#middle school either. but i like em in shoujo manga i think they can be like
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i know love triangles are a contentious topic but sometimes a love triangle shoujosei manga will create the best most pathetic wonderfully embarassing little man BUT he's only this good Because theres a love triangle that gave him that character arc. or sometimes they'll give you the greatest gal pal on earth but only after she tries to kill the main character because they both have a crush on the same guy. i understand love triangles can be frustrating but sometimes they are. a necessary evil
#this is about mashimo from 200m saki no netsu. highly recommend its a great manga#i love that the main character wants a sub boyfriend so bad. i hope she gets it#actually specifically. i hope she gets two. i really adore her relationship with 40 year old puppy man hirara. but also#mashimo gets more and more embarassing and pathetic each chapter and i really love him. come on mashimo we can throuple this#im sure hirara would be down hes probably experimented in his 40 years. we can throuple this#but for real honestly i dont mind love triangles. tbh most of the hate for em seems to come from like#fans of ya novels and stuff so i understand. i also didnt really like the way love triangles were written in most ya novels i read in#middle school either. but i like em in shoujo manga i think they can be like#hilarious or sometimes really dramatic and tense or sometimes goofy as hell#or sometimes you desperately want all three to get together. and sometimes it makes the most embarrassing guy on earth <3#mashimo youre such a dumbass <3 <3 <3 i want to see your downfall so bad#NOT because hes bad or anything hes a kind character i just want to see him dissolve into the saddest pile of embarrassment on earth#awesome character type. i hope kikka gets to see him like this more too im sure she would enjoy it#losing in a love triangle really is a great way to build character LOL
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Interview Translation
Taken from âAkimi Yoshida A to Z: Special Talks and Interviewsâ pg. 45â54
The World of Yoshida Akimi
From the magazine âQueer Japanâ which discusses matters of sexuality and gender.
An interview held by author Fushimi Noriaki is included in this special feature: âThe Sexuality of Expression.â
Here, Yoshida Akimiâs works are examined from a different perspective thus far.
(Yoshida Akimiâs âYashaâ was in the middle of serialization in the year 2000)
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First publication: 2000, âQueer Japanâ Vol. 2 (Keiso Shobo)
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Am I hurting gay people by drawing about homosexuality?
Fushimi: Itâs good to see you again. The last time we met was about 8 years ago, wasnât it?
Yoshida: Fushimi-san, youâve aged a little, havenât you? (laughs) You were more of a lively young university student back then.
Fushimi: I was only in my 20s at that time, after all. Iâd just made my debut as a writer, and being an up-and-coming young gay man was basically my selling point (laughs). But more and more youngsters are showing up after me now, so within queer circles1 Iâm like that old hag from your in-lawsâ family that wonât shut up. Anyway, the reason we got to know each other was because I received a courteous letter from you after sending you a copy of âPrivate Gay Life.â 2
Yoshida: It was a very interesting read.
Fushimi: I was so surprised, I thought, âWhy is such a big shot even replying to someone like me!?â
Yoshida: I think you must be mistaken. Within the manga industry, Iâm still considered fresh from the country. Iâm pretty much smaller than a small fry (laughs).
Fushimi: What are you saying, sensei? In last yearâs manga feature of âDa Vinciâ3, âBanana Fishâ took first place in popularity polls and even beat all-time classics like âPhoenixâ and âThe Poe Clanâ!
Yoshida: Wasnât the selection for âDa Vinciâ biased to begin with? (laughs)
Fushimi: No, Iâm sure everyone in this country has read âBanana Fishâ!
Yoshida: Thatâs not true. I mean, none of my relatives have read it (laughs).
Fushimi: Ahaha, is that so?
Now then, going back to the topic of how we met. In the letter that I received from you at that time, you mentioned that you were worried about being hurtful to gay people because you were drawing about homosexuality in your work. I was surprised to hear that you had those kinds of feelings while drawing.
Yoshida: Iâm not gay myself, so while I think that the oppressive weight of falling in love with someone of the same sex is something incredible, itâs not like I understand it in an intimate way. So when people read my works, they might go, âItâs not like that.â There are times when Iâve felt apologetic, thinking about if there are gay readers whoâve found my works offensive.
But the tough part is the other side to it, that is, there just has to be some level of embellishment when it comes to expressing things to the general public, even if it hurts the people in the core group. Somehow, the depiction will always end up exaggerated in some way and because of that, there will always be someone who will get hurt. Itâs extremely difficult to strike a balance there, isnât it?
Fushimi: Thereâs also the reality of the storyâs setting that we have to consider. For example, in âA California Story,â the people who live in New York, they say things like âYou shitty faggot!â in their conversations, donât they? Those are slurs of course, but I think itâs necessary for it to be expressed that way in order to adhere to the storyâs reality. Itâs to be expected after all, since the intention is to portray those characters realistically.
Yoshida: Thereâs that too⌠And there are very basic things like how I might be writing gibberish when portraying how itâs like to fall in love with someone of the same sex, and things like that⌠Of course, itâs not like Iâm drawing it with the intention of hurting people, but I think that saying âI had no bad intentionsâ is just an excuse to escape responsibility.
Fushimi: Itâs the opposite for the Yaoi crowd, isnât it? Their perspective is that they donât mean to depict real gay people, so their depiction of âhomosexualityâ is ultimately imaginary or just a fantasy that exists only in their minds. Have you ever thought of it that way?
Yoshida: Within myself, I have my own yardstick and I split these things into âlies that are okay to tellâ and âbad lies.â But I feel like this is an issue thatâs going against morals, or rather, maybe itâs reached the point of âa lie that strays from the right path.â I do have a âthings I can definitely lie aboutâ category inside myself as well, though.
Fushimi: Iâve had the chance to speak with not just manga artists, but also people who express their creations in various ways. But this is the first time Iâve met someone like you, who is in a sense, extremely proper when it comes to the issue of discrimination. No, I get the feeling that this is probably the first and the last time (laughs).
And so it was after receiving your letter that I was invited to a roundtable with âJune.â 4
Yoshida: Right.
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âBanana Fishâ is a version of a girlsâ soccer team
Fushimi: Within our line, there is a word called âhomophobiaâ which refers to the feeling of hatred or abhorrence of homosexuality. However, when Iâm reading your works I sometimes feel a sense of heterophobia, or something like a loathing of heterosexuality, instead of homophobia. Sexual relationships between men and women tend to have a secondary position within your works, donât they? Even though thatâs supposed to be the main theme when it comes to shoujo manga. Is there perhaps something you feel like you want to eliminate when it comes to heterosexual relationships?
Yoshida: Hmm, Iâve never examined myself so Iâm not too sure either⌠For me, I think of action-centric works like âBanana Fishâ and âYashaâ which Iâm currently working on, as a âversion of a girlsâ soccer teamâ (laughs). Girls wanna play soccer too, and outwit their opponents and make a run into space with the ball, that kind of thing (laughs). During my school years, when the guys get to have fun kicking balls and stuff, we girls were made to do some nonsensical creative dance. I was thinking, why do we have to do this sort of ridiculous thing? So maybe this is just a result of all that pent-up resentment (laughs).
Fushimi: You just said âgirlsâ soccer teamâ but the central characters in your works are mostly guys, arenât they? If itâs connected to the idea of a âgirlsâ soccer team,â why arenât they girls instead?
Yoshida: Thatâs because, something just didnât feel quite right when it came to characterising girls back when I first started out drawing manga. After all, girls were kind of passive, right? Not so much anymore these days, but that was why I had to twist another aspect in order to make that âversion of a girlsâ soccer teamâ a reality.
Fushimi: You made your debut in 1977, so itâs been about 20 years since then.
Yoshida: That feels like an eternity ago⌠ah, I donât wanna think about it (laughs). But at that time, people like Ms. Takemiya Keiko and Ms. Hagio Moto were drawing about relationships between boys, so it felt like that was an acceptable way to go about it. The manga field is just like the legal field in the sense that, itâs okay as long as thereâs a precedent.
Fushimi: Ms. Takemiya and Ms. Hagio used that setting of a relationship between boys within a purely aesthetic world, but in your case, you went for a âgirlsâ soccer teamâ vibe (laughs).
Yoshida: Thatâs how it is when Iâm making it into a manga. But the main reason I came to want to draw stories like this was because⌠back in high school, I saw a revival screening of âMidnight Cowboyâ starring Dustin Hoffman. The impact of that movie was astounding. In the same way that a baby chick thinks that the first thing it sees is its mother, I think I now have the tendency to keep trying to replicate that pattern. That movie was really shocking. I canât forget it even now.
Fushimi: âMidnight Cowboyâ is less âaestheticâ and more âdirtyâ (laughs). Itâs a story about the bond between two not-very-beautiful men, isnât it? Itâs not exactly a clear-cut homosexual love either.
Yoshida: Thatâs right. But, they had a connection that felt like, without each other they would drown and their souls would die, right? It just so happened that they were guys, so I get the feeling that the imprinting has caused me to keep replicating that sort of relationship between men whenever I draw as well. If that had been a movie about two women, maybe I wouldâve been drawing about women instead. I donât know.
Fushimi: That kind of connection⌠doesnât it appear in heterosexual, or rather, in romantic and sexual love between men and women as well?5
Yoshida: When it comes to men and women, their romantic energy or their motivations towards each other felt a little different. Even when itâs based on my own experiences. As far as Iâm concerned, I think shoujo manga are fundamentally stories about relationships. I think thatâs where it differs greatly from shounen manga.
Fushimi: Speaking of relationships, do you perhaps feel that setting it as male/male instead of male/female makes for more interesting drama? Since thereâs a barrier against homosexual relationships born out of societal taboos, and itâs precisely because theyâre both men that there will be backlash against it.
Yoshida: I think there might be something like that.
Fushimi: Currently within the sociology field, it is said that this is the era where sexual love reigns supreme. However, in your works, sexual love (including heterosexual) seems to take a backseat. More than romance and sex, the connection between souls is of higher priority for you, isnât it?
Yoshida: I think so. But, I also get the feeling that thereâs love and eros and all of that inside a soul.
Fushimi: But in your works, sex between guys donât get depicted explicitly, yes?
Yoshida: Thatâs because John Boyd and Dustin Hoffman didnât have sex. The first thing I saw was like that, so (laughs).
Fushimi: Itâs already fixed, like grammar rules (laughs).
Yoshida: It is. It always stops at the very edge (laughs).
Fushimi: By the way, Iâm still in a relationship with the same guy as when I met you 8 years ago.
Yoshida: Iâm still married too, not divorced. As always (laughs).
Fushimi: At that time, I was interested in sexuality, eroticism, why do people get drawn to each other, why do people have the urge to have sex, and things like that. Lately, I feel like that has already concluded inside me. Instead, what Iâm most interested in now is: regardless of whether sexual love has ended, exists or doesnât existâdo people have a partner that they can never let go of? Itâs no longer about why people get drawn to each other, but why canât they let go? Maybe itâs because Iâve become an old lady (laughs).
Yoshida: I feel the same way too (laughs).
Fushimi: Itâs not about sexual love when it comes to long-term connections with people, isnât it.
Yoshida: Itâs not just about sex, but I think itâs definitely there.
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Banana Fish was about to be laid off!?
Fushimi: Your works span all the way from science-fiction stories like âYashaâ to daily life stories like âThe Cherry Orchard.â6 You sure have drawers full of stories to tell!
Yoshida: I wonder about that. It feels more like I have lots of shallow, wide but tiny little drawers (laughs).
Fushimi: Shallow? Thatâs nonsense. All your stories are very deep and meaningful!
When coming up with those stories, do you first decide on things like the charactersâ personalities and upbringing, and make plenty of notes as youâre drawing?
Yoshida: Actually, Iâve never made notes. Out of 100 manga artists, there would probably be 100 different ways of drawing manga and Iâm sure there are those who are very meticulous about their charactersâ backgrounds. But I donât really do that. Of course, I do sketch out the designs for the characters and show them to my editor before serialisation begins, but I donât make detailed notes or write out the story. I just get a blank piece of paper and start drawing off the cuff.
Fushimi: For the real thing itself!?
Yoshida: I do sketch out storyboards and stuff, but mostly I just look at the paper and go, âAlright, time to draw!â
Fushimi: Are you able to see something on that blank piece of paper?
Yoshida: Hmm, Iâm just getting out whateverâs inside my head. Kind of like downloading.
Fushimi: So you donât come up with the whole story before drawing it, but instead let the story develop as youâre drawing it?
Yoshida: I do come up with a bit of it at the start, but anything after, I leave up to instinct.
Fushimi: Taking âBanana Fishâ as an example, did you not think of the story from the start to the end? Did you not have a fixed composition of the story before starting serialization?
Yoshida: Nope. My thought process was like, âItâs probably something like thisâ (laughs). In the middle, it became âThis way? Or that way?â and thatâs how I proceeded.
Fushimi: I believe youâve been critically acclaimed as a creator for your amazing sense of composition, but it turns out that you donât draw only after making sure decisions?
Yoshida: Not at all.
Fushimi: In other words, the deadline for âYashaâ that you had been working on until late last night was all based on instinct?
Yoshida: Only instinct (laughs).
Fushimi: Donât you get scared? Not knowing if youâll make it to where you need to get to, not knowing if you can fold up the wrapping cloth that youâve laid out?
Yoshida: Things will work out somehow. Thatâs just how it is.
Fushimi: So then, âBanana Fishâ was in serialisation for about 9 years, but have you ever felt worried or wondered âIs everything going to be okay?â in the middle?
Yoshida: Not at all. The one thing I did worry about was whether it would get discontinued. Itâs mostly just that (laughs). My works tend to do badly at polls, so itâs not very good for the magazine.
Fushimi: Huh? Your works? That canât be true...
Yoshida: Itâs true. Iâve almost gotten laid off a few times.
Fushimi: Unbelievable! But your works are all bestsellers!
Yoshida: Sales of the magazine and tankoubon are completely different, so in my case, itâs tough because I do noticeably worse in the magazine department. Even now, Iâm working with this constant suspense (laughs). Iâd be like, âEditor, please, just one more!â Every time the editor gets changed, I wonder if this is when Iâll get sacked for real. Up until now there have been a couple of times it almost happened.
Fushimi: Whoa, do they just come up to you and say, âI think it should be about time to end the storyâ?
Yoshida: Itâs not even âshould be about time,â itâs straight up, âYou can stop any time now. Itâs just not doing very well.â (laughs) I got told that about twice during âBanana Fish.â
Fushimi: !! No wayâŚ... Even though itâs such a famous work that would go down in historyâŚ... Absolutely unbelievableâŚ...
Yoshida: Oh no, it happens all the time.
Fushimi: The shoujo manga industry is so harsh, or maybe, they just donât understand whatâs truly valuable.
Yoshida: But thatâs how itâs like for everyone in the manga industry. Itâs like soccer; the moment the coach gets changed, the fates of the players are changed as well. The players get transferred around based on the coachâs ideal composition.
Fushimi: HuhâŚâŚ I guess itâs because itâs so unforgiving that good quality works will spring up again. The pure literature world is the complete opposite. Weâre not exactly doing important work but the authors are all pampered, so good quality works donât get produced as much.
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âLovers' Kissâ is a favourite
Fushimi: This is probably a given, but is the main character your favourite whenever youâre drawing a story?
Yoshida: Hmm, itâs not about like or dislike⌠but I do feel like theyâre the one that I work the hardest on.
Fushimi: I get the feeling that you add more venom when youâre drawing female characters compared to male characters. To quote an example, characters like Sayoko from âKisshou Tennyo.â7 Or, side characters like Toshi-chanâs sister in âLonger and Slower than a River.â
Yoshida: I wasnât really aware of that myself.
Fushimi: Do you not like that naggy side of women?
Yoshida: On the contrary, I think I do like it. Itâs not so much âvenom,â but a deeper, darker side. I donât actually hate women who are like that.
Fushimi: Whoâs your favourite character out of everything youâve drawn so far?
Yoshida: I like them all in their own ways. After all, they did come from within me. I think itâs hard for me to say who I like best, but⌠among what Iâve drawn so far especially the more recent ones, personally speaking, it might be those from âLovers' Kiss.â Thatâs if I were to disregard popularity. I grew up in Kamakura, so Iâve always wanted to draw a story thatâs set there.
Fushimi: I wanted to ask about that too. I think, even if we were to go as far as to consider âBanana Fishâ a same-sex love story, it would just be a fanciful depiction. But in the case of âLovers' Kiss,â it feels like itâs dealing with real life same-sex love. Plus, itâs a work that properly parallels its depiction of homosexual and heterosexual love, isn��t it?
Yoshida: I was sort of conscious of that too. That series does have love as its main theme. âBanana Fishâ or my current work âYashaâ are power game stories. Those have âpower gameâ as its main theme, while this one is âlove,â so naturally my stance would be different. It becomes a more personal story. When you fall in love with someone, you start to grow afraid of many things, right? That feeling of confusion and hesitation in oneâs heart⌠I find that sort of thing very endearing.
Fushimi: That series is quite popular in the gay community.
Yoshida: Really? Thatâs nice to know (laughs).
Fushimi: It seems like a real tough feat to come up with just the romantic correlation chart for the characters. Did you think that up at the very beginning?
Yoshida: I actually like that sort of story composition. I did it in âThe Cherry Orchardâ and even before that. I like the idea of setting a specific location or a world, and then compiling everything that has been captured through different cameras into one story.
Fushimi: Itâs such a tender story. Youâve mentioned splitting your works into âpower gameâ and âloveâ but the characters in either of them are always people who have been hurt, who are trying to figure out how to mend their injured hearts. Theyâre ultimately stories about self-acceptance, arenât they?
Yoshida: Yeah, thatâs right. People hurt each other, but healing each other is also what people do. Or at least, thatâs what I think. Things like pets and music donât really heal; they merely offer temporary comfort and distraction. I strongly feel that the only thing that can truly heal a person is another person. Thatâs something I want to believe in.
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Thanks if youâve read this far! I hope youâve found it an interesting read, just as I did the original :)
Final disclaimer: Iâm not a professional and Iâve translated this to the best of my ability, so please forgive any inaccuracies or mistakes!
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Footnotes that are not marked with "T/L note" are translated from the original interview.
T/L note: ăăłăżă¤ćĽç (hentai gyoukai): âHentaiâ is probably being used to mean âperverted/abnormalâ here, so Iâm making an assumption that itâs reclamation of a term used to disparage LGBTQ+ people and went with âqueer (circles).â But⌠now Iâm wondering if itâs actually closer to something like âfreak industryâ? âŠď¸
Private Gay Life: Author Fushimi Noriaki came out as gay in this book. It is a book that had a huge impact on the gay movement in the 90s. âŠď¸
Da Vinci: A monthly general literature magazine published by Media Factory, beginning in 1994. âŠď¸
June: A magazine that published stories and manga based on the theme of âhomosexual love between boysâ which is called âtanbi.â It was published by Magazine Magazine up until its 87th issue in 1996. Kurimoto Kaoruâs stories have been illustrated by Yoshida Akimi as well. (T/L note: To be clear, June was a BL magazine. Check out the wiki for additional reading.) âŠď¸
T/L note: This bit sounds strangely redundant, doesnât it? Iâm not sure why he rephrased âheterosexualâ as âromantic/sexual love between men and womenâ either. Itâs possible that Iâm missing out on some background context or something, but anyway I tried to keep it as close to the original phrasing as I could. âŠď¸
The Cherry Orchard (Sakura no Sono): A short series depicting the daily activities of an all-girls high school drama club that is preparing to put on the play âThe Cherry Orchardâ for the anniversary of the schoolâs establishment. Serialised from 1985 to 1986 in LaLa. âŠď¸
Kisshou Tennyo: An ambitious work depicting human passion and karma, centering a mysterious girl named Kanou Sayoko. Serialised from 1983 to 1984 in Bessatsu Shoujo Comic. Received the 29th Shogakukan Manga Award. âŠď¸
#peko tls#yoshida akimi#fushimi noriaki#banana fish#well tbh it isnt ABOUT banana fish but it does get brought up quite often#am finally fucken done after months of putting it off#im tired i did my best pls dont bite my head off for any inaccuracies thx#also i used markdown for this post bc i wanted to use footnotes but idk if it works ok on mobileâŚ
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Comic Girls - Episode 09
Okay, today so far is going better than yesterday. Letâs keep it that way. Itâs Comic Girls, episode 09! Here we GO!
-Itâs a celebration! Koyume got her first ever color pages! With a hero that looks like Tsubasa cross-playing. âŚTsubasa, please, you have to notice at some point that all of Koyumeâs heroes look like you. Please. This is getting ridiculousâKOYUME YOU SURELY NOTICED RIGHT oh god theyâre denser than a black hole. At least Ruki and Kaos know where they stand as perverted lesbians.
-Opening!
-So Koyume is working hard on those pages, and Kaos tries to motivate herself to step up a levelâŚThereâs only one problem. Her brain is fucking cooked and she canât draw together an ideaâŚ! While Koyume has decided to take a break and clear her head. Could this be the secret Kaos is missing?! Sheâll come with you! Teach her the Koyumethod of manga!
-Actually, what does Koyume do when she goes out? She meets up with friends, chats about fun stuff, eats yummy stuff, and tries on some cute clothes! âŚKAOS CANâT DO ANY OF THOSE THINGS. She is not a beautiful sparkly high school girl! DESPAIR! And Kaos is lost in the Kaospiral.
-To out and about, with the whole gang! Tsubasa got pushed to do a fun slice-of-life chapter by her editor, so sheâs out here looking for ideas. So the beautiful princess got captured for a long time, surely the first thing on her mind would beâŚ
-Sweets!
-MEAT
-âŚNo, Tsubasa. So to fancy cafe for ideas, where Kaos has a freakout over her fancy parfait, and Koyume gets herself pancakes, andâŚ
-Iâm just gonna quote Tsubasa, word for word, as she watches Koyume eat those sugar-soaked breads. âI think liking sweet things is cuter.â And âSpeaking so seriously when you have whipped cream on your faceâŚThatâs really cute.â She doesnât even know how thick and strong sheâs laying it on.
-To clothes. AndâŚLook, real talk, at this point if I quote every incredibly sapphic line out of Tsubasaâs mouth Iâm gonna be here all fuckinâ day. And Tsubasa doesnât know the first thing about fashion so sheâs lost in trying to make it work, and is just leaning on Koyumeâs wisâ
-KABEDON
-KOYUME JUST KABEDONâD TSUBASA
-What were we talking about
-And then Koyume drags Tsubasa into a changing room and suddenly their roles are entirely revKOYUME IS TAKING OFF TSUBASAâS SHORTS THIS IS NOT A DRILL THIS IS NOT A DRILL RED ALERT ALL HANDS ON DECK
-Okay it was just to find her sizes. And soon Koyume has Tsubasa dressing up and Kaos is watching all of this with a mighty thirst.
-Weâre seven minutes in. Weâre seven minutes in, thereâs a 90 second OP, and this might be the most sapphic the show has ever been and that is including the episode that spent half its runtime focused on how Glasses Girls are Best Girls. (The show is correct about this, for the record. Glasses Girls ARE Best Girls.)
-Tsubasa found a clock shaped like a baby chick and the gap moe is overwhelming. I think you killed Kaos. We need her for the show. But Ruki, Ruki is just seeing the old Tsubasa shining through. Back when Ruki first met Tsubasa, when they were kids, Tsubasa wasnât nearly soâŚperformative about being a tomboy. She loved her shonen manga, but was really girly, too. She was small and adorable! But the deeper she got into manga, the more stoic she became, and the more she just started dropping everything that took effortâŚAnd, well, being a frilly sort of girl takes effort, so it became pants and hoodies and short hair.
-Until everything went stoic and functional. But Koyumeâs drawing out some of her old passions and desiresâŚAll at the heart of the Koyumethod! The what now.
-Back the dorm! Tsubasa got right to drawing, full of inspiration. âŚAnd also she keeps cosplaying as she draws, in multiple costumes, switching as she goes. Which is eating up a lot of her time. But, I mean, if it worksâŚ
-Indeed, after her next meeting, Tsubasaâs all excited. And Koyume got good reviews from her work, too! Theyâre linking up wonderfully! Ruki and Kaos are so happy to see it. A true, proper senpai/kouhai duo. âŚUnlike them. âŚOH GOD KAOS SHEâS FAILED YOU SHEâS SORRY
-But later that night, Rukiâs got to be the one to notice that Koyumeâs time with Tsubasa has meant less running around. And yet her sweets intake hasnât slowed. And, well, sheâs getting a littleâŚsoft around the middle. Koyume thus begins to panic as she realizes her many sins against slimnessâŚAnd thatâs when Tsubasa gets back with cream puffs! Oh god, Koyume is caught in the middle.
-And thus begins the debate. On the one hand, Koyumeâs cutesy demeanor works just fine with a little softness, and Tsubasa donât care. On the other, Ruki uses her as a model and you canât model graceful shoujo waifs if you have a tummy. And on the gripping hand, Ririka points out how hard it is to keep the weight off as you get older. And theyâre all just squishing and squeezing Koyume!
-Who cannot seem to focus on her manga later because of this weight panic. âŚSheâll wear something cute to cheer herself up! Like this favorite dress! âŚOh god it wonât zip up. OH GOD
-Episode 09: Kaospiral
-Eventually sheâs in the bath with Ruki and trying to figure out what to doâŚRuki likes to use muscle massages in the bath to help keep things trim. Thereâs even ones for improving your bust size and anyways thatâs how they get into a grope battle. And Kaos just listens with a mighty thirst while she does dishes.
-After bath. Koyume turns to her Tsubasa-sama. Senpai. Sensei. Something with an S. Who thinks the answer is youâve just got to fuckinâ work out. Calories out has to be bigger than calories in. Thatâs all there is to it. So thatâs how Koyume gets roped into Tsubasaâs morning run.
-Very early morning run.
-Thereâs a six in the morning now?
-Also Koyume overdoes it so when Tsubasa gets back, sheâs carrying the stupid dork. But eventually, Koyume is on the right track, and just needs a little bit of dieting and portion controlâŚExcept now her lust for snacks is causing them to appear in very odd places in her art. That boy is wearing a cake for a hat. Okay, okay, fix it! Gotta be diligent, diligent, delicious, she ate the page.
-And when Koyume goes to her editor meetingâŚHer editor is disappointed. It feelsâŚLike somethingâs missing. Itâs a bit lifeless. Not like your usual workâŚAnd Koyume almost keeps a straight face, right until she runs into Tsubasa. And then it all spills out.
-Koyumeâs caught in a thick mess of a conundrum, as they end up stopping into a little restaurant to talk. Thereâs her yearnings and urges. Thereâs her desire to be thought of a certain way by Tsubasa. And thereâs the path to her manga. All of them spinning and spiraling against each other, until finally, he decides thereâs only one thing she can doâŚ
-Lean into the passion. Sheâs gonna have herself this delicious looking pie, redo her pages, and clear her head. And go on the next morning run with Tsubasa to try and keep things under control.
-And she ends up pulling a whole all-nighter to completely and utterly redo the chapter from top to bottom, with her real true self properly expressed in the work! And it might be a bit fluffy, but in the end it worked out that she burned so many calories(and dropped enough water weight) pulling that all-nighter that she still lost that last kilo. Sheâs even got her manuscript with her at school so she can turn it in to her editor after schoolâŚBe careful you donât lose it!
-Which is when Tsubasa has a panic, because guess what happened.
-So before we go any further, Iâm aboutâŚ75% sure Miharu stole it to read it before anyone else.
-But okay, first theyâve got to check back in class! Tsubasa was working on it during class, but that should also mean it wouldnât have disappeared from the classroomâŚFuuuuck, that entire chapterâŚ! Koyumeâs an expert in losing and re-finding things! Iâm not sure how great that sounds either, Ruki. Okay, first, what classes did you have that took you out of the normal classroom? Well, there was scienceâŚTO THE SCIENCE LAB!
-Which is as barren as the desert. Okay, next plan! The lost and found! No luck, but Koyume found a bunch of things she was missing. Okay, last ditch effort! To Nijino-sensei to ask for help! Sheâs got a simple plan. Sheâll describe the booklet as something she lost, which should get them to respect her privacy and hand it over without looking into it. You four should split up to look through the school while she starts asking around.
-And off everyone goesâŚWith Miharu secretly hoping she can find it so she can read it first, before anyone else! Okay so my theory was wrong. But soon everyoneâs charging through, with Tsubasa and Koyume trying to find any sign of things, and Tsubasa so obviously cares deeply for finding those pagesâŚShe pours her heart and soul into them, from her very coreâŚ!
-While Kaos and Ruki try the libraryâŚAnd Ruki spots something between two shelves! A space too narrow for Ruki to fit. Come on, Kaos, squeeze inâŚAnd grab onto it, while Ruki pulls her free!!! And this is not Tsubasaâs manuscript case. Then whose could it possibly be? It looks old, tooâŚ
-Cue Miharu. âŚOh god they found her high school manuscript she hid. HOW DID YOU FIND THAT?!!!!
-Oh god THEY FOUND HER OLD YAOI DRAWINGS
-Kill her now. Just kill her right now. SheâsâŚGoing to put that in the lost and found! For whatever other student, entirely unrelated to anyone you know, to find it! Please go keep looking. Far away from here. Other end of the building. Go go go!
-Eventually the sun is low in the sky, and theyâve still had no luckâŚAnd at this point, Tsubasaâs ready to give up. To let her life be over. The manuscript will be leaked. The identity of Wing-V will be revealed. All she can do now is let it happen, and keep as many people out of the crossfire as she can. âŚNo. Theyâre sticking by you and theyâre making this work. Theyâre gonna find that manuscript!
-And cue Suzu who found it earlier in the science lab and has been looking for Tsubasa all day to get it back to her. And looks quite cute when sheâs not playing full spookum. Enough that they donât even recognize herâŚBut then she unpins her hair, goes full spookum, and chases the girls across the roof. Naturally.
-Credits!
Man, these things get dense. And that, was, a lot of sapphic stuff in the first half. I never thought Iâd see Koyume pulling a kabedon. But with all that said, now that weâve had some Koyubasa, itâs time for some Rukaos, next time in episode TEN of Comic Girls! Wait for it!
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Idolish7 12 - 13 | Ancient Magusâ Bride 23 | Zoku Touken Ranbu Hanamaru 11 | Gakuen Babysitters 11 | YuruCamp 12 (FINAL) | ReLIFE OVA 1
Idolish7 12
One of the famous landmarks of Osaka is the Glico Running Man (when the group puts their hands up like the sign in the back).
Sogo uses âbokuâ. I havenât listened to his dialogue much so I havenât been able to noticeâŚ
By contrast, Riku uses âoreâ.
Donât credits normally scroll from the bottom up? This is strange, isnât it?
These ED images seem to be by Tanemura. Either that or Fukagawa.
Ancient Magusâ Bride 23
After this, itâs one more episode then weâre done.
Can someone please correct the English on this episode title???
Wasnât Joseph in the Bible a shepherd?
If thereâs one thing I didnât know Ancient Magusâ Bride needed, it was action. Thatâll make pretty much any show better.
This fountain place kind of looks like the ED, eh?
Zoku Touken Ranbu Hanamaru 11
One more episode and weâll part from these sword boysâŚthat might be forever, yâknow. Thatâs a daunting prospectâŚ
All this talk about bosoms really makes me feel awkwardâŚis the Saniwa in this married and a girl, or not?
I remember seeing that laughing bag in the store in the 1st season.
Juzumaru is such a cool beautyâŚif a guy can be called that, anyway.
Why does the sunflower have a cape, anyway???
I canât help feeling like thisâll all lead to a meetup with YasusadaâŚhmm.
Iâve observed that Ookurikara is a practical one as well as a loner. Despite this, he still has a soft side for Tsurumaru, Taikogane and Shokudaikiri.
Just observing the order of the emblems, it appears theyâre going in card numerical order(?). I do remember the tantous are very close to the front, but so is NikkariâŚwait, I checked out some of the corresponding crests again and it actually appears to be the order they came to the citadel in this show (it can thus be deduced Yamanbagiri is 14th and Shishiou is 15th in the order of the crest display), bar Yasusada (who is last).
Gakuen Babysitters 11
Eh? Saikawa?
I thought in a running task Hayato would be fasterâŚguess it ainât so, eh?
Lemon tea, LOL.
Idolish7 13
I always feel bad whenever I see Shimooka. Itâs probably because things always go down for Idolish7 whenever heâs involvedâŚor am I just thinking of Music Festa?
Gaku, donât go making assumptions! Some girls do like sweet things, but not all girls do!
O-Oho, I think Ryuunosukeâs my favourite TRIGGER member now (although I like each of the trio fairly equally). I completely fangirl squealed when he got the cream off Tsumugiâs face!
Thereâs a piano in the back behind Yamato.
Compare tsukimi soba to the tempura soba in the show. They donât look the same, but they do look vaguely similar.
This TV Man Show is a lot like how the Hapinama and the Batonama are for Boueibu, so thereâs a real feeling of camaraderie between Shimooka and the members of i7âŚdonâtâcha think?
YuruCamp 12 (FINAL)
Mahou Shoujo Oreâs coming in soon, so Iâd better hurry on this!
Chiaki with her hair down kind of looks like RinâŚwhereâs Nadeshiko though? Update: Spoke too soonâŚ
Well, that explains the OPâs firepowered tent, alright.
I thought that was a woman the entire time! TPAB didn��t believe me and thought that was a man! Wahahaha! Iâm rightâŚsorry, Iâll stop being a jerk right nowâŚ
Nadeshiko â a girl after all our hearts. Gotta love anime, right? Right???
Wow, thereâs a secret horror fan in our midst...
Lake Hamano.
Japanese job standards normally require you to get work around college or after you get out of high school.
The gag there is that you have to wake up early to do hatsumoude (first shrine visit of the year).
I canât seem to find anything on Google about Yamato stewâŚthatâs disappointing, actually.
Hey, itâs Sakura (Nadeshikoâs older sis)! Good to see her again!
Tabi Kibun roughly means âtravelling feelingââŚI guess. âThe feeling of travelling,â maybe, or âwanderlustâ if Iâm to put it that way.
Why is the term âyes, sirâ??? Iâm getting so irked by conventional translations of that when Chiaki is clearly not a heâŚ
OuchâŚyouâd think in a show like this Rin and Saitou wouldâve been easy targets and easy wins, but I guess that ainât so. ThatâsâŚkind of amazing for a club anime, eh?
These are nengajou. âNew Yearâs cardsâ is a perfectly fine translation for âem, but these New Yearâs cards arenât the sort with the fold in the middle that you see in English-speaking societies, thatâs all.
That is a lucky drink shop, in a senseâŚit was lucky it was there are exactly the right time, LOL.
Nadeshikoâs mother and father! I donât think we ever saw them beforeâŚoutside of that one houtou incident, that is.
The photo wall was a nice touch. It makes me feel all nostalgic inside, like Iâve really come on a journey with these girls.
Wait, after credits scene. Gotta keep watching!
This Nadeshiko segment feels oddly cyclical. Itâs bookends at its best and yet worst.
Ooh, Nadeshiko even got herself one of those nice chairs!
I thought Nadeshiko was going to say âRin-chan!â as soon as she saw her. However, thatâs a very Nadeshiko thing, so Iâm not going to complain about it like I do most days.
ReLIFE OVA 1
Yes, itâs me and ReLIFE all over again. Good thing I only have 4 OVAs to cover now.
It feels like years since they covered this stuff (and I rewatched the 12 episodes again at the start of 2017, so the impact for a person whoâs only watched once over and not read the manga must be worseâŚ). Itâs only a gap of about 2 years. I wonder how the AoT guys with their gap of 4 years felt, or the CCS guys with their 20 year gap?
They subbed the OP?! Wahhhh?! This is an amazing life weâre living, eh? About 20 years ago, you couldnât dream of getting songs subbed like this!
Iâd assume kabopan = kabocha pan (pumpkin bread).
Now the background people are just silhouettes, kinda like in Rampo KitanâŚ
ââŚdidnât you hem and haw before you confessed to Kazu-kun too?â - Right for the jugular, Hishiron! Thatâs the way!
Isnât this (sharing whether there is a second participant in the ReLIFE experiment and who it is exactly) a breach of confidentiality???
How old is the brother? No spoilers, pleaseâŚaw heck. Iâll probably find out later. Forget I asked.
#Squadgoals right thereâŚamirite?
The ED, if you want to chase it up, is âFlowerâ by Orange Range.
Seed, NeedâŚwhat next? Something else that rhymes with those, probably.
#simulcast commentary#yurucamp#ancient magus' bride#mahoutsukai no yome#relife#gakuen babysitters#school babysitters#touken ranbu hanamaru#zoku touken ranbu hanamaru#touken ranbu#Chesarka watches YuruCamp#Chesarka watches Gakuen Babysitters#Chesarka watches MahoYome#Chesarka watches Hanamaru#Chesarka watches ReLIFE
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