#like a typical japanese series

[redrobin-detective]

From the first moment I started Iruma-kun, I was fascinated that Iruma is only ever referred to by his first name. Pretty much everyone else in the series has a first and surname with the majority of people calling others by their surname. But everyone from family, friends, teachers, enemies calls Iruma by his given name. The non-canonical narrator outside of the story is the only one to call him Suzuki Iruma.

From a practical perspective, it makes sense not to give him a last name because names and titles have power in the Netherworld. Iruma is making a lot of waves and people might want to investigate his lineage if given a potential avenue and be surprised to come up blank. On a more personal note, Iruma’s parents sold him to Sullivan. By selling Iruma, they lost all claim to him and the ability to have their surname attached to him. Sullivan seems petty enough to refuse to acknowledge the names of people gleefully who abandoned their child alongside his precious grandson’s name. In the Netherworld, Iruma is only Iruma. He is a chaos causing young demon, the chair demon’s beloved grandchild, Clair and Azz’s best friend and so much more.

The Suzukis lost the right to call Iruma their own the moment they sold him.

[neo--queen--serenity]

I noticed that, in the English dub, the ADA refers to Tanizaki by his first name rather often. It's actually pretty rare to hear his last name in the dub, and I wish I knew why.

It can’t be for the simplicity of referring between him and his sister, since everyone calls her Naomi in both versions.

It’s not a logistical (“mouth-flap”) choice either, I’ve noticed them saying it even when a character is facing away, and their mouth isn’t visible, so it’s not that.

I admit that I do like the choice, since Jun’ichirou is the same age as Atsushi—who also gets referred to by his first name by the rest of the ADA. It follows the trend of calling anyone 18 and under by their first names, too, since this also applies to Kenji and Kyouka.

It may be a small change, but it’s a consistent one, so it had to have been a conscious choice.

[pandorashearts]

ok now that the rage is out, actual rational reason for why this pisses me off so much.

if my love & devotion to pandora hearts didn't make it clear enough, my favorite niche of media is alice in wonderland inspired works. if i know something is inspired by aiw, i'm gonna at least look into it automatically. dunno why, honestly. but, it's been like this since i was SUPER young.

that being said, im obviously p versed in alice in wonderland inspired media. i haven't consumed them all, i'm sure there's many i'm unaware of, but. i've consumed enough to confidently assure alice in borderland is the first time i personally have ever seen an alice in wonderland inspired media portray alice as a guy, while still having him be named alice.

and, like! it's honestly SUPER clever to get away with doing this by having alice be ryohei's last name instead of his first. because, obviously, 'alice' is not typically a male name. it can be bc gender is a concept yada yada, but. like. u get what i mean.

so, like. baring that in mind. if somebody who has absolutely zero concept of how japanese pronunciation works stumbled across alice in borderland, & watched w the english subtitles... they'd have no reason to question if 'arisu' is meant to be 'alice'. bc. why would it be? they're expecting 'alice' to be a female character.

& so, like. it honestly rly fucking sucks that this really interesting way of taking the alice in wonderland inspo & portraying its references as it does gets completely sacked & made out as pointless by having alice not be referred to AS alice.

& even more so bc additionally, the white rabbit is a woman in the show. so, we have these two prominent characters from alice in wonderland being swapped. but, like. that doesn't even get to be properly appreciated bc they don't let u know alice IS alice. it genuinely just comes across as 'huh, weird this show named alice in borderland, & that's v clearly inspired by alice in wonderland, has a MALE lead & his name is arisu. weird this aiw inspired media has no alice.'

tbh part of me wonders if that's why they decided to go w that decision. to blatantly erase how silently groundbreaking it is to have an alice in wonderland inspired work where alice is still named alice, but is a guy instead of a girl. the silent way that breaks down gender stereotypes and such. but, nope. that all gets lost.

fucking bullshit.

also yes ik im v stupidly passionate abt this, but again. aiw-inspired works is my FAVORITE niche genre of media ever. my favorite series of all time is literally an aiw-inspired work. ive never seen an aiw-inspired work do this. not saying no others exist, & if they do, pls lmk! but. yeah. it does suck the only example ik of doing this gets stomped by refusing to let alice be named alice.

[saiwestfield]

Been rewatching too much childhood anime and now all my ocs in my head speak Japanese

And when I try to imagine them speaking English they all speak in anime dub English😟

[yumeka-sxf]

Going by the official preview, I knew we were going to get a short mission involving Anya and Becky at the movies, but I was pleasantly surprised that Yor ended up joining them 😃 (along with Martha)

I had a feeling it would be the same movie Franky saw in the previous chapter! There certainly was a lot of kissing 😅

I like the little detail that Martha wears glasses when watching movies.

When Anya thinks of what movie they're going to see, in the Japanese version she mistakenly says ぎょじら ("Gyojira") instead of ゴジラ ("Godzilla.") One of the readings for ぎょ("Gyo") is 魚 (fish). So that's why it's a fish monster 😂

This scene was just so Anya. Never change, girl.

Another fun tidbit I just now noticed is that Becky calls Yor 師匠 ("shisho") which means "master/teacher" in a trainer to trainee relationship.

Poor Becky being surround by only abnormal women and unable to have the typical girlie talk she craves, lol.

But that's also what I like about Becky - she's still a good friend to Anya despite their differences in taste on...everything, lol. And even though Yor and Martha aren't like the women she idolizes in the movies and shows she enjoys, she can see their good qualities and still respects them.

I also love how both Martha and Yor are clueless about romance, for different reasons.

Yor is extremely inexperienced and flustered when it comes to romance, while Martha did try to pursue it, only for it to end in tragedy. My little headcanon is that, towards the end of the series, where Yor is struggling to decide whether to stay with the Forgers or not (either due to an identity reveal or some other reason), Martha is able to give her a "pep-talk"...convince her to follow her true feelings and find the romantic happiness that Martha herself wasn't able to attain in her generation ❤️

[hwaslayer]

vivrant thing (jwy) | three.

—SPOTIFY PLAYLIST / SERIES MASTERLIST

—SUMMARY: after getting into a little accident, wooyoung decides to do his sister a favor by pretending to be your date at the company summer party. as soon as the night ends, wooyoung would go back to his usual routine of hanging out with his boys, keeping his distance from committed relationships and being a typical brother to jiwoo. except, the favor comes with more than what wooyoung expects and he finds you occupying his mind more than usual. 

—PAIRING: jung wooyoung x f. reader

—GENRE: (18+ - minors dni) bestfriend’s brother au | fluff, angst, smut

—WORD COUNT: 6.6k

—CHAPTER CONTENT / WARNINGS: cussing, implied sexual content/mature language, dinner w/ yeosang!, feelings are laid out oof, alcohol consumption & slight intoxication, a bit more of jiwoo vs. wooyoung, use of pet names (princess, love, baby girl, baby), lots and lots of kissing, making out, mentions of marking, some dry humping, unprotected sex, slow sweet sex??, wooyoung pulls out 🫢

So, you agree to the dinner with Yeosang but you don't expect how terrible it ends up playing out.

At first, it starts off well.

It felt like dinner wouldn't be so bad, and you enjoyed seeing Yeosang being his usual self from the car ride up to the restaurant. When he pulls into a spot in the parking lot and helps you out of the car, there is a bit of a difference in Yeosang's attitude. He slides his hand into yours as he leads the way into the restaurant and as much as you adore your bestfriend, it feels incredibly unnatural. 

It surely doesn't feel like Wooyoung's, but you shouldn't be thinking about that right now.

He continues to loosely hold your hand until the host brings you to a table near the back end of the restaurant. You didn't think tonight's dinner would be so fancy, but you were in your business casual attire straight out of work; it ended up working out well in the end. You scoot into the booth, with Yeosang on the other side. He immediately orders a bottle of white wine, which isn't really to your liking as you've learned, but you'll make do with what you have— especially to get through this dinner.

You order appetizers along with your main courses, indulging in good conversation with Yeosang as he tells you work updates and how he's being dragged to this really important meeting over the weekend with the board of directors by his team lead. 

It's all good. It's all fun and casual, until it isn't.

Meanwhile, Jiwoo stops by her brother's apartment to drop off some sushi from his favorite Japanese restaurant. It's her way of saying 'thank you' without actually having to say it out loud.

"What now?" Wooyoung swings his door open to see his sister standing there with a bag of food.

"Hi to you, too." She drops it on his kitchen counter. "Bought you food from Sushi Kashiwa." 

"Aw, just say it." He pretends to pout while she gives him a disgusted look and unties the bag.

"No. Besides, I bought myself some food and am gonna enjoy it right here." She lays out the containers and grabs her own. "My friends decided to leave me out of a very important dinner tonight."

"What are you talking about?" He pops open the lid to his sushi container and wastes no time digging in.

"Y/N went to dinner with Yeosang. I guess to talk about stuff going on between them, I don't know." Wooyoung pauses mid-chew, the statement hitting him right in his gut. He's not sure why he's sad— maybe he's right after all. Maybe this just ended up being a temporary one night thing that would eventually wash away.

Sucks it doesn't necessarily feel that way for Wooyoung.

He can't assume, though. Hopefully, you're talking to Yeosang and giving him the honest 'i think we should just stay friends' talk instead of the 'let's just see where this goes' talk. He'd appreciate the universe if it could give him this one thing; he'll stop running his parents' last nerve and will never look at a booty ever again.

Maybe.

"Oh." Is all Wooyoung says before stuffing another piece into his mouth. "Why would you even be there, Jiwoo? That doesn't concern you."

"Anything with my friends concerns me."

"Let them talk it out without your loud, nosey ass interrupting." She rolls her eyes, scrolling through her phone as she also continues to eat.

"I haven't gotten any new texts from her. I wonder if it's going well. Maybe they're gonna explore this after all."

"Who says?" Wooyoung responds a little too quickly, a little too sharply, for his liking. His sister doesn't seem to catch on, though. That's great.

"I dunno, beats me. I'm just taking all angles into consideration."

"Stop projecting. She seemed to be pretty set on her decision at the party."

"You never know." She says in a sing-song tone that irks Wooyoung a little more than usual this evening. "You're right, though. She is set on her decision. I just hope he takes it well." She sets her phone aside. "Anyway. How'd you like the party?"

"Gotta admit, it was fun."

"You really looked like Y/N's date. I had a few people ask me if you two were dating."

"Uh, I mean I was her date? And why would they ask when I already told them yes?" He jokes, just to push his sister's buttons.

"No way." Jiwoo continues to eat away at her food, texting Hongjoong in the midst of it. "Y/N is too good for you."

"No one is too good for anyone. Don't speak on shit you don't know."

"I know her!"

"And I know her, too!"

"I know her the best." Wooyoung rolls his eyes.

"Still doesn't mean you know everything about her."

"Ew, why are you getting so defensive tonight?" He shakes his head, feeling the irritation within him grow the more Jiwoo presses it. He knows he isn't the best man to walk this Earth, but he also knows he'd be good to you. Good for you. He's been thinking about it a lot and he hates that he is— none of this makes sense to him, but he knows he'd be good.

"Don't you have to go see Hongjoong?"

"Once he's off, yeah." Jiwoo sips on her water. "What're you doing tonight? Getting into more shit with Choi San?"

"No, he's actually visiting his parents."

"Hm." She hums. "No booty call coming over?"

"No. Even if there was, you would not be getting that information." She scoffs.

"Grow up, Wooyoung."

"Grow up, Wooyoung." He mocks her. "Says the one who made the wild claim based off of nothing."

"You're so annoying." She tosses her sushi container into his trash before washing her cup of water. Despite their usual bickering, Jiwoo stays for a bit longer until Hongjoong texts her and lets her know he's finally off of work after putting in some overtime. Jiwoo helps tidy up Wooyoung's space before she's waving goodbye [aka flipping him off] and slamming his door shut. Wooyoung plops back onto his couch with the remainder of his food resting on the coffee table, scrolling through his phone. He goes through your texts, wondering if he should say anything or keep silent. He smiles to himself when he sees the pictures you've passed along from the photographer. He sees you've posted the picture with him on your Instagram and it tugs at his heart because not only do you rarely use Instagram, but you took that opportunity to post your pictures from the party— including the one where you've got your hand resting on his chest while he has an arm around you. He was happy to see you happy and comfortable. Having fun. 

You glowed. 

He'll never forget it.

—OLD TEXTS

you: hi! they uploaded the pics from the party!

you: *sends a group of pics at once*

wooyoung: yo goddamn!? we look good!

wooyoung: you look so pretty. 😍

you: 😀 stop !!

wooyoung: i'm so serious, good LORD. 😮‍💨

you: i'm blocking you.....

wooyoung: woah now, hey i'm kiddddding....

wooyoung: not really! but don't block me! i just can't help it!

you: you're too much 😂

wooyoung: can i post these?

you: go for it!

wooyoung: thank you ☺️

He sighs as he reaches the end of the thread.

He won't say anything. He'll let this unfold as it should, but it doesn't mean he can't be sad about it. Cause he sure as hell is and he's a bit anxious. Hopefully, you'll tell Yeosang the truth. Hopefully, you won't force yourself into anything you don't want or feel uncomfortable with.

As for you, the dinner really takes its turn for the worse after you and Yeosang eat away at your main meals, a pregnant silence falling between you two after a good hour of just talking and yapping away about life. You already knew it was coming at this point, you were just hoping you'd buy a little more time [as if you could put it off even more]. 

"So." He says awkwardly to cut the silence.

"Mhm?"

"Did you really enjoy the party?"

"I did. Did you?"

"Yeah. I just—" He looks at you with his head cocked to the side. "I was just surprised seeing you with Wooyoung." You pause before poking at your pasta and taking a small bite. 

"Oh yeah, it was relatively last minute."

"Jiwoo's plan?"

"Why do you say that? Do you genuinely think Wooyoung wouldn't go with me?" You ask, a little offended at the way he sounds cause even though it was clearly planned and arranged, the insinuation from Yeosang doesn't hurt any less. 

"No, not like that— I'm sorry, it came out of nowhere and caught me off guard. That's all." You cock a brow up. 

"It just happened that way. Wooyoung wanted to go and I wanted to go in the end." Is all you respond with, chugging your second glass of wine before pouring yourself more. You really don't like the taste of this white wine either, but you'll take it cause it's better than sitting here without an ounce of alcohol to push you through. Give you more courage to finish the evening on a decent note, to be honest. "I had a really fun time, regardless."

"I saw." He pauses. "I wish you would've at least told me instead of showing up like that." 

"I'm sorry."

"I think it's time for me to be honest and stop watching from the sidelines because I.. really like you, Y/N." His shoulders droop just as he sets his fork and knife down neatly onto the plate. You take the last bite of your meal before sipping on more wine to wash it down.

"I should have told you, but I didn't want to hurt you. Even if I did tell you, it wouldn't have changed anything."

"It wouldn't? Why wouldn't it have changed anything? I thought we might've had a chance." He's confused. He looks like he was expecting a completely different outcome, and that might've been your fault for not telling him right away. But, the moment is here now and you know you can't push it off any longer.

"No. I just.. I just can't, Yeo. I'm sorry." You barely get yourself to respond out of fear. You knew Yeosang wasn't the type to react— if anything, he'd be the most understanding. Though, it doesn't change the fact that you were still scared. You felt bad. You didn't want to hurt him, and you wanted to avoid this confrontation as much as possible even though you knew you needed to face it sooner than later. "I truthfully think we're good with where we're at, and I don't think we should mess that up. I love the way we are as good friends, bestfriends, and that's how I've always seen us." You can see the disappointment growing on his face every second, but he's trying hard to keep it under wraps while he briefly waves the waitress down for the check.

"C-can I ask? You can be honest." You silently nod. "Is it Wooyoung?" You shake your head.

"It was never about Wooyoung. Just us. Well, me. You're amazing, and you deserve the best. You deserve someone who is sure about you and who will reciprocate those feelings to no end. I'm sorry that I can't be that person, but at the same time, I know I can be your friend just like I always have been. That's what I can give you, and I hope you understand." You tell him softly. "I'm sorry." You repeat, feeling the tears brimming your bottom lids. "I should've opened up earlier. I really hope this doesn't change things between us."

"It won't, but I hope you understand it'll take me some time to move past it. I'm sorry for assuming or for— yeah." He shakes his thoughts away.

"Take all the time you need." He gives you a tiny, toothless smile.

"Anyway." Yeosang signs off on the receipt before tucking his card back into his wallet and standing. "Let's get you home."

"Okay." You shimmy out of the booth to head out of the restaurant. This time, Yeosang doesn't hold your hand. In fact, he trails behind you, keeping at a safe distance. You can immediately see the change— how stiff and awkward he's become. You don't blame him for it; he's hurting and you know he needs his space more than anything. 

You can't wait to get home.

The ride is fucking awful. It's the most quiet you've seen Yeosang. The most closed-off and serious he's ever been towards you. His hand is clutching the wheel tightly, but the music is comforting enough to fill the void. You continue to look out of the passenger's window, keeping to yourself until Yeosang asks about your plans for the rest of the weekend. There isn't much going on for you, so that conversation dies quickly. Luckily for you, Yeosang is about to pull up to your street. He stops the car by your building, shifting the gear to park before helping you out of the car. You give him a small, sympathetic smile before pulling him into a hug— giving his back a gentle rub.

"Sleep well, alright? I'll see you next week."

"You too." With that, he walks off, waiting until you at least unlock and crack your door open. When you get a whiff of your candle that you lit up earlier in the morning, you realize you don't really wanna stay home right now; to sulk, to drown in your thoughts alone, to have to listen to the loudness in a quiet space. So, you shut the door again, head back down the steps and walk to the convenience store nearby. You grab a bottle of yogurt soju, along with your favorite chips and strawberry cheesecake ice cream bar— plopping yourself down onto one of the tables right outside the store. You're quick to crack open the bottle and drink away, also eating away at the chips since you didn't feel incredibly satisfied with the dinner earlier. It might've just been all the emotions and tension in the air, but anywho, the chips and the soju taste better than ever. Sooner or later, you find yourself tipsier, cheeks lit on fire, hands clammy; barely hitting the halfway point with the soju bottle. You lazily scroll through your phone as you begin to eat away at the ice cream bar, revisiting those party pictures.

You wonder what Wooyoung is doing, but you shouldn't be thinking about that right now.

"Ugh." You whine and pout to yourself, pulling up your texts to see if Jiwoo can come to your rescue. You opted for listing Jiwoo and Wooyoung as Jung 1 and Jung 2 to keep it easy and simple; except, it obviously doesn't work well in this case when you accidentally pull up the text with Jung 2 instead of Jung 1 while you wipe away at the tears that suddenly begin to stream down your cheeks.

you: oof .... that dinner was kinda awful i feel terrible

you: kinda?! not even kinda it WAS awfullll

you: i'm sitting outside of our fav convenience store by my olace

you: eating strawberry cheesecake ice cfream!!

you: jiwooooooo

you: jung 1!!!!

Wooyoung furrows his brows at the constant dinging of his phone, unsure of who the hell could be blowing up his phone right now. He even sits for a minute, wondering if there's anybody he's pissed off in the last few days [besides his sister].

"Hm." He hums when he comes up with nothing, nobody. He picks up the phone and scrolls through the previews, chuckling to himself when he sees your name pop up on the screen. Clearly by accident.

you: jiwoo jung 1 pls help come to my rescue it was not good! idk if yeo n i will be friens still ���️☹️☹️

wooyoung: sorry to break it to you sweetheart, but this is jung 2. 😙

wooyoung: also i won't hold it against you that i've been slotted as number 2 when i should be number 1 esp after the party. 🫤 but it's cool or whatever......

You squint at the brightness of your phone, slowly eating away at your strawberry cheesecake ice cream bar. You almost drop the damn thing when you realize you've actually been blowing up the wrong phone, horrified it had to be Wooyoung, too.

He must think you're a gem, truly.

He does, though. In a very good, non-sarcastic way.

you: omggg i'm so sorry wooyoung jung 2 ☹️

you: i mean jung 1 technically

wooyoung: lol no worries, don't be sorry. you okay?

you: yes but no?

wooyoung: stay put.

You cock a brow up in confusion, wondering if Wooyoung was telling you to stay put because he was on his way or because he just needed you to get yourself together. You listen anyway, sitting on the little chair outside of the convenience store, silently eating away at your ice cream with your phone lit on your lap. You completely forget about texting Jiwoo amidst all of this, assuming she's busy anyway. The wind is slowly picking up, cooling the tip of your nose and surface of your cheeks— settling the heat from the soju.  You shiver and run a hand down your arm, hoping the wind slows in between its waves. You continue to mindlessly scroll through your phone, even picking up your game of Wordle for the day. Just as you get lost in thought, a car parks in a spot in between your building and the convenience store. You look up as you bite into the last of your ice cream bar, hearing the muffled bass from the music in the car. Wooyoung steps out in a grey hoodie and matching sweats, a black beanie on his head. He approaches you with a small smile with his hands dug deep into his pockets, crouching to your level as he continues to look at you.

"W-Wooyoung." You hiccup as you sit on the bench, setting your trash down next to you. Wooyoung gives you a small smile, thumb wiping away at your tears.

"Wanna tell me why you've been out here eating ice cream alone?" He eyes your snacks of choice. "And.. a half bottle of soju and chips? I thought you had dinner with Yeosang."

"I did, and it was terrible and sad." You sniff. "Well, not the food. I just couldn't enjoy it as much. I even tried to drink that bitter white wine he ordered just to get me through."

"And you're drinking soju now? Really must have been that bad."

"Bad bad." You pout and he laughs.

"I'm sorry." He gives your thigh a gentle squeeze before patting it. "Come on, let's get you home." He stands, holding out his hand. You gladly take it in yours, his thumb swiping over your knuckles in an attempt to try and warm it up. He grabs the soju and the chips in his other, leading the way to your building. He quietly heads up the steps, stepping aside and letting go of your hand to let you open your door. When you step back into the warmth of your studio, you instantly kick off your shoes and slip into your slippers—lighting up your candle to bring more heat into the room.

"I'm gonna set your chips and soju aside." Wooyoung says, tightly tying your chips close so it doesn't get stale before setting your bottle of soju aside in the fridge.

"Thank you." You set your bag down and let out a sigh.

"Glad I was able to get you home safely." He chuckles a bit, jingling his keys in his hand. You don't want Wooyoung to leave, especially after he made the effort to get dressed and come to your rescue.

"Wooyoung?" He cocks a brow up when you turn to face him. "Can you stay?" He takes a moment before he nods, unsure how he could turn you down with you looking up at him that way. 

So innocently. So delicately. Eyes yearning for company you can be comforted with, need to be comforted with.

"Yeah, of course. As long as you're okay with me poking around and making some food." You giggle and nod.

"Go for it." You grab your pajamas. "I'm gonna take a quick shower. Feel free to get comfortable and flip through the channels." You turn on the TV for him before shutting yourself within the bathroom walls to shower and get comfy for the evening. 

As you shower and get ready for bed that evening, you hear Wooyoung humming and singing a Blackstreet song to himself in your kitchen. After brushing your teeth, you finish up the last of your skincare routine before heading back outside.

"Finally." Wooyoung turns over his shoulder and quickly scans you from head to toe. "I was getting lonely."

"I didn't even take that long."

"It was long. You and Jiwoo take the longest showers known to man." He frowns a bit, making you giggle to yourself. You plop on your couch, now in your oversized crewneck and pajama pants. You're no longer tipsy, probably a little too sober for your liking especially knowing Wooyoung is in your studio. You do find his company comforting, though. You feel bad he had to come and rescue you, but you'd rather be here than anywhere else after that dinner with Yeosang. You tuck your legs to your chest, flipping through the tv channels only to land on Kiki's Delivery Service. It's already 20 minutes in, but it doesn't bother you knowing the movie so well. Wooyoung is still going through your stash of food, pulling out a bowl of jajangmyeon. While he waits for the hot water to properly cook the noodles, he dices up some pickled radish and some cucumbers, and quickly boils two eggs to perfection. When the noodles are done, he sets everything into the bowl neatly before grabbing a cold water bottle and plopping onto the couch next to you.

"What'd you do today?" You look at him just as he starts digging into the bowl.

"Work. Then Jiwoo came earlier in the night with some food from my favorite Japanese spot."

"Sushi Kashiwa?"

"Aw, you know?" Wooyoung smirks.

"Because Jiwoo has mentioned it one too many times." You chuckle. "That's cute, though."

"She only did it cause she was waiting for Hongjoong to get out of work. And to kiss my ass about the party."

"And because she loves you." He fake shivers.

"Ew. Please don't say that again." He looks at you and you snort. "Want a bite? I made it for us to share in case you were still hungry." He edges his chopsticks your way, watching as you shake your head in response.

"I'm good. Thank you though, Woo."

"Suit yourself, princess. I whipped up a good one." You laugh, settling into the couch as you continue to watch the movie. Wooyoung catches you slipping your sleeves over your palms in his peripherals and although he's pretty warm and cozy in your studio, you must still feel cold. He hurriedly slurps up the remaining of the noodles before gulping the entirety of his water bottle down. He lets out a noise that makes you laugh, kicking his head back in satisfaction. "Damn, that was good."

"Glad you enjoyed." You poke his arm and he smiles. "Is this movie okay with you?"

"Yeah, of course. Can never go wrong with Studio Ghibli movies. Unless, you're down to watch something scary?"

"Never." 

"Why not? I'm here."

"But, whatever scary movie we'll watch, it'll live in my head for the next few days and you won't be here."

"I could be, you just have to call me and I'll come. Like tonight."

"Wooyoung." You pout. "Today's was an accident."

"So, you didn't want me to come? That's funny, cause I didn't see another text from you after I told you to stay put, baby girl." He smirks and you shake your head shyly.

"I'm sorry." You continue to fiddle with your sleeves.

"Don't be. I'm just teasing, I wanted to come."

"Thank you. I needed it." You finally manage to let out as you look at him and scooch a little closer. He gives you a tiny smile before shifting his attention back to the TV, the both of you engaging in small talk about the characters here and there.

At some point, Wooyoung subtly inches in and closes off any gaps, quietly slipping his arm behind you. You silently chuckle to yourself when you see him playing it off, acting as if he hadn't done anything to get closer to you. But, the whole thing feels.. nice. It feels safe. It feels warm. Wooyoung really isn't expecting anything out of this— he is testing the waters to see how comfortable you'd be with him, but that's truly it. That's the intention. Just to make you feel comfortable and better after tonight's dinner. He definitely wasn't expecting you to lean your head against him, snuggling up to him as closely as possible. 

"You okay? Comfortable?" He asks softly. You look up at him and nod, settling back into your position on him.

"Mhm. You're warm." He laughs a bit when he hears that, keeping you close. As the movie continues with the both of you watching silently, you find yourself shifting in your position; arm fully coming around Wooyoung's torso. He doesn't mind one bit. As a matter of fact, he loves that you've gotten comfortable enough to do so.

He drops his arm down from the edge of the couch, holding you from behind as the movie continues to play. He gently rubs at your side before his hand falls to your hips. You feel Wooyoung's hand gently squeeze at it before sneaking right underneath your sweater. You freeze, but more so because you're surprised by his touch— not because you don't want him to be right where he is.

"Are you feeling better?"

"I don't know. I just feel bad." You say, eyes still on the TV ahead while you slowly began to relax in his hold.

"You were honest with him, right?" Wooyoung asks as a simple way to poke for more information and get you to open up about dinner. "Wanna tell me how the dinner went?" He traces faint, soft circles on your bare side.

"I was, and I guess that's why I feel bad. It started off fine. We went to the restaurant and we were talking as we always do. Random topics, jokes, going on about life updates. It went downhill when we got our food. It was quiet for a little bit and I knew he was thinking about what to say or how to say it." You pause. "He asked if I enjoyed the party. I said yes, then he asked if it was Jiwoo's plan." Wooyoung cocks a brow.

"What'd you say?"

"I got kinda defensive." You sigh, leaving out the whole moment of you asking Yeo if he thought Wooyoung wouldn't genuinely go to a party with you. "But anyway, I said you wanted to go.. and so did I. And I had a fun time with you."

"Atta girl." He laughs a bit. "And then?"

"He apologized and said he just wished I told him instead of surprisingly showing up. Then.. he laid it out. Said he had feelings for me and couldn't watch on the sidelines anymore. He felt like there could've been a chance, which was probably my fault for keeping that door open for too long." You sit up and face him, Wooyoung's arm still lazily holding you from behind. "I told him that even if I told him about the party beforehand, it wouldn't have changed anything because I couldn't. I liked us the way we were and that we were good as bestfriends. He deserved someone who was sure of him and who could reciprocate his feelings wholeheartedly."

"Then, you didn't do anything wrong, Y/N." You shrug before subconsciously grabbing a piece of lint on Wooyoung's hoodie and flicking it off. 

"He asked something else."

"Which was?"

"He asked if this was about you, a-and I said no." You avoid eye contact and lick your lips out of nervousness. 

"I see." Wooyoung smiles a bit before shifting up in his seat to get closer to you. He leans his cheek onto the palm of his hand, his arm that was behind you is now on the back of the couch— elbow resting on the edge. "Why can't you look at me?" He smirks teasingly.

"I am." You look at him for a minute before shifting your eyes elsewhere in the living room. 

"Was it really not about me, hm?" He hums, brushing the hair away from your face and tucking it behind your ear. "You can tell me, love." He tries to pull you closer by the hand, and you let him.

"Can I?" His eyes quickly shift to the way you play around with his fingers.

"Course."

"Maybe it was."

"Just maybe?" He looks at your lips. "You think that's why you feel bad?" Brief pause. "That you might actually have feelings for me and you couldn't tell him that part?"

"Maybe." You repeat, his lips only inches away from yours. "Isn't that kinda silly?"

"No? I still don't think you did anything wrong, Y/N."

"Really, Woo?" There you go asking him so sweetly again. It's at this point when Wooyoung feels like he can no longer contain himself because you're giving him the answer he had been looking for; straight on a silver platter. 

"Mhm. As far as I know, you were honest when it came to him. What's between us is our business and not his." He says, his tone just barely above a whisper. You don't really know what comes over you, maybe you did have a little bit of liquid courage still running through your veins especially cause what happens next catches you slightly off-guard. You're so sure about your feelings for him, but unsure about Wooyoung's and how he even feels. This could all be a game that he plays, something he does with other women even if he says it isn't.

Guess it doesn't matter much right now. Can't, anyways.

Within the next second, you find yourself initiating the first kiss with Wooyoung; a kiss that feels long overdue. You lean forward and press your lips against his own soft, plump lips, quickly pulling back to get ready and apologize—

But, he doesn't let you. 

He chases after you.

He cups your cheeks and brings you back, thumb gently caressing the surface of your cheek. You haven't kissed someone like this in awhile, but with Wooyoung, it feels.. right. 

Everything about Wooyoung feels right and natural.

He tries to take it slow with you, even when you crawl onto his lap and wrap your arms around him. The kiss becomes more heated, lips bruising from the rising intensity, hunger. Wooyoung slowly slips his tongue in, and hearing a small whimper from you in response only has him gripping your hips harder.

He quickly learns he likes kissing you.

"Been waiting to do this." He says against your lips.

"Have you?" You ask, your tone filled with lust as you continue to peck him with small, repeated kisses.

"Just didn't wanna scare you away."

"You wouldn't have."

"Have to be extra careful with you, baby. You aren't just anybody." The pet name rolls off his tongue so easily that it makes your head tilt back as the desire builds. He continues to hold you close as you slowly roll your hips against him, Wooyoung now kissing your jaw before gently sucking and licking on the surface of your neck;

The column, your throat.

You feel him come to the base and suck a little harder, and you're hoping it doesn't leave much of a mark. If it does, it doesn't fucking matter to you right now— nothing does. Because all you want is for Wooyoung to devour you. To give you everything, to ruin you so good.

"Is this okay? I don't wanna do anything you're not comfortable with—"

"Keep going, Wooyoung. Please." You cut him off. It takes a second for Wooyoung to register your pleading, that 'please' being the one thing that flips his switch. It's not only a want, but a heavy craving. He's got some sort of eagerness to show you just what you've been missing.

"Hold onto me." He says, lifting you with ease as he carries you over to your bed and plops you onto the mattress. He slowly crawls over you, his warm, large hands now cascading up your sweatshirt. Your breathing hitches when he reaches just above your rib cage, and Wooyoung stops when he feels your body tense in his grip. "You sure you're okay?" He presses a kiss to your forehead, down to your nose, your lips. He looks you in the eye with slight concern, afraid of scaring you. The last thing he wants you to think is that he's purely using you for other reasons— when it's definitely more than that.

Wooyoung wants to show you, in case he's bad at voicing his feelings. Cause he can be, clearly. But, he could at least show you and take care of you properly.

"I am."

"You trust me, yeah?" You swallow the lump in your throat as you nod, continuing to keep contact with Wooyoung. "I'll take care of you as long as you let me."

"I want you to." This time, Wooyoung dips forward to lock you into another deep, fervent kiss. His hands are finally roaming further up; Wooyoung letting out a low groan when he finds out you're braless. His thumb swipes over your hardened nipple, tongues fighting for dominance while your hands are tangled in the ends of his hair. You toss his beanie off just as he starts to tug your crewneck over your head and you follow suit with his hoodie. He nibbles on your jaw just before sucking harshly on the skin of your neck. His hand travels down and slips into your pajama pants, fingers delicately rubbing at your clothed pussy that sends a million jolts down your spine. You twitch in response, and Wooyoung can't help but chuckle against your neck.

"So reactive." He teases.

"It's been awhile, Woo."

"And? That's fine, baby. Told you I'd take good care of you." He raises himself slightly to watch your reaction in real-time. "Does that feel good?" He asks, close to a whisper. 

"Yes." You bite your bottom lip and shut your eyes, sighing in satisfaction.

"God. Can feel how wet you are already." Wooyoung feels himself getting painfully hard against your thigh, imagining how tight you are. He doesn't wanna waste another moment, and he thinks he'll lose it if he isn't inside of you within the next few seconds. "Let's take this off, hm?" He hums, hands already tugging your panties and pajama pants down. "Do you have a condom?"

"Don't need it. I'm on the pill." 

"You're sure? I'm clean, but I'll do whatever you're okay with. Just say the word." He asks again to be extra sure.

"I am, I'm sure." You nod eagerly. The pill was mainly to help regulate your heavy, irregular periods, but you'd say you do appreciate it a little more now for this particular reason.

"You're so hot, jesus fucking christ." Wooyoung doesn't say anything else before he's keenly kissing you again, hastily getting out of his sweats. 

Sooner or later, the rest of Wooyoung's clothes are joining yours on the floor; Wooyoung not wasting any seconds reattaching his lips to yours after slipping them off. 

Wooyoung pauses when he sees you fixed on his length— eyes hazy and full of desire. It's giving Wooyoung the biggest fucking ego boost, but that's not important. He strokes himself a few times before lining up with your entrance. He slowly eases himself in, the both of you letting out lewd moans as you both adjust to the feeling. You're tightly wrapped around him and Wooyoung has to keep his composure as he buries himself deep to the hilt. Wooyoung keeps his pace slow and steady; forehead pressed against yours as he thrusts into you. It's nothing rushed, everything about it is slow— so tender, so careful. 

So safe.

"Wooyoung." You moan his name and his brain short-circuits every time you say it the way you do. On top of that, your little whimpers are doing a number on him, but he's trying to keep it together for awhile longer. 

"Doing so well for me, love." He gently bites your chin just as he slightly picks up his pace. He hovers a bit, lips coming back up to meet you in a sweet kiss. He holds it for a minute longer, tongue swiping over your lips as he rolls his hips into you. 

It's intimate. 

It's deep. 

It's raw. 

It's nothing he'd do to his booty calls, no. Everything about those moments are forced and rushed, the end goal having to nut as quickly as possible and get them the hell out of his space.

With you, he's loving every second. He wants to relish in the way your walls feel around him, wants to relish in the way your fingers thread through his hair, wants to relish in the way you kiss him so slowly, so passionately. Like every kiss holds the answers to the universe and you're afraid you'll miss a single detail.

He rests his nose, lips, against your cheek just as he releases a shaky breath, still taking his time as he works his way with you. He comes down to your neck and leaves feathery pecks against the surface while his body is pressed flushed against yours. He turns his head and you've fully wrapped your arms around him. The pace is perfect, with Wooyoung working his hips in circular motions just to hit you in all the right places. He praises you as you continue to moan for him, pretty little mewls slipping from your lips while he tells you how captivating, how angelic, you are for him.

How perfect you are for him.

You find your hips have a mind of their own, working to match Wooyoung's movements. You feel the pleasure building quick at your core, and you know it won't take long from there.

"Wooyoung— just like that, please—oh my god." You sob. While he continues to expertly thrust into you and keep you close, the friction against him causes the coil within you to snap harshly, nails digging deep into Wooyoung's shoulders while he thrusts harder, a bit rougher, to meet his high. 

"F-fuck, baby. I'm about to—" He moans a little louder when he feels you clench a few times around him from the aftershock, quickly pulling out and releasing onto your pussy and abdomen. "Shit—fuck." He pants, finally coming back down from euphoria to see how mesmerizing you look splayed out beneath him; white ribbons of cum painted on your skin. He's completely enamored by you. "Mm'sorry babygirl, let's get you cleaned up." You giggle and shake your head.

"Please, it's fine. Stop looking, you're making me shy again."

"Don't be. You look beautiful." He laughs, slipping on his boxers. "Let me clean you up." He runs to your bathroom to grab some wipes, doing a light jog to clean you up well. You grab your panties and your crewneck after he's done— throwing them on and snuggling under your covers. You fully expect Wooyoung to get dressed and leave [which would suck], but he doesn't. You quietly watch as he shuts off your TV and the lights, going to the bathroom for a quick wash up. Afterwards, he immediately slips underneath your covers right next to you, pulling you onto his chest.

"You're staying?"

"Why wouldn't I?" He chuckles. "C'mere." He pulls you closer. "Sleepy?"

"Incredibly." He smiles.

"I put in some work, huh?"

"Wooyoung." You pout, lightly smacking his chest.

"I'm just joking." He subtly bites his lip. "Can I have one more kiss before we sleep?" You lean up and peck him on the lips a few times, with Wooyoung holding the last kiss before pulling away. "Goodnight, pretty girl."

"Goodnight." You mumble, falling asleep within seconds as you cuddle snuggly against him. Because with Wooyoung, it feels.. right.

Everything about Wooyoung feels right and natural.

—TAGLIST: @asjkdk @interweab @woojirang @svintsandghosts @cheolliehugs @persphonesorchid @mxnsxngie @jycas @cowboydk @heyitsmetonid @ldysmfrst @intaksfav @wooyoungsbrat @hyukssunflower @yunhoswrldddd

[musicalmoritz]

It’s canon Mitsuba’s gay?

I’m gonna use this as an excuse to yap because Mitsuba’s queercoding is either weirdly downplayed by fans or used solely for BL shipping purposes so I want to talk about it through the lens of what it means for his character, role in the story, and relationship with Kou

Yes, Mitsuba is canonically gay

Things don’t have to be explicitly stated in order to be canon, subtext is a major part of media analysis. This is something a lot of fans miss which leads to a misunderstanding of the source material. I do have some credentials for this, I’ve taken two undergrad college literature classes in which the subject of queercoding did come up multiple times. Meaning analyzing queercoding has literally gone towards my degree so I feel like my opinion holds some weight (not as much as that of an actual English major but yk I assume I’ve had more education on it than the general TBHK fandom)

There are multiple ways to queercode a character, sometimes it can be as simple as feminizing a man or masculinizing a woman. Though that method might be a bit outdated nowadays with gender roles becoming less strict, it’s still worth keeping in mind when analyzing queer characters. Another way is through romantically colored scenes with characters of the same sex, or by having them hint at disinterest in the opposite sex. Mitsuba checks off all three of these boxes and then some

First off, Mitsuba is attracted to men. This is made extremely obvious through his relationship with Kou but I’m gonna explain it anyways because unfortunately I’ve seen a lot of fans say they’re just platonic

Mitsuba and Kou went on a date. When this is brought up, fans typically jump to the excuse of “but Kou said it wasn’t a date,” which is where my American Lit class is going to come in handy. One of the major things we learned is that authors have to understand that everything they write has some sort of real world connotation. If you write a scene with a doctor, you have to understand that your readers already have preconceived notions of what doctors represent. You can choose to either lean into that or subvert it, but you have to be aware that as soon as a doctor enters the scene, readers have already made assumptions about that character

The word “date” is clearly being used in a romantic context here. When Kou texts his friends and brother about it, they all assume he’s talking about a romantic date. While in the actual context of the scene, Mitsuba and Kou aren’t quite ready to use such a strong label yet, the romantic wording here is still very intentional. AidaIro would not have labeled this moment as a date if they didn’t want readers to view it in a romantic light, because they understand that their readers are going to associate dates with romance. Japanese censorship is really strict, it’s hard to publish stories with explicitly queer characters unless the series is labeled as a BL or GL. And so Japanese manga writers often have to find roundabout ways to express that characters are gay without outright stating it- such as suggesting that they’re going on a date with a character of the same sex

In the printed volume for Vol.20, there’s an editor’s note that mentions that when Kou and Mitsuba are making plans to hang out at the school festival, it holds a romantic implication for the Japanese audience. Cultural differences are important to keep in mind, to western fans this scene might not raise any eyebrows but for its primary audience, it is confirmation that Mitsuba and Kou are romantic. I also find it interesting that the editor felt this context was important enough to warrant clarification

And frankly, their relationship doesn’t make a lot of sense if it’s solely platonic. Male friendship is something TBHK writes very realistically, the male characters aren’t as touchy-feely with their friends as they are with their female love interests. Yokoo and Satou don’t directly ask Kou how he’s feeling when they notice he’s upset, instead they give him a task to distract him- similar to how men in real life cheer their friends up through quality time rather than talking through their emotions like women do (not every man ofc but a good majority of them). When Teru is down, Akane doesn’t hold him and reassure him the way he does with Aoi. There are no grand declarations of ultimate “friendship” the way you see in fan servicy series like Haikyuu. Instead, he used his and Teru’s rivalry to indirectly motivate him to get his head back in the game. When Hanako is sad, Kou cheers him up by making donuts for him and then giving them to Nene so she can pretend she’s the one who made them. This is a very healthy portrayal of male friendship, and Mitsuba and Kou are nothing like this

Mitsuba and Kou both cry and vent to each other multiple times (the Mitsuba Arc, the Picture Perfect Arc, the Nightlife Arc), and instead of comforting each other indirectly they do things like offering to die for each other. You would never see Akane offer to die to make Teru feel better, nor would you Aoi and Nene or Kou and Hanako. It stands out so much from other friendships in the series, even Kou’s friendships with other characters. That is a conscious writing decision, AidaIro make a point to show Mitsuba as an exception for Kou. It’s worth noting that in the same chapter where Yokoo and Satou cheer Kou up indirectly, Mitsuba attempts to directly have him talk about his feelings

They’re also incredibly possessive over one another, in a way friends usually aren’t. When Kou was in the Red House, he was shown his greatest desires, and Mitsuba appeared in one of these. Kou said he knew Mitsuba would appear, which is interesting because at that point he had already picked up on the house showing him what he wanted. But what does he want? He wants Mitsuba to rely on him entirely, to be completely useless without him. He wants Mitsuba to be “no good without him,” to need him so badly that he begs him to die so they can be together. I’m not exaggerating, these are lines pulled straight from the chapter (paraphrased but still). Later on in the Nightlife arc, Kou breaks down when he discovers Mitsuba has been relying on Tsukasa for life-saving help. As for Mitsuba, he wants to die by Kou’s hands. He says it wouldn’t be satisfying if anyone else killed him, and that he would be happy if Kou were to be the last person he spent time with before he died. He tries to trap Kou in a picture perfect world just like Hanako does with Nene, because he wants to live a normal life with him. It’s also shown in one of the extras that Mitsuba cries when Kou ignores him

They’re also drawn very romantically, again we don’t see Teru and Akane this intimate with one another unless they’re fighting. We especially don’t see Kou this intimate with anyone other than Mitsuba, and while Mitsuba is sometimes clingy with Tsukasa we certainly never see him posed romantically with a woman. This comes back to authorial intent and real world connotations, AidaIro know that male friends aren’t typically this close, and therefore casual affection like this will be interpreted in a romantic light. We see them hold hands/wrists multiple times too, Kou gives Mitsuba a piggyback ride in one scene, and in ASHK they had a classic “pinned against the wall” page

I’ll also mention the AUs, because those indicate a lot about the characters as well. In Hanako-Kun of the Opera, Kou poisoned Mitsuba so he could take him away from the opera house and protect him from Tsukasa. He basically kidnapped him. He also stayed with Mitsuba at the opera house for a seemingly long period of time despite hating opera. Aaaaand they’re childhood best friends in this au and Kou took care of Mitsuba while he was sick

Then there’s the Ghost Hotel, where Kou is a werewolf who takes bites out of mummy Mitsuba during full moons. Despite this, the two appear to be friends and Mitsuba helps Kou out around the kitchen. Cannibalism is consistently tied to romance throughout TBHK, most notably with Hakubo and Sumire but other romantic pairings have cannibalistic moments or official arts. During the zombie mokke chapter, Nene panicked when Akane tries to eat her because she assumed it would put her in a love triangle with Aoi. So yeah, cannibalism in TBHK is directly tied to romance and we see that with Mitsukou both in canon and in this au. Speaking of which, I’m not even gonna get into the symbolism of Kou holding a heart out to Mitsuba. Connect the dots for yourselves

Now that we’ve got Mitsukou out of the way, let’s talk about Mitsuba’s disinterest in women

Remember how I said one of the ways queercoding is done is by having a character hint at disinterest in the opposite sex? Yeah, very rarely are we going to see a queercoded male character outright say “I have no attraction to women.” Instead they say they just never saw the appeal in dating, or that they never had time to settle down. In more obvious cases, we have scenes like Reiner from AOT joking that Ymir isn’t all that into guys

I couldn’t find the second scene but there are TWO extras where the subject of Mitsuba’s disinterest in women comes up. C’mon guys I’m trying not to be mean here but you have to be blind, oblivious, or in denial to not pick up on that. Whyyyyy would they mention Mitsuba not having a crush on any girls twice if it weren’t to suggest something about his preference?? Coupled with his appearance (which I’ll get to later) and relationship with Kou, these scenes carry a lot of weight. Even if those other aspects weren’t included, scenes like this would still indicate he has no interest in women (which would make him gay or aroace, though due to his relationship with Kou the aroace thing is kind of ruled out)

Compare this to a scene where Mitsuba thinks he’s being asked out by a man. He doesn’t say “hmmm nope no guys, I’m cuter than all of them~” he specifically says “I’m not interested in guys with lame earrings.” The way this is worded implies that Mitsuba is discussing a type, though it’s v much a comedic scene and we know from everything else that he absolutely does like guys with lame earrings, it’s still worded in a way that makes him appear queer. If he were straight, they would have had him say he’s not interested in guys at all (like Dazai from Bungou Stray Dogs, John Watson from BBC Sherlock, Finn Hudson from Glee, idk there are a lot of male characters that are explicit straight sorry for the crazy random list). Also note how he teases Kou about it, he knows that Kou is fond of him and doesn’t hesitate to use that against him (like when he was comforting him during the Nightlife arc)

They don’t go overboard with Mitsuba’s disinterest in women because, well, that’s not really necessary. Two scenes is already a lot, and he doesn’t have any romantic relationships with women in canon (even as a crush/a joke scene). It’s rare for TBHK characters to have absolutely no scenes expressing interest in the opposite sex, since the series is partially a romance. But Mitsuba consistently only ever shows interest in one man, and when girls are brought up he’s quick to brush it off. His mom did think Nene was his girlfriend when they met, but this was depicted as a very awkward and comedic scene. Because the premise of Mitsuba having a girlfriend is objectively hilarious

(Due to Sousuke’s young age it’s reasonable to assume he wasn’t out to his mom yet, he’s around the age where most kids are closeted. It’s even possible that Sousuke hadn’t come to terms with his sexuality yet, though it’s still a prevalent part of both his character and No.3’s)

Now let’s move onto appearances. I want to give a quick disclaimer, not all gay men are feminine and not all feminine men are gay. Androgyny is also very common in anime and doesn’t automatically mean a character is gay, but there are cases when it’s used for queercoding. Mitsuba is one of these cases

Mitsuba is a very feminine character, this is addressed as soon as he shows up in the manga. He was bullied for his appearance (and personality), but unlike his personality he never tried to change his feminine appearance. He kept his hair long, continues to wear scarves and cardigans and earrings. No.3 wears these things as well, and I would argue has a more feminine personality since he seems to be more open about his emotions and idk. I struggle to categorize feminine and masculine traits because imo that’s subjective but there are things society deems feminine vs. masculine. The problem is that I really dislike the whole “men are strong and women are emotional” thing but ehhhh I guess I have to talk about it for this. Hmph. But yeah although Mitsuba isn’t exactly the biggest sweetheart ever, he does act somewhat feminine compared to the other male characters (as I’ve said he’s p much the only man in the series who attempts to work through emotional conflicts directly)

Once again we circle back to intent, AidaIro know that a male character dressed in pink with pink eyes and long pink hair is going to raise some eyebrows. Even by androgynous anime standards, it’s a bit much. And good for him, although not all gay men are feminine, some are and that’s also fine. I can’t speak on how well he represents feminine gay men because I’m a lesbian but he does dress similar to some of the feminine gay men I’ve known irl (or slightly less feminine in some cases…I knew this one dude in high school who used to wear corsets to class and he was so badass I hope he’s doing well)

I could get into how Kou is a bit feminized too with the whole housework thing but this ain’t abt him. I will say that Kou is still a very masculine character but despite this his character is feminized in some ways compared to the other men. I’m not really here to discuss whether that’s good or bad, I’m just stating the evidence as it is, you can make your own conclusions as to how you feel about it

So how does being queer impact Mitsuba’s character arc?

When I get around to writing my analyses of all the TBHK characters I WILL be talking more in depth about the queer allegories with Mitsuba’s character but for now I’ll give ya’ll a quick summary. Supernatural characters have been used for years to represent queerness, the same could be said for villains and any character trope that represents a feeling of “otherness.” Sometimes it’s more broad like X-Men, where the superpowered characters are used to represent all types of minorities (though I believe X-Men is more closely tied to race, there are rampant queer themes as well). Then there’s books like Interview with the Vampire that get more specific with it, where Louis denying his “true nature” as a vampire is used as an allegory for him denying his queerness. Well I’m here to tell you that Mitsuba and Louis de Pointe du Lac are in the same boat

Mitsuba differs from the other supernaturals because he desperately tries to hold on to feelings of normalcy. He wants to be a normal human and live a normal human life. He doesn’t want to be othered, to be outcasted from society for something he can’t control. We don’t see Hanako, Tsuchigomori, Mei, or any of the other supernatural characters struggle with this. You could argue that Akane does but his situation is more related to learning to empathize with others than any internal battles within himself. Hanako may have moments of wishing him and Nene could have something more, but that’s more about romance than his identity.

This desire to be “normal” is unique to Mitsuba’s character, and it’s a very queer desire. Being an angsty teenager who hasn’t fully accepted themself yet and hasn’t realized that being queer is not only normal, but a beautiful experience. It’s also so interesting to me that as he’s trying so hard to be normal, it creates a push and pull between him and Kou. He wants to be normal for Kou but he also feels that he’s hurting Kou just by existing, that this could only end bad for him. Oh the inherent guilt of having your first gay crush and feeling like you're corrupting them hist for pining from afar

So, can you ship him with women? Technically you can do anything, shipping isn’t illegal and we all have free will. Should you ship him with women is more subjective, I personally think no!! Queerness is not just a sexuality, it’s an identity that deeply impacts who you are as a person. It shapes your experiences and your view of yourself, and in an allegorical way it has certainly done this for Mitsuba. Yes, bi people are queer as well and this is still true for them, but bisexuality is not Mitsuba’s experience. Mono-attraction exists and that specification is very important to gay men and lesbians. For some people sexuality is fluid and that’s beautiful, but it doesn’t work that way for everyone

Some queer fans don’t care if gay characters are shipped with members of the opposite sex, and they’re entitled to their own opinions. It makes me immensely uncomfortable tho, so please block me if you ship Mitsuba with women. That goes for any ships between canon gay/lesbian characters and the opposite sex. I respect people’s right to have opinions but that doesn’t mean I have to like the opinions themselves, and I don’t have to engage with anything that makes me uneasy. That goes for all of you btw, never let people convince you that you have to put up with shit you hate on the internet lmao, this is not real life babes. Block and move on

TL;DR

Mitsuba is too gay to function

[moonlitlillypop]

Ace attorney is a wild series. Ghosts are real but typically inadmissible in court, a killer whale and several birds are used as witnesses in separate instances. Phoenix's dead ex possessed a little girl in order to frame someone for murder. It's a Japanese game that serves as a critique of Japanese legal systems, so of course it takes place mostly in the US. Phoenix gets kidnapped to a town that thinks it's in the old times and witches exist (witches do not exist despite spirit mediums existing). Phoenix collects people with supernatural powers like he's playing courtroom pokemon. The pretentious stuck up prosecutor character is a fucking weeb. There's a Sherlock Holmes parody character who is an amazing detective, but he gets key details mixed up causing his deductions to be entirely wrong. There's a lot of liquids being thrown at people.

[ocelotlesbian]

here's something interesting regarding mitsuba's name in jshk that a lot of people in the english fandom probably don't notice due to language differences!!

kanji vs katakana, 三葉 vs ミツバ !

it's very easy to miss this detail just reading the translated chapters, since english only has one script. however, japanese has multiple!! and in the original japanese text, his name is written differently depending on which mitsuba is being discussed ^_^

for the human mitsuba, his name is written in the kanji writing system, as "三葉惣助," or "mitsuba sousuke"

and for the supernatural mitsuba, his name is written in the katakana writing system, as simply "ミツバ," or "mitsuba"

(for reference, other characters in the manga typically have their names written in kanji or (sometimes) hiragana. the only other character with their name written in katakana is shijima, as mentioned later (EDIT: i was wrong, yako also uses katakana. oops))

this is obviously important simply to differentiate the two mitsubas, however it gets very interesting once you take into consideration how these different systems are used within the language!!

kanji, within the japanese language, is basically the standard script, and is what's most often used for writing names, specifically surnames, as well as most other words. makes sense!! not much to comment on here.

katakana, on the other hand, is pretty interesting, having much more specific uses!! unlike kanji, katakana represents specific syllables/sounds instead of whole words / concepts, and as such, is often used to transcribe foreign words / loanwords, like the english "ice cream" being written as "アイスクリーム" (aisukurīmu). katakana can also be used for other things, like to spell out sound effects with no kanji available, to differentiate company names from regular family names, or to show that a character is speaking with a foreign / strange accent. so in general, katakana indicates "this isn't a normal word"

so with that in mind, it makes it pretty damn interesting that as a supernatural, mitsuba's name is deliberately spelled with katakana, the script most commonly used for foreign words / words with no kanji available, rather than the kanji that already exists for his name

it emphasizes the fact that this mitsuba isn't the "real" one, he doesn't even have a "real" name, just syllables. he isn't a human. he's a wholly unnatural entity, so it makes sense his name reflects this

(another thing worth mentioning is how no.4 / shijima also has her name written in katakana (シジマ), likely due to the same reason of her not being the "real" shijima mei. she also spells the "watashi" personal pronoun in katakana while the original mei spells it in hiragana, which is interesting too!! this post is mostly about mitsuba, but i figured i'd mention her as well. she deserves more recognition lol)

anyway, that's all!! just another cool detail in this series to take into consideration :3

[mikeblocky]

Misaki Takamatsu speaks about her long-term serialization journey in Skip and Loafer (Translation)

Shuko Yokoi: Behind the Creation of Manga, Vol. 16 Shuko Yokoi - Manga Writer

Shuko Yokoi explores the beginnings of manga stories by speaking with their creators in her series "Behind the Creation of Manga." In its 16th installment, she sits down with Misaki Takamatsu, the author of Skip and Loafer.

Skip and Loafer: A quick synopsis

Mitsumi Iwakura, a bright and earnest girl from rural Ishikawa Prefecture, enters a prestigious high school in Tokyo as the top student in her class. While navigating her new environment, her straightforward and slightly quirky personality begins to influence her classmates in ways she doesn't realize. Among them is Shima, the "popular boy," with whom she slowly builds a meaningful connection. A heartwarming school-life comedy about the subtle power of sincerity.

A hybrid of Shojo and Seinen manga?

Yokoi: Reading Skip and Loafer feels so uplifting. It’s quite different from your earlier works, like Ameko Hime or The Boat of Canaries.

Takamatsu: That’s true. When I first started submitting stories, I mostly worked on short, standalone pieces. The Boat of Canaries, for instance, was heavier in tone, which suited the shorter format. But when I struggled to get approval for long-running concepts, I began thinking, if it’s going to be a longer series, why not make it something that encourages and uplifts readers? That shift also led me to adopt a lighter art style.

Chapter 1

Yokoi: Mitsumi’s expressions feel so vibrant and full of life.

Takamatsu: Thank you! I wanted her to feel cute but approachable, so I kept the lines simple and clean. During this time, I revisited shojo manga I loved as a student, like My Love Story!! by Aruko and Kazune Kawahara and My Little Monster by Robico. As a reader, I hadn’t noticed their subtle techniques, but revisiting them as a creator taught me a lot—how to leave certain lines out, how to balance coolness and cuteness in key panels.

Chapter 2

Yokoi: Skip and Loafer is serialized in the seinen magazine Afternoon, but it feels like it carries the soul of shojo manga in many ways.

Takamatsu: I think it’s had a huge influence on me. Since it’s a seinen magazine, I initially explored themes that felt more fitting—like professions, clubs, or other specialized topics—but they didn’t align with what I truly wanted to write. For example, if I focused too much on character drama in a shogi (Japanese chess) manga, readers might start wondering, “What happened to the shogi? Where is this story even going?” But with a romance-based shojo manga, those concerns seem to fade. It’s such a fascinating genre that allows for more flexibility.

Yokoi: There’s that saying about storytelling: “Meet expectations, but subvert them too.” Romance seems to naturally leave room for unexpected turns, without rigidly fixed outcomes.

Takamatsu: Exactly. Romance is a theme without a set goal or a definitive “correct” path. Readers can imagine and interpret as they go, which makes it easy to follow and invest in. That’s why I borrowed the classic themes and structures of shojo manga as the foundation for Skip and Loafer. From there, I could focus on the characters and create a story that felt uniquely mine.

It starts off like a typical rom-com—a “city boy” falling for a “simple, country girl”—but gradually, it’s clear that the story isn’t quite what you’d expect. Predictability isn’t fun, so I worked to subvert expectations little by little, surprising and delighting readers along the way.

Turning the "Prince" character into someone who feels human

Yokoi: You’ve mentioned before that Mitsumi and Shima’s dynamic was inspired by Mitsunari Ishida and Sakon Shima from Ryotaro Shiba’s novel Sekigahara. But, um… the connection seems a bit distant now, doesn’t it?

Takamatsu: (Laughs) Yes, the original inspiration has almost completely disappeared. But reading Shiba’s masterpiece taught me something vital: strong characters are everything. Mitsunari in Sekigahara is this intelligent, somewhat prickly figure who rubs people the wrong way, while Sakon, his loyal retainer, sees through his awkwardness and thinks, “He’s so bad at expressing himself, but that’s kind of endearing.” I loved the idea of a relationship that embraces someone’s flaws.

Chapter 1

Yokoi: It’s the kind of bond that goes beyond conventional labels like friendship or loyalty.

Takamatsu: Exactly. I wanted to explore that kind of relationship in a school setting. Of course, Sekigahara is steeped in war, which adds an intensity that wouldn’t suit a school-life comedy. So I gave Mitsumi some lovable quirks and made her more approachable to balance things out.

Yokoi: Mitsumi and Shima’s relationship feels refreshing—it’s not strictly romantic, yet it’s deeply compelling.

Takamatsu: That reflects my own high school experience. I had more fun with friends than anything else. I’d spend my allowance on manga instead of clothes, and I was so focused on art school that my mind was far from romance. Not everyone is caught up in love during their teenage years, and I wanted to depict that reality.

Yokoi: That balance of emotions feels universal. Are you the type to vividly remember your school days?

Takamatsu: I think so—memory might be one of my strengths. I remember the feelings, thoughts, and dynamics of those years very clearly. At first, I worried those details were too mundane to hold readers’ interest. But as I received feedback, I realized those “ordinary” parts were what readers connected with the most.

Yokoi: Many manga artists seem to have remarkable memories. It feels like a special gift.

Takamatsu: (Smiles) Maybe. But I also try to balance realism with gentleness. I don’t want the story to feel too raw or painful. Take Shima, for instance. At the beginning, he’s a "prince" type—a genuinely nice guy, but honestly, a bit too convenient. He’s the kind of character who inexplicably likes the protagonist and is always there to help her. At some point, though, I wanted readers to see, No, this guy is human too, with his own struggles.

The same goes for Mitsumi. I didn’t want her to be so good-natured that she came across as a saint. That would make her feel distant and less relatable. It’s about keeping the characters grounded while letting them shine.

Chapter 55

The bond between Mitsumi and Shima: A journey through time

Yokoi: Are there any particular scenes that left a strong impression on you?

Takamatsu: There are many, but one that stands out is the moment in Volume 7 when Mitsumi and Shima, after briefly dating, decide to go back to being friends. It’s a scene that could only exist because of the long journey they’ve shared. It’s something they could only say to each other because of the foundation they’ve built as friends over time.

I was worried readers might dislike Shima for that decision, but thankfully, that wasn’t the case. There are so many moments like that throughout the series—ones that only became possible because I was able to continue the story all the way through to Volume 11. Those are the kinds of scenes that make long-running storytelling so rewarding.

Chapter 46 - Warm Picnic

Yokoi: That’s one of the joys of a long-running series—the time to explore those shifts.

Takamatsu: Absolutely. The teenage years are such a transformative time—like a sponge, you absorb so much and evolve in ways unique to that period. I want to keep exploring how personalities and relationships shift during those formative years. If readers can feel that growth alongside the characters, connect with their journeys, and cheer them on, that would make me incredibly happy.

A story rooted in home and the heart

Yokoi: One character that becomes more and more moving as the story progresses is Mitsumi’s aunt, Nao. The scene where she cries alone in her hometown in Ishikawa changes meaning as the volumes go on.

Takamatsu: Thank you for saying that. As I worked on the series, I realized that the story isn’t about declaring, “City life is better” or “The countryside is the best.” Through Mitsumi, I wanted to depict the warmth and openness of rural life. At the same time, Nao’s journey as a transgender woman allowed me to show that the city offers a space where some people can truly thrive and express themselves. It’s about finding where you belong and honoring both sides of that balance.

Chapter 55

Yokoi: Mitsumi’s hometown is described as being “at the edge of Ishikawa Prefecture,” and Skip and Loafer has consistently included efforts to support the areas affected by the Noto Peninsula Earthquake. The 10th volume even had a special edition dedicated to disaster relief.

Takamatsu: I’m so grateful for all the people who have actively supported the relief efforts, especially during times when I couldn’t do much myself. It’s been a year since the earthquake, but the region has also suffered from heavy rains, and some areas still don’t have fully restored sewer systems. There’s a lot more to be done, and I plan to continue supporting these efforts moving forward.

A friend in the form of a story

Yokoi: Your acceptance speech at the Kodansha Manga Awards has stayed with me. You said, “When life feels like a battle against regret and loss, I hope my work can stand by readers like a friend, reminding them that it’s not just about those things.”

Takamatsu: As we grow older, it’s inevitable that we face moments of profound loss—whether it’s the death of someone close or other significant challenges. In those moments, instead of focusing on what’s gone, I think it’s important to realize, I had so much fullness in my life before this. That perspective can help us remember that we’ve been supported, loved, and fulfilled in ways we might overlook during hard times. That’s the kind of feeling I want my stories to evoke. If Skip and Loafer inspires someone to reach out to a friend they haven’t spoken to in a while, or to summon the courage to connect with someone they care about, I’d be so happy. Human relationships often reward us most when we engage with them wholeheartedly, even if it takes some effort. It’s in those genuine, fearless moments of connection that we find something truly meaningful.

Chapter 19

Extra (not in the original)

Have you ever wondered who is Shima Sakon and Ishida Mitsunari that Takamatsu-sensei mentioned? Here's something about them!

Shima Sakon and Ishida Mitsunari are two fascinating figures from Japan’s Sengoku period (1467–1615), an era of political upheaval and near-constant military conflict. Mitsunari was a high-ranking samurai and one of the key strategists for Toyotomi Hideyoshi, a unifier of Japan. Known for his intellect and strict adherence to rules, Mitsunari was often described as cold, calculating, and socially inept—qualities that earned him respect from some but disdain from many. His inability to navigate interpersonal relationships and his unrelenting idealism made him a polarizing figure in the Toyotomi camp.

On the other hand, Shima Sakon was a samurai who eventually became Mitsunari’s right-hand man, joining him during the latter’s rise in the chaotic power struggle following Hideyoshi’s death. Sakon was known for his military prowess, tactical skill, and charisma, which contrasted sharply with Mitsunari’s intellectual but often distant demeanor. Sakon reportedly referred to himself as a “wandering ronin” before aligning with Mitsunari, but once he joined, he was unwavering in his loyalty.

What made their relationship stand out was its deeply personal undertone, rare for a lord-retainer dynamic of the time. Mitsunari was a man who struggled to gain allies due to his blunt nature and rigid personality, yet Sakon saw beyond these traits. He recognized Mitsunari’s intelligence and idealism, appreciating his flaws as part of his humanity. In return, Mitsunari trusted Sakon in ways he couldn’t trust many others. Their bond went beyond strategy or battlefield hierarchy—it was grounded in mutual respect and understanding.

Their connection becomes especially poignant in the context of the Battle of Sekigahara (1600), one of the most pivotal conflicts in Japanese history. Mitsunari led the Western Army against Tokugawa Ieyasu’s Eastern Army, and Sakon played a significant role as a commander. Despite their combined efforts, the Western Army was decisively defeated, and both Mitsunari and Sakon met tragic ends—Sakon was mortally wounded in battle, and Mitsunari was later executed. Their fates reflect the collapse of their ideals in the face of political reality, but their loyalty to each other remains an enduring legacy.

In Sekigahara, a historical novel by Ryotaro Shiba, their relationship is portrayed with nuance, focusing not just on their roles in the war but on their personal dynamic. Mitsunari is painted as a misunderstood figure, awkward but driven by a sense of justice, while Sakon serves as his grounded, pragmatic counterpart. It’s this understated connection—marked by loyalty, respect, and a recognition of each other’s imperfections—that resonates deeply.

This dynamic, as Takamatsu-sensei mentions, subtly influenced the relationship between Mitsumi and Shima in Skip and Loafer. Shima, much like Sakon, begins as an idealized figure—a “prince” type who seems perfect but reveals vulnerabilities as the story progresses. Mitsumi, on the other hand, mirrors Mitsunari in her straightforwardness, occasional obliviousness, and quiet strength. Their connection isn’t easily categorized—it’s not purely romantic, nor is it strictly platonic. Instead, it’s about two people growing together, balancing each other’s strengths and weaknesses in a way that feels natural and deeply human.

The parallels between the historical duo and Takamatsu-sensei’s characters highlight the timelessness of certain human relationships. Whether it’s two samurai navigating the chaos of war or two high school students finding their place in the world, the essence of connection—flawed, messy, and quietly profound—remains the same. It’s not about perfection or grand gestures but about understanding and complementing each other in ways that make the journey worthwhile.

Personal part of my thoughts

shima sakon and ishida mitsunari are these figures from japan’s sengoku period, and their story feels weirdly timeless. mitsunari was this brilliant strategist, but he was also terrible at winning people over. he had no filter, couldn’t sugarcoat things, and honestly came off as cold or arrogant most of the time. but the thing is, it wasn’t like he was trying to be difficult—he just didn’t know how to be anything other than himself, even if that made him unpopular.

then you’ve got shima sakon, his retainer, who wasn’t just loyal but actually understood mitsunari in a way that most people didn’t. sakon looked at him and thought, “yeah, this guy’s awkward and kind of terrible at communicating, but that’s what makes him human—and honestly, a little endearing.” sakon didn’t see mitsunari as this cold figure; he saw someone trying, even if he wasn’t great at it.

their relationship wasn’t just about duty or ranks—it felt personal. sakon stuck around not because he had to but because he respected mitsunari, flaws and all. and mitsunari, even if he wasn’t great at showing it, clearly leaned on sakon in ways that went beyond their roles. together, they balanced each other out—mitsunari’s sharp mind paired with sakon’s charisma and groundedness. they were stronger because they had each other.

what’s so compelling about their bond, especially as it’s portrayed in sekigahara, is how understated it is. it’s not about big, dramatic moments—it’s in the quiet, everyday loyalty that doesn’t need to be spoken. it’s messy and imperfect, but it feels so real, and that’s what makes it stick with you.

in skip and loafer, you can kind of see shadows of that dynamic. shima starts out as this “prince” figure, someone who seems perfect on the surface, but as the story goes on, you see the cracks, the insecurities he carries. and mitsumi, with her straightforward and awkward charm, reminds me a little of mitsunari. she tries so hard but doesn’t always realize how she’s affecting others. their relationship, like mitsunari and sakon’s, isn’t easily defined. it’s not just friendship, and it’s not exactly romance—it’s about two people quietly growing and balancing each other in unexpected ways.

and i think what makes relationships like these so memorable is how real they feel. they’re messy and don’t fit into neat boxes, but that’s the point. whether it’s a warlord and his retainer or two high schoolers figuring out life, it’s those small, imperfect moments of understanding that make you feel something. it’s not about being perfect—it’s about being human, together.

Original resources

Interview: Link

Chapters: 1, 2, 19, 46, 55, translated by Tsubame Club and other people! Please check them on MangaDex: Link and also support the original version on COMIC Days: Link

All translated and resourced by me! Thank you for reading this!

[ineffable-opinions]

MAME & BL Literacy Part 1

Another MAME show is airing and I thought it was good time to discuss what makes that author controversial.

As usual, critiques and corrections are welcome.

-

For those who don’t know MAME is a unique Thai BL creator. I have discussed in a previous post (that can be found here and here) how Thai BL is lacking in BL literacies. MAME is one of the exceptions. This is because:

she is a BL author & hence, one of the creators of BL literacies

she studied BL and its production academically [you can find her research output by searching her name: อรวรรณ วิชญวรรณกุล]

then she started producing live action BL.

In an industry which is lacking in BL literacies, what she brings to the table is fu-culture (BL fan culture) in all its glory. Unfortunately, the live action audience who are fans of sweet BL, have a hard time adjusting.

This is an exploration of response to her works, starting with the review of Love by Chance @waitmyturtles discussing all the ships in that series: AePete, TinCan, TarTum and KengklaTechno. This pretty much ties up what I identify as the first issue with BL literacies deficiency and MAME’s knowledge.

Here are some typical narrative progressions for a (Japanese) BL:

あまあま – sweet

ユニーク – unique

シリアス – serious

邪道 – evil road (Jadō)

王道 - royal road (odo)

Any theme/one-line plot can choose to take any of these narrative progressions. Moreover, Thai BL usually originates online which allows for innovation in narrative progression.

AePete

In Love by Chance AePete follows the typical sweet BL narrative progression. Sweet BL is characterised by an overall sweet flavor (characters, mainly the pairing, would be sweet in behaviour and motivation) and relationship progression is pretty smooth. This is the narrative progression that GMMTV sticks to. I have discussed their reasons as well as why it might not be a good thing in the long run here.

KengklaTechno

Their story follows jado narrative progression.

Quick note about Jado BL & Kengkla as a kichiku seme

One or more characters in a ship being emotional aggressors, physical abusers, sexual predators or outright villains is a very common trope in BL genre. These are popular sub-types (most notable: brute kichiku 鬼畜) of seme/uke/riba with these specific attributes and they have dedicated fans who thoroughly enjoy such characterizations. But these are clearly not everyone’s cup of tea. Some BL fans find these themes unbearable. That is why GMMTV and other BL live-action producers who don’t want to upset any of their audience members usually:

avoid such characterizations all together especially with sweet narrative progression

tries to soften such characters into more universally palatable forms

tries to redeem those characters by getting rid of those with odo – this is what currently airing My Stand-In would do.

make them villains – never making them the protagonists who gets any kind of happy ending

This is done not to trouble the average audience’s worldview (世界観) and is clearly a low effort and low skill (in terms of BL literacies) approach. But since a lot of audience don’t appreciate villain-like characterization, it is clearly low risk, no chance of a backlash from angry audience and the best method for assured money making.

Occasionally BL live-action producers venture into the risky terrains, especially with jado. The Japanese does it a lot, usually in movie format. China and Taiwan also delve into jado fairly regularly. But live action Thai BL seldom does anything commercially dangerous.  

In a jado BL, a character might do terrible things and manipulate the other character(s) in the ship. But won’t feel remorse, apologize and improve for better. This is a violation of the expectation placed on characters on sweet narrative progression. Sweet BL audience do not expect characters in a ship to be anything but good to each other, especially after they have become a couple. While audience don’t mind characters making mistakes, in this narrative progression audience also expect characters to learn from their mistakes and to grow closer by earning and giving forgiveness.

In jado BL that focuses on characters being villains, there are no such expectations. These BL work within the confines of their own worldview which don’t necessarily match with our IRL worldview. Characters are allowed to act in ways that goes against our everyday perception of what is right and what is wrong. Neither the characters nor the audience expect the characters to right their wrong, to apologize or to get punished, through judicial procedure or otherwise. Happy endings are not after reparations and resolution of issues, it would be in spite of those. Bad endings aren’t necessarily punishments for bad actions committed throughout the narrative, that’s just the ending of that story. Unlike with the BL with sweet narrative progression, these BL are not necessarily stories of two or more guys falling in love. Neither is their love (if at all there is love) expected to be healthy and wholesome. (It can be wholesome but it is just as well if it is not.) There are expectations from such narrative progressions too and resolution to most issues aren’t among those expectations. Clearly not everyone’s cup of tea, especially if they expect BL to be didactic like fables.

Problem getting papered over is the expected approach in jado. When characters get together/get back together with “problems” never really dealt with, it is proper meriba (merry bad ending). Plain bad ending where there is no resolution is also typical in jado BL.

Moreover, it is difficult to sell BL with jado and other narrative progressions. It becomes even more difficult to sell branded pairings when the characters they play are not impeccable. It is unlikely that actors playing bad guys can sell products for advertisers. (Imagine the characters from The Effect being in ads together!) It is even more unlikely that fans would go broke behind wicked characters and would want to attend fan-meetings and concerts featuring them in some way.

Kengkla is two-faced and an excellent yandere. He appears to be a cute and innocent junior in front of Techno. Audience also gets to see him in Machiavellian mode. This is something that Techno doesn’t have access to, at least in Love by Chance. Techno’s brother is his facilitator in the narrative, which in turn makes him two-faced too. Techno is not omniscient and Kengkla manages to trap him. And that’s where Love by Chance ends.

TarTum

There pairing is an excellent example of MAME’s skilled employment of BL literacies. TarTum is a sweet BL, complicated by them being step-brothers. While their pairing is barely odo, Tum as a character has a complicated odo progression. Horrors from his past haunts him. The journey is going to be complicated. It won’t be linear. There would be slip up on his part and that of others. But there’s light at the end of the tunnel. Those who love odo do so because of the pleasurable pay off, much more than sweet BL. It is a rollercoaster, and that’s why fans like it.

TinCan

This is another pairing with sweet narrative progression but with a rare dynamic: weak seme x weak uke, i.e., neither of them is strong in their pursuit. This is a notoriously tough dynamic to write, so much so that there are relatively few BL with this dynamic.

Multiple Pairings in a Piece

This is something I personally appreciate a lot. It is not often that we get a piece with different pairing with different types of narrative progressions. Authors choose this method and build universes so that they can reach the biggest audience.

A lot of people enjoyed Love by Chance because they could enjoy AePete. While I understand, I don’t relate to that. AePete was my least favourite pairing among them all. I enjoy dangerous characterizations over subdued ones and prefer a meriba over a happy ending. While there are plenty of BL media with those, they are rare in live action. In my first watch, I was constantly tempted to find fan-edits of every couple other than AePete. So, what is time wasted for some is actually really enjoyable moments for another. MAME gets that and I appreciate her for that.

Queerness, heterosexism and ‘Asian’ culture

@waitmyturtles also discusses “a kind of macro cishet perspective on AePete relationship” in relation to “Ae’s randiness and jealous tendencies” and Pete’s response or lack thereof as well as “Ae not being able to take Pete’s help, and Ae’s tendency towards stereotypically masculine POVs and behaviors” tied to “MAME’s story structure here is based in Asian cultural homophobia, in stereotypes of how the queer community should act by way of societal expectations in Asia.”

To unravel that:

I don’t know what “cishet perspective” means in relation to AePete, a pairing consisting of two androphilic male characters. I also don’t know what were the expectations on Ae and Pete in terms of randiness and jealousy.

More interesting I think is the question underlying the statement about Ae’s performance of “stereotypically masculine POVs and behaviors”. Now, what does that mean? In order to understand that it is important to figure out which type(s) of masculinity Ae would subscribe to based on his class, ethnicity and where he comes from (Thai masculinities show considerable variation with location). It will be meaningful to evaluate Ae’s behaviour with respect to: a) what he thinks is the “manly” thing to do b) what Pete does

Take “Ae not being able to take Pete’s help” for example. In their 2021 paper ภาพแทนชายรักชายในนวนิยายยาโออิ เรื่อง รักนี้บังเอิญคือคุณ [The Representation of Homosexual Men in the Yaoi Novel: My Accidental Love Is You] Phuwadech Doungmanee, Panunda Lerlertyuttitham & Natthanai Prasannam goes deep into this:

MAME employs four typical prejudices against male homosexuality perpetuated within the Thai society to create conflicts within the plot: 1) male homosexuality unacceptably deviates from the social norms 2) male homosexuality must not be “out” 3) male homosexuality brings disappointment and shame to the family, and 4) male homosexuality cannot earn true love; love must be purchased instead.

Pete trying to purchase Ae’s love is implied when he is offering ‘help’. This is a stereotypically masculine behaviour and an elitist one at that. As with other stereotypes listed above, this one too gets treated well (with Ae’s refusal to accept) even thought it might not seem so from a Western heterosexist lens.

Along with discursive clashes challenging earlier beliefs, those who hold the prejudices tend to be judged by poetic justice. The author thus educates the society and reading public on alternatives views in relation to male homosexuality. (source: The Representation of Homosexual Men in the Yaoi Novel: My Accidental Love Is You)

There is no one Asian culture. Here are the three popular types of masculinities in Thailand (these are very different from Malayali and Tamil masculinities I am personally familiar with):

Monk

secular male - chaai chatri (ชายชาตรี): embodies typical masculine features such as ‘authority, courage, self-assurance, physical and emotional strength, and sexual prowess’ as well as someone who ‘would under normal circumstances control his sexuality as much as possible and be loyal to his family.’

lower-middle-class - nak leng (นักเลง): ‘a man who is brave, daring, risk-taking but also fair.’ In more recent decade: ‘a man who is tough, loyal to allies and a playboy with numerous sexual affairs.’

Both Ae and Pete are very masculine in very different forms. MAME is not only familiar with different forms of masculinities and femininities, and their region-specific variations, but also plays around with it a lot. The male femininity is also achieved in both the characters in a similar manner. All of this might easily escape the audience members who have limited understanding of Thai masculinities and femininities.

Pete isn’t shown to be unsettled by Ae’s randiness because it is an interplay of two different masculinities done with grace. Pete not only plays the polished, prince-role to a kunlasatree (กุลสต กุ รี; a stereotypical good woman, defined as ‘proficient and sophisticated in household duties; graceful, pleasant, yet unassuming in her appearance and social manners; and conservative in her sexuality’), he is also an out-and-out chaai chatri.  

Physical Relationships and Explicit Content

One of MAME’s contributions to BL is in the toppling of certain beliefs, guided by sexism, BL live action creators were operating under prior to her.

Sathaporn Panichraksapong, an MD of GMMTV, a major producer of BL series, claimed that audience members who are mainly heterosexual women look for romantic relationships among the characters rather than sexual relationships.

We know that our audience are [sic] women. Women want to see only two boys having romantic moments together. They don’t want to see sex. Sexual relationships in BL are for a gay audience. That’s why in SOTUS the Series we have only two kissing scenes. With only these, audiences were already screaming. This is enough for them. (Interview with Sathaporn, GMMTV, 10 Aug. 2017)

Jirattikorn, Amporn. “Heterosexual Reading vs. Queering Thai Boys’ Love Dramas among Chinese and Filipino Audiences.” (2023).

As Jirattikorn goes on to highlight, this [wrong] perception about the audience (“women”) have changed ever since.

While early BL series tend to portray pure love without showing many sexual relationships, later BL series started to show more sex scenes between the two male lead characters.

Jirattikorn (2023)

Trauma & Porn

Itai Itai Itai (if you know, you know)

To claim that it is Asian cultural homophobia that MAME leveraged in Love by Chance through the inclusion of gang rape, incest, and unhappy ending is doing a disservice to BL and other queer genres including gei comi, all of which are well known for both trauma and porn. Aof Noppharnach and Cheewin’s lack of BL literacies is evident in their works. The way Aof Noppharnach shamed the use of the term เมีย ‘wife’ in Bad Buddy in spite of its usage by queer people, especially the little people among them, is evidence enough of the contempt and disregard he can bring in through his positionality as an “auteur”. To compare him to MAME is a little callous, especially when MAME constantly questions positionality and power through the stories she tells.

MAME’s trauma or lack thereof is none of anyone’s concern. So is what she does with it.

But the assumption that trauma in BL is a product of an author who themselves went through it is ludicrous and ignorant because BL from the days of tanbi (and its predecessors) have been engaging with it. There is already half a century’s history of BL with trauma and taboo themes.  

-

you can find the review discussed in this post here:

This is Part 1

Part 2

Part 3

Part 4

[ilovejosukehigashikata]

Talking about Dragona's Pronouns

I've seen a lot of people talking about the confusing situation with Dragona's gender after reading Chapter 1. The translators are confused too! We don't have very much information yet. The pronouns used for Dragona in Chapter 1 of The JOJOLands are an educated guess that may change in future chapters. I personally have just been using a mix of pronouns to refer to them, but in official contexts I think it's best to avoid gendered pronouns for now.

The full explanation is under the cut. Spoilers for TJL #1!

Roge and I, the translators of We Need More Yankiis, decided to use he/him pronouns for Dragona in the chapter for several reasons:

The only person who addresses Dragona with gendered language is their brother, and there is inconclusive evidence as to what they identify as. We have no official word on what Dragona's gender is, only narration from Jodio's perspective. According to him, they "love girly fashion" and get breast injections. Dragona is also revealed to have a penis, but they use very feminine speaking patterns in Japanese, including the very feminine personal pronoun アタシ (atashi). This is typically used by women, but it can also be used by very effeminate men.

Jodio uses the term 'nii-san' (兄さん), translated as bro, to refer to Dragona. This is typically masculine. In Japanese, it's not always a statement on gender to call somebody by a term that doesn't match the gender they identify with - it can just be reflecting how they like to present themselves. For example, Japanese fans commonly call Ermes 'aniki' (兄貴) because she's a masculine woman. Still, it's much more likely that this is him thinking of Dragona as a man instead of just being a more unique use of the term.

Dragona makes no indication of being uncomfortable being called a masculine term. While I personally doubt this is the only pronoun Dragona would be okay being called by, they have a friendly relationship with her brother, letting him call them nii-san to their face.

The only other clear trans rep we've ever really had in the series is the prisoner seen in Stone Ocean. Jolyne is just amazed at how well a person can transition, but the doctor (who is already indicated as being a bit unpleasant) misgenders him and says he was given hormone injections.

I can't really make any statements as to what Araki may have in mind with Dragona, but I think this sums up what the situation is as of Chapter 1 well enough.

One last note: please don't worry about Dragona's name being an intentional riff on drag. Drag is spelled 'doraggu' (ドラッグ) in Japanese, but Dragona's name is spelled as 'Doragona' (ドラゴナ). I think he just wanted a cool name that was referencing dragons, which are spelled as 'doragon' (ドラゴン).

[kaizokuou-ni-naru]

apparently japanese fans were saying after 1110 that the "burden" comment comes of as arrogant and they tied it to some other weird phrasing sanji used this arc, like the way he talks to s-shark in 1065 and 1077, and how he called vegapunk something like "you insolent man" at the end of 1070. have you noticed anything like that during this arc? would you say that those phrasings are different from how sanji usually talks and are there similarities there to the arrogance with which his brothers talk?

i saw a few theories about this, and honestly, not really? nothing about the way sanji talks in this arc has stood out to me as like, more rude or arrogant than he has been previously in the series. i honestly think that maybe sanji's excellent character writing in whole cake island has just made some people forget that he has always been (and i say this with a lot of love) a huge asshole. it really surprised me that him saying something bitchy to zoro and zoro getting competitive about in return set off such a big controversy, because to me it honestly seemed entirely normal for the way they typically interact?

more seriously, i think a storyline about sanji actually being, like, somehow ontologically evil would go pretty directly against both his character development in whole cake island and wano and the broader themes of the story. sanji's personal subplot in wano was entirely about driving himself insane with anxiety over whether he was secretly evil or not; that really doesn't seem to me like something the narrative would turn around and validate after all that. i think sanji's terror about losing his capacity for emotion is likely way more grounded in his personal mental illnesses than in, like, any realistic possibility of that actually happening.

[venussaidso]

The Japanese movie My Girlfriend Is A Serial Killer has another nodal pairing where one person doesn't know they're with the so-called wolf; this time the Rahu-Ketu dynamic being swapped. Usually, the Rahuvian is the wolf in disguise. But this time, it is the Ketuvian.

Magha Sun Haruka Fukuhara plays the serial killer who dates the main character portrayed by Ardra Moon Yosuke Sugino. Although, initially, he acts like a fucking creepy stalker because of his infatuation with her (how he finds out that she's a psychopathic killer; also, yet again another example of Magha natives attracting obsessive people).

Also, Claire Nakti made a serial killer analysis nakshatra video and Ashwini nakshatra was the highest of all nakshatras; and the nakshatra lord that was the highest altogether was Ketu, following Venus (fire signs are generally the most violent). So, it checks out that the girlfriend would be casted as a fire rashi native.

There's a scene in the movie where someone warns him that a wolf will always be a wolf (signifying her nature) and that a sheep is still a sheep. Even after finding out she's a murderer, he still loves her and doesn't want her to get caught.

But forgetting the true nature of their dynamic, as his guard remains down, she stabs him in the end. Even after all this time of keeping him alive, the wolf still can't help but bite the sheep.

fan edit link

Now, Magha Sun Haruka Fukuhara stars in the new Netflix series Invisible Us, where now she's linked to a serial killer.

Ketuvians' ability to solve mysteries, connect dots and see detailed patterns that others tend to overlook is honestly so typical at this point. I'd love a to make a rundown video of Ketu-ruled characters brainstorming, figuring things and people out on the spot! Ironically they have more of a keen eye than Rahuvians... which is not ironic anymore (like wtf am I saying lol) as Rahu tends to have excessive thoughts and anxiety which makes it hard to come to the truth or make clear decisions. While Ketu pierces through the truth with its speed and detachment. A clear, detached mind is associated with someone who has properly balanced their Ketu. While Rahuvians need to integrate a lot of meditative tools in their lifestyle.

[weirdmarioenemies]

Name: Mr. Blizzard

Debut: Super Mario 64

Who ordered the Funny Snowman? Not you, because this is a blog and not a restaurant, silly! You are just so silly. But between you and me, I am a fan of Funny Snowman, so I will humor you!

Mr. Blizzard is one of the first snowmen to appear in the Mario series, and the one who would become the most iconic and recurring. This is something he should be proud of, since Super Mario 64 has a bunch of snowmen in it! But one of them based his whole identity around missing his head, and the other one is an entire location. Gimmicks that make them memorable, sure, but not very versatile for future use!

Mr. Blizzard's design really notably uses billboarding, the graphical trick where a sprite will always face the camera, giving flat circles the appearance of spheres in a slightly blurry 3D world. Snowmen are SO orbs! Some of the most orbs guys I can think of! It was a very good decision. Mr. Blizzard is honestly slightly unconventional compared to other cartoon snowmen, with no nose- nay, nary a carrot- and a simple line mouth, rather than the typical "series of dots" mouth that we know and love. Instead, it has a blank, autism creature face, with its eyes and mouth seemingly made of the same material! Mouth made of eye, or eyes made of mouth? You won't know until you kiss him on the lips!

Nowadays, Mr. Blizzard uses a new design, which I also like a lot! This time he has a scraggly mouth because he is, as I assume he would say, "not too sure about this one, guys". He now has snow buttons on his torso, revealing that he was previously NAKED down there, and he also wears a bucket as a hat! That's one of those things that's so common in Japanese media, but in Western media it's always a top hat. So funny how one cartoon snowman had such influence on media! The average snowman-builder is much more likely to own a plastic bucket than a top hat!

Mr. Blizzard's main Thing is his single arm, adorned with a cute little mitten, which he uses to throw snowballs. Do you think that's like throwing his own flesh? I don't think so. If clothing buttons and igloos can also be made of snow, I think snow is just the building block of a snowman's world. But still, imagine some cattle throwing delicious meatballs at each other. Messed up! How would they even do that with hooves? Would they use their tongues like slingshots? What was I talking about? Where am I?

Oh yes! I am in "Snow World". Mr. Blizzard is a recurring enemy snowman, but Mario's world is also full of morally neutral living snowman, who DO have carrot noses, thank goodness. These snomonculuses are obstacles on snowy Mario Kart courses, but it's kind of rude to refer to them as that. Is a pedestrian an obstacle to a driver? Suffer, vehicles, as I wield my high level spell called "right of way"!

In Mario Kart Tour, these entities are exclusively referred to as Snowpeople! Gender? They hardly snow 'er!

[yumeka-sxf]

Japanese Linguistic Observations in Spy x Family - part 2

Part 2 - Anya's "Anya-isms"

I think Anya has one of the most interesting ways of speaking out of all the SxF characters. But like with Twilight's dialogue that I previously discussed, it can only be fully appreciated in the Japanese version. Probably the most noticeable thing about her dialogue is how it's written compared to the other characters.

Written Japanese is comprised of three different alphabets: ひらがな (hiragana) and カタカナ (katakana), which together are referred to as "kana," and 漢字 (kanji). Kanji are the characters that hold the meaning of words, while kana simply represent the various Japanese syllable sounds and don't have any meaning on their own (much like the letters of the English alphabet). There are only about 100-ish total unique kana symbols, however, there are over 2,000 kanji in common use today. So Japanese children will start out learning kana and then learn kanji gradually during their school years. This is why Japanese children's books are typically written only or mostly in kana. This is also why manga and books aimed at a younger audience will have kana "translations" of kanji written above kanji characters, which are called furigana.

With that in mind, it's not surprising that all of Anya's dialogue in the Japanese version of the SxF manga is written entirely in kana. Even though using kanji in her dialogue wouldn't necessarily mean she knows kanji, reading a character's dialogue only in kana definitely gives off childish vibes – it conveys feelings of youthfulness and innocence, like "they're speaking only in kana because they don't know the kanji for these words…they're just a little kid, after all." At least, that's the feeling I get when I read Anya's dialogue. Though I haven't read enough manga in Japanese to say for sure, it seems like this concept of making little kids speak only in kana is not unusual, as there's at least one other example I know of: a manga from the mid-2000s called Yotsuba also has a titular 5-year old whose dialogue is written only in kana.

What's also interesting is that all of the other Eden kids speak "normally," using kana and kanji properly in their dialogue. This helps to convey the fact that, despite Anya being roughly the same age as them, their "rich family" upbringing has forced them to grow up faster. In the below panel, you can see how Damian's dialogue uses kanji (with furigana translations) while Anya's uses only kana, even for words that have kanji.

Interestingly, I found at least two cases where Anya does use kanji in her dialogue: when she's calling out the name of her big "Arrow of Light, Seize the Star" move during the dodgeball game, and when she calls out her "Lighting Bolt, Deliver my Aid" move when she tries to throw Yor's weapon back on the deck in the cruise arc. As you can see in the below panels, the names of these "moves" is written in kanji (with furigana translations). This makes sense not only because this is parodying shonen series where the characters shout out the names of their moves, but because it emphasizes how determined Anya was at these moments.

But going back to how Anya's speech compares to the other kids, another thing that stands out is that she speaks very "plainly." Her grammar is (mostly) correct, except for a few mistakes you'd expect a little kid to make. But she uses pretty much no colloquialisms, almost as if she knows the language but lacks the experience for using it in normal social interactions. I don't think this is unusual for a kid her age who's still learning, but it definitely stands out when compared to her classmates. For example, in the below panel, Becky uses normal interjections and other colloquialisms in her speech, like "ne" (ね), "wa" (わ), and "yo" (よ), which are all standard Japanese linguistic devices for softening or emphasizing your sentences. However, Anya doesn't use things like this in her speech. Again, this makes her speech come off as very plain and abrupt, almost like she's not a native speaker.

She also refers to herself in third person all the time in the Japanese version. In fact, I don't recall her ever using an "I" or "me" pronoun. I don't know why the English version of the manga doesn't keep this characteristic of her speech. I think it's very important in highlighting the childish aspect of her personality.

Putting all this together – the fact that she doesn't use typical colloquial speech and refers to herself in third person – really emphasizes the childish, naive, and almost baby-like nature of her character. I'm curious if Endo made her speak this way simply to show what a little kid she is compared to her classmates, or if it will somehow tie back to whatever roots she has in classical languages that he keeps hinting at. Regardless, as I mentioned in my full Anya analysis, what she lacks in speech and school smarts, she makes up for in empathy and resourcefulness.

Besides all this, Anya does make typical speech mistakes a normal kid would make, like mishearing words or saying things wrong. She mostly uses casual speech, but does try to use keigo (polite speech) on occasion, though not always correctly. For example, she says "ohayaimasu" (おはやいます) for "good morning" instead of "ohaiyou gozaimasu" (おはようございます).

But the most consistent "mistake" she makes (though it's not really a mistake) is what she calls Loid and Yor – "chichi" (ちち) and "haha" (はは) respectively.

Japanese has many different words for relatives depending on whether you're talking about your own relatives or someone else's, and whether you're talking to them or about them. "Chichi" and "haha" are the general, neutral terms for "father" and "mother," and are also used when talking about your parents to someone else. However, they're not used when talking directly to your mother and father. There are many other words for that, the usual ones being "o-tou-san" (お父さん) and "o-kaa-san" (お母さん), or some variations of these with different honorifics. Damian refers to his dad as "chichi-ue" (父上) which is very formal, while Becky calls her dad the actual English word "papa" (パパ) which is very informal and normal for kids to use. But again, "chichi" and "haha" are typically only used when talking about your parents, not to them the way Anya uses them. This started from the very first chapter where Loid asks her to call him something that sounds "elite." He originally suggests the very formal "o-tou-sama" (お父さま), but when Anya says "chichi," he doesn't bother to correct her.

Hearing a little kid call her dad and mom "chichi" and "haha" is kind of like calling them "my father" and "my mother" even when speaking to them directly – it's not wrong necessarily, just strange. But again, this serves to further emphasize the childlike nature of Anya's character.

<- Return to Part 1

Continue to Part 3 ->