#it’s like reading completely original work because i am oblivious to the source material

[guest-1-2-3]

omw to read fanfics from fandoms i’m not part in and have never been part of and know nothing about again !! having fun

[billxharry]

This post is  a long response to an anon I keep getting re: the reasons I personally don’t ship Bill and Rosie. 

To the anon who has now sent three rather unhappy messages, firstly let me say I have not been ignoring your messages by any means,and I have a backlog of asks and content I am still trying to manage. I always intended on answering you. I usually try to put thought into how I answer, especially to questions like this. That being said, no one ever owes anyone a response, so please keep that in mind. I must be honest though, the tone of your messages threw me, as this being the Mamma Mia fandom of all things, such anger seems out of place, even if you don’t agree with me.

I would like to deny your claims that I obviously hate Rosie, something that is completely unfounded and totally false. I very much love Rosie, actually. It’s true, I’m not keen on her being with Bill, but it has *nothing* to do with me shipping him with Harry. It has everything to do with, and I stress very strongly here, this is my opinion, though I feel canon highly supports this, them not being all that great for one another.

In the first movie we see neither of them are the type to want to commit. The forming of their relationship that we see is dwindled down to them dancing together one time. I understand there is scenes we don’t see. We don’t see them after Sophie faints at the party. They undoubtedly spent time together then to make their plans. They had breakfast (with Harry) on the boat, we didn’t see that. They went fishing together, which while Sam was originally supposed to be there too, there’s very strong indication he never went. I know there’s a small deleted scene of some of their time together during this time. I won’t argue that maybe some huge moments happened here that we weren’t privy too, but with what we are presented, it doesn’t work for me.

Which in the musical itself, Bill and Rosie have a similar plot, with just a few more very small hints, including the deleted scene from the movie mentioned above, indicating they will happen, but I feel it’s pretty much on the same level of development in the source material. The movie could have changed that though- but it didn’t. They didn’t give further new scenes to help push this pairing, and they deleted their tiny little scene that was in the musical.  I personally feel they focused more on developing a stronger bond between the Dads, and a stronger bond between the Dynamos. I can’t be quoted, it’s been a good amount of years since I’ve seen the stage show, as, ironically, as a huge musical fan, I’ve always actually disliked the musical.

However, to get back to what I was originally trying to say, so with what we fully see, we go from Rosie and Bill both being admitted lone wolves, not looking for a committed relationship. They spend a little time together, and after an emotionally charged wedding, Rosie decides she wants to be with Bill *because* Bill says that sort of life isn’t for him. This is such a head scratcher to me. You’re feeling like you maybe want to be in a relationship after all, so you turn to the one man who specifically says he doesn’t want that. Bill continues to openly show discomfort at Rosie pursuing him during Take a Chance On Me, and Rosie is worth much more than begging a man to give her a chance when all the other pretty girls are gone. I know it’s a song and it’s comedic, but personally it doesn’t make me think of them being an ideal pairing or building a lasting relationship.

Then we come to the second movie and no surprise, their relationship didn’t last. I actively dislike this plot even more. I hate that they made Bill cheat on Rosie, for her sake and also for his in terms of character development. I don’t think Bill has to be that guy. Rosie certainly deserves more than what I feel Bill would realistically give her. She was obviously unhappy because of what Bill had done to her, and I was so proud when she was resisting him because of it, and when they got back together I groaned, because again, it was an emotionally charged moment. They were mourning Donna, Bill finally showed some emotion in front of Rosie, and it was for the same thing she was so personally broken about. It wasn’t a moment I can see automatically fixing all of the flaws of their relationship at all.  I can understand it in the moment,certainly, but not long term.

 It’d have been different if HWGA had come back with a completely different story for them, I would have had to re-think their relationship, but as it stands it confirmed everything I thought it would they would turn out to be, and their make-up scene did nothing to make me think they could work past it this time around either.

You asked why I prefer Bill and Harry, which doesn’t happen, to Bill and Rosie which does, and the answer is simple. (I don’t ship Harry and Bill Austin, just FYI, this is a movie exclusive pairing for me. The stage musical doesn’t give me some of the key things about the pairing that the movie does.) Bill and Harry were very obviously set up as the foil of one another, and the movie added things that furthered that. The thing is though, that foil drew out new sides of them. Bill instantly, and I mean instantly, encouraged Harry to be more spontaneous. I truly don’t think Harry would have stayed on the island when he found out what was going on without Bill. And Bill, Bill supposedly isn’t emotionally open, and yet wasn’t he quickly and readily opening up to Harry about his fear of having a daughter? They better each other, and bring out positive changes in each other.

Personally, I don’t see that with Bill and Rosie. They both are so similar, they are both writers, both are the louder friends, the life of the party sort of vibe, both are saying they don’t want a relationship. When they make up at the end of the second movie, it’s because they both have been crying over the loss of Donna. It’s just another matter that they’re the same in. It doesn’t fix everything else between them...

And what has changed with all of the years in between what we see when they meet in Here We Go Again, to what we see in the original Mamma Mia, back to the present parts of HWGA. Bill was a playboy oblivious to Rosie then, causing her to eat away her feelings, and when we see them in the present timeline, literally *nothing* changed, which is even worse because they actually were together for some amount of time between that time. Changes should have happened. Their relationship didn’t progress at all. They don’t make positive changes in each other, and that’s a problem. I feel Harry and Bill could actually improve upon each other,  because in the short time they knew each other in the first movie, they already were. 

In the end though, your ship is canon. They were together again at the end of the movie, and they were seen as happy. Rejoice in that. I am just a little shipper for a small ship I personally feel was set up for more, that could have a different outcome, but in the end, they’ve never gone that route, so what I wish and read into things mean pretty much nothing in the grand scheme of things.

[renmaru]

you know. sometimes i love something a lot so i need to scream about the things that piss me off about it. i don’t think this is a particularly negative post but it’s just like sheer frustration and if you dont get some satisfaction from articulating your frustration into tumbler dot coms longposts and destroying the capital of this website because you are not a gemini sun then like fair i guess feel free to disregard this. tonbokiris kiwame is cool go look at that.

now to the lukewarm tea ive been simmering for five years. the one thing i always think about all the time is that tkrb is a popular game despite itself. the piss poor gameplay with only the barest of bare QoL in the five years its been up, the seeming complete lack of direction and the frankly nonexistent worldbuilding is held up purely because of its attention to detail and reverence to the original culture and history of the swords combined with some very good character design and subtle but nuanced character writing that can be openly interpreted. just enough flavour to imply something larger but chickening out on actually making anything y’know. concrete. basically allowing the fans to draw their own conclusions. but even then a game like that would not survive cause there have been countless, hundreds of games with high quality and fervent attention to detail and respect for the source material that just died completely because they have such little to actually offer in terms of engagement. i think the main thing that bugs me about tkrb is that it has one of THE most creative, dedicated and strong fanbases of this genre of game who go out of their way to engage with any and all of the content and the devs seem kind of oblivious to this.

in comparison to modern gacha style games, touken ranbu releases barely any new content and frequently recycles content but somehow it’s still relatively popular with approx. 1mil active players daily but the maddening thing is that tkrb can reach much MUCH further. the fans are there, the curiosity is there, it’s just the game content is not fucking there. it does not put the effort into commissioning seasonal art, pushing new events with actual plotline/story content, creating promotional materials, tie-ins etc. but somehow its still in the top 5 comiket circles for nearly five fuckin years straight. here are your badley compiled receipts: c89(w2015), c90(s2016), c91(w2016), c92(s2017), c93(w2017), c94(s2018), c95(w2018), c96(s2019)

 it can launch itself from laughably low in the appstore ratings, hovering in the middle of the 200′s to TOP 30s in the appstore at the flick of a switch. what is this magic button that fucking quadruples revenue and skyrockets your app into the top 50 grossing apps? 3/4 of your characters getting static CGs that you cannot use at all anywhere in the game but will do a powerpoint transition and appear for 5 seconds at login. oh and like a few free mats i guess. and i kid you not it fuckin worked.

wanna know why that worked? it’s cause otherwise characters, especially fan favourites just don’t get anything at all. it’s like most characters outside of the very popular ones rarely get new art, new recollections, new anything outside of their kiwame upgrade which is more often than not years down the line and only recently, four years in, they decided to add alternate costumes but even then there’s a catch which has me feeling some kind of way.

and yes, i fully understand that tkrb is a multi-media franchise, i get that it’s got its fingers in so many pies like the stageplay, musicals, various manga anthologies, the animes, hell its even got live action but man, would it hurt to give some love in game? i’m not asking them to go full fgo route and commission the industry creme de la creme to make 6 full CE illustrations, lots of promo art and tonnes of new merch every single month. but the fact is for such a big franchise, reusing the same sprite art on nearly every piece of official merch, going so far as to add NEW costume art which is just the heads of the old default sprites edited onto new bodies? it screams cost cutting, it screams lazy, the path of minimum effort. it’s almost like the game itself and the original materials are an absolute afterthought at this point with only the most dedicated hanging on to it. i guarantee that the majority of people still playing tkrb are the committed day1 players and the actual rekijou cause it’s just painfully offputting to new fans, with other fans even going out of their way to specify the game is not integral to enjoying the series which sucks, but it’s true.

its a real damn shame to think that something you are so invested in is not particularly invested in itself. sometimes, just sometimes i wish they dev team for tkrb was more hands-on, more adventurous, more willing to listen to players, invest in the game and genuinely try and make the game the best it can be. i’m not asking for balls to the wall summer events, beautiful animated CMs from the likes of the industries best animators, i’m not asking for pages of supplemental lore compiled into books, character backstory novels or whatever i’m just asking for the lore and the characters that we love to sometimes occasionally be remembered in the actual game outside of like ... the two years between their kiwame and the vague possibility of a recollection. i want to feel like this game puts as much effort into itself as the fans do towards it.

it’s a painful truth but there’s one shining light which is that the fandom for tkrb is genuinely one of the most committed and transformative ones ive ever seen. i have never been involved with a fandom that varies so widely and puts in so much effort for these characters and this world. tkrb exists solely as a popular franchise due to the sheer legwork of the fans carrying it on their backs collaboratively. ultimately, tkrb is very very lore-light, there’s so much thats missing and the characters in-game rarely rarely interact with each other. the characters are contained solely in however many voice lines they get at implementation, their kiwame letters, and their updates kiwame lines and the only interaction they get with other swords is recollections or depending on the sword, the odd custom sparring lines.

but despite that there has been so much fan effort to explore everything in so many different varied ways, and amazingly there are certain tropes, relationships, lore etc. that have started off fanon and become canon. the fan community, especially the fanartists, doujins, writers, animators etc. being given a small indulgence by the anime is one of my favourite things about tkrbs relationship with its fanbase. that’s not to say that the fans dont give back in kind a hundred fold.

there’s so much i love about tkrb fans going out of their way to go SEE historical swords in japan, single-handedly reforging swords using crowdfunding and revitalising lots of small-town tourism having real world impact. shit makes me unbelievably happy. the stage plays and musicals are always met with warm reception and are always well attended and even though its hard to access, there are lots of western fans who have dived into a whole new MEDIUM that most of us arent really familiar with but out of their love for tkrb theyve done that. they have hosted the musical as far out as india and france, making tkrb a truly worldwide franchise and there theyve met full seats! as far out as india! then theres the fantranslators, who always have the drive the commitment and energy for the thankless work, the wiki always always is well maintained and they have new content up so fast, and there are so many people willing to help you out. even when crunchyr*ll got hanamaru s2 (i think) a week late and we were left without subs for the premier episode for a whole ass week, fantranslators who had never subbed before stepped up to translate a whole episode for FREE, encoding, subbing and timing it all despite never having done so just so others could understand the episode faster than cr*nchy themselves could. even, as well, it’s made so many history nerds out of a whole bunch of people, it’s created an appreciation for nihontou and japanese history that would otherwise probably never be in their orbit because of how inaccessible it is, especially in english. even on a personal note, i started learning japanese primarily so i could understand tkrb and the history behind it better and to read jp fanart/interact with fanartists.

 no matter what, i am forever warmed by how much i love tkrb and its fanbase and im glad that tkrb is still going strong, even despite itself sometimes and i hope that moving on tkrb tries new things, and becomes better for everyone.

[recentanimenews]

Staff Picks: Our Favorite Manga of 2019

Welcome to the first post in our annual “Staff Picks” series, in which the Ani-Gamers team selects some of our favorite anime, manga, and video games of the past year. As is the custom, we begin with manga.

2019 was a year of transition for the manga industry. The breadth of manga available in North America is larger than ever thanks to an array of seemingly thriving publishers. Japan-backed veterans Viz Media and Kodansha Comics continue to pump out great books, Seven Seas is more active than ever, and Square Enix has now thrown their hat into the ring with a new US-based subsidiary. But the biggest news of the year is the rise of digital manga services. In late 2018 Viz launched their revamped digital Shonen Jump experience (simulpubs and the full back catalog for some of the most popular manga in the world for the absurdly low price of $1.99 a month), followed shortly thereafter by Shueisha’s Manga Plus, a competing free manga service offering major titles from Viz’s Japanese parent company (go figure). Meanwhile, third-party services like MangaMo are starting to explore the digital subscription space. 2020 may just be the year that manga has its Crunchyroll moment.

That’s all the business side, though! Now it’s time to talk about the comics themselves. This year we’ve got three staff members participating, showcasing stellar manga stories across the genre spectrum, from whimsical fantasy to gothic horror to understated romance. Enjoy, and feel free to chime in with your own 2019 picks in the comments.

David Estrella

#3: At the Mountains of Madness

Quick disclaimer: H.P. Lovecraft was a big-time racist and I’m very aware of the contemporary re-evaluation of his works in the context of the man’s politics. That said, Gou Tanabe’s adaptation of Lovecraft’s novella is still an incredible work that should be taken with the illustrator’s own merits in mind. It’s Tanabe’s own talents that really elevate an old story that has been mined for parts and made relatively obsolete by other creators. As an artist, Tanabe’s visuals paint a perfect picture of alien desolation and dread, and his approach to pacing has few parallels among his peers. It’s a manga that doesn’t read like a typical manga and as far as graphic novels go, Tanabe is comfortable pulling from as many Western influences as needed without losing sight of his own identity and ideas. It’s simply a good comic from an artist that’s probably better than Lovecraft deserves.

#2: Bakemonogatari

Having rewatched the TV series innumerable times before reading the novel, I was convinced there wasn’t much new ground to break with Bakemonogatari. Oh!Great proved me wrong. The manga artist’s career-defining works had their moment before I was aware of them so I came into this unprepared for what I would find. Not content to simply rely on Nisioisin’s prose to carry the familiar story of a boy, a girl, and the crab spirit that stole her physical weight, Oh!Great pushes the imagery to extremes that not many artists would dare attempt. It’s almost overwhelming to see the ambition in every page that features some wild shifts in angles and perspective and yet remains totally comprehensible. The kinetic energy of the manga does override some of the finer, subtler points of the source but I can respect it as its own creation separate from the original.

#1: Nicola Traveling Around the Demon’s World

Nicola Traveling Around The Demon’s World is the best manga that I’ve read in 2019, rising above even my Monogatari bias on the virtue of being a completely new and fresh title, drawn with an infectious sense of joy and wonder that you can’t find in much of anything these days. I tend to fly through manga as quickly as I can read it, to the dismay of any hard-working comic artists reading this, but Nicola is worth the time to slow down and properly take in all the details inked onto the pages. It’s not Asaya Miyanaga’s desire to show off their skills when the panels are brimming with character, but instead it’s their love for their creation. Nicola might have run in a magazine explicitly marketed at adult readers but it would be unfair to place it in a box that would discourage young manga fans from reading this.

Ink

#3: Kino’s Journey – The Beautiful World

As someone who remains 100% in love with the 2003 anime adaptation of some of Keiichi Sigsawa’s Kino’s Journey novels and someone who found the 2017 anime adaption reboot largely soulless and hugely disappointing, I am fully prepared to defend my claim that this manga not only carries the very essence of the 2003 adaption but successfully builds on it in a few ways. First off, the stories, which include new and established chapters, are by Keiichi Sigsawa, so everything’s right from the source (via translator) there. Secondly, illustration by way of Iruka Shiomiya offers everything one could ask for in a title with such disparate situations as Kino’s Journey. Gone is the bishi Kino of 2017, and the more androgynous design returns. Heavy detail is placed into Kino’s motorad, Hermes, as well as weaponry and other machinery, but more detail is also placed on gore … which is a lot more prevalent and, as one might expect, not illustrated in detail to evoke a feeling of pleasure. Each volume also begins with a lovingly drawn, two-page spread overlain with a translation from Sigsawa’s original novels. This manga is only #3 on my list, because it’s another, albeit fantastic, iteration of something I already love, and that puts it at an unfair advantage over the other two in my list.

#2: Girls’ Last Tour

When the anime adaptation of Tsukumizu’s Girls’ Last Tour manga aired, the series of successive vignettes seemed the spiritual successor to the 2003 adaptation of Kino’s Journey. The episodes, like the source material, focus on moe blobs Chito and Yuuri exploring a stratified, post apocalyptic landscape via kettenkrad in search of, well, anything. While the episodes sometimes feel like a platformer video game with regard to how characters get from point A to point B, the human elements of observation and imagination are ultimately what make the series so enthralling in portraying the means necessary for maintaining sanity in the face of desolation. The anime, however, does not adapt all of the manga; the last two volumes are (as of yet) not adapted, and they are worth reading to the very end. The manga sports a style that melds the industrial with the abstract/absurd to simultaneously isolate humanity and show the ways in which it thrives. The chapters are often pensive think pieces which exploit innocence as a lens to both denounce the destruction of an inherited world and praise that which is found therein. The art, despite being hyper-mechanically and -pasturally focused, is admirably minimalist; a few lines often define landscapes, and the resulting emptiness is of the utmost importance for atmosphere and tone. Panel progression and related mastery of visual metaphor are so very important to the interpretation that I question whether dialog is necessary at all. That said, the charming, often (but not constantly) comical relationship between the odd couple MCs does help move moments along in the more stagnant bits while providing enough chuckles to press on.

#1: Happiness

Despite being a huge fan of Shuzo “Your Mental Discomfort is My Middle Name” Oshimi, this manga is about vampires, and I am very much burnt out on vampires and werewolves and zombies and the like. To be fair, however, Happiness is just as much about vampires as most vampire movies are about vampires. That is to say they are about (a) hunger. More to the point, and more to Oshimi’s forte, this 10-volume deep-dive into a youth mentally dealing with his newly awakened, biological need to feed is a visual feast from which Oshimi wants readers to catch the warm coppery waft of life. I fell in love with this title with Volume 2. The initial concept in the visual depiction of hunger - a swirling and distortion of character POV that increases in magnitude with the length of abstinence - feeds right into Oshimi’s Francophilia; post-impressionist landscapes and portraits are definite influences, and other European styles are invoked as well for jaw-dropping art used mainly in chapter breaks. Oshimi’s visual style has improved by leaps and bounds since Flowers of Evil, and that’s saying something given how much I love the visuals in the latter volumes of that title.

Evan Minto

#3: Bloom Into You

It’s been a pretty quiet year for Bloom Into You, with only a single book (volume 6) released in the US. However, 2019 was the year I discovered this wonderful manga, so here it is on my list. Bloom Into You is a yuri manga with an unlikely premise: its main character, Yuu, has never had feelings for anyone, boy or girl. Even when Touko, the seemingly perfect student council president, confesses to her, Yuu feels nothing, but as she spends more time with her she finds a hint of something growing in her heart. Bloom Into You is all about the slow burn, the uncertainty and furtive glances of young love. But what especially sticks out to me is the way it captures — intentionally or not — the experience of asexuality. Where most manga romances follow characters seeking love from others or obliviously stumbling into it while the audience cheers them on, Bloom Into You is about the process of introspection and overthinking, as Yuu tries to figure out if she is even capable of love. Nio Nakatani’s character designs and realistically stylish costumes are a delight, and come to life beautifully in her flowing, evocative art style. I can’t wait to see how this series wraps up next year.

#2: Witch Hat Atelier

It’s rare that I find a manga that I want to read for the artwork alone. Kamome Shirahama’s Witch Hat Atelier is exactly that, and as if the stunning art weren’t enough, the story is also fascinating in its own right. Coco is a village girl who dreams of magic, but rarely gets the chance to interact with the mysterious witches of her country. When a grave mistake causes Coco to unleash a dangerous spell on her village, she gets taken in as a witch’s apprentice and discovers her country’s long-held secret: magical power isn’t innate, but is called forth by drawing magical signs with special ink. Anyone can draw, and thus, anyone can make magic. That direct metaphor for art would be pretty inspiring if Shirahama’s illustration style weren’t so intimidatingly beautiful. Everything from characters to backgrounds is painstakingly rendered in a style that’s halfway between a woodblock print and the textured drawings of Kaoru Mori (A Bride’s Story). The world of Witch Hat Atelier feels tangible, weighty, lived-in, yet simultaneously light and whimsical. I’ve only just started on Coco’s journey, but with art like this I will read just about anything Shirahama puts out.

#1: Chainsaw Man

Viz launched their Shonen Jump app in late 2018, offering easy access to dozens of currently running and retro manga series from Shueisha’s flagship boys magazine. As for me, I jumped into the app and skipped right past One Piece and its ilk to find the most dangerous Shonen Jump manga of all: Chainsaw Man. Denji is a horny 16-year-old boy who makes money by selling off his organs and hunting monsters called “devils.” When he dies (spoilers), his pet chainsaw-dog devil merges with his body, turning him into “Chainsaw Man,” which is basically just “Denji but with chainsaws growing out of his arms and head.” Tatsuki Fujimoto’s manga is an unhinged, action-packed spectacle of blood, guts, and bone-headed idiocy, fueled by the antics of Denji (number one goal: “touch some boobs”) and his unstable devil-hunting partner Power (a devil possessing the body of a dead girl). The series is heavy on the comedy, bouncing a cast of morons and psychopaths off of each other in increasingly destructive ways, but it also takes turns into heavy drama and even romance, all of which Fujimoto handles with a surprising amount of sensitivity. The art is scratchy and high-contrast, but full of unforgettable action set pieces including a giant fox demon taking a bite out of a building and a high-speed car chase with a devil who can turn anything she touches into a bomb. Chainsaw Man is the closest thing we’ve got to reading a Hiroyuki Imaishi (Promare) doujin manga in English, so naturally it’s my manga of the year.

Staff Picks: Our Favorite Manga of 2019 originally appeared on Ani-Gamers on January 6, 2020 at 6:53 PM.

By: David Estrella