, and it definitely shows.

Illumi's dynamic with his father and grandfather is definitely one of mutual respect, they may not agree on everything, but they trust each other's strength. Silva also appreciates Illumi's dedication to the family's business.

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👒Kikyo👒

M'lady- okay no girl needs to take a chill pill, her fashion tho, on point.

Obviously her view of love is completely warped, growing up in Meteor City and marrying a world-renowned assassin didn't do her mental health many favors. But just like Illumi, she does love her kids deeply in a really twisted way.

She plays favorites, Killua and Kalluto are the ones she cares about the most, and with how dismissive of Milluki she is, he's probably her least favorite, kinda tragic since Milluki loves his mother a lot... but then we have Illumi, where does he stand? Kikyo cares about her first born child of course, she's very proud of him, and trusts him a lot with keeping Killua in check, since they seem to share opinions on how he should be trained. She wishes he'd spend more time with her for sure.

Her opinion however is way too often brushed off by Silva, not because she's a woman, but because she's not been raised like a Zoldyck, she doesn't fully know their ways, so she's not seen as a valid voice. It's an unfair treatment, and it really pisses her off.

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☄️Silva☄️

True winner of the 'Father of the Year' award, along with Ging, great job you two.

Silva honestly has evil mastermind vibes, he cares about Killua, but also wants to constantly control him and test him in his own way (the needle was a massive proof of that). He's just a lot more subtle with it compared to Illumi and Kikyo.

He loves his wife, no doubt, even if he doesn't show it very often, I think the man is prone to small displays of love, and definitely shows it more with his actions than his words. (Him agreeing to let Alluka out of her room because he doesn't want Kikyo to die is definitely the biggest display of this we've seen canonically, he's aware of how dangerous Alluka's powers could be, but he still chose to risk the consequences of that over sacrificing his wife).

His relationship with his other kids is not really explored that much, but I believe he's mostly satisfied with all of them. I don't think he's super disappointed in Milluki either, but he definitely doesn't expect much of him, he does wish he'd take things more seriously.

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🐲Zeno🐲

My favorite anime old man! I really wish people would pay more attention to him, he's cool as hell.

Zeno is probably the most chill man in the family, maybe cause he's old, but he's definitely the least likely to snap back at any of his family members.

He has a very strong set of morals, with him not wanting to cause any unnecessary deaths and all. I feel like because of this, he silently disapproves of Illumi's ways, especially regarding his Needle People, and the older brother's desire to control Killua.

Zeno doesn't really think much of Kikyo, he acknowledges her skills and such, but doesn't really go out of his way to interact with her. These two have definitely had their disagreements, mostly because Zeno tends to act on his own without consulting anyone, let alone her, which inevitably angers Kikyo.

He is quite proud of all his grandchildren, even if he's mostly focused on Killua. Much like Silva, he is happy that Kalluto mastered Nen at such a young age. He also sees more potential in Milluki, but wishes he was more committed to the family's business and used his genius to its full potential.

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[doodlegirl1998]

hori constantly acts as if he isn’t the writer and has full control of the story and it pisses me off to no end. gonna drop some examples below. these are from the street wear profiles from the manga.

sen kaibara - “I love his Quirk, so I can’t wait to portray it more.” he’s acting like something/someone is actively holding him back from doing so.

tetsutetsu tetsutetsu - “I hope I get to show him in action more.” once again, acting like something is stopping him. side note, why tf did he give him that name. it’s just so lazy. and it’s not even funny. just annoying to say and annoying to write.

hanta sero - “He’s mostly just for one liners in the background, but he’s a good guy, and I’d like to feature him more. At some point. For sure.” and then proceeds to never do that.

this might just be me being bitter abt all the amazing characters he’s completely disregarded and disrespected. this might just be me not understanding what it’s like being a mangaka. but it still bothers me.

i just hate how he’s created this insanely interesting world and amazing characters and never expands on anything bc he’s too busy sucking bakugos dick.

speaking of bakugo, as someone who has narcissistic tendencies, he’s a textbook case.

he obviously has some sort of inferiority/superiority complex and a mild to severe case of a god complex. at best he’s dismissive of people who he sees as inferior to him, at worst he’s downright cruel.

his “nicknames” are all just fucking insults aimed at peoples insecurities.

raccoon eyes/horns: mina was probably bullied for her appearance and then her so called “friend” exclusively calls her names that poke fun at her appearance.

bird brain/bird face/other bird names: tokoyami has probably heard it all at this point but once again bakugo making fun of heteromorphs.

dunce face: denki has shown to be insecure about his intelligence and once again his so called “friend” mocks him for it.

tentacles/arms/octopus: again, mocking heteromorphs.

tail: i’m beginning to see a pattern here.

ears: ok how has no one pointed out how most of his nicknames are him basically just calling them slurs.

i don’t think bakugo has ever called someone their actual name. maybe a handful of times? but it’s like a massive event when he calls someone by their actual name.

exclusive calling people insults isn’t exactly heroic.

anyway rant over i just needed to get all this shit off my chest.

Hi @the-jello-bowl 👋,

There could be something to be said here about how the editors may have had a hand in Hori not exploring all the characters he may have wanted to.

But, even if that is the case, not all of the blame would rest on them.

Hori clearly did not plan ahead for a lot of MHA. He is very good at coming up with good character designs and concepts as well as bringing life to them but seems to be at a loss after that is done. The cast bloating is key evidence of this.

It is sad to see all these interesting characters be swept to the wayside in favour of Bakugou, who by contrast brings nothing of interest to the table.

Bakugou is a narcissistic abuser in my opinion. He uses cruel nicknames, not as lighthearted jibes, but to bring others down - especially his friends.

Other than the instances you mentioned, I want to bring attention to one that belongs to Bakugou's supposed best friend, Kirishima, who he calls only "shitty hair." We learn in his backstory that Kirishima changed his hair to be like his idols as a symbol of his growth prior to U.A. Therefore, being continually called "shitty hair" would hurt Kirishima deeply. He also tells Bakugou to stop, and yet Bakugou does not care.

The time I can think of when Bakugou called someone their actual name is that time he used "Izuku" instead of the usual "Deku" slur. And even that is bad because instead of asking for the right to call Izuku by his first name, usually reserved for close family, Bakugou just does it.

Typical narcissistic, entitled and stagnant Bakugou. We hate to see it.

I wish Hori didn't waste so many manga panels on this idiot.