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politesper-rip · 2 years ago

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TMOHS HONORIFICS REFERENCE

a few of my buddies supported the idea of me making a bit of a reference for how the tmohs characters canonically refer to each other. so, i decided to do just that! i'm really only going through and picking out relevant characters, as non-relevant characters aren't really given names to be addressed by. everything under the cut because this is long. anyone is free to reblog this.

CHARACTER DEFAULTS: - KYON by default refers to people by just last name. he seems to add -san onto that if the person is older than him. - HARUHI will use lastname-san on average, but tends to jump to just last name or first name. she's inconsistent, though. - YUKI and KUYOH will not refer to anyone by name if they do not know their first and last name. if their first/last names aren't known to the audience yuki will describe them "the cat" / "that human" / "that time traveler" or solely refer to them by their pronouns when it is clear in context. - MIKURU is polite by default; lastname-san. - ITSUKI is polite by default; lastname-san. will occasionally refer to people by their full names when monologuing. - RYOKO and EMIRI often use lastname-san but will refer to people by full name on occasion. especially when discussing things in the context of their goals. - TSURUYA is similar to kyon with a tendency towards giving people nicknames. - FUJIWARA more often just describes people, usually in a derogatory manner, rather then call them by name. when he does use names, it seems he defaults to just last names without honorific or using their full name. - EVERYONE ELSE can be assumed to use lastname-san for people by default. it's just polite.

KYON IS REFERRED TO AS... - KYON by the majority of people. we do not hear his real name even once in the series, thus no one is seen using it for him. though we can assume teachers and his parents do. - KYON-KUN by mikuru, tsuruya, and his little sister. - KYOROSUKE once by tsuruya - NOTHING by yuki, emiri, ryoko, and kuyoh. these few only refer to kyon in the second person “this/that person/human” or just “you”. as we do not see them talk about him when he is not present we are unsure how they reference him when he is not around, but we can infer that they do not use “kyon” as it is a plot point in “snowy mountain syndrome” that yuki would have not called kyon by his nickname. - KYAM by T. (NOTE: she once also called him kyami). - SENPAI by yasumi. no name, just senpai.

HARUHI IS REFERRED TO AS... - SUZUMIYA-SAN by everyone who isn’t yuki or kuyoh. if a major character isn’t mentioned as doing otherwise below, this is what they call her. - SUZUMIYA by taniguchi and fujiwara. kyon also calls her this at the beginning of melancholy before getting to know her better. - HARUHI by kyon (NOTE: kyon once considered starting to call her by “haru” or “haru-chan” but decided against it). - HARU-NYAN by tsuruya- and kyon’s sister who picked it up from her. tsuruya will switch between this and suzumiya-san. - HARLS by tsuruya. - HARU by T. - FULL NAME by yuki and kuyoh. a lot of supernatural characters (especially aliens) will occasionally use her full name as well, but it is not anyone else’s default. - ??? we do not see yasumi refer to haruhi, so we do not know what she calls her. it can be assumed it is either suzumiya-senpai or haruhi-senpai, but it’s hard to say.

YUKI IS REFERRED TO AS... - NAGATO-SAN by everyone who isn’t kuyoh. if a major character isn’t mentioned as doing otherwise below, this is what they call her. - NAGATO by kyon and taniguchi. - YUKI-CHAN by tsuruya (she switches). - YUKI by haruhi (NOTE: haruhi called her yuki-chan and yuki-san both exactly once at the beginning of the series, but has never used either since then). kyon’s sister also calls her this. - YUKKIKO by tsuruya (she switches). - NAGATOCCHI by tsuruya (she switches). - FULL NAME by kuyoh. a lot of supernatural characters (especially aliens) will occasionally use her full name as well, but it is not anyone else’s default. - ??? we do not see yasumi refer to yuki, so we do not know what she calls her. it can be assumed it is either nagato-senpai or yuki-senpai, but it’s hard to say.

MIKURU IS REFERRED TO AS... - ASAHINA-SAN by everyone who isn’t yuki or kuyoh. if a major character isn’t mentioned as doing otherwise below, this is what they call her. (NOTE: while this is kyon’s default, when he first met her he called her asahina-senpai before switching to this). - ASAHINA-SENPAI by yasumi. - MIKURU by tsuruya. - MIKURU-CHAN by haruhi. (NOTE: mikuru signs a letter to kyon referring to herself as mikuru-chan). - FULL NAME by yuki and kuyoh. a lot of supernatural characters (especially aliens) will occasionally use her full name as well, but it is not anyone else’s default. (NOTE: itsuki once tried to refer to mikuru by her full name, but kyon told him not to say her first name. he has never done this since and sticks to asahina-san).

ITSUKI IS REFERRED TO AS... - KOIZUMI-SAN by kyoko, unlike other characters this is not usually how he is referred to by default. - KOIZUMI-KUN by haruhi, tsuruya (she switches), mikuru, and kyon’s sister. a majority of the female characters in the cast have this as their default. - KOIZUMI by kyon, the student council president, and all members of the agency. T also sometimes calls him this. a majority of the male characters in the cast have this as their default. - ITSUKI-SAN by tsuruya (she switches). - IKKI by T. (NOTE: she will sometimes add his last name: “ikki koizumi”). - FULL NAME by yuki and kuyoh. a lot of supernatural characters (especially aliens) will occasionally use his full name as well, but it is not anyone else’s default. - ??? we do not see yasumi refer to itsuki, so we don't know what she calls him. it can be assumed it is either koizumi-senpai or itsuki-senpai, but it's hard to say.

RYOKO IS REFERRED TO AS... - ASAKURA-SAN by everyone who isn’t yuki or kuyoh. if a major character isn’t mentioned as doing otherwise below, this is what they call her. - ASAKURA by kyon, haruhi, and all members of the agency. taniguchi sometimes calls her this. a majority of the male characters in the cast have this as their default. (NOTE: kyon and haruhi sometimes call her asakura-san, but not very often and never when she’s around) - FULL NAME by yuki and (presumably) kuyoh. a lot of supernatural characters (especially aliens) will occasionally use her full name as well, but it is not anyone else’s default.

TSURUYA IS REFERRED TO AS... - TSURUYA-SAN by everyone who isn’t yuki or kuyoh. if a major character isn’t mentioned as doing otherwise below, this is what they call her. - TSURUYA-SENPAI by T. - TSURUYA by T and haruhi. - TSURU-CHAN by haruhi.

EMIRI IS REFERRED TO AS... - KIMIDORI-SAN by everyone who isn’t yuki or kuyoh. if a major character isn’t mentioned as doing otherwise below, this is what they call her. - FULL NAME by yuki and (presumably) kuyoh. a lot of supernatural characters (especially aliens) will occasionally use her full name as well, but it is not anyone else’s default.

SASAKI IS REFERRED TO AS... - SASAKI-SAN by everyone who isn’t yuki or kuyoh. if a major character isn’t mentioned as doing otherwise below, this is what they call her. - SASAKI by kyon, taniguchi, and fujiwara.

FUJIAWARA IS REFERRED TO AS... - FUJIAWARA by a majority of people in the past (who aren’t yuki or kuyoh). if a major character isn’t mentioned as doing otherwise below, this is what they call him. - FUJIWARA-KUN by sasaki.

KYOKO IS REFERRED TO AS... - TACHIBANA-SAN by everyone who isn’t yuki or kuyoh. if a major character isn’t mentioned as doing otherwise below, this is what they call her. - TACHIBANA by kyon. - FULL NAME by yuki and kuyoh. a lot of supernatural characters (especially aliens) will occasionally use her full name as well, but it is not anyone else’s default. this is also the way itsuki and fujiwara are seen referring to her most often, though itsuki also uses “tachibana-san.”

KUYOH IS REFERRED TO AS... - KUYOH-SAN by everyone who isn’t yuki or kuyoh. if a major character isn’t mentioned as doing otherwise below, this is what they call her. - SUOH-SAN by kunikida, but he also uses kuyoh-san.. - KUYOH by fujiwara, taniguchi, and kyon. - FULL NAME by yuki. a lot of supernatural characters (especially aliens) will occasionally use her full name as well, but it is not anyone else’s default.

YASUMI IS REFERRED TO AS... - ??? we do not know the usual default for her, since she only interacts with the brigade. we can assume it is watahashi-san, based off average language conventions. - YASUMI-CHAN by haruhi and mikuru. - YASUMI by kyon

- FULL NAME by itsuki, surprisingly enough. yuki does not ever address her by name, it is unsure if this is just a coincidence or intentional giving yasumi’s true identity. however, it is not unsafe to assume kuyoh and yuki may refer to her this way as well given their defaults.

OTTILIE IS REFERRED TO AS... - T by everyone who isn’t yuki or (presumably) kuyoh. if a major character isn’t mentioned as doing otherwise below, this is what they call her. - MYSCLUB T by kyon (but he mostly calls her T, i just thought this was a funny instance). - LIE by tsuruya. - FULL NAME by no one that thing is so fucking long. i think yuki should use it for shits and giggles tho.

TANIGUCHI IS REFERRED TO AS JUST TANIGUCHI BY EVERYONE. KUNIKIDA IS REFERRED TO AS JUST KUNIKIDA BY EVERYONE. MORI IS REFERRED TO AS MORI-SAN BY EVERYONE. (NOTE: kyon theorizes itsuki may not be so formal with her behind closed doors.)

KYON’S SISTER IS REFERRED TO AS LIL’ SIS (OR “KYON’S SISTER”) BY EVERYONE.

FOR EVERY OTHER CHARACTER, REFER BACK TO DEFAULT OR LOOK AT THEIR CANON TITLE (EX: THE COMPUTER CLUB PRESIDENT).

#〈 ɢᴇɴᴇʀᴀʟ 〉 : ♙ → ooc ╱ i have koizumi brain rot.#ok to rb.

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miloscat · 1 year ago

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[Review] Densetsu no Starfy 3 (GBA)

A thoroughly pleasant game.

Tose is usually a shadow developer, doing contract work without credit. The Starfy series is/was one of their own creations, something they can call their own and be proud of. I seem to be playing these in backwards order as I started with the only localised instalment, the fifth game, then later picked up the fourth. I'm playing this one now at the end of my Wario Land odyssey because Wario himself makes a guest appearance! More on that later.

The more Starfy games I play the more I realise how similar they are to one another. For a period of seven years they pumped out five of them, making what you could call very safe sequels. But hey, it worked for Mega Man and I think it works here too. After playing the whole Wario Land series with its wild swings and experimentation to mixed results, I really appreciated Starfy's consistency and had a really nice and cosy time with this chapter. The gentle adventuring and platforming is as pleasing as ever, and I particularly enjoy the land/water dynamic. Starfy and Starly are wonderfully mobile both in and out of the water—spinning, running, gliding—and Tose never fails to wring something out of the interplay between the two.

The main difference between games seems to be the type of gimmicky vehicle sections they include. But in this third instalment, the final one on GBA, there are actually two innovations worth mentioning. One is the Wario crossover (more on that later), and the other is the inclusion of Starfy's boisterous younger sister Starpy/Starly. This is in fact her debut as a co-lead, and as in 4 she has her own playable sections and her own abilities (crawling, wall-jumping). She also adds something to cutscenes; ok so I skipped past a lot of them because this game is only in Japanese and I struggled to read them at a glance, but having her participate in conversations along with sidekick Kyorosuke/Moe and the many silly animal characters you encounter enables a dynamic that stunned mullet Starfy, lumped with the "silent protagonist" hat, simply cannot. He's adorable but I'm getting really sick of game characters who don't talk, especially when he has implied dialogue.

Anyway, more on Wario now. It's an odd inclusion because the series has never before or since had a crossover like this, but it's very well done. Each level is normally framed as a fetch quest or other favour for an NPC who then lets you exit the level, while giving you a little cosmetic item to dress up your stars in the menu. In world 8 (of 10) you meet Wario as the designated NPC, and he sticks around for the whole world of four stages. It's cleverly positioned as an event within Wario Land 4: he pops out of a portal, there's four gems to collect, you step on a frog switch at some point which puts you in an autoscroller. His sprites even look like redraws of WL4, except more detailed!

Wario has a much more active participatory role than most NPCs in other stages, in a way that incorporates the status effects that were so prominent in the series. Starfy has to nudge him while in a fiery panic, burst him from bubbles, and get a lift from his floating puffy form. It's a great way to deeply involve him to get maximum effectiveness from the crossover, and even stands out in this game due to the level of interactivity with another character. He also has a great presence in cutscenes (and these ones I did try to read): threatening to cook and eat Moe the clam, pressganging Starfy into helping him while calling him "rookie", and having fun arguments with Moe where they accuse each other of being ugly, and imitating the other (they both have a similar, rough manner of speech). Wario is so much fun when you let him speak! Over the course of proceedings, he gives you his hat, a replica of his nose and moustache, and a copy of Warioware GBA, then you find a very Wario-like pile of treasure at the end of his set of levels. All in all it's a really cool crossover and a lovely homage to WL4.

This guest appearance opens up so much potential that I'm puzzled why they never tried this kind of thing again to this extent. Not just fun cameos in the vein of Kirby's Dream Land 3, but the interactivity that Wario brought in his chapter as more than just a roadblock NPC. It's a highlight of the game for a few reasons. Oh well, there's something to be said for the baseline pleasantness and charm of this series either way. Oh, and there's an attempt at replayability here that's worth mentioning: after clearing the game, you can finally access a world map and can revisit levels for new collectibles. I opted not to, but it's a decent way to extend the life of the game... maybe if I ever return for a second playthrough, or the fan translation group gets up to this game (they recently completed a patch for the first game!).

#starfy #the legendary starfy #densetsu no starfy 3 #tose #gba #review #wario

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kusogamesss · 1 year ago

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Kero Kero Keroppi to Origami no Tabibito

An unassuming bridge between past and future.

Paper is with us always, from birth to death.

The 3DO’s multimedia library is a largely bifurcated collective of (early) childhood edutainment software and adult only erotica. It is an often shocking contrast, the likes of Putt-Putt and Eigo de Go! occupying the same space as Immortal Desire or the aptly-titled Sex. It is a testament to the possibilities afforded to software developers during the multimedia boom of the early 1990s, CD-ROMs making the proliferation of minimal input, high-quality entertainment a reality for those too young to meaningfully engage with interactive software, and those too libidinous for anything but appeasement. This duality makes both extremes intriguing, and led me to gravitate towards Kero Kero Keroppi to Origami no Tabibito and its heart-achingly sweet cover art and premise. One of Sanrio’s cutest characters being taught how to do origami, something I did as a child and when starting university? Sign me up.

Understandably, given the very young audience, Keroppi and his friends are taught traditional, simple origami designs that teach the fundamentals of the craft. Keroppi’s designs are toy-like, including a jumping frog, paper popper, and traditional sumo wrestler. Keroleen’s are cute objects, being flowers, jewellery, and heart shaped stationery. The origami traveller teaches Ganta how to make animals, Kyorosuke to create practical objects like a tissue holder, boxes, and notebooks, and Noberun ‘mysterious’ geometric models and more complex designs befitting his friends’ categories.

Selecting a design shows a short animation of Keroppi and friends playing. Teru Teru gives the design a difficulty rating out of five, and Den Den is an ever-present adviser as the user goes through the design’s steps. The traveller helps out in video segments to demonstrate specific folds and methods. Each design is accompanied by a bonus interactive toy or clip from the Hello Kitty and Friends OVAs. It is altogether simple but effective as a tool for teaching and entertaining.

Paper is expression.

Paper craft is inextricable from childhood itself. Paper is cheap, plentiful, easy to work with, tidy, safe, and ultimately simple. Origami exemplifies the beauty of paper most clearly. It is free of embellishment and destruction. It is singular. It can be functional or aesthetic. It is as permanent and temporary as it needs to be. It represents a compounding of the care (or lack thereof) put into it. It is nearly ancient and incredibly contemporary. It is simple and boundlessly complex. It is flat and sculptural. It is childish and mature. Keroppi and his friends demonstrate this with aplomb. Origami is an expression of the self.

Like Keroppi, I dabbled in origami as a kid. I would make throwing stars of printer paper and mar them with staples and paperclips to give them heft. Cootie catchers were scrawled on. Jumping frogs cut for ease of creation. While entirely unintentional, this engagement with origami was a refusal of the art form itself by trying to make the paper into something it was not.

On the eve of entering university, I turned to origami again, crafting modular Sonobe models and simple animals. The discovery of contemporary origami by the likes of Gen Hagiwara, Jun Maekawa, and Hideo Komatsu gave me the drive to continue the craft further because of the possibilities in a single square of paper. As my first year of university drew to a close, I presented to my mom on her birthday a senbazuru I had been working on for the past eight months. She still has it hanging on the wall of her office. I folded cranes of all sizes and left them around campus for others to find and take, and though they would sometimes end up in the trash their intrinsic impermanence meant it never bothered me. It’s just paper after all. I made increasingly complex models to push my skills and try and impress a girl I liked. I got a cat and made her little paper doodads to bat about. I rather ironically got a crane permanently marked into my skin. And for whatever reason, I slowed down my craft and eventually stopped. A global pandemic began. My lone crane became surrounded by flowers. I sent parcels to my boyfriend and packed them with cranes I had folded long ago. The models I made that were strewn around my house were put away in drawers and bins, the senbazuru and some custom boxes I had made being the only concrete symbols of this years-long hobby of mine.

Paper is a constant.

What I adore most about Kero Kero Keroppi to Origami no Tabibito is that it brings a centuries old craft into the hypermodern age of multimedia. It could work just as well as a book or tape, but it takes advantage of this new medium to address the realities of a radically shifting world. Shortened attention spans are sated with visual stimuli. Origami as an expression of national, abstract culture is conveyed through materialistic, corporate culture to try and ensure the survival of the craft. It takes something so accessible it can be done with leaves and hides it behind the extreme cost barrier of a 3DO or FM Towns Marty. Most importantly, it presents these origami models as means to an expressive end beyond the purely aesthetic. It shows me what I was perhaps missing in my drive to make complex origami. I was missing the intrinsic fun of paper, of craft, of play.

Paper is with us always, from rebirth to death.

I began HRT in 2021. My flimsy paper birth certificate was marked by a gender I knew to be incorrect for a decade. In late 2022 I came out to my parents and underwent the legal hullabaloo necessary to fix the gender marker on my identification. The impermanent birth certificate was mailed off and destroyed. It was replaced by a polymer certificate. Paper that had been with me from birth saw me through to legal [rebirth/death].

I started Kero Kero Keroppi to Origami no Tabibito in the morning, sat at my desk in my underwear in a body radically different from the one I had when last I folded paper. A body that was new. I moved to the floor, and folded without the precision I once obsessed over. My imperfections compounded.

It was an expression of the self that was real. The sun broke through the clouds and was warm on my skin.

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