#original japanese included for those interested

[xiaokuer-schmetterling]

ZOMG TODAY I LEARNED THERE'S A JAPANESE STAGE PLAY ADAPTATION OF MDZS. WITH A LIVE STREAM. FOR MY BIRTHDAY ???!!!

from https://l-tike.zaiko.io/e/mdzsstage (full machine translation & original text from website included below the cut)

streaming event:

sun 4/6 11:30am JST => sat 4/5 10:30pm EDT

sun 4/6 5pm JST => sun 4/6 4am EDT

TICKET PRICES (as of 2025-02-21)

sunday. 2025-04-06. 1130 JST -> JP¥3,687 (all purchase taxes& fees included) => USD $24.70

sunday. 2025-04-06. 1700 JST -> JP ¥4,753 (all purchase taxes& fees included) => USD $31.84

*Please note that you will only be able to watch the streamed footage at the same time as the performance, and will not be able to watch it after the performance has ended.

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what does ticket purchase site look like? (iphone chrome browser btw)

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btw. i live in florida, usa. so that's the currency and time zone i converted to! resources used to make this post: google translate & currency conversion and world time zones converter (https://www.timeanddate.com/worldclock/converter.html)

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Event date

04/06 (Sun) 11:30 – LATE JST

Event type

Stage/Show

Stage play "The Master of Diabolism" Encounter Edition April 6th (Sunday) Final Day Performance (Full View) Kyoto Theater

Streaming-Stream date

04/06 (Sun) 11:30 JST

Stage play "The Master of Diabolism" Encounter Edition April 6th (Sunday) Final Night Performance (Switching) Kyoto Theater

Streaming-Stream date

04/06 (Sun) 17:00 JST

[Notes]

〇The stage play "The Founder of Diabolism" Encounter Edition will only be streamed live. There will be no catch-up or archived streaming.

*Please note that you can only watch the streaming video at the same time as the performance, and you will not be able to watch it after the performance has ended.

〇The stage play "The Founder of Diabolism" Encounter Edition will not be released on Blu-ray/DVD.

[Official stage website]

https://stage.mdzs.jp/

[Introduction]

The global mega-hit fantasy novel "The Master of Diabolism" has finally been adapted for the stage!

The original work is the BL fantasy novel "The Master of Diabolism" by author Mo Xiang Tong Xiu, which was serialized on a Chinese online novel site from October 2015 to March 2016.

The story is set in a fictional ancient China where magicians exterminate demons and evil spirits. The detailed and epic story depicting the turbulent fate of two people bound by a strong bond and the charming characters have been well received, and the novel has been translated and published overseas. It has been developed

into a variety of media mixes such as radio dramas, manga, anime, and live-action dramas, and the video works have been viewed more than 15 billion times in total. It has caused a social phenomenon in Asian countries, and its popularity has not stopped, and it is now explosively popular all over the world.

In Japan, the live-action drama version of "The Untamed" (subtitled version) was broadcast in March 2020, the anime "The Master of Diabolism" (subtitled and dubbed versions) was broadcast, the radio drama was distributed, the original novel was translated and published, and the Japanese version of the manga will be serialized in 2024, and it has been a hot topic of conversation.

Now, it has finally been decided that the story will be adapted into a stage play, a world first.

The subtitle of this first stage production of "The Master of Diabolism" is "Encounter Edition," and it depicts a profound world view and complex human drama.

In addition, a talented cast and staff have come together to mark a new chapter in the media mix development of "The Founder of Diabolism." The script and direction are by Ise Naohiro, who is active in a wide range of fields, mainly in the theater. The music is by Sakabe Tsuyoshi, who has worked in a wide range of genres, including theater, television, and film. In addition, Gearous, who has worked on many illustrations for "The Founder of Diabolism" in the past, has participated as the main illustrator to create new visuals for the stage. The character designs will be produced in collaboration with the production committee for the stage production of "The Founder of Diabolism."

The lead character, Wei Wu-Xian, will be played by Shunya Kaneko, who made his debut as a child actor in "Big! Tensai Terebi-kun" and has since appeared in such films as "Ultraman Trigger: New Generation Tiga" and "Perfect Proposal", making this his stage debut. The role of Lan Wangji will be played by Hirose Tomoki (Touken Ranbu the Movie, Demon Slayer: Kimetsu no Yaiba the Movie: Kimetsu no Yaiba Part 2 Kizuna, etc.), who is active in a variety of fields including stage and film. The cast also includes a range of actors, from fresh faces to experienced and talented actors, such as Wada Takuma (stage show Touken Ranbu, MANKAI STAGE A3!, etc.), Komatsu Junya (Kamen Rider Revise, stage show Romeo & Juliet, etc.), Tamura Shogo (Dancing☆Star PreCure The Stage, Touken Ranbu the Musical, etc.), and Murata Mitsuru (Attack on Titan -The Musical-, HUNTER×HUNTER THE STAGE 2, etc.).

This production is brought to you by Sony Music Solutions Inc., which has been developing the TV drama, anime, and manga of "The Founder of Diabolism" in Japan, and Marvelous Inc., which has produced numerous stage productions.

Look forward to the stage production of "The Founder of Diabolism," which is full of charms that can only be experienced in live entertainment, such as the powerful sword fights unfolding before your eyes.

[Story]

The world is an age of tyranny by the Qishan Wen clan, and the people suffer.

The Gusu Lan clan, Yunmeng Jiang clan, Lanling Jin clan, Qinghe Nie clan and other immortal ascetics join forces and succeed in defeating the Wen clan. Among them, Wei Wuxian, the Yiling Patriarch, made a great contribution, but he was feared by the people because he was involved in the powerful demon arts, and eventually he was ruined. Then, thirteen years later,

Wei Wuxian, who was revived by magic, encounters a strange incident and is reunited with his fateful partner, Lan Wangji of the Gusu Lan clan. As he investigates the incident, he approaches the truth of what happened thirteen years ago - the story of the turbulent destiny of these two people begins.

[Staff]

Original work: "The Master of Diabolism" by Mo Xiang Tong Shu

Script and direction: Naohiro Ise Music: Tsuyoshi Sakabe Main illustrator: Gearous

[Cast]

Wei Wuxian (played by Junya Kaneko) Lan Wangji (played by Tomoki Hirose)

Jiang Cheng (played by Takuma Wada) Lan Xichen (played by Junya Komatsu)

Jin Ling (Jin Lin): Shogo Tamura

Lan Si-Zhui (played by Ando Yumeka) Lan Jingyi (played by Tsuchiya Naotake)

Nie Huaisang (voiced by Yasui Kazuma) Jin Zi Xuan (voiced by Takeshi Naoki)

Lan Qi Ren (voiced by Mitsuru Murata)

ⒸStage "The Grandmaster of Demonic Cultivation" Production Committee

Adapted from the novel of the same name by Mo Xiang Tong Xiu, a contracted author of Jinjiang Literature City

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Event date

04/06 (Sun) 11:30 – LATE JST

Event type

Stage/Show

舞台『魔道祖師』邂逅編　4月6日(日)千秋楽　昼公演（全景）　京都劇場

Streaming

Stream date

04/06 (Sun) 11:30JST

舞台『魔道祖師』邂逅編　4月6日(日)千秋楽　夜公演（スイッチング）　京都劇場

Streaming

Stream date

04/06 (Sun) 17:00JST

【注意事項】

〇舞台『魔道祖師』邂逅編の配信はライブ配信のみです。見逃し配信・アーカイブ配信はございません。

　※公演と同じタイミングで���か配信映像をご視聴いただけず、公演終了後にはご視聴できませんのでご注意ください

〇舞台『魔道祖師』邂逅編はBlu-ray/DVDの発売はございません。

【舞台公式サイト】

https://stage.mdzs.jp/

【Introduction】

世界的メガヒットファンタジー小説『魔道祖師』、ついに舞台化決定！

原作は、作家・墨香銅臭（モーシャントンシウ）により、中国のオンライン小説サイトにて2015年10月から2016年3月にかけて連載されたBLファンタジー小説『魔道祖師』。

物語の舞台は、法術を使う者が妖魔や邪鬼を退治する架空の古代中国。強い絆で結ばれた2人の激動の運命を描いた緻密で壮大なストーリーと魅力的なキャラクターが反響を呼び、海外でも小説が翻訳、出版された。

ラジオドラマ、漫画、アニメ、実写ドラマなど様々なメディアミックスを展開し、映像作品はシリーズ累計150億回再生超。アジア各国で社会現象を巻き起こし、その人気はとどまることを知らず今では世界中で爆発的な人気を誇る。

日本では、2020年3月に実写ドラマ版「陳情令」（字幕版）が放送され、アニメ「魔道祖師」（字幕版・吹替版）放送、ラジオドラマ配信、原作小説和訳出版、さらに2024年には日本版漫画の連載開始と、たびたび大きな話題となっている。

そし��このたび、ついに世界初のコンテンツとなる舞台化が決定。

舞台『魔道祖師』の第一弾となる本作の副題には“邂逅編（かいこうへん）”と銘打ち、重厚な世界観と複雑な人間ドラマを描き出す。

また、『魔道祖師』のメディアミックス展開に新たな1ページを刻むにあたり、実力派スタッフ・キャストが集結。脚本・演出は、舞台を中心にマルチに活動する伊勢直弘。音楽は、舞台やテレビ、映画と幅広いジャンルを手掛ける坂部 剛が務める。さらに、舞台用にビジュアルを新調するため、これまでにも『魔道祖師』のイラストを数多く手掛けているGearousがメインイラストレーターとして参加。舞台『魔道祖師』製作委員会と共同で、キャラクターデザインの制作を手掛ける。

主人公・魏無羨（ウェイ･ウーシエン）を演じるのは、『大！天才てれびくん』で子役デビュー後、『ウルトラマントリガー NEW GENERATION TIGA 』、『パーフェクトプロポーズ』などの映像出演を重ね、今回が初舞台となる金子隼也。藍忘機（ラン・ワンジー）役は、舞台や映画など様々な場で活躍する廣瀬智紀（『映画刀剣乱舞』、舞台「鬼滅の刃」其ノ弐 絆 等）がダブル主演として務めるほか、和田琢磨（舞台『刀剣乱舞』、MANKAI STAGE『A3!』等）、小松準弥（「仮面ライダーリバイス」、舞台「ロミオ&ジュリエット」等）、田村升吾（『Dancing☆Star プリキュア』The Stage、ミュージカル『刀剣乱舞』等）、村田 充（「進撃の巨人」-The Musical-、 『HUNTER×HUNTER』THE STAGE 2 等）など俳優陣はフレッシュな顔ぶれから経験豊富な実力派までが勢揃い。

これまで日本で『魔道祖師』のドラマ・アニメ・漫画を展開している株式会社ソニー・ミュージックソリューションズと、数々の舞台作品を手掛ける株式会社マーベラスが共同でお届けする本作。

目の前で繰り広げられる迫力満点の殺陣など、ライブエンタテインメントでしか体感できない魅力が詰まった舞台『魔道祖師』をお楽しみに。

【Story】

世は岐山温（きざんウェン）氏が暴虐の限りを尽くし、民が苦しみにあえぐ時代。

姑蘇藍（こそラン）氏・雲夢江（うんむジャン）氏・蘭陵金（らんりょうジン）氏・清河聶（せいがニエ）氏をはじめとする仙門の修行者らは力をあわ��、温氏の討伐に成功する。

なかでも夷陵老祖（いりょうろうそ）である魏無羨（ウェイ・ウーシエン）は貢献を果たしたが、強大な力を持つ鬼道に手を染めたがゆえに人々に恐れられ、やがて身の破滅を招いてしまう。

そして十三年後。

呪術によって蘇った魏無羨は怪事件に出くわし、宿命の相手、姑蘇藍氏の藍忘機（ラン・ワンジー）と再会する。

事件を追ううちに十三年前の真相に迫ることとなり―――

2人の激動の運命をめぐる物語が始まる。

【Staff】

原作：『魔道祖師』墨香銅臭

脚本・演出：伊勢直弘　音楽：坂部 剛　メインイラストレーター：Gearous

【Cast】

魏無羨（ウェイ・ウーシエン） 役：金子隼也　　　藍忘機（ラン・ワンジー） 役：廣瀬智紀

江澄（ジャン・チョン） 役：和田琢磨　　　藍曦臣（ラン・シーチェン） 役：小松準弥

金凌 役（ジン・リン）：田村升吾

藍思追（ラン・スージュイ） 役：安藤夢叶　　　藍景儀（ラン・ジンイー） 役：土屋直武

聶懐桑（ニエ・ホワイサン） 役：安井一真　　　金子軒（ジン・ズーシュエン） 役：武子直輝

藍啓仁（ラン・チーレン） 役：村田 充

ほか

Ⓒ舞台『魔道祖師』製作委員会

改編自晋江文学城簽約作者墨香銅臭同名小説

[mandalhoerian]

Repost because tumblr's tags were broken yesterday and it ate my post up 😞 Spoilers and translation notes for Rafayel's intertidal zone & analysis because it kinda floored me, I was just as a blank page as he was throughout this. I had to watch it like 5 times to understand what the story was saying and dig into chinese and japanese versions of this to piece together what was really happening. It may be my idiot brain not getting it and maybe it was like the easiest thing to understand for you but. Yeah. I may be just dumb LMFAO AND!!!! There's also a theory of mine into how Rafayel is actually able to read mc's mind/wishes through their lemurian bond, so stay tuned for that I guess

EDIT: correcting some transcriptions of chinese characters and the translations. sorry about that! google couldn't transcribe it correctly. for clarity's sake i will also include original screenshots. please tell me if anything is wrong!

EDIT 2: Check out part 2 to this as well for stuff I missed!

EDIT 3: An Abysswalker connection I found

EDIT 4: Debunking the myths of non-consent & Rafayel hurting MC in the spicy scene

So Rafayel’s whole deal in this memory, I believe, is dependency. Like, too much intensity, too much need, too much fear -- about scaring her off, about what he sees himself possibly becoming in the future, overall just being too reliant on mc and getting scared by it.

Let's begin with this massive fear of being a taker, not just in the “I’m stealing someone’s fries” way, but in this existential, soul-deep kind of way where he’s terrified of turning everything he loves into something he exploits out of demand for his art. And yeah, it’s sad when you first hear him say it, but it’s also really interesting when you look at how this all ties into his relationship with MC and his inspiration source drying up because of her.

Before Rafayel became an artist, he looked at the world in this super pure, wholesome way. Sceneries and nature were just there, things to admire and feel awe over without needing to do anything about it. Like, imagine standing at the edge of a desert, looking at a sea that’s drying up. Sure, it’s tragic, but it’s also kind of beautiful in a raw, heartbreaking way. That’s how Rafayel saw things, he could appreciate them without feeling like he had to do anything.

But then Rafayel started creating, and suddenly, sceneries weren’t just sceneries anymore. They became inspiration. He wasn’t just admiring beauty, he was extracting something from it, its meaning, its pain, its soul, to turn into art for other people. And that made him feel all kinds of icky, because now he wasn’t just looking at the drying sea. He was taking from it. Just as he's using his people's pain in his art as well, that's also a thing.

Now let’s talk about MC. Rafayel loves her like he used to love those sceneries,,, in this pure, untainted way. There's a parallel here. But here’s the kicker, he’s not the same guy who can just admire something and leave it untouched anymore.

And suddenly, this is no longer only about losing inspiration for him.

This happens after he and MC get together, and it’s like all the pain and anguish that used to fuel his creativity just.. ... dries up. He can’t find that spark anymore because now his life is surrounded by love instead of suffering. In fact, his inspiration starts coming from her and it's starting to clash with how he makes art. In the phone call, he seeks her out and says he needs her so bad and she only needs to talk to help him out. This is the first wink wink nod nod of the story.

So what does Rafayel do? He goes on this big, dramatic trip to "find inspiration" (or at least his muse), but it’s not just about his art. He’s not just looking for inspiration, he’s trying to figure out how to be less dependent on her and becoming increasingly more restless over this. The temparature and physical discomfort is making things worse, he's anxiously overthinking, and imagine trying to fight this and the longest art block as of late off when all you want to do is indulge in this special person and be comforted like a lap cat all day every day.

He understands that if he lets himself indulge without restraint, one day his love for mc will turn into pure need. He’ll become more and more greedy, and he doesn’t want that and is afraid of being abandoned because of that growing neediness and dependency.

This is in relation to his art, because as @/dat-silvers-girl put in the comments, he's struggling with "the genuine fear of not being able to enjoy anything in life because all you're thinking about how to use it (as an artist)" . what if he starts doing this to her? to their love and relationship? take from her, and become someone who only takes in every area of life -- like someone who only exploits things by extracting what he feels about them to use it for his art. he's afraid of that, he doesn't like that and possibly doesn't like himself who does it. so why should she? she would leave him for sure, in his head, that's a solid reason to.

The first time around he brings up his anxiety about MC leaving him out of the inner realization of his dependency, the possibility of just what he can become, and fear of abandonment. she effortlessly soothes his worries. It's heavily implied they did it afterwards and after hearing "her life has already been consumed by him" he tweaked out a little bit and his "obsession" seeped through.

After it fades to black, he says ほら……僕もとっくに……君に侵食されてしまっているんだ…… which means "See... I've already been completely consumed by you too" in Japanese instead of the life being made a chaotic mess localization. While I think MC's line was jokey and lighthearted, I don't think this man is joking at all. Rafayel didn't say his life was consumed by her as well, he said HE was consumed. Ouh.

This took the edge off from him for a while but they hadn't gotten to the root of the problem yet, so he was back to square one after the memorial hall, because remember, he's trying to find inspiration as an act of making this dependency of his better. Pain and suffering are all around him here, which his inspiration feeds off of. The dried up ocean he could hear weakening, the skeleton of the whale, the burden of his people and homeland more prominent than before. And what does MC do? Tear through the perspective of pain and introduce a hopeful alternative, "Isn't it a surprise to see an ocean in the middle of the desert?"

This is a place that gave Rafayel the height of helplessness and suffering when he visited by himself before despite momentarily being hopeful after the locals told him such a place existed. But now, she was there to comfort him through his loneliness and pain, hug him, and give him hope yet again. He brings up how he wanted to come here with the most important person to him when he was still hopeful about it before consumed by the pain of it all, and that wish has been granted. That moment has to be so powerful for Rafayel. Literally light at the end of the tunnel.

It had me reeling that he just sat in the car after all that, staring at her for god knows how long until she woke up. He was probably overthinking again, but my interpretation that it was heavily emotional for him (it could have meant so little for MC but the world for him, she doesn't even know) and he wanted to be in that moment with her, just feel and look without restraint. Indulge a little. (I can just imagine him going just a little bit more, I'll go after she wakes up.) And like. His eyes are shining in the darkness is the description here. Perhaps he was feeling so much here. So much love. So much happiness. And he's about to go in for a kiss (heavy breathing and everything) after that, but holds himself back and actively has to pry himself away. He's feeling the neediness again.

That’s why he makes an effort to actively wean himself off and says he'll be okay on his own. What he says to her after MC is like "spoiling him" being all "hey you're sick maybe don't go? or let's go together?" (which is NOT helping Rafayel at all) is even more meaningful in Japanese and I didn't know why they left out this context, but the rearranged line would be "Do you want me to become a sea creature beached on the sand after the sea recedes, unable to breathe on my own ever again?"

Yeah. YEAH. This is about dependency. (He's saying don't coddle me I'll literally become that wolf tearing his shirt meme 😭)

So of course his stubbornness and anxiety force him to do things without MC and distance himself, he can do it. He’s determined to prove to himself that he can endure it on his own.

I also feel like part of the reason he insisted on going to the salon alone is that he’s still worried mc might come to dislike the version of him who's someone he's so sure she will leave, who isn't perfect and he hides behind the persona he's put up just for her. If he truly becomes addicted to her and shows her everything/his true self, and she ends up leaving him, it would completely break him. He's trying to be like "im so normal about her haha" but he's so not normal about her at all. He's literally obsessed I feel like, and perhaps this is him fighting it knowing it's not healthy.

and OOOH about why he ends up coming back from the salon all hot and bothered.

I have strong context that she flicked the bean in there after he left her high and dry in the car ("hot water washes away the stickiness from my body and his stifled breaths still echo in my ears, enveloping me along with the steam in the bathroom. The warmth from his fingertips lingers in the places where he touched me..." is the english. however, in chinese, it goes "熱水洗去身上的黏膩，壓抑的喘息迴盪在我耳畔，和浴室裡氤氳的水氣一起包裹著我." stating "the suppressed breathing" -- which doesn't have any possessive adjectives when I translated it on google and later explicitly asked chatgpt if it had any his/my adjectives involved, just to be sure. it said no but i'd like it if a real chinese speaking person could give their input on this !!! PLEASE DONT LEAVE ME WITH CHATGPT

so um. if the context is in fact the case that he heard her masturbating to him, the intensity with which he attacked her would be normal, I think 😭

I have belief that MC unconsciously shatters his "training himself to be without her" determination through their bond. She just keeps thinking about him the entire time. about him reading her thoughts, though. we still don't know all about the lemurian bond they share. I’d say it grants him some sort of mind/heart reading ability or connects their minds together (when she was thinking about whether she should hug him, he answered “yes”).

At the salon, I imagine Rafayel was already thinking about her like crazy. Then he realized, or perhaps, "heard" she was still worrying about him and thinking of him (as much he thought about her) and decided to go back. Rafayel probably felt that suppressing himself was only making her more anxious and unsettled. She's thinking all about him, unconsciously calling to him to come to her, she didn't want to let him go at all, wanted to go with him, etc...

but even if it was his own decision and no mind reading was involved... uh. If you ask me. He did quite literally hear her after coming back. That's also something that might make him think she wants him as much as he wants her, which made his self-restraint utterly meaningless from the start.

Disregarding this theory of mine proven wrong until a Chinese speaker helps me out here, MC returned to Rafayel's room. A translation omission happened here from what I saw. There are no possessive adjectives in the Chinese text about the room she returns to, and the Japanese one states she returned to the guest room (doesn't specify which one. She was also able to enter Rafayel's room without needing to knock before.)

so uh. she went into rafayel's room y'all. the line "this is my room, you're the one who walked in here" MAKES SO MUCH MORE SENSE. (SO LIKE. NOT ONLY DID SHE GO INTO HIS ROOM, SHE FLICKED THE BEAN THERE AND HE POSSIBLY HEARD IT. SHE'S MORE OF A FREAK THAN HE IS, I UNDERSTAND WHY HE LET GO AFTER THAT LMFAO)

I don't put it past him to get worked up after he finds her in his room post-bath even without my theory lmfao (idk why they put her in a dress when she should be in a bathrobe or something 😭)

His conclusion at the end of this memory that "he finds inspiration in pain and the art of creation is a part of his life. mc made him realize love and art are so alike. even if they don't complete him but burn him instead he wants them (love and art) with every fiber of his being" and MC says she doesn't like that, rightfully so.

So like. There's SO MUCH to unpack in here.

When Rafayel says he finds inspiration in pain and that creation is a part of his life, he’s admitting something raw and essential about himself: pain isn’t just a byproduct of his art, it’s intrinsic to it. For Rafayel, pain and art are intertwined in a way that’s almost inseparable. It’s like his muse isn’t just beauty, but beauty that hurts.

But then he takes this further by connecting art to love. He’s realized that both art and love demand the same from him: vulnerability, passion, and sometimes suffering. They don’t necessarily complete him (he’s not romanticizing them as salvation), but they burn him, wear him down, consume him (coincidentally, this is something he said to MC in the JP dub of this memory, that she consumes him), but also give him life. And for Rafayel, that’s the crux, even if they burn him, he wants them with every fiber of his being.

This is such a Rafayel thing to say. It’s dramatic, it’s tortured, but it’s also deeply SUBTLE. He doesn't spell all of these out, mind you, I got a headache trying to understand him. Or I'm just slow, I don't know. It shows how much he values creation and connection, even if they come at a cost.

MC, on the other hand, challenges this perspective. When she says she doesn’t like that he views love and art as things that burn him, she’s pushing back against the idea that suffering is a necessary part of creation, or love. MC doesn’t want Rafayel to see their relationship as something that requires him to hurt. She’s telling him, “You don’t have to destroy yourself to love me.”

When MC says, “You’ll never have to burn for me,” she’s giving Rafayel an alternative to his destructive mindset. She’s saying that love doesn’t have to hurt, that their relationship can exist without him sacrificing himself on the altar of passion. It’s a refusal to let Rafayel romanticize pain as the price of love.

And I love that Rafayel goes, "Will you help me look for other parts in life outside of pain?" in response. This is NOT about art or inspiration anymore, and the way the dialogue is written is just AUGH. Again I had to rewatch this over and over again for the nuances and subtext.

I love MC's response, she knew exactly what to say. “I’ll always be the one who walks along the shore with you. Of course, diving into the sea bed is fine too. If it can snow in the desert, there will be a day when the ocean returns.”

MC’s response is layered with metaphors, but at its core, it’s about unwavering support and hope::

Walking along the shore: This represents safety and companionship. MC is saying she’ll be with Rafayel in the calm, in the moments where they’re just observing life without diving into its depths. She’ll be his steady presence, his grounding force.

Diving into the sea bed: This is an acknowledgment that life and love sometimes require going deeper and they may go through hardships, into the unknown, the murky, the challenging. MC isn’t afraid of this, she’s willing to go there with him too.

Snow in the desert and the ocean’s return: This is a symbol of hope and transformation beyond being a nod to The Sea of Golden Sand. Snow in the desert seems impossible, just like the idea of Rafayel finding inspiration outside of pain might feel impossible to him. But MC believes in the extraordinary, in change, and in the possibility that beauty and creation can exist outside of suffering.

Her words are a promise: she’s willing to stand by him, to face the unknown together, and to hold onto the belief that a new way of seeing the world is possible.

And Rafayel LOWKEY PROPOSES IN RETURN.

By saying “let’s watch the sea together,” he’s accepting MC’s offer of companionship and hope in the long run. He’s recognizing that life doesn’t have to be about diving into the depths alone, it can be about sharing the experience with someone else, even if it’s just standing on the shore and watching.

“Every sea”: This phrase is key. Rafayel isn’t just committing to one kind of life or one kind of inspiration, he’s opening himself up to all possibilities. Watching every sea means embracing all facets of life, whether they’re calm or turbulent, painful or beautiful. It’s a marriage proposal declaration that he’s ready to explore the world beyond pain, with MC by his side.

So. I love that his inspiration returns after his freak is accepted by MC because he literally feels the acceptance through the bond.

Thank you for coming to my TED Talk. This memory DRAINED me. They were just supposed to bang what the fuck happened. Why did I have to go treasure hunting to find what was going on in this card. anyway...

[seangardnerxiv]

Shadow and Maria's Complex Relationship

FOR DISCLOSURE: this thread is going to be discussing the complexities of Shadow and Maria’s relationship based on many different factors. Though I will be including the romantic interpretation (NOT a sexual one – I do not support nor condone sexualizing these two, nor most of the characters in Sonic, as they are almost all minors) as a potential, I will not be arguing to assign a definite label to their relationship – I will, in fact, be doing exactly the opposite (I am also not interested in engaging in shipping discourse over Sonic the Hedgehog characters). I would simply like to disclose that that will be discussed in case the topic upsets you and you would prefer to stop reading now. I accept this post may not be received well by some.

SPOILERS FOR SONIC X SHADOW GENERATIONS

So I've had to break out my Tumblr for this - my usual haunt is Twitter/Bluesky, but those don't really allow for longform posts. This is also a major departure from my usual FFXIV posting, so apologies to anyone who follows me for that.

Sonic x Shadow Generations recently dropped, alongside the short animations “Dark Beginnings” as well as the (non-canonical) manga “The Jet Black Hedgehog: Shadow the Hedgehog.” With it, discourse surrounding Shadow and Maria’s relationship has kicked up again, largely in two parties – that Shadow and Maria held a sibling relationship, or that Shadow and Maria held romantic feelings for one another (some people have also argued that Shadow is her uncle, or Maria is his mother, but I won’t be discussing those views). There are arguments for both drawn from a variety of sources – I will do my best to present both (if there are others I've missed, please feel free to comment and I will add them).

For siblings:

This Twitter post of artwork for Dark Beginnings has the following alt text: “Shadow and Maria reach out for one another in an infinite abyss (as long-lost siblings would) with the Moon and the Space Colony ARK in the background."

The manual for Shadow the Hedgehog (2005) describes Maria as “like a sister to Shadow.” I have also seen another screenshot of a different manual that states that Shadow as "like a brother to Maria," but I've been unable to find which manual it is. (EDIT: It’s a Prima Games manual, not written by Sega)

Gerald refers to Shadow as “son” during the climax of SxSG.

For romantic:

Maria saying “I love you” in the Japanese version of SxSG uses the kanji “ai shiteru,” whilst her “I love you” in the Japanese version of the manga uses “daisuki.” Whilst it can be used for familial relations, it is apparently very uncommon for both of these to be used outside of romantic intent.

Shiro Maekawa – the original creator of Shadow and Maria – based them (or at least parts of them) off of a romance manga known as “Please Save My Earth” (with Maria sharing the Japanese voice actress for the female lead from the anime), and has frequently supported them together, often retweeting romantic art and posts of Shadow and Maria.

In a recent interview from Sega, Maria touching Shadow’s face in Dark Beginnings was equated to Beauty and the Beast.

For Tanabata – a Japanese festival celebrating the meeting of the deities Orihime and Hikoboshi, and the separation of them as lovers – Sonic Channel posted artwork of Shadow and Maria reading the story beneath the stars. Sonic Channel has also published fanart for Valentine’s Day relating to Shadow and Maria (although they publish a lot of fanart).

Before I go any further, when the topic of Shadow and Maria in a romantic lens comes up, many of the same criticisms arise that I do not believe are fairly levied – namely accusations regarding their age, species, and familial ties. I would like to address – and debunk – these three before we go any further. Keep in mind while you read these – this is not meant to convince you that their relationship was one thing over another, but only to provide validity to a subjective point of view I feel is unfairly stigmatized.

“It’s incest because Shadow is Maria’s brother/uncle(?).”

While there were notions of family stated by both Maria and Gerald, Shadow was grown in a tube with alien DNA and has zero blood relation to the Robotnik family. Whilst there are abstract labels of “like a sister” or “sibling coding” that are only ever applied in a meta sense, neither of them define their relationship in such a way within the lens of the universe. And it is not as if the topic never arises - in Shadow Generations, Maria herself likens young Abraham Tower as akin to her little brother, but she makes no such distinction with Shadow.

“Sibling coding” is ultimately a nothing statement, and unless a proper adoption is made, it does not magically turn romantic feelings towards the two involved into incest. Frames of reference are often informed by what young people are familiar with, and they sometimes lack the proper tools to acknowledge that their feelings towards each other are more complex than they first believe - to say that this is something that potentially occurred with Shadow and Maria is not outlandish, and not a concept unique to Sonic as a series.

Similar examples to this include Clive and Jill from Final Fantasy XVI (Jill is accepted into the Rosfield household and raised alongside Clive and his brother, only to later enter a romantic relationship with him as an adult), Nero and Kyrie from Devil May Cry (Nero is fostered by Kyrie's family and considers Kyrie a sister initially, only for her to become his love interest as adults) and Sidon and Yona from The Legend of Zelda: Tears of the Kingdom (Sidon grows up perceiving Yona as a sister, only to realize his feelings for her are more complex later on). None of these are incestuous relationships, nor is Shadow and Maria’s were it to be romantic.

“It’s bestiality because Shadow is an animal.”

Bestiality is applicable to regular animals that do not hold human sentience of thought, as they are unable to consent to a relationship, like a dog or cat. Shadow is not this, nor are any of the anthropomorphic characters within the Sonic games - were you to change the anthropomorphic animals in Sonic into humans, basically nothing about the series' content would change. All of them are completely sound-minded beings that are essentially just people who look different. Shadow is not Maria’s pet, he is her fully sentient friend that holds the same degree of thought as she does – given that Shadow’s entire arc is about finding his purpose in life, degrading him to simply a lab animal rather than acknowledging he is a person defeats that entire arc (something the manga also touches upon).

A lot of people also cite Sonic and Elise from Sonic ‘06 (namely the scene where Elise kisses the deceased Sonic) as a reason why Shadow and Maria should not be done - while I think it’s valid if you didn’t like watching a human girl kissing Sonic the Hedgehog, I maintain that a good chunk of that disdain stemmed from two major reasons:

Elise was very poorly characterized in her game. She existed to constantly get kidnapped and be saved by Sonic, and so both the relationship and the kiss came off more like pandering than something earned.

Sonic '06 had a bizarrely realistic artstyle for the human characters, whilst all of the animal characters retained their cartoonish appearances. This clash of artstyles looked its worst when Elise kissed Sonic at the game's climax.

Maria, however, does not fall into these pitfalls. She does not exist to be purely a love interest for Shadow - she’s certainly not someone for him to save, as the entire inciting event of Shadow's character is his inability to save her when she saves him.

For a frame of reference, Shadow is more akin to an alien from Star Wars – a setting where humans also exist. It is not bestiality for a Human to hold a relationship with a Twi’lek, as both races are fully anthropomorphic and sentient. On a similar note, Beauty and the Beast is not considered bestiality either, even though the Beast bears obvious animalistic traits. Some people have also entertained the notion of Rouge and Topaz from Sonic X, even though the latter is human. This is all the same principle, and none of it is bestiality.

“It’s creepy because Maria is young.”

Shadow – while said to be ageless – is not an adult, and to imply that he is one is a fundamental misunderstanding of Shadow’s character – whilst there are many instances where he demonstrates maturity on some levels, he has shown much immaturity since his inception in Sonic Adventure 2 (his desire to destroy the world out of revenge for Maria), and his most recent storyline in Generations involves his naïve desire to change Maria and Gerald’s fates (or rather, an initial indifference to what it will bring). Not only that, but his time on the ARK was mired in confusion over the point of his existence – Maria was the one that helped him field through his confusion, and was arguably the more mature one between the two of them. We can safely say that Shadow is not an adult character, nor is he ever presented as one in the lens of the game.

As the closest thing Sonic likely has to an equal in both body and mind (Sonic holds his own immaturities similar to Shadow), he can likely be placed mentally close to his age of fifteen. This is reinforced by the leaked transcript of Sonic ‘06 that refers to Shadow as 15 (the red squared text in this image).

Maria has no canon age established in game material, but Sonic X lists her as 12. 15 and 12 is the same age gap as Sonic and Amy respectively.

In addition to that, many people have claimed that Shadow is over 50 years old, but this is only true of his chronological existence, not the time he has been conscious and aging. He spent 50 years stuck in cryosleep, and awoke exactly how he was when he was placed in there.

A similar example would be Aang and Katara from Avatar: The Last Airbender - Aang was frozen at the age of 12, and awoke 100 years later. Nobody, however, tried to claim that he was 112 years too old to kiss the 14 year old Katara, as Aang was physically and mentally still a 12 year old upon awakening - most people who watched the show were also actively rooting for these two characters to kiss, which they did at the show's finale. It's the same principle regarding Shadow - he is 50 chronologically, not 50 in mind or body.

If we’d like to really get into it, I would point out that nearly every character in the lens of Sonic is in and around Maria’s age range (according to the Sonic Channel). As stated previously, Sonic is 15. Amy is 12, Knuckles is 16, Rouge is 18, Blaze and Silver are 14, etc. Nobody bats an eye at notions of romance between any of these people (not that I’m saying they should inherently).

Romantic intent between minors is not inherently viewed as a bad thing - see the examples of Aang and Katara or Clive and Jill above, or for an in house example, consider the canonical (to Sonic X at least) relationship between the 8 year old Tails and Cosmo - yet for some reason when it comes to Shadow and Maria, a relationship is stigmatized.

To reiterate in the wake of the last point, my discussions of romantic intent ARE NOT SEXUAL IN NATURE. As I acknowledge these are minors, any notions of that are completely off the table, and I do not agree with anyone who would imply their relationship was a sexual one. I want to make that unmistakably clear.

My major takeaway from observing both the Sonic fanbase and those on Sonic Team seems to be that in western circles, Shadow and Maria as siblings is the popular perception, whilst in eastern circles, they are more commonly perceived romantically. But ultimately, Shadow and Maria’s relationship seems to have many contradictory signals that makes it hard to pinpoint a concrete definition, especially in the most recent releases – and I believe that this is fully intentional.

Shiro Maekawa has stated in DMs has stated this regarding their relationship when asked if he saw them as siblings or love interests (translated from Japanese):

“I think they have a special bond that is unique to them that doesn’t fall into either of those categories. Just my personal opinion.”

From the way that the two are written post-Sonic Adventure 2, this appears to be a sentiment that is fully carried forward – their relationship is more nuanced than a canonical label would make it. Maria was the only person who made Shadow feel loved, and Maria unquestionably loved him back. What kind of love that was is up to the viewer, especially given that Maria died when they were both young, before they even had a chance to expand upon their relationship, if that was ever on the table – not that they needed to, given that their bond seems to have transcended both labels. Maria was the only one who acknowledged Shadow as more than an experiment or a weapon, and Shadow was her rock in an environment where she was isolated away from her family and home. Maria was Shadow's person, and still remains that in death.

To disclose for me personally (in case it was not obvious), I have always interpreted their relationship as romantic - or at least having romantic implications - ever since playing Sonic Adventure 2 Battle and Shadow the Hedgehog when I was a kid. I have both a fiancé and a sibling, and the way they treat each other is far more evocative of how I treat the former than the latter (especially in Dark Beginnings – I do not imagine my sibling through a shoujo filter while I wistfully think about cuddling them in a field of flowers). I do not take the awkwardly placed alt text verbiage from the Sonic Twitter account, used to fake-argue with the Wendy’s Twitter account, as gospel for anything, and I think that treating it as a damning disproval is silly. Had she lived, I believed the complex feelings they held would have been identified as romantic down the line. The relationship always just read as too intimately charged for me to perceive as siblings (it still does especially in the wake of seeing how she touches and speaks to him), even before I had a serious relationship. I think that arguing the nitty gritty over Twitter alt text and translations is silly, as all it took for me to takeaway that the relationship was still romantic was to play the game, watch the animations, and read the manga for Shadow Generations - but that's just me.

That said, I will concur that if you are weirded out by romantic notions between the two of them, that is completely understandable, and I would never argue that you should not feel what you feel for yourself. The sibling viewpoint is also wholly valid an interpretation, with or without word from a meta source. Though she had her grandfather and later Abe, she was largely alone on the ARK away from a family that she clearly loved and missed, and it’s not unusual to presume that Shadow filled in the role of a brother for her. I will also acknowledge that many things I have not mentioned - such as Shadow blushing at Maria calling him cool, or her saying "I love you" in general - are not inherently indicative of romantic intent, and can be read as fully platonic interpretations, and I find those that try to state that the romantic interpretation is the objective one just as irritating as those that state the sibling interpretation is the objective.

My intent is only to dispute the idea that romantic interpretations, and the people who hold them, deserve to be scrutinized. The pairing is completely innocent, and the treatment people have received for believing them to be romantic is obscene. Sweeping blanket statements have been made to insult all who do (some going as far as to wish death and harm upon them), all just based on subjective viewpoints held by people who see them platonically. The fact that there is so much discourse surrounding this topic, and that there is evidence enough on both ends to make an argument, means that Sega has intentionally left the relationship up to interpretation - including the romantic take.

Everyone unclutch your pearls.

But with all that said, I will reiterate that this post was not meant to convince anyone of one thing or another, but rather that both interpretations of their relationship are valid, as it is essentially a secret third thing that transcends both labels and is special only to them. Strictly defining their relationship as “siblings” or “love interests” (even as someone who perceives them romantically, I would never want that to be definitively confirmed for this reason) is deconstructing what is perhaps the most nuanced part of a series that does not always tend to be terribly nuanced, and a definition matters far less than acknowledging what Maria means to Shadow in the present – he is who he is because of her, and because of that, he is now living a life for himself. Shadow the Hedgehog (2005) ended in a way that had Shadow let Maria go, and Shadow Generations ends with him carrying her forward with him after accepting her loss. She was, and will always be, the person who loved Shadow - however you define that love is up to you.

Nothing has ever been hard confirmed by Sega, no matter how much either side wants to pretend it has been.

In summary, both points of view regarding Shadow and Maria’s relationship are simultaneously true and not true – it is a matter of interpretation according to the viewer what their feelings towards each other were, yet their relationship in the lens of what it is now after the tragedy of their existence (even before Maria died) is purposefully indefinable, and it should remain that way. Nobody should ever try to say that Shadow and Maria are definitively something - that goes for both points of view. I doubt it will, but I hope this goes towards removing the stigmas towards one of the more nuanced parts of this series, as nuance in Sonic the Hedgehog - frankly - does not come along very often, and it would be nice if that were encouraged rather than smothered.

Thank you for reading.

[hometoursandotherstuff]

Interesting mid century modern 1964 home in Winston Salem, NC. As you can see, they've painted it black with a blue/gray effect, and the interior is just as unique. 6bds, 8ba, 7,758 sq ft, $2.1m.

Look at the vast living room. This is huge.

The fireplace wall matches the outer wall of the house.

This isn't the only living room, there's another one up the stairs.

Look at this one. There's a Japanese Soji screen that was cut to fit around the fireplace. I wonder if it conveys with the house.

This is another large room. The ceilings are so unusual- I've never seen skylights like those.

The color of the dining room is amazing, especially with the bright green accents.

The kitchen has a roomy eat-in area. Love the way the flooring matches.

Love the pops of turquoise and black counters. There's so much storage and the ovens in the wall look original.

There's a whole bar in the wall that includes a wine fridge.

Across the way there's a family room with sliding doors.

All the bedrooms are so large, I'm not sure which one is the primary. It has a glass wall with a door to a small patio and beautiful view of the garden.

You walk through a large closet to the ensuite.

The ensuite is quite large, also.

This is a very large room.

With a huge closet. Look at all the shoe storage.

But, the ensuite is smaller.

It looks like they've got cases of wine in this room.

Next to it is a cage, and in there they have the wine cellar.

The deck is huge.

Beautiful pond.

The lot is 2.12 acres.

https://www.zillow.com/homedetails/2850-Galsworthy-Dr-Winston-Salem-NC-27106/5777129_zpid?

[vidavalor]

What do you think is happening in the scene when Crowley falls to the ground in pain in Tadfield?! I find your thoughts about Satan and Crowley really interesting and sorry if you've already mentioned it but I think I've gobbled up all your metas on the subject and didn't see it. Thank you 🤗

Hi there! 💕 Thanks for reading & asking. I have an assortment of Christmas cookies to share. *gets the plates* Sugar feels extra necessary for Satan-related Crowley meta...

Let's talk about that 1.06 scene you mentioned where Crowley is dragged to the ground by Satan in Tadfield, what it has to do with a motif throughout both seasons around a thing known as proskynesis, and how all of that is relevant to The Final 15 in S2.

TW: rape (mentions of the non-consensual possession-as-rape allegory).

Note: Themes of bodily autonomy and its relationship to freedom overlap between Good Omens and Terry Pratchett's Discworld and that's the main reason why some of us are still here, not giving up on this rare, A+++ survivor story, despite also wanting to hurl a certain, other person once involved with it into an active volcano. Considering the topic, I felt the need to just mention that at the start.

Sooo... let's talk about what the scene in your ask has to do with a bunch of other ones, including that scene in The Final 15...

Good Omens has a few scenes that are dealing with a thing known as proskynesis. If you're unfamiliar with this, it's a word describing rituals of reverence and worship in royal courts, as formed originally in various parts of the ancient world, like Persia, Greece, and Rome, as well as rituals involving religious worship across many different religions.

Aspects of proskynesis exist into the present in different ways in different cultures. For societies that are monarchies, proskynesis is at the root of rituals regarding how subjects in those societies address royalty. Everything from kissing the ring of high-ranking clergy in some churches to doing the same with some mafia leaders has historical ties to this. Things like bowing and curtsying customs in Victorian England can also be rooted back to proskynesis.

There are also elements of it in everyday manners and customs in societies that you wouldn't think would have any connection in the modern world to things like this. In many democracies, for instance, as in many other countries of the world, the custom of getting down on one knee to propose marriage is actually rooted in proskynesis, even if the partnership is (hopefully) more equal in today's societies.

The Japanese, who have an intricate system of bowing as part of the social expectations of their society, are a great example of how proskynesis elements have evolved to not necessarily be related to royalty or religious worship but also form the roots of manners between people throughout all classes of a society.

The rules of proskynesis in a society or a religious group varied in details a bit between cultures but has always had the same, general, wide gap between different types of actions.

As a general rule, there's a polite head bob of a bow on one end of the spectrum of proskynesis, with different bows then getting progressively lower and more intense, until we're closer to the other, more extreme end of the spectrum. That end involves kneeling at the feet of the king or in worship of a deity. The absolute, opposite end of that spectrum from that polite, head nod/bob of a bow is fully prostrating, which is lying fully on the ground, and what of this is tied to the scene in your ask, as we'll look at here.

The sketch below is a good, simple visual of what I mean:

[User: Arseni on Wikipedia]

What's interesting to note here is that when you look at the above sketch and see different movements in it that are associated with different religions, these things came to those religions by first being associated with the royal court of ancient Persia and then being adopted, in part, into Greece and Rome. What physical worshipping in a religious way looks like to this day was adopted into different religions from how humans were showing deference to other humans as royalty.

One, big debate in Christianity is actually what kind of proskynesis was given to Jesus. The word is found in The New Testament but Jesus is the perfect example of the blurred lines here between venerating a human being and treating one like a god.

There are different levels of proskynesis for religious figures, with saints and the like being ok to venerate but proskynesis involving full worship supposed to remain only for God. What kind of treatment Jesus received or should have received and what he thought about it is a matter of debate. Is he a carpenter or is he a king of kings, right? Is he human or is he supernatural... or is he both?

Crowley and Aziraphale struggle with this, too, but what they wind up doing is not technically proskynesis but it's arguably a lot better. They bear witness to Jesus' suffering and murder. They show him empathy and respect. The scene we see shows them talking about him a bit, as two people might do at any wake or funeral or the like for ages to come.

When it came to royalty, what kind of proskynesis you would perform would be dependent in different courts on your rank and your relationship to the king. You might be expected to grovel with some really low bows if you were of low rank or to have a more modest bow or to kiss the king, if you were of higher rank. The lower ranked people were expected to go lower in their bows and do more work with all of this, in order for even the chance of being recognized by the king or another high-ranked royal.

When Crowley mocks Beez, addressing them formally as Lord Beezlebub, he does a formal bow, complete with the proper foot positioning-- you can see him step into it from how his hips move. He bows almost to the waist, complete with flourishing hand gestures that are showing mock-fealty and deference to the Grand Duke of Hell by sarcastically treating them as if they were a king.

This scene which, as we'll see, is related to the one in your ask, is only one example of a couple of Crowley sassing the fuck out of someone, specifically by using proskynesis. It also adds to the chilling nature of the scene in your ask by having occurred just a matter of moments prior.

Beez lets it pass entirely because they're really only Lord Beezlebub in an attempt to project power enough to try to survive Hell. Their title is more about self-protection than it is about an expectation of deference-- which is something that Crowley also knows and is at the heart of the mockery.

Like Aziraphale, with his respectful bowing to his friend in gratitude for the sushi in 1.01, Crowley has no issue with a polite, non-religious, non-royal version of proskynesis. If worshipping the humans is wrong, Crowley and Aziraphale don't wanna be right. They don't revere individual humans as kings or gods but they do revere humanity itself as a whole in that way. They show polite respect to those sharing that with them or educating them in it.

They also do that with one another. Crowley's soft, polite nod of a bow to Aziraphale when they meet in Eden is gentlemanly. It's respectful but not in a way that isn't just treating Aziraphale as an equal. Nina gets a similar treatment when they meet in S2.

Crowley still does something similar into the modern era with Aziraphale-- note the little nod/bow when Aziraphale accepts his lunch invitation in S1.

This is all very much on the egalitarian end of proskynesis; it's in where it basically formed parts of the foundation of gestures related to having good manners in different societies. It's respect and acknowledgement between people who view and treat one another as equals, as is the case with Crowley and Aziraphale.

Their relationship is one that is built around equality, free choice, and consent. Therefore, when Crowley apologizes in S2 in another scene that is related to the one in your ask by being an intentional, totally opposite contrast to it, Aziraphale can barely contain his laughter at Crowley's mock-submissive dance. The dance, in many ways, is really a satire of proskynesis.

Crowley is doing this "yes, my king" dance for Aziraphale with tongue firmly in cheek. The dance is poking fun at the difference between general submissiveness, which Crowley loathes and likes to mock, and voluntary sexual submission with one another, which different scenes have shown us that they both periodically enjoy as some light fun from time to time.

Aziraphale is desperately trying not to laugh long enough to reply with equal humor in his dry, self-aware, soft dom voice. He can't resist smiling a bit and mimes a kiss at Crowley-- seeing Crowley's droll mocking of proskynesis-- which is etymologically linked to words related to kissing and which can involve it in different stages-- and replying by bestowing upon Crowley a kiss.

Aziraphale is intentionally doing something that isn't really the result of proskynesis when in the royal circles that Crowley is referencing with The Apology Dance. The subject is meant to seek the king's favor and would be the one, if ranked high enough to warrant such a relationship with royalty, who would kiss the king-- not the other way around. By miming a kiss at Crowley, Aziraphale is meeting Crowley's mocking of inequitable aspects of proskynesis with some mocking of his own by being miming a kiss at Crowley, who is his equal and partner.

There's also a droll joke in there where the only royal subject of a king who could reasonably have expected a kiss from the king, if maybe not always in a public setting, was the king's queen. So, Crowley's whole mocking Apology Dance has a joking, "yes, my king" vibe to it and Aziraphale's response is to show equal humor towards and affection for the person who is-- in all senses of the word-- his queen.

The end of Crowley's dance is a combination curtsy and what's known as a bow-and-scrape-- the thing from which the phrase "to bow and scrape" comes. The scrape is the movement of the foot behind a person across the floor, done to be able to go lower to the floor on the bow.

To "bow and scrape" was to basically grovel in this really overly demonstrative way for favor with the king, in the hopes that he'd be impressed by your humiliating submission enough to bestow favor upon you. The phrase now refers to doing a large amount of work or groveling to someone in a position in authority, usually with the suggested reward likely not forthcoming.

The second word in the phrase-- scrape-- also contains the word for the thing Crowley has survived at the hands of that fucking monster, Satan, who lives for the demons to bow and scrape for his favor. That's intentional on Crowley's part-- the end of this apology dance is also a visual pun on the word scrape, which contains the word rape, and this while he's doing this mocking dance that is a perfect example of how completely different and very healthy his relationship with Aziraphale is by how he is free to be this hilarious, sassy shit with his partner versus the forced subjugation by his assailant.

You might think that wordplay-- visual or otherwise-- involving the word rape is a bit dark. I won't disagree with that but I just want to briefly show you other examples of it that I've noticed so you can see what they're showing as the rationale for it between Crowley and Aziraphale. It's actually more of an empowering thing when you see other examples of it that are in other scenes.

Crowley and Aziraphale's cant vocabulary-- their invented hidden language-- uses a lot of words-within-words, just like how rape lives within scrape. If you consider that, you might also notice a couple of foods that recur in Good Omens that also are related to this. In Crowley and Aziraphale's language and in their life together, food is food but food is also figurative language for sex. Their healthy relationship and all the food and sex that is part of their life together is their answer to the traumas they've both suffered.

It's sensual, mindful living that focuses on healthier, positive experiences that help them to provide one another with a quality of life that the pain of Heaven and Hell does not. As a result, some frequently mentioned food and drink is held up between them as examples of the loving, enjoyable, pleasurable relationship with one another that they have that stands in contrast to Heaven and, especially, Hell.

Crowley enjoys wine, right? Which is made from? Grapes, as Aziraphale orders in 1601...

The opposite of the rape-related issues that Aziraphale unintentionally triggered in Crowley in 1793, for example, is what he then offers him for lunch-- both figurative and euphemistic crepes.

Not coincidentally, that's also what Aziraphale suggested the day after Crowley was assaulted by Satan on the night Armageddon began-- the crepes of Paris, 1793-- and Crowley, as we could see, was all for it:

Another covert reference to this is Aziraphale's magic trick of changing a turnip into an inkwell. It's a metaphor on a couple of different levels but one of them is that the word rape overlaps with a type of plant that is also called that and is the category name for a group of plants and vegetables, the most famous of which is the turnip.

Turnips are also a pretty clever food metaphor for rape. They have been in existence for forever and are, horrifyingly, really common, but no one-- no one lol-- has ever really wanted to eat a turnip. They're not a terribly appealing food and I would wager that if you lined up every person on the planet and asked them to name a delicious food no one-- at all-- would say the turnip.

So, adding that into the etymology of the vegetable being tied to the word rape, then turning "the common turnip" into "an inkwell"-- when sea creatures, like octopi, are often sources of ink, and 'well' meaning both healthy and a flowing source of liquid? It's Aziraphale making a magic trick that is a metaphor for him helping Crowley heal from the rape-related inorgasmia referenced subtly in a few, other scenes, and which is the subject of the Fish meta, if you're interested in that.

Anyway, the healthy, humorous, proskynesis-mocking apology dance is one of the scenes that serves as a direct contrast to the scene in your ask where Crowley is forced to the ground by Satan in Tadfield. That scene involves the other, more extreme end of proskynesis, which is number 6 on the sketch near the start of the meta: prostration.

To be clear: how people want to worship in any way, if they do, is no one's business, so long as it's not harming anyone else. There's nothing inherently wrong with any of this if it's of someone's free will. The scene in your ask, though, doesn't involve free choice, it involves forced subjugation, which is from where the horror of it comes.

Prostration involves lying flat and face down on the ground with your arms outstretched. It involves kissing the feet of the king or the ground that you believe belongs to the deity you're worshipping.

Prostration is complete submission. It's basically a rejection of any sense of self in full deference to the king or the deity.

In Hell, all the demons are seen as belonging to Satan. Several of them, like Hastur and Shax, refer to Satan as "our Master." They are all seen as Satan's subjects and his property-- all known as a collective referred to by Hastur in S1 as The Fallen, as we also looked at in relation to Aziraphale being Mr. Fell in this meta.

In Heaven and Hell's view, The Fallen do not belong to themselves but to Satan. Crowley's sense of autonomy and his relationship with Aziraphale are secrets he keeps because of how they conflict with Hell, where he's not supposed to have any other desire but to live to serve his rapist, who believes that he owns him.

All of Crowley's mocking of anything more than a polite nod when it comes to proskynesis is more than just being generally anti-royalty and anti-authority. The root cause of all of it is Satan.

In the scene in Tadfield, Satan is forcing Crowley to first kneel and, then, to prostrate, before him.

When Crowley clutches one hand to his chest and uses his other hand under him to keep himself an inch or two above ground, he's doing so in an effort to resist fully prostrating.

He's trying to keep his hands from being pulled out in front of him and to keep up enough to keep his lips from kissing the ground in forced subjugation to Satan.

This is probably the darkest scene in the show-- even darker, maybe, than 1.01's scene of Satan attacking Crowley in The Bentley-- because this is a whole new level of horror here. Crowley is shaking with the pain of fighting for enough control over himself to keep from prostrating any more than he is being forced to. This is happening with other people present-- including Aziraphale and kids, including Satan's own kid-- with the obvious humiliation factor being part of the attack.

Unlike in 1.01, when Satan took complete control of Crowley to a point that he couldn't speak, he's left him that ability in this scene, getting off on hearing Crowley protest. This scene shocks because the 1.01 scene of Satan attacking Crowley, and subsequent scenes reinforcing the non-consensual possession-as-rape allegory throughout the story, lead the viewer to believe that this is how it will always be referred to in the story. It lulls us into a sense of complacency where we think we know what the show will do, which has the desired effect of making this scene, in which they shift that tone pretty dramatically, all the more impactful and terrifying.

Furthering the allegorical here is that Crowley is outmatched, power-wise, for the most part, but is putting up a fight. He's moved by an assailant against his will, quite violently. He's dragged to his knees and then pushed forward to the ground. He's in pain and distressed, he's lost control of his body, his legs end up splayed, he pulls in on himself as much as he can, and he's repeatedly saying the word no. I think it might be pretty much impossible to make a scene full of more direct correlations to rape than this scene. They're doing so to really underline this survivor story with Crowley that is running through so many of the other scenes.

Crowley grabs his right leg when he is forced down to the tarmac, presumably because that's the side that is being forced to move by Satan to drag Crowley to his knees. It's possible, though, that this might be also be an allusion to the aftermath of 1827.

When we saw Crowley in 1862 in the scene that functions as him still trying to deal with what happened in 1827, Crowley was carrying that cane that many think was more than a fashion statement. Something that could cause Crowley periodic pain, while also still allowing for other scenes in which he pretty clearly isn't in any pain, is the possibility that, in the 1827 aftermath, Satan broke one or both of Crowley's legs.

As any of us who have ever broken a part of our human corporations know, they can often be painful long after they heal and frequently subject to weather and stress. It's possible that Crowley had recurring pain for decades and might still into today. This is all speculative but why else might this idea also fit?

Possibly just because there are so many scenes in Good Omens that are nothing but Crowley just walking freely or hopping, owning his human body by sauntering around on the legs that are often symbolic of his life as a human of Earth, as he very notably doesn't have them in snake form... and his snake form is something that he associates negatively with his fall and Hell.

Crowley's walk at any given time is related to his sense of empowerment and, sweetly, there are also a bunch of scenes of Aziraphale just gazing at Crowley as he walks around. Including, darkly, the one that was happening when Crowley was dragged to Hell in 1827:

The scene related to this that I like best, though, is when Crowley and Aziraphale both get one over on Satan and The Metatron by successfully hiding Gabriel in S2. They grin at one another as Crowley hops down from the chair, fully in his body, landing gracefully and happily on the legs that, whether once broken or not, we have seen in 1.06 ripped out from under him by Satan before.

Hell also has some Godfather-referencing, mafia-like nods in different scenes in the series and breaking someone's legs is kind of classic mob stuff but, really, I think it's more tied to the whole forced subservience snake thing. Crowley, telling Aziraphale that he'd changed his name to one we learn in S2's Job minisode is associated for Crowley with freedom, autonomy, choice, and Aziraphale...

...from one that is "a bit too squirming-at-your-feet-ish" to Crowley. It's a comment made more horrifying when 1.06's scene in Tadfield makes it clear that this isn't just a metaphor here-- Crowley's unwillingness to be Crawly and his discomfort with being a snake makes even more sense once we have this scene in Tadfield that sees Satan knock his human legs out from under him and force him into literally squirming like a snake at his feet.

No wonder why Snake!Crowley has a tendency to prefer roaring like a lion when transforming into a snake-like monster, like he did in the paintball scene...

Crowley and Aziraphale working to reframe and claim The Serpent from Crowley's negative associations with being a snake is something I talked about in the other meta I posted recently, should you also be interested in that.

The other thing of note when it comes to this scene of Satan trying to force Crowley to fully prostrate is then the fact that, while we've looked at the horror that Crowley is experiencing here, there are some other scenes that are subtly referencing positive life experiences that can be associated with this same type of position, if the situation is consensual and of someone's free choice.

They're also the exact types of things that can be complicated by having been assaulted. Lying face down are obviously both common sexual and sleep positions, for instance...

In S1, one of the scenes that got cut was supposed to be Crowley waking up from a nap in his flat. The script book says it was supposed to be that Crowley was sleeping on the ceiling in his bedroom, which also looks to be how they were filming it from the picture of it that exists. DT filmed it standing up, presumably so that they could flip the shot around and make it look like Crowley was sleeping on the ceiling. In addition to the heat-seeking snake aspect of this, there's some interesting psychology that may be at work here.

Crowley's flat in S1 was not owned by Crowley-- Hell owned it, as we can see even more in S2-- and he was not technically safe in it. Hell isn't great with boundaries and, although Crowley had structured the flat to make it so that he might have some warning if someone were to come through the front door, there was no guarantee that they would do that. Crowley sleeping on the ceiling in the bedroom in his flat might suggest that he did so, at least in part, to try to have an advantage over someone who might show up in his flat.

It might suggest that Crowley likes to sleep on his stomach but he felt too vulnerable to do that in the bed in his flat so the only way he could make that happen there was to sleep on the ceiling, where his position would potentially be a bit more advantageous. Where Crowley likely does not have that issue is in the bookshop, as he's much safer there.

In another area of life? After 1.06 showing where the proskynesis theme was leading in that season, this scene below is then retroactively given another layer:

As looked at before, Aziraphale's hand gestures here are actually massage movements. His dialogue is also full of massage-related puns-- need/knead, back, practice. Probably also not coincidentally? In addition to just being fun and relaxing, massage is also often suggested by therapists working with couples where one or more partners has been assaulted, as it can be therapeutic on a variety of levels. The scene is suggestive of Crowley being comfortable with a variety of different kinds of pleasurable prostrate positions with Aziraphale, which stands in obvious direct contrast to the horrors of Satan.

So, here's where we're going to end this by talking about some mirroring to the scene in your ask with The Final 15, especially through using etymology. The word proskynesis comes from the Greek and is a combination of pros (meaning: towards, in this case) and kyneo (meaning: kiss). Some translations of it actually wind up being less "towards the kiss" more along the lines of "to kiss in the presence of."

Yeah... There's a word in the mix in this story that means "to kiss in the presence of" and that feels pretty relevant to the last few minutes of the most recent episode we've seen, no? 😂

In the S1 finale, the season's recurring moments of proskynesis lead towards the Tadfield scene, in which we watch Crowley wind up forcibly prostrated before Satan and resisting a kiss with everything he's got. While he'd do that anyway, what's the biggest reason as to why he was in that moment? Aziraphale, right?

It's because Aziraphale is right there and this is all already more than horrible enough. Crowley does everything in his power to retain enough control to resist this kiss because he is absolutely not kissing the Earth Satan claims is his, in forced deference to him, with Aziraphale watching.

Poor Aziraphale can't do anything about this in the moment that it's happening. He can't go to Crowley without giving away that he's Crowley's partner. They've been terrified for a long time that Satan would kill Crowley if he found out about them and, based on what we've seen of how violent and dangerous Satan is, it doesn't seem like that fear is at all unfounded.

By S2, Crowley and Aziraphale are becoming a bit less of a secret but the people who they are letting in are ones they feel are trustworthy. None of them have any affiliation with Hell or Satan. The one person around them each a bit that does have affiliation with him-- Shax-- is the one they're both still attempting to fool.

The S2 mirror of the proskynesis/"kiss in the presence of" moment from 1.06 of Satan attacking Crowley in Tadfield and Crowley resisting the kiss in front of Aziraphale involves these same three characters again... but some aspects of it are-- as they would be with a mirror-- shifted around a little.

In 2.06, it's Crowley with a kiss again-- but, this time, it's Aziraphale that he's kissing. Instead of being the person who is watching the kiss be resisted, Aziraphale is the recipient of a kiss that Crowley is actually willing to give.

Aziraphale, like Crowley in 1.06, is mostly resisting the kiss. While Crowley pushed to resist it entirely in S1 for obvious reasons, Aziraphale isn't put off by the idea of kissing Crowley in general but, in S2, is resisting it as much as he's able to do so.

Why?

Because Aziraphale knows with almost complete certainty that it's Satan watching them through the window.

[stylo-90]

Tamil Linguistics thread (bc nobody cares but me)

but really, if you are interested in linguistics at all, give this post a read, because this shit really blew my mind ...

have been reading the following paper: https://ccat.sas.upenn.edu/~haroldfs/public/h_sch_9a.pdf

"The Tamil Case System" (2003) written by Harold F. Schiffman, Professor Emeritus of Dravidian Linguistics and Culture, University of Pennsylvania

Tamil is one of the oldest continuously-spoken languages in the world, dating back to at least 500 BCE, with nearly 80 million native speakers in South India and elsewhere, and possessed of several interesting characteristics:

a non-Indo-European language family (the Dravidian languages, which include other languages in South India - Malayalam being the most closely related major language - and one in Pakistan)

through the above, speculative ties to the Indus Valley Civilization, one of the first major human civilizations (you can read more about that here)

an agglutinative language, similar to German and others (so while German has Unabhängigkeitserklärungen, and Finnish has istahtaisinkohankaan, in Tamil you can say pōkamuṭiyātavarkaḷukkāka - "for the sake of those who cannot go")

an exclusively head-final language, like Japanese - the main element of a sentence always coming at the end.

a high degree of diglossia between its spoken variant (ST) and formal/literary variant (LT)

cool retroflex consonants (including the retroflex plosives ʈ and ɖ) and a variety of liquid consonants (three L's, two R's)

and a complex case system, similar to Latin, Finnish, or Russian. German has 4 cases, Russian has at least 6, Latin has 6-7, Finnish has 15, and Tamil has... well, that's the focus of Dr. Schiffman's paper.

per most scholars, Tamil has 7-8 cases - coincidentally the same number as Sanskrit. The French wikipedia page for "Tamoul" has 7:

Dr. Schiffman quotes another scholar (Arden 1942) giving 8 cases for modern LT, as in common in "native and missionary grammars", i.e. those written by native Tamil speakers or Christian missionaries. It's the list from above, plus the Vocative case (which is used to address people, think of the KJV Bible's O ye of little faith! for an English vocative)

... but hold on, the English wiki for "Tamil grammar" has 10 cases:

OK, so each page adds a few more. But hold on, why are there multiple suffix entries for each case? Why would you use -otu vs. -utan, or -il vs -ininru vs -ilirintu? How many cases are there actually?

Dr. Schiffman explains why it isn't that easy:

The problem with such a rigid classification is that it fails in a number of important ways ... it is neither an accurate description of the number and shape of the morphemes involved in the system, nor of the syntactic behavior of those morphemes ... It is based on an assumption that there is a clear and unerring way to distinguish between case and postpositional morphemes in the language, when in fact there is no clear distinction.

In other words, Tamil being an agglutinative language, you can stick a bunch of different sounds onto the end of a word, each shifting the meaning, and there is no clear way to call some of those sounds "cases" and other sounds "postpositions".

Schiffman asserts that this system of 7-8 cases was originally developed for Sanskrit (the literary language of North Indian civilizations, of similar antiquity to Tamil, and the liturgical language of Vedic Hinduism) but then tacked onto Tamil post-facto, despite the languages being from completely different families with different grammars.

Schiffman goes through a variety of examples of the incoherence of this model, one of my favorites quoted from Arden 1942 again:

There is no rule as to which ending should be used ... Westerners are apt to use the wrong one. There are no rules but you can still break the rules. Make it make sense!!

Instead of sticking to this system of 7-8 cases which fails the slightest scrutiny, Dr. Schiffman instead proposes that we throw out the whole system and consider every single postposition in the language as a potential case ending:

Having made the claim that there is no clear cut distinction between case and postpositions in Tamil except for the criterion of bound vs. unbound morphology, we are forced to examine all the postpositions as possible candidates for membership in the system. Actually this is probably going too far in the other direction ... since then almost any verb in the language can be advanced to candidacy as a postposition. [!!]

What Schiffman does next is really cool, from a language nerd point of view. He sorts through the various postpositions of the language, and for each area of divergence, uses his understanding of LT and ST to attempt to describe what shades of meaning are being connoted by each suffix. I wouldn't blame you for skipping through this but it is pretty interesting to see him try to figure out the rules behind something that (eg. per Arden 1942) has "no rule".

On the "extended dative", which connotates something like "on the behalf of" or "for the sake of":

I especially find his analysis of the suffix -kitte fascinating, because Schiffman uncovers a potential case ending in Spoken Tamil that connotes something about the directness or indirectness of an action, separate from the politeness with which the person is speaking to their interlocutor.

Not to blather on but here's a direct comparison with Finnish, which as stated earlier has 15 cases and not the 7-8 commonly stated of Tamil:

What Schiffman seems to have discovered is that ST, and LT too for that matter, has used existing case endings and in some cases seemingly invented new ones to connote shades of meaning that are lost by the conventional scholar's understanding of Tamil cases. And rather than land on a specific number of cases, he instead says the following, which I find a fascinating concept:

The Tamil Case System is a kind of continuum or polarity, with the “true” case-like morphemes found at one end of the continuum, with less case-like but still bound morphemes next, followed by the commonly recognized postpositions, then finally nominal and verbal expressions that are synonymous with postpositions but not usually recognized as such at the other extreme. This results in a kind of “dendritic” system, with most, but not all, 8 of the basic case nodes capable of being extended in various directions, sometimes overlapping with others, to produce a thicket of branches. The overlap, of course, results from the fact that some postpositions can occur after more than one case, usually with a slight difference in meaning, so that an either-or taxonomy simply does not capture the whole picture.

How many cases does Tamil have? As many as its speakers want, I guess.

[linghxr]

Tips for finding Chinese-language media you like

I’m sure some of you started studying Chinese because of Chinese webnovels or dramas. But for others (myself included), it's challenging to find enjoyable Chinese-language media. Here are my tips! I will mostly mention TV shows, but these tips apply to other types of media as well. They can apply to other languages too.

Tip 1 - Start with something similar (but not identical) to content you already like.

My entry to Chinese TV shows was idol survival shows like Produce 101/Chuang and Idol Producer/Youth With You. I used to watch the US version of The Voice and The X Factor, so I was already interested in singing/performing competition shows. Yes, China has its own version of The Voice (or at least it did). But why would I struggle through watching the Chinese version when I could watch the English version effortlessly? On the other hand, idol survival shows didn't have a direct equivalent in English. Once I got hooked on them, I had no choice but to keep consuming Chinese media.

Tip 2 - Don’t force yourself to consume popular media that you don’t enjoy.

The first Chinese scripted shows/dramas I tried were iPartment and Love O2O, both very popular shows. But I didn’t like them and had to force myself to keep watching. Eventually I abandoned them. After that, I basically didn’t watch any Chinese shows for 2+ years. I wrongly thought that I didn’t like any Chinese shows or there were no good ones—definitely untrue! In retrospect, those shows are not the types of shows that I tend to watch in any language, so they were really poor choices. By forcing myself to watch something that I didn’t like, I was just wasting my time and sapping my motivation.

Tip 3 - Be willing to invest time at the start.

I won’t lie, it’s a large time investment to find the first few pieces of media that you really like. But after that, it gets so much easier. Especially with Chinese-language media, it’s not as popular as Korean and Japanese media, so you might not know where to start. Luckily, Chinese-language media is becoming more readily accessible! Open YouTube/Spotify/Netflix, etc. and invest some time upfront trying different things until you find what sticks. There may be some duds (like me with iPartment and LoveO2O), but don’t give up! Keep looking, cause it will pay off in the long run.

Tip 4 - Don’t let embarrassment get in your way.

It’s important to find media that you truly enjoy so you’ll feel motivated to spend time with it every day. So keep an open mind when exploring formats and genres that may be unfamiliar to you. I used to be embarrassed about watching Chinese idol survival shows, so I hid them from friends and family. I learned later that my friends are actually really receptive and willing to watch with me, even though they don’t speak the language! You don’t need to announce your favorite media to the world, but please don’t let embarrassment get in the way of your enjoyment and your language learning goals!

Tip 5 - Use what you like to strategically branch out to new mediums.

You can take advantage of adaptations and other connections to expand to new mediums. While watching idol survival shows, I would look up the songs’ original artists—that’s how I got into Chinese music! When I decided to give dramas another try, I watched Someday or One Day after seeing the ending theme song covered on Youth With You. Another drama, The Disappearing Child, starred actors I knew from the show Sisters Who Make Waves. When I decided to tackle webnovels, I read the original webnovel of Reset, since I loved the drama adaptation. This is the perfect way to expand your repertoire.

[jiraisupportgroup]

˗ˋˏ ♡ Jirai Kei Survey Results ♡ ˎˊ˗

(NOTE!! I re-opened it because I saw some people saying they were sad they didn’t respond!! It’s open again! You can take it here)

Hi hi!!! First of all, I'm so sorry that this took me like an entire month to make, and second of all thank you to everyone who participated in the survey I posted a while ago! It got 89 total responses which is awesome!! So many more than I was expecting, you guys are awesome ˚ʚ♡ɞ˚

I've got a spreadsheet of all the answers given in October 2024 here if you want to go view them for yourself ^-^ (I have redacted pronouns and location for privacy sake)

I also went through and read everyone's answers and pulled some of the main points / focuses people had to make into little graphics for simplification and comparison's sake (This is a huge part of why it took so long because I didn't want to misrepresent anyone's points so I went person by person and considered all of their answers and overall vibe before pulling the main points just to make sure I wasn't accidentally changing or misunderstanding their points).

Please keep in mind: 89 people is NOT a large enough sample size to extrapolate this to the entirety of the Jirai Kei community - this is really just an exploration of the people who answered the survey - it does not represent the feelings of the community as a whole. This survey is derived from the western community as the survey is in English and was posted in primarily English-speaking areas.

Also just as a note I messed up when making the selections for the ages and put 18-21 and then 21-25 so people of the age of 21 could have picked either - this isn't ideal but since I messed it up in the original choice options I'm keeping it listed as that because I think changing 21-25 to 22-25 would be disingenuous.

I'm going to go question by question and kind of break it down if you're interested! I'm also going to try and remain mostly neutral and not really put my personal opinions in here. My main goal is to kind of break down what was said in the survey.

Demographics:

It's a pretty good mix of people. Also, hi!!! So many of you are from so far away!!!! That was really exciting to see. To be honest, it was super cool to see how this community encompasses people from all over the world!!! (Also, as a note here, there was one person who answered the survey who was over 40. I included their answers in the 26-30 range just for simplicity sake.)

I also did not make a graphic for the pronouns: primarily she / her, followed by they / them or any / all, followed by he / him or he / they pronouns just in case you were curious. I also took the pronouns out of the original answers document since I know quite a few people use neo-pronouns which are quite unique and I didn't want anyone to see those and connect that person to their answers, I wanted it to remain as anonymous as possible. I redacted the locations for the same reason.

I did not make a graphic for the languages either but those are included in the original answers spreadsheet that I have linked above. Many people speak Japanese, Russian, German, Spanish, and French. Those were the main answers besides English.

I don't have too much to say about the social medias to be honest. Discord, Youtube, and Twitch are likely under-represented in this since they were write-ins and not part of the general selection.

How did you first hear about Jirai Kei?

I don't have a graphic for this one either. It looks like most people learned about it because they already had an interest in j-fashion. A decent number of people mentioned Needy Streamer Overload. Lots of people came from Pinterest, Instagram, TikTok, and Tumblr. Many people also said they were into Menhera and came from there.

How would you describe Jirai Kei to someone who hasn't heard of it before?

Again, no graphic for this one - highly reccommend to go read some of the answers on the linked sheet above. It was pretty split between people talking about the aesthetics & fashion vs people talking about the mental health community. A lot of people mentioned that if they were talking to someone they didn't know very well or who didn't have any knowledge of j-fashion they would say it's a style and move on, while if they were talking to a friend or someone who did know a little more about j-fashion they would talk more about the mental health aspects and history of the subculture.

A few quotes (I'm trying to get a good mixture of opinions in here, please note these are mostly smaller parts of larger answers - this goes for all the quotes added in this post): ♡ "Usually it's easier for me to just send the wikipedia link to people though honestly" ♡ "a subculture of mostly young women with mental illness who share certain interests in jfashion etc..." ♡ "...a lot of ppl often tell me it just sounds like the jp version of emo." ♡ "A subculture for mentally ill people who can’t, won’t, or don’t want to recover" ♡ "depending on my knowledge on their opinions on mental health, i'd either go with a basic explanation of the fashion if they dont seem like the type to be sympathetic of ppl with mental health issues, but if they seem like the sympathetic type, i'd go more into detail of the origins and lifestyle associated with the subculture." ♡ "Being cute despite your mental illness! Also a bit of consumerism and idol worship..." ♡ "It's mainly a stereotype" ♡ "I would recommend watching cybr.grls video on jirai kei " ♡ "It’s an alternative japanese fashion style with frilly, lacey, and dark garments! The main colors it will be are very muted pinks, blacks, grays, whites, or even reds or purples (albeit rare)" ♡ "Jirai Kei is the term used to describe the fashion style related to Jirais / Landmines , which was a derogatory term used to describe mentally ill girls who had an “explosive” personality , wearing cute clothing to distract / hide men from their personality. It usually consists of frills , ribbons and lace , blouses and skirts , with a colour palette of black and muted colour varients like pink and blue , and white. "

To your understanding where does Jirai Kei come from? What's it's history?

Again, no graphic for this one (T-T these are just too complex for me to comfortably break down into bite-size pieces). Most people talked about the Toyoko kids, a bit less talked about host / hostess clubs, and quite a few vague nods to Kabukicho in general. About a fifth of the people just talked about overall mental health in Japan. Interesting mixture of answers - different people seem to latch on to different parts of the origins, which is likely based on what they relate with the most. I was surprised that only a few people mentioned the "Jirai Kei" makeup trend of 2019/2020 - I honestly thought that would be talked about a little bit more ngl. Interesting read for sure.

A few quotes: ♡ "jirai kei became seen as clothes worn by dangerous or unstable women, hence the trend " ♡ "the history between jirai kei && the toyoko kids sometimes get mixed together because of their resemblances , but it's important to note the two are different . jirai kei define an instable person who will explode at some point like a bomb , but you don't know when ( landmine ) . initially , it was mostly used to refer to girls who threaten their boyfriend to kill him or themselves if the boy left them . since jirais are disordered or mentally ill , they often engage in unhealthy behaviours . the toyoko kids on the other hand are teens who ran away from home to live in the streets instead . most of them suffered from abuse && causally have disorders or illnesses . this is where the two subcultures came together to form one : the jirai kei we know now..." ♡ " The clothing style that is most typically seen on social media stems from the fact that these clothes where cute but cheap to come by. " ♡ "Jirai kei as a term originated from misogynistic men calling mentally ill women “explosive.” The style came from poor (unfortunately, often sex workers) youth in Japan. It how we’ve became popularized and somewhat mainstream there after a while." ♡ "then in 2020 people started dressing up in stereotypical "toyoko kid/jirai woman style" to make fun of them before brands saw how popular this trend became and decided to start selling clothes based off this idea. the original style is known as dark girly kei which uses elements from both dark girly and girly kei the latter being a style that was popular with 2010s gyaru and evolved to incorporate french girly and dark girly motifs making it what it is today. other styles such as subcul and suna kei are also extremely popular with jirai to the point of being synonymous with the style." ♡ "...Thus, the fashion style was associate with "Jirai Onna" and became "Jirai Kei". The fashion style extended beyond Kabukicho and many girls and women wear the style in Japan due to the kawaii look and the popularity of the style within many fashion brands. Another demographic that has popularised Jirai Kei is idol fangirls who wore girly kei and jirai kei fashion. The style was also given the term "ryousangata" meaning "mass produced" an insult basically calling the girls who wear the style "basic"."

What do you think differentiates Jirai Kei from other subcultures?

Okay since this is the first type of this graphic we're seeing let me explain what you're looking at. I took key points or words and quantified how many people mentioned it as a larger part of their explanation. There were a LOT of other things mentioned these were just the ones that came up repeatedly.

Many people were confused by this question and said there are too many differences to even describe, which is completely fair. There were two main types of answers to this question. The first is that fashion is what makes it different because it's a fashion-based subculture or if not fashion-based, fashion is a big part of it. The other is that it's a community based around mental health primarily unlike other subcultures which are based on fashion or music. A lot of people who mentioned this went on to say that the thing that differentiates it from Menhera specifically (because menhera is also based in mental and physical health) was the idea that Menhera is very recovery, resource, and awareness focused, while Jirai Kei isn't focused on those things at all and is more so just people looking for a sense of community.

A few quotes: ‪♡ "menhera is art and advocacy focused, jirai is community focused. menhera also is more recovery focused often, whereas jirai places no emphasis on that at all" ‪♡ "Dawg idk how to tell you this… there’s too many examples and they’re all so different" ♡ "For starters, its background story, the clothing doesn't look the same either.... Jirai culture is not really focused on getting better mentally, much on the contrary... being mentally ill is praised, spending an insane amount of money on clothes you don't exactly need is praised...." ‪♡ "I’ve seen jp jirais say that jirai kei is whatever a jirai girl chooses to wear, it can literally be anything. However, at the moment it visually is a combination of menhera and dark girly kei. Because it’s new though, it’s already having subsets form and change that." ♡ "i think jirai is unique in its rejection of the “just get better” culture a lot of places have. Most people think of inability or unwillingness to improve a moral failing. " ‪♡ "Jirai Kei has a distinct history and recognisable style" ♡ "menhera is about finding a community that wishes to accept you and want to encourage you to get better jirai kei is not about wanting to get better thats a very important distinction" ♡ " - idk how to explain??? It’s like asking what differenciates gyaru and goth lol" ♡ "the subcul is definitely viewed in an extremely negative way compared to other subculs, even menhera. I also think that other subculs like Emo, Anime, and Idol culture revolve a lot around the fashion aspect. While jirai is best known for the Dark Girly fashion, i think that jirai in itself, as mentioned before, is more about the lifestyle that we life, our mental health, and the struggles we go through either on purpose or not" ‪♡ "for many i'd say the fashion is what differenciates them. while they can overlap with common traits under the other subcultures, it's still quite different." ♡ "i do believe that the associated fashions (again, not just dark girly, but also tenshi kaiwai, subcul, etc.) are necessary to set a landmine apart from these cultures. the fashions is a huge part of the subculture and sets it apart from these other mental-health based subcultures. that is why i personally believe that a landmine must at least wear the associated fashions OCCASIONALLY to be considered part of the subculture."

What kind of Jirai Kei content do you engage with the most?

This one again, no graphic. Top answer was outfit / coord posts (82%), second most common was vent posts (67.4%), third was dark humour (58.2%)

Are you interested in the fashions associated with Jirai Kei? Which ones?

Again, not too much to say overall about this.

One thing to note is that some of these answers could technically be lumped in with other ones, like "all of them" could be counted towards Dark Girly Kei, Girly Kei, Tenshi Kaiwai, etc but I kept it separate. Same with "Jirai IS the fashion" which could be lumped into Dark Girly Kei but again I kept it separate unless they mentioned it in their answer.

The one that isn't like that is "No Interest" because if someone was of the mind that the fashion is called Jirai Kei and said they weren't interested in the other fashions they're in the "Jirai IS the fashion" count, while the people in the "No Interest" count were of the idea that the name of the fashion is not Jirai Kei and is rather Dark Girly Kei so they have their own count.

What role do you think the asssociated fashions play in Jirai Kei? Do you need to wear them to be considered "Jirai" or part of the community?

Again, this has been vastly simplified but I tried really hard not to misunderstand or misrepresent anyone's points. The categories names are a bit strange so let me explain what I mean by them:

‪♡ "No, it's a lifestyle" - This person believes that you do not have to wear the associated fashions to be part of the Jirai Kei community because it is first and foremost a subculture based around mental health and finding people who relate to you that you can talk to about these things. They also tend to believe "Jirai Kei" is the not proper name for the fashion, and that to be part of the Jirai Kei community you must be either mentally ill or at least open and understanding about mental illness. ‪♡ "No, it's both a lifestyle and a fashion" - This person believes that you do not have to wear the associated fashions to be part of the Jirai Kei community. They tend to believe that Jirai Kei is both a lifestyle and a fashion, and you can participate in either the overarching mental health community based around Jirai Kei or the fashion side of things and be accepted either way. This kind of answer tended to imply that both the people looking for a mental health-related safe space and people who just like the fashion are welcome. ‪♡ "Yes, it's both a lifestyle and a fashion" - This person believes you do have to wear the associated fashions to be part of the Jirai Kei community. They tend to believe that Jirai Kei is the proper title for both the mental health subculture and the overarching fashion and you have to participate in both to be considered part of the Jirai Kei community. ‪♡ "Yes, it's a fashion" - This person believes Jirai Kei is a fashion style, if you wear it, you are welcome in the Jirai Kei community.

A few quotes: ‪♡ "the fashion has almost taken over the community, and overshadows its origins." ‪♡ "I don‘t think the Fashion is the central aspect, but it brings people in. It’s historically speaking a part of Jirai Kei, but not the most inportant thing. You can be Jirai and not dress like it." ‪♡ "Yes to be considered Jirai one should wear the clothing of the subculture they are trying to claim. I don’t think you have to branch out into any jirai substyles though if it’s not your vibe." ‪♡ "No if you're a lifestyle jirai, yes if you're a fashion jirai. If you're a lifestyle jirai I think just wanting to be jirai is enough" ‪♡ "i definitely do think that people who dont wear the fashion can be considered jirai, as thats how the word originally got its meaning, though nowadays its definitely more recognized as a fashion style." ‪♡ "It's just a part of the stereotype because a lot of us happen to wear it not because we need to." ‪♡ "it’s such an enormous part of the subculture that leaving out the fashion aspect makes your “landmineness” indistinguishable from a thousand other subcultures." ‪♡ "i think the fashion gave way to helping people who are mentally unwell or don’t feel good find and outlet to feel better, wether it be makeup, or the clothes for me it makes me feel pretty and distracts from the fact i’m depressed. i think just wearing “jirai” as a fashion or style doesn’t necessarily mean you are unwell though, you can participate and be okay in the head lmao, and ofc be in the community. i think the problem lies within the title of jirai. " ‪♡ "i don't think you necessarily NEED to wear them to be jirai, but i think that an interest in them is pretty important because the fashion and aesthetics are closely intertwined with the subculture " ‪♡ "I actually think the biggest thing to a Jirai look is Jirai makeup. I think as long as you have that, then you are Jirai enough. " ‪♡ "While I don't think you have to wear the fashion to be jirai, the fashion does play a big part in the subculture and people need to acknowledge that. " ‪♡ "to an extent, yes you do, but it's more important just to have an interest in them. nobody needs to wear them 24/7 and if you can't afford clothes then it is what it is, but you can't really call yourself jirai if you have no interest in one of the main aspects of the subculture (the aesthetics)" ‪♡ "nah, as long as u wear alternative fashion and know ur shit and participate in the culture ur fine."

Can non-Japanese people be "Jirai"? Why or why not?

Most people said yes (which is kind of to be expected since this is in English and most of the people who answered are not Japanese so I will note this is biased), but a lot of people brought up different points.

Some of the "yes" pool are people who believe Jirai Kei is just a fashion and brought that up as their point. Some of the "yes" pool are people who are more into the mental health side of things and talked about how people in different countries still experience mental struggles and that's something everyone can relate to in their own way.

The "Yes but it's different" pool is mostly comprised of people talking about the mental health aspects of the community and mentioning that although foreigners can be part of the Jirai Kei community, it is important to understand that the things that many Japanese "Jirai"s go through are things that we will not experience due to the differences in our mental health care resources / infrastructure and the infrastructure of the Japanese sex-work industry. Essentially, we can go through really similar things but the overall cultures make it quite different.

Some Quotes: ‪♡ "yes, especially when a trend originally comes from sex work in which non-japanese people living in japan are overrepresented." ‪♡ "Yes, I’ve seen from the pov’s of Japanese landmines and they are open to it because we’re all supposed to be there for each other because nobody else is" ♡ ‪"Yeah, I think they can be, BUT they shouldn't go around acting like they are the template for what a landmine is, or demanding changes to the culture, just because they wear the fashion and/or are mentally ill. It's roots lie in Japan, so the "originals" are still Japanese Jirais" ‪♡ "of course they can ! never did the term refer to exclusively japanese people . even when the initial term " merged " with the toyoko kids , it didn't make it an exclusively japanese term . as long as you fit the " criterias " , you can be a jirai if you choose to label yourself as one ! ♡" ‪♡ "Nowadays I'd like to consider it a fashion style and fashion styles travel all around the world as long as u don't claim to be japanese cause you are wearing jirai you are good. You should also respect and learn the story of the style before u decide to wear it since it's more troubling than other styles." ‪♡ "Very unlikely. There are many factors that would eliminate most people to be "true Jirai kei" ie. experiencing homelessness as well as involved with sex work and host club addiction. Emily from the suburbs who lives with her family and has depression could not be Jirai kei but can partake in the cool fashion. Calling themselves Jirai would not be up to par with the real meaning of it." ‪♡ "Yes. The Japanese jirais don’t seem to disagree so I’m not sure why I would." ‪♡ "yes of course, its important to say that non japanese people often have different issues as japanese people but that doesnt make them less valid meaning they can still use the style as representation of their own issues" ‪♡ "yes and no. if you disregard the fashion and makeup or frame jirai kei as a "menhera" community when its not then you dont really deserve to call yourself a jirai onna. acknowledging that your generally live a better life because of your privilege of being outside of japan. though i can understand calling yourself a jirai onna if you suffer extremely similar problems to that of toyoko kids especially if you suffer from BPD." ‪♡ "Ofc it's clothes" ‪♡ "Yes, of course! Jirai kei is for anyone and I don't see a reason why people can't participate/ want to gatekeep it. I just think it's important to learn about the history and not be a jerk to those who participate in only the lifestyle or only the fashion part."

What does "Jirai Kei" mean to you personally? Why do you associate with the subculture?

I chose to make a word map for this to kind of point towards some of the most repeated words throughout the answers. A lot of these answers are very sad to read (just a heads up before you start going through them), but that is kind of to be expected. Most people mention mental illness and personal struggles with things like EDs, SH, alcoholism, other unhealthy coping mechanisms, or relationship issues. The thing that really stood out to me was that a majority of the people who are of the idea that "Jirai Kei" is the name of the fashion still brought up how the community feels comforting to them because they struggle with mental illnesses and relationship issues. Very few people just said "I like the clothes", most people also mentioned mental struggles in their answers.

I think that's an important thing to note. It really highlights the fact that you never know what someone is going through behind the screen. You only know what they choose to post, and many people choose to post cute outfit photos and things of that nature, but they still can be hurting behind all of that.

A few quotes: ‪♡ "it’s comforting to identify as one and feel like there’s a subculture out there of people who feel similarly to me. everyone connects with the label in different ways" "I like being able to relate with people and have somewhere to post my vents and get things off my chest without judgment" ‪♡ " i was paranoid for not being mentally ill enough for the community, i was absolutely terrified of making jirais mad at me and being rejected. to this day i am terrified of the day when they decide i did not suffer enough to be a jirai. but such a thought is twisted in and of itself, right?" ‪♡ " I love dressing up as fashion is a major coping mechanism for me and I feel delighted at being able to express myself through clothes: it is an art form. Dressing in the subculture's fashions has allowed me to express myself and come to terms with my experiences and who they made me today." ‪♡ "Funny enough my mom calls me a jirai girl (in a derogatory way since she has a typical older japanese person mindset) but i don't mind saying that i am one without shame. especially because i don't believe that my mental illness is something that should be stigmatized and judged. calling myself jirai feels liberating in a way..." ‪♡ "I feel like because I cannot wear the style (not enough money + sizing is difficult) I cannot call myself Jirai kei but I notice others who don’t wear the style call themselves Jirai, which is comforting. I’ve always struggled with mental health for most of my life and I’ve always loved Jfashion subcultures, so obviously I was drawn to Jirai." ‪♡ " i do think people who just wear dark girly kei should be careful when using the term jirai kei if they aren't in the subculture though. i see people say they're jirai and then mock the mentally ill people like?? you aren't jirai you WEAR jirai kei 💀💀 there is a difference!!" ‪♡ "i am also transgender - my girlhood is very important and nostalgic to me but it is also inseparable from dysphoria and sickness, and i think dark girly/jirai fashion helps me to express that." ‪♡ "I found I appreciated the relaxed attitude towards mental health struggles, nightlife activities and a visual indicator that someone might be a little “dangerous” or someone that likes to party." ‪♡ "when I first started, "I want to become cute!" was a big theme I was seeing. I can be cute even though I'm ugly and have bad mental health and it's ok. the style of the clothes is the biggest appeal." ‪♡ "I honeslty really only associate myself with the fashion aspect of it, since it’s something I really love. So instead of calling myself “Jirai”, I like to say I “dress in Jirai” instead." ‪♡ "To me, it's just the clothes. I don't call myself Jirai by itself because it's insulting"

What would you say the pre-requisites to being part of the Jirai Kei community are?

40% of people mentioned mental illness or struggles as a main part of the subculture. There were different approaches to the way that they mentioned it though. Some people were saying "you should be mentally ill since 'Jirai' is an insult used against mentally ill people and the explosive nature is part of the subculture" and others were saying "If you are mentally healthy you should stay away from Jirai Kei to protect yourself because you're going to see triggering things".

Many people said you don't have to be mentally ill to be part of the community, but you should understand that you are going to be interacting with people who are mentally ill and not bully people for venting. Some people said you have to be mentally ill and not wanting or willing to recover to be part of the community (although this was only 3% of people).

On the other hand, about 16% of people said that the only thing you need to do to be part of the community is wear the clothing.

People who mentioned both mental illness and clothing in their answers were divided into 4 different categories: ‪♡ "Mental illness" - they mention the fashion but state is it not a requirement for the community ‪♡ "Wear the fashion" - they may or may not mention mental illness, but do not think it is a requirement for the community ‪♡ "Wear the clothes AND be mentally ill" - they mention both and think both are required for the community ‪♡ "Wear the clothes OR be mentally ill" - they mention both and think you can either participate in the fashion side of things or the mental health side of things, but you don't have to participate in both.

Many people also mentioned doing the makeup as a big part of it. Some of the people who mentioned makeup as a requirement said that even if you don't wear the clothes as long as you do the makeup you're good.

A lot of people also said if you like the clothes or the community or whatever you're all good, so long as you don't bully anyone. Their general vibe was that anyone is welcome to hang out so long as they aren't mean to others. (Many people counted in the "don't be mean to 'fashion' onlys are also counted in the "don't be mean to 'lifestyle' onlys category as well. And as a note a lot of them didn't use those terms specifically I just used them to shorten "people who only wear the clothing" and "people who only participate in the mental health community" because those are looooooooong titles)

There isn't an overarching general consensus. It is very split and debated. (Which we all know). A lot of people were very passionate about their definitions though, which is to be expected. Mental health is a very touchy and personal topic for a lot of people, so people on both sides have really passionate emotions about it.

A few quotes: ‪♡ "i think people who are mentally healthy should stay away from the community; both so they don’t judge those whose thoughts they don’t understand but also for their own protection and comfort. the topics talked about in jirai spaces are triggering and disturbing. i don’t blame, nor judge jirais forthe abusive behavior neurotypicals could accuse them of — it is often not their fault and a mentally healthy person could easily harm a jirai as well. i think such interactions would end up with mutual suffering on each side." ‪♡ " to call yourself a jirai you need to wear the makeup, the clothes, and suffer from some sort of mental illness especially if your livelihood is often threatened by the fact you have these conditions. and its OKAY to not cal yourself a jirai its NOT A GOOD THING to want to be a jirai mentally ill people who call themselves jirai onna are mentally ill and just find comfort in some form by the title." ‪♡ ". i do feel like these are two separate communities with some overlap, especially with the recent western discourse. i don't like these terms as i feel they are a bit harsh but there is a difference between "fashion only jirai" and "lifestyle jirai". of course anyone can appreciate cool clothes but the landmine side of the community deserves a safe space to talk about their issues and relate to each ‪other without uneducated jirai kei wearers bashing them" ‪♡ "i wouldnt say you necessarily have to be struggling mentally to be considered jirai kei, but i dont personally like the way some fashion only jirais negatively talk about the more lifestyle jirais at times. i also however dont think lifestyle jirais should be actively trying to call people out for being a fashion only jirai. it could end up being quite harmful, as you never really know what people are going through." ‪♡ "You may have a mental illness such as BPD which directly links to the “Explosive Landmine” personality. Otherwise it’s fine to just call yourself a Fashion Landmine and only wear Jirai Kei without “being Jirai”." ‪♡ "It really depends on if someone likes the fashion only, identifies as a jirai (landmine person), or both. Someone who likes the fashion may just say they dress in jirai kei clothes. Also, just because someone identifies themselves as a stereotypical jirai and calls themselves just landmine doesn't always mean they wear the fashion either; although it's more common for someone to do both and straight-up call themselves jirai." ‪♡ "being mentally ill (and i mean... cmon a little more than just depression and anxiety because like all of gen z struggles with that((this isn't the mental illness olympics but this is meant to be a safe space for people struggling with more severe illnesses))) and owning like a few coords that isn't that one DML coord that everyone has and wearing the damn makeup" ‪♡ "I think just respecting the community. You don't have to be "mentally ill enough" to join but you do need to respect people no matter their problems and coping mechanisms." ‪♡ "Hot take but if you’re not a Jirai in Japan you’re not a true Jirai and I don’t mean the fashion I’m talking about life choices . You can wear the fashion without having to call yourself a landmine" ‪♡ "there's no requirement, anyone can wear the fashion. it's just clothes."

Do you feel like there is a difference between "Jirai Kei" and "Landmine Kei"?

Most people said no, which is the kind of idea that I had but I wanted to ask because I have seen people use them in different ways. Most of the people who said yes said that in English-speaking circles Landmine is used more to talk about the mental health aspects of things while Jirai is used more when talking about the fashion or overall community. Which I think is interesting. It seems to me that separating Landmine and Jirai is another way that people try to separate the clothing from the mental health community like the distinction people make between Jirai Kei and Dark Girly Kei fashions. (Anything else I have to say here would go into my own opinions so I'm going to leave it at that - it's an interesting thing to think about).

A few quotes: ♡ "i believe there is a difference between simply wearing jirai kei and being a landmine. people in the english speaking community generally use landmine kei to describe the mentally ill side of the community even though jirai literally means landmine. i only see landmine kei used in context of like the fashion mine vs lifestyle mine debate." ♡ "From my experience, I have seen many English speakers misinterpret the term 'Jirai Kei' and water it down to fashion but, of course, that shouldn't represent all of the English-speakers partaking in the discussion." ♡ "Anywho considering Jirai is a direct translation to Landmine, I don’t see how they could be any different." ♡ "I think Landmine Kei is more dressing up as the stereotype and Jirai Kei is the lifestyle that predates the stereotype." ♡ "I feel like calling it landmine kei does alert people more to the mental health side of the subculture"

What is your favourite part of the Jirai Kei Subculture?

This was a combined question "What is your favourite and least-favourite part of the subculture" and most people skipped the favourites part and started just talking about what they hate which did make me a little bit sad. I really liked reading about what people liked in the community.

Most people said the fashion was their favourite part. Both people who said that Jirai Kei is a mental health-based community and people who said Jirai Kei is a fashion-based community brought up fashion as a favourite part of theirs.

"Community" is a very vague thing - in this context, it mostly means they were talking about how they share a lot in common with people in the community whether that be fashion, idols, music, aesthetics, mental health, etc. However, most of the people who mentioned mental health as a main part of why they love the community are counted in "Safe Space" instead.

A few quotes: ♡ "I have dealt with a ton of ableism and med shaming before irl and in other places online, but never in the jirai community. So it makes me happy that I can vent without people treating me like I'm "crazy" or trying to force dramatic changes onto me." ♡ "I love the clothes so much of course so the aesthetic of the fashion is my favorite." ♡ "The clothes of course, I really loved visiting the clothes shops in Japan. People in Japan are really nice about my clothing and often compliment me when I wear Jirai Kei, plus all of the shopgirls are really kind." ♡ "my fav part is the super cute clothes and how u can meet so many other ppl who not only have the same fashion style, but also similiar/same issues/experiences as you, so you can share pretty much anything with no judging at all!!! ^_^" ♡ "I like having a place where I can be open about the reality of my mental illnesses without being bombarded with “solutions”." ♡ "i love wearing cute outfits, seeing other people's codes and seeing other landmines experiences ." ♡ "the fact that people actually understand how i think / feel most of the time , and that i won't get weird looks / i won't be judged for things" ♡ "Most favourite: people identifying each other and bonding over shared experiences (and of course, the fashion)" ♡ "I love the community as a space for people on all lines of recovery to come together and exist without judgement" ♡ "My favorite part of the subculture is blogs, the fact that the people in the community get to share their thoughts & be related to & validated makes me really happy" ♡ "I love how empowering Jirai Kei makes me feel."

What is your least favourite part of the Jirai Kei subculture?

NOTE BECAUSE SOME OF THEM GOT CUT OFF: ‪♡ "People who say you have to be..." is "People who say you have to be mentally ill" ‪♡ "People who use mental illness as an..." is "people who use mental illness as an excuse to be mean" ‪♡ "People who say you have to buy" is "people who say you have to buy certain brands"

The top answer was fashion Jirais. This is a combination of people who specifically said the term "Fashion Jirai" and people who said things like "people who only wear the clothes" or "people who think the community is just cute clothes and ignore the mental illness aspect of it". I combined those into the same count.

"Anti-recovery" as a category is more than just people talking about how recovery isn't front and centre like Menhera, or people talking about venting - it is specifically people who talked about people who say you cannot be in recovery if you are part of the Jirai Kei community.

"Glamorization of Sh/Ed" also is more than just people talking about posts that talk about those things, it is people who specifically said it is over-romanticized / glamourized. And as a note this is different from "lifestyle Jirais" since that category includes people that are just talking about vent posts or mention "lifestyle jirai"s by name.

"Lifestyle Jirais" and "People who don't wear the clothes" are also two different categories, lifestyle jirais is either people who said that by name or were talking about people who vent or think the community is mental-health based, and "people who don't wear the clothes" is just that, it's the people who specifically called that out.

I don't have too much to add here since I can't really add anything here without stating my personal opinions which isn't what I'm trying to do right now. I did find it comforting that most other people are sick of the discourse, and it's both people who think Jirai Kei is fashion-based and people who think Jirai Kei is mental health-based that were saying this.

A few quotes: ♡ "But there are legit people on here who act like you're 'fake' if you aren't attempting suicide every hour or something lmao" ♡ "i'm sick of sharing my safe space with people who think it's just a pink blouse and some short skirts and a bow." ♡ "putting a label on jirai that you have to act a certain way seems wrong. some rules and bashing on other girls wanting to wear the fashion is very wrong too." ♡ "i’m simply utterly terrified of rejection." ♡ "My least favorite would probably have to be those who promote self harm or say you have to engage in some sort of dangerous stuff to be a part of the subculture. While many of us do struggle with these things, it's super unnecessary to push people (mostly the fashion only jirai keis) to harm themselves." ♡ "least fav is that there are a lot of gatekeepers who want you to prove that you're actually mentally ill or they turn it into a competition of who's suffering the most. I also don't like how many jirai are anti recovery if someone chooses to recover (not forced, but their own choice). and I don't like that there are some really young kids in the community, like 13 and under" ♡ "I hate the people who slap a random pink shirt on and a black mini skirt and call it jirai because it’s not. Jirai is so much more than pink and black." ♡ "least fav is probably the fact how some ppl will say the most vile shit ever and use the fact that theyre a jirai as an excuse (it can always be a reason for said behavior, but never an excuse!! 😭😭)" ♡ "fashion "jirais". i don't like discourse at all , but i really wish people would understand the whole point of jirai kei before calling themselves a landmine :(" ♡ "the least, however, are the people who say you "dont need to be mentally ill to call yourself jirai" which is just ridiculous" ♡ "I don't like the narrative that we have to buy from the original designer or it's not Jirai, that's just buying into what the fashion industry wants you to think. A fashion is a style, not a designer brand. Quite frankly I just don't like being limited to certain brands." ♡ "Constant discourse (assuming that people can't resonate with the subcul just because they're not as vocal about their experiences as the others PLUS the bullying of actual people who struggle for venting when that is the core of this subcul)" ♡ "i wish it was more mature because many jirai people are in their early teens (12-14) and i feel the need to act as a role model in spaces that include minors, rather than speaking freely as i would normally among people closer to my age" ♡ "least favourite: weird gatekeeping (eg. "you can't wear jirai kei because you're not mentally ill""), shaming peoples looks and fatshaming in general" ♡ "My least favorite is the ones who say you have to be anti-recovery to be jirai. It's okay to be tired of hurting." ♡ "i detest the infighting, and the way that it's rapidly growing is kind of pissing me off because im more comfortable in smaller communities" ♡ "As for least favourite, glorification of ED and SH (I must note, glorification, not just the fact people discuss/have it in the community) as well as the fatphobia and such"

Overall very interesting read and very mixed responses, but also not actually as mixed as I thought they would be. Most people landed somewhere in the middle where they considered both fashion and mental health to be parts of the subculture and just had different levels of importance for those two things. Most people also did mention mental health being part of their reasoning for being here, whether they engage more in the fashion side of things or the mental health side of things.

If there are any clarifying questions about what the titles of things in these graphs really mean or why I chose to break things down in the way that I did I am more than happy to provide clarification to that! I'll try to respond to any comments like that as soon as I can. I won't be engaging in discourse or defending any points or anything (at least not here) - this is more about the answers to the survey and not my personal opinions so pls understand T-T.

If you read all that mess thank you! Took me a while to actually get all of this compiled. If you didn't thank you regardless! Especially if you responded in the survey to begin with ♡

Also if anyone is uncomfortable with their answer being posted in the answers document please contact me either on Tumblr @jiraisupportgroup or on Reddit @ Mara-melody (DMs should be open on both) with the details about which response was yours and I will delete it from the publicly available document! Thank you!!

[shsl-hubris-guy]

In-Depth Character Analysis On All The DR Characters Because What, Are You Gonna Try And Stop Me? Who Are You, My Mom? Yeah, I Didn't Think So- Part 1: Kiyotaka Ishimaru

Yes, I'm aware the title is ungodly long, it's called comedy. Behold, a series inspired by my overwhelming hubris! Despite my better judgement, I love this series and (almost) every single one of its characters, so I decided to do this little series of posts on the side, just cuz!

So part 1 of like, 88 I think?, going through the characters from THH, DR 0, SDR2, UDG, DR3, and DRV3 with as much objectivity as possible, analyzing their character using only canon material from the games/anime/novel/canon adaptation they're present in. So sit back and enjoy while I go feral! Or just scroll, if you aren't interested. Whatever works for you.

Part 1- Character Design

Kiyotaka Ishimaru is depicted as a very aggressive honors student, and is shown as such through his very expressive facial features and his choice of clothing. He has large eyebrows and big eyes, and is given a uniform meant to make him look more like a soldier, reflecting his rigid dedication to the rules and his ethics. This uniform also includes an armband meant to signify his authority within the class as Hall Monitor and as the unofficial class rep. His sprites are very animated, with big gestures using his arm(s) and his mouth often wide open, whether in a wide smile or while yelling. This makes him one of the more expressive characters in THH specifically, as most of those characters are pretty restrained on a day-to-day basis and only become more exaggerated when put under high levels of stress.

Something interesting about Taka is that his talent changes from the original Japanese to the English translation. His official talent is the SHSL Public Morals Committee Member, meaning his original talent was that of discipline and social order. This was translated to Ultimate Moral Compass in English, as most western schools don't have a Public Morals Committee. This change in translation unintentionally shifted the perception of his talent from discipline to morality. This change in distinction has had a bit of a negative impact on the Western perception of his character, as rather than appearing to impose order on the other students, it instead appears at the beginning as though we, the audience, are supposed to view him as a beacon of morality. We're not.

Part 2- Character Introduction

Taka is one of the first characters to actually speak to Makoto directly, berating him for being late on the first day of school, despite the fact that he and everyone else had experienced a strange warping of memory. He also goes on to interrupt your first conversation with Sayaka, stating that their time is being wasted by 'ridiculous back-and-forth'. Despite this, when it's his turn to introduce himself to Makoto, he goes off on a tangent about how cool Makoto's name is. He's described by Makoto as a 'flawless honors student' and is most publicly known for his work on his local Public Morals Committee. He believes in putting 'every ounce of effort' into living, and imposes this belief on those he interacts with, something Makoto finds irritating(This guy is... kind annoying.").

So in short, Taka's first impression on the player is that he's a mildly obsessive honors kid, and a bit of a hypocrite that isn't fully aware of his own presence or the effect it has on the rest of the cast. The game goes on to use this lack of social awareness as a source of comedy, as he takes Monokuma's initial greeting as Headmaster fully at face value. He struggles to grasp the concept of the killing game at first, opening the discussion upon Monokuma's departure from the welcome ceremony with dialogue that sounds like it was pulled from a customer feedback survey("So guys, how would you define what we just experienced?"). He's not a malicious or hateful figure; he wants to work with the class but isn't quite sure how to.

Part 3- Early-Game Events

The game spends the early-game establishing Taka's more negative traits. He's shown to be inobservant and wrapped up in his own ideals and need to command authority to even notice Kyoko is missing and, upon being informed of her disappearance, cares more about her punctuality than her safety. "Not only is she late, she didn't tell anyone she would be late! A most unbecoming personality trait..."

He's also established as hypocritical once again, and a bit egotistical, as he has trouble fathoming the others' lack of discoveries but overinflates the importance of his own.

He then goes on to agree to Celeste's suggested nighttime rule for all the boys in the class, without letting them speak for themselves. While ultimately, no one has a problem with the rule, this is the first real instance of him doing something that, on paper, is beneficial to the group, but without considering how the others actually feel about it.

Taka doesn't show up in-story again until the day of the motive, when he goes around to the entire class demanding that they will now all have breakfast together every morning after the morning announcement. Although this is a good idea, allowing for everyone to bond and creating a morning headcount, he makes this decision for the entirety of the group. Leon and Makoto both complain about this if you speak to Leon outside the cafeteria, but ultimately go along with it because they don't want Taka to continue bugging them about it. So we can see that his efforts are perceived negatively by his classmates and go unappreciated.

Already we've seen Taka act overbearing and commanding over and over, inadvertently separating himself from the majority of his peers. He's direct and to the point, forming the breakfast meetings expressly to 'become friends and build trust' with the rest of the class. So we can see in no uncertain terms that he wants to befriend his classmates, but that his lack of social skills leads him to fail at every turn. He doesn't ask the class to join him for breakfast, he tells them. The strategy he employs doesn't leave room for choice, and ends up building resentment from his classmates.

It's not until the first body is discovered and the rules of the class trial are revealed that reality fully seems to set in for Taka. He, along with everyone else, are given the rules of a game they don't really want to play- that should they fail in the trial, all of them will be killed. And it sends Taka to a breakthrough- that some regulations can be harmful to those they're imposed upon.

There's now a shift in his actions- he's still trying to push for the class to follow the rules he's set, yes, but there's a newfound urgency to them. When Byakuya disappears in chapter 2, his concern has shifted from punctuality to his classmate's safety. He's the one to lead the search for Byakuya when he doesn't answer. Despite all his harshness, we can see that his strictness now comes from a place of genuine concern for the people around him, a direct parallel to earlier in the game when Kyoko went missing- "I'd like to think so. But I'm worried something might have happened to him."

This growth of character, though not focused on, is undoubtedly present. The dedication he has to his discipline and his ego are still fully intact, but now that dedication has moved beyond just order. It's an act of protection, for him and everyone else. The invisible threat of death has become all too visible with Sayaka's absence from their last breakfast meeting. If he can keep track of everyone, then he'll know they're still alive. He can prevent another murder. It imposes upon him the responsibility of the leadership he craves.

Part 4- Relationship(s)

Unincluding if the player actively seeks him out through FTEs, Taka only ever develops a real relationship with one character of the other fourteen in-game, though he does have some important dynamics with others. We'll continue moving in chronological order.

4.1- Ishimondo (these bitches gay?)

Throughout the game, whenever Taka is saying or doing something stupid, Mondo is typically the one to call him out on it or shut him down. While this doesn't start to take real shape until chapter 2, it is visible here and there in the early game.

But their connection doesn't really start to take focus until chapter 2, as Taka's failings as leader and Mondo's constant correcting him puts them at odds. Mondo's attitude is the antithesis of Taka's, living a life of complete risk and impulsiveness, yet has a matching level of energy, and despite being more intimidating on a surface level, he's able to actually befriend characters like Chihiro, Hina, and Sakura, while Taka's left on the out. One of the best examples of this is found not in the game, but in the stageplay adaptation, where both characters attempt to help Chihiro feel better about her weakness in the daily life segment.

When Byakuya starts mocking Chihiro for her fear, Mondo threatens him, and insists that Chihiro's weakness doesn't matter because she's a woman. But when this makes her upset and Sakuraoi call him out on it, he offers to help Chihiro train as an apology, acknowledging that his behavior was irrational. But when Taka tries to give her advice by telling her not to be weak anymore and is told to be reasonable, he can only insist that Mondo's words don't matter anyway.

In the game itself, Taka's barely present for this exchange, as it chooses instead to focus on Chimondo's relationship. Regardless, the animosity between Mondo and Taka is still made very clear in-game.

Mondo and Taka are both demonstrating the desire to protect their classmates here, but in different ways. Taka is the more logical of the two, focusing on keeping track of resources and devising a system of check for everyone to keep watch over each other in the breakfast promise. Mondo, meanwhile, wants to push the importance of actually getting everyone the fuck out of there. While their endgoal is the same, they disagree on how to go about it, and both their stubbornness drives them to butt heads as time continues to pass, leading to the sauna scene.

After being slowly built up in the background, Ishimondo's mutual anger finally comes to a head, with both not understanding the position that the other is in. Taka still believes Mondo's value to be what he provides to society, and as a biker gang leader, that's not much to a man that lives by lawful discipline. Meanwhile, Mondo can only see Taka as an egomaniac with a stick up his ass and doesn't know the background to why(and neither does the player without actively seeking out his FTEs). They each follow a different code of ethics, and view themself as the protector of the class, leading them to see each other as rivals. Yet, despite that, both of them still share their core value of total dedication, and so when finding a way to prove themself the better man, they end up with an endurance competition. For Taka, this reflects his belief that men connect by baring their souls, and do so by baring their bodies(something only learned in-game by approaching him for FTEs).

(This also leads to the implication that, while Mondo insisted on entering the sauna with all his clothes on, at some point, he was, in fact, naked while with Taka that night.)

The information as to what happened in that sauna is intentionally left unanswered, remaining fully private between both men in-game. The only thing either of them will say is that a brotherhood was formed between them, and that who won their initial contest no longer matters. Finally, Taka has found someone. Someone he can confide in and lean on, someone who'll support him and that he can support in turn("And if you can't do it alone, just find someone to support you, and you can support them back! That's how you can overcome any storm!" -Taka ch 1).

And then Chihiro's case happens.

At first, when the motives are introduced, Taka is one of the few to vocally insist no murder will take place. He has newfound confidence in the willpower of his classmates, and puts faith into everyone else for the first and only time. Even when presented with his own unknown secret, he finds it ridiculous that anyone would kill over the embarrassing memories and secrets. It's here that we truly see the highest high of this character- when he comes up with the idea to share secrets. When he presents this idea, he moves forward as usual, preparing to be the first one to reveal their secret and take the pressure off. But when his classmates insist they can't (Toko & Celeste) he doesn't keep chugging along, and he doesn't completely shut down, either. He looks around at his classmates, and he asks Chihiro. He actually steps back and asks for someone else's opinion.

And when she isn't yet comfortable, he backs off. He respect her wishes, and he stands with the class, ready to help them face their secrets the following day. Finding a friend in Mondo has softened his rigid exterior a little bit, enough to actually consider the opinions of the others. He's gotten comfortable. All that comes crashing down with the discovery of Chihiro's body the next morning. After finally taking a step back and letting his classmates- his friends- make their own choices, it directly leads to the murder of one of them("Dammit! I'm sorry, Chihiro... It's all because I wasn't strong enough!").

Taka fully blames himself for allowing Chihiro to be murdered, and as the guilt of failure starts to set in on him, he looks to his ethics and order to solve it. Chihiro may be dead, but the murderer will be condemned through the class trial("Justice always prevails! Right, bro!?"). A solution, a path forward, still exists for him. He still has Mondo by his side, and he and the rest of the class can surely prevent this from happening again, right?

The trial only validates him at first, revealing the existence of a serial killer among the group, someone so clearly immoral for her killing obsession. But it's not her. Why isn't it her? "Could such a heinous villain really be innocent!?" But his confusion is quickly stamped out- of course, it's Byakuya, the guy that's been threatening everyone and refusing to cooperate, the guy that has no regard for the rest of their classmates. "He kept calling this a game, right? So he'd totally be willing to do whatever it takes to 'win'!" But no, wrong again- he didn't know that the murder was in the boys' locker room, and was taken aback by Chihiro being AMAB. It should be him, someone so clearly antagonistic, that's how it's supposed to go, right?? But no, it's wrong! Why? And, who could kill someone like Chihiro at their most vulnerable?

He's failed. Taka's failed in every way conceivable. Mondo, the first person he's ever truly felt connected to, a murderer? Chihiro's murderer? That can't be it. Even long after Mondo's stopped arguing, Taka continues to push back against Makoto and Kyoko's accusations. It's a coincidence, that's not actually proof, anything to get them to stop, to save his brother, to save himself from the reality he's about to have to face. When sent into the BTB, it's Taka we fight in his despair, not Mondo. Until the very end, Taka won't acknowledge it. He can't. He can't bring himself to vote his Mondo a murderer, a killer. How could the man who gave him the chance no one else would, ever be so cruel? "I- I refuse to believe it... There's no way... no way he would kill someone! Why!? Why why why why why!? WHYYY!? Why did you do it!?"

He learns the truth of Mondo's story alongside the rest of the class, unable to process it all. It makes no sense. They were friends who trusted each other, who helped each other. And what about the man's promise? Doesn't that count for anything!? This doesn't sound right. This isn't Mondo, not his Mondo, not the man from the sauna. How could he have been so wrong about him?! It just can't be, but it is; the truth is but a slap to the face.

He was wrong. He stood by Chihiro's killer and defended him. He let his brother become the monster he saw himself as. He didn't stop it when he could have. He was blinded by his own beliefs, and as he watches Mondo's death, his spirit dies with him, the game cutting out all music as Taka screams, filling a deafening silence. "As Taka's sad screams invaded our skulls, we were each forced to realize once again..."

4.2- Kiyondo Ishida

Taka enters chapter 3 as a hollowed out shell of himself. He's gone near comatose, staring at nothing and saying nothing. He won't eat, won't speak, won't sleep, and although there are a couple weak attempts to get him back in action from Hiro("It's times like this where the committee chairman needs to get things going with a BANG!"), he's mostly left to grieve by himself, as the rest of cast is more concerned with the expanded school than the bossy guy they didn't like that much.

Monokuma even goes out of his way to torture Taka, to punish him for his grief, lying about the existence of a time machine just to fuck with his head and give him false hope, sending him further into despair- "Hmm... You sound disappointed. But actually, I was lying about the whole thing anyway. There's no such thing as time machines!" He's forced to become Monokuma's most successful project from the class, completely and utterly destroyed.

When he learns of Alter Ego, something in his head clicks. He can still talk to Chihiro. He can repent. He can apologize directly to him. So, with Makoto's help, he's brought to the laptop. His guilt finishes totally consuming him as he asks: "Do you... hate Mondo? And since I couldn't stop him... do you hate me?" His own self-hatred stemming from his failure is projected onto Alter Ego in one last attempt to come to terms with what's happened. The response he receives, unfortunately, is the culmination of all the toxic and unhealthy ideas of manhood the other boys carried with them via an attempted simulation of Mondo.

"You're not letting yourself get crushed under the weight of that responsibility, are you!? A man's only worth as much as the load he can carry! You get it, right bro!? Hell, what am I saying? Of course ya do!"

"So you're just gonna stand there, huh? Just wait for things to get better? Just take your time and get all depressed... Take the time to indulge your regrets... You might even start walking again without realizing it. Sure, that kind of mediocre thing might work for some people."

This speech, while attempting to inspire Taka to keep living for Chihiro's and Mondo's sakes, encapsulates the desperate need to be perceived as strong and untouchable that Mondo himself carried, and that Chihiro admired so much. It sinks its way into Taka, convincing him that the way to respond to his guilt is simple- pretend it isn't there! Mondo has clearly returned to him, and he's never letting him go ever again. He fully deludes himself, and he's fused with this idealized version of his bro. He permanently ties himself to Mondo's memory, and goes from the SHSL Public Morals Committee Member to something else entirely- Kiyondo Ishida, the unholy mixture of both men.

This revelation also leads him to an obsession with Alter Ego, viewing it as the vessel in which his bro was returned to him. He views it as another chance to protect his bro from ever being hurt again, as some divine second-chance he's been granted. All desire to be around the rest of his class is gone, replaced with this obsession. He's put at odds with Hifumi, who's also connected with the AI, and separates himself from the group that much more. When Alter Ego disappears, he can't handle it. He panics. He won't let his bro die, not again. And so he dooms himself, refusing to let go of the shadows of the past enough to see his own death looming before him, and he's killed in the early hours of the morning, led by desperation to his demise. And even so, the class can only worry about the semantics of when he died, barely mourning him.

5- Isolation (What's the point of this guy, anyway?)

Rather than learning from the mistakes both Chihiro and Mondo made by subscribing to the societal expectations of what makes a man, Taka ends up doubling down, burning away the optimism and more reasonable logic Taka used to have. Taka's story is that of a doomed fate to become the symbol of manhood and its self-destructing nature, leeching off of his first and only friend's unhealthy behaviors and sending him spiraling. And it's allowed to happen because of his social isolation.

From the very beginning of the game, Taka is singled out as annoying to be around. He's put in a negative light and viewed as unpleasant to spend time with. Every attempt to befriend or connect with a classmate is written off as a nuisance, a hindrance. Taka doesn't know how to make friends. He doesn't know how to do anything besides follow the rules and regulations he's been taught. He sticks to his regimen, because it's comfortable, and doesn't understand why others can't conform in the way that he does. He's very thoroughly isolated mentally and emotionally from his classmates at every turn, to the point where even in the very first trial he's standing with no one but the dead by his side(as Sayaka and "Junko" were positioned on either side of his podium).

All this is done with the deliberate intention to showcase his solitude, and more importantly, the loneliness that comes from it. It's to the point that when he finally does make a friend, he thoroughly idealizes him in his subconscious, coming to view him as some perfect person who'd even support him. It's inherently contradictory from his established beliefs going into the game, that a delinquent could be kind, but he accepts it wholeheartedly. He gets to know Mondo on some deeper level while in that sauna, and it's enough to rapidly develop a massive codependency on him. So when Mondo self-destructs and dies, so too does Taka.

Taka's purpose as a character is to suffer. He wraps himself in his moral beliefs, remaining steadfast in what he views as right and wrong, making judgement calls he's 100% sure of, and when they're challenged/disproven, he's thrown wholly out of whack. He exists to serve a purpose- what would've happened if Makoto didn't accept the truth about Sayaka? What happens when you let your idealism blind you to the truth? What happens when you blind yourself to the reality of the people around you, of the darkness in the people you care about? You self-destruct. He's tossed aside, killed as an accessory to the plot of someone who does nothing but manipulate the truth. He dies, and that's just it. His story is cut short; he doesn't get to heal or grow or come to terms with the truth. Such is the fate of the failed.

6- Afterword

...I didn't even touch his FTEs for this. Holy shit.

I'm gonna be honest, as much as I love Taka, I never expected this post would become as long as it did, or that I'd uncover such a dark fucking reason for why he gets as totally fucked over as he does. Don't get me wrong, I still really wish he'd lived and gotten to grow after this, but maybe his death was more well-written than I used to think. Good god.

[olderthannetfic]

On the topic of the ao3 ship stats thing, I would also like to call into question the inclusion of the "Race" category and how races are being categorized and if they should be included at all.

The first thing is that I see Latino is considered a race, but I believe Latino is moreso a cultural/ethnic category and not a race. It makes it more interesting that Afrolatino is separate from Latino, since it means that everyone categorized as Latino could be white Latino characters and therefore not as racially diverse as the category seems to imply? Or something?

Same goes for the Asian category- wouldn't it make sense to separate it into East/South East/South Asian at least since Asia is massive. Especially since it would be interesting to see the % of Asian representation that is taken up by East vs. South East Asians, given that K-pop, anime, Chinese BL, and Thai BL are all very popular.

I don't think that it's a bad thing to include a race category when taking into account this data, but the fact that these racial categories seem to be arbitrarily decided makes it less reliable in my opinion. Also what about characters who are mixed race, or mixed ethnic heritage?

In some ways, I think it would be more interesting to categorize the origin of the media/source material for these ships. How much of the chart is taken up by Korean origin ships (i.e. K-pop groups) vs. Japanese origin ships (i.e. anime) vs. American origin ships (i.e. American movies and TV)? It would also a valuable insight since I would expect something like Thai BL to have all or majority Asian characters. So in some ways, the race category is more insightful into the diversity of American/UK/Canadian/etc. media. It would also be interesting to see how much of the Asian characters are coming from Asian media/music groups.

This is not to say that analyzing the racial/ethnic/cultural backgrounds of characters in the most popular ships wouldn't give insights. I think it would be interesting to see how this changes over time. But I think that if we want the data about racial discrepancies and diversity to be meaningful, the categorization must be consistent and done with more care.

--

Lulu seems like a nice person, but she is a dumbass about Asian media. She told me once that she was shocked the year BTS suddenly popped up all over the top ships.

Like... really? You were shocked? And you literally had never heard of BTS? As a fandom researcher? If that had been 2013, sure, fine, but it very much wasn't.

This isn't even about being Western-centric because shittons of fans in the UK and US are into Asian fandoms. (UK because that's where she's from. US because that's the place we all wank about being centered all the time.) This is just a basic failure of a lot of meta writers and even academics who study fandom.

Part of why people insist on staying this dumb is that acknowledging Asian media, particularly live action stuff, makes it obvious that the real issue is how the media handles characters. Fans who were all about the white guys all the time still fell hard for Wangxian.

Clearly, fandom has no problem attaching to nonwhite characters when they are the unmarked ethnic majority leads in something. So the supposed failings of fic might be about skin color or antiblackness specifically, or they might really be about the failings of media when it either fails to include certain characters or sidelines and others the ones it does have.

Those conclusions aren't as tidy and don't make as good a tire iron to club other fans with.

[siflshonen]

I’d love to interpret bkdk as romantic but I will be honest, it is difficult to do when a het ship is being hinted at more explicitly. I’m still glad Horikoshi did not include a full-on confession though. We can do what we want in fics without having to rework canon.

Love your posts, thank you for your wonderful insights into bkdk. Your meta is always well-done.

I know this ask was originally meant for someone else, and you’re absolutely right that bakuhatsufallinlove does fantastic meta. You’re very wise to see how great of a job they do and it’s kind of you to say so. It’s also very kind of you to read my posts.

I’m about to not be quite so kind.

I hate Izuocha. And I’m annoyed by the insinuation that Ochako breaking down in tears over Himiko to Izuku - her big moment of bearing her emotions out in the open to him - is seen as an endgame romance, especially since the only other detail we have to go off of is Ochako smiling at Izuku in their hero suits when Todoroki is kinda doing the same thing, AND when I should DAMN WELL hope Ochako and Izuku are still friends and looking out for each other, especially since they bonded over the traumatic deaths of those they failed to save.

I’m insulted that Ochako’s confessions to Himiko are disregarded like that, or the tumultuous chaos she grapples with in her heart is brushed aside. I’m insulted by the insinuation that Ochako’s known love of seeing happy, smiling people is not acknowledged and instead her expressing joy over seeing that on Izuku’s face is painted over as being implied, for-sure romantic endgame. Maybe it is, sure. Anything is possible. I’m sure Himiko wants the best for Ochako and for her to be happy, and would probably think it was romantic that her feelings also reached Izuku by way of Ochako as being someone they mutually loved.

But Himiko is dead and it ripped Ochako apart, and her reaction to that is the last in-depth look we get at her feelings. Izuku recognizing that Ochako is a hero in her own right (not a heroine, aka a damsel for the hero to save and then end up with romantically per Japanese storytelling roles, not just “a female hero” like we think of it in English) is gratifying and wonderful. And I’m insulted by the insinuation that just because Izuku acknowledges that Ochako is and has been his hero and always saved him that this must mean that they are implied to be the romantic endgame. God forbid they mutually admire each other and respect each other and the story just ends there, and god forbid Izuku calling her his hero sends a totally different message.

Now, as for Katsuki. You cannot tell me that he doesn’t have some kind of deep feelings for Izuku. @bakuhatsufallinlove has posted extensively about unspoken feelings with a likewise unspoken understanding are common for Japanese romances, but I’ll admit I’m not here to talk about that.

Do you really want to tell me that Horikoshi-sensei allowing Katsuki and Izuku to keep their arms and have an implied handhold at the end doesn’t mean as much as whatever the fuck Ochako is doing in the final panel?

In Naruto, which BNHA takes many cues from, Sasuke and Naruto had their arms ripped off because the editor didn’t approve of the two of them holding hands in panel. Apparently, that’s too romantic and inappropriate for the male leads of a shonen. Given that, how interesting that the doctor recommended that Katsuki’s hand-holding arm be amputated. How interesting that Katsuki refuses. How interesting that Katsuki refuses while thinking not just of All Might, probably not really of All Might, but Izuku. How interesting that Izuku also keeps both arms, and we as readers are very certain they held hands even if it is not shown.

How interesting that Katsuki is not just the heart of Izuku’s mech suit project (and, in some respects, of the class,) but of Izuku’s image of victory, Izuku’s “Pro Hero with a quirk” origin, the heart of what he believes a real hero is like, and the literal actual heart of what he wanted to defend from ShigAFO multiple times over. How interesting that Katsuki’s story is in part him learning how to not be a burden to Izuku or used against him like, say, a heroine-damsel-in-distress might be used, AND it is also in part him learning to come to terms with his feelings for Izuku. In fact, we spend basically the whole manga dwelling on this with him. It’s that important that he reconciled Izuku with his heart and desires.

Izuku, who is so tearfully happy that Katsuki wants to be with him for the rest of their lives in whatever form that takes, even when they weren’t sure he was going to have a quirk and be able to be Katsuki’s superhero rival. Izuku, who is so happy to be with Kacchan and the class as a hero again, in part BECAUSE it is with Kacchan………….and everyone else on the next page.

Nothing is for sure. Nobody kissed or got married or whatever, sure. But you really want to tell me Izuocha is more heavily implied based on the ending?

Thanks for the ask. I’m sorry you feel that way. Get off my lawn.

[yurimother]

'I'm in Love with the Villainess' Anime - Episode 1 Review

An astounding and hilarious first outing for the series with the power to revolutionize Yuri

We are finally here, the long-awaited and much anticipated first episode of Platinum Vision’s I’m in Love with the Villainess anime aired on Tokyo MX and is streaming everywhere outside of Asia with a plethora of dubbing options, including English, on day one on Crunchyroll.

The first outing covers most of the events of the light novel’s first chapter, or the first three chapters of the manga, at a rapid but steady and not overwhelming pace. At this rate, the anime should be able to cover much of the series’ first arc, or the first two out of five books, in a single cour. Perhaps a bit less, depending on which of the story’s various adventures it elects to include. This is an exciting possibility, to be sure, as the story is a character-driven, socially mindful, and expertly written and, despite its fantasy setting, an exceptionally relevant tale of romance, socio-economic inequality, and of course, queerness.

While the first arc of Villainess is a triumph, it would be a shame not to see at least some of the developments from the extra chapters that lead into the second story, like (spoilers for the end of volume 2) Rae and Claire’s wedding and their adopted twin daughters May and Aleah. If we are lucky, perhaps they will appear in the final episode or, dare to dream, a second season (end of spoilers).

Now, onto the show itself. For those who, for whatever reason, have not read Inori’s masterpiece, I’m in Love with the Villainess follows Rae Taylor. A salary worker who dies and is reincarnated as the protagonist of her favorite otome game, Revolution. However, Rae has no interest in any of the game world’s three eligible royal bachelors and has eyes only for the game villainess Claire François. Armed with exceptionally magical ability, Rae sets out determined to secure a happy ending for her beloved Claire against the coming revolution and perhaps win her heart in the process.

Now, the opening of I’m in Love with the Villainess is the series' weakest moment in all mediums, which, considering episode one’s outstanding quality, only highlights just how superb the Yuri masterpiece is as a whole. Even with its need to establish the setting, characters, and premise of the series, the premiere managed to be an excellent introduction and set the bar high with lots of laughs, entertainment, and service between our two leads.

I watched the Japanese audio, and Yu Serizawa and Karin Nanami are fantastic in these roles, with Serizawa playing up Rae’s teasing adoration and borderline masochism at full blast, and Nanami explicitly giving voice to Claire’s arrogance and frustration. She even manages to deliver a perfect Ojou-style laugh to seal the character’s elite status and lean into the show’s use of otome tropes. And having the leads sing the excellent opening and ending themes is just icing on the cake.

Speaking of tropes, while Ironi’s original work is a genre-defying masterpiece that broke the Yuri mold, it is never afraid to play with the genre’s iconography and its otome game setting. Every other scene had another allusion, including to the book’s cover. As always, I am likely overeager to see connections, however intentional they may be, but the academy’s halls harken to otome staples, the bells and strings of the first scene's soundtrack conjured blistering memories of Strawberry Panic (perhaps a sacrilegious comparison to make but I digress), and even an areal shot of the campus was another check mark on my “Scenic Yuri” theory.

Now, as mentioned, I’m in Love with the Villainess has to establish the groundwork here, and narratively, these are the weakest moments, often direct exposition, with a few exceptions like Rae’s conversation with her roommate Mash about maintaining Claire’s attention. The narration is at least accompanied by relevant and creative, if perhaps limited, animation. But to their credit, these moments are succinct, existing only as long as they have to in order to provide the necessary information and get out of the way for what matters most: the characters.

Rae and Claire are front and center from the very get-go, and there is little time wasted in showcasing Rae’s intense bottom energy or establishing Claire’s elitism and bewildered anger towards Rae’s excitement in the face of Claire’s carefully calculated cruelty. It is a montage of silly and fun competitions between the two that had me laughing and smiling all the way through, as the Yuri was present in full force, and gives glimpses at the mutual obsession the women have for each other that will soon blossom into a wonderful romance.

These early story beats have a light tone and focus on the bullying, teasing, and rivalry between Rae and Claire, a dynamic that previously and understandably made a subset of readers somewhat uncomfortable. However, assuming the anime unfolds in a similar manner to the manga and light novels, the narrative will explore meatier, heavier subject matter and a far deeper lesbian romance, all without losing its sense of fun and adventure. The next episode or two will be incredibly telling - as the source material is perhaps the most profound and forthright depictions of LGBTQ identity in Yuri, and that all starts with a pivotal conversation that, if it is included, will be coming up shortly.

Overall, I am incredibly excited for this series. The first episode is everything I had hoped for out of an adaptation of one of my favorite works of all time, save the animation, which is average at best. While there is a lot more to see, and we will have to wait to know if I’m in Love with the Villainess lives up to its incredible potential and source material, I am extremely hopeful. We have one of the funniest, most thoughtful, and queerest works of Yuri transformed into a stunning anime project unlike anything that has come before and offers the chance at not just a new Yuri “gateway” but to continue the work of its source material in revolutionizing the genre.

Ratings: Story – 8 Characters – 10 Art – 5 LGBTQ – We shall see… Sexual Content – 3 Final – 8

I'm in Love with the Villainess is streaming on Crunchyroll with English sub/dub.

Review made possible by Avery Riehl and the rest of the YuriMother Patrons. Support YuriMother on Patreon for early access, exclusive article, and more: patreon.com/yurimother

[miyamiwu]

What names mean to Kaiser + How roses represent curses

Thank you @gachagon @hooudie212 and @blrpr for responding to my meta prompt. Your insights helped shaped mine. And now that my classes for the week are over, I felt free to ruminate on this topic while washing the dishes earlier. I’ll now share to you guys the conclusion that I came up with.

But before I start, let me just acknowledge how @gachagon made some great points about what Kaiser’s and Ness’ names could mean and how it ties together to their roles as King and Pawn.

However, all your arguments involving name meanings hinges on the premise that Kaiser knows what everybody’s names even mean in the first place… And surely he can’t be that aware? Still, it’s an interesting take on what the author’s intent was in choosing their names.

But whatever Kaneshiro truly intended is hard to guess. So in this meta, I’m gonna focus solely on Kaiser and how his mind may have worked.

Without further ado, let’s go—

Although it’s unusual in German culture, the original members of Bastard München address each other by surname:

We could just brush this off as the author’s way of appealing to the local Japanese audience, considering how some foreign players in other teams also call each other by surname (e.g. Lorenzo saying “Snuffy” instead of “Marc”). (Though, there are some who do address each other by given name, like Agi saying “Chris” instead of “Prince”, which is more true to reality.)

However, this meta isn’t about those other foreign players, nor is it about Bastard München as a whole.

After chapter 260, I find it impossible to brush off the significance of names to Kaiser, especially when his backstory literally begins with an introduction of his name:

The boy’s name is Michael Kaiser.

The chapter didn’t start with “Michael Kaiser’s childhood was something no child should want or ever endure.” It started with “The boy’s name is,” in one box all to itself, distinguishing it from the rest of the text on the page.

The emphasis of the Name on the very first page tells us straight away that names are an integral aspect of Kaiser’s character.

However, despite this established importance of the Name, throughout the rest of the backstory, Kaiser is mostly referred to as “the boy.”

The one other time Kaiser’s name is brought up is this panel:

With an alcoholic, gambling addict father beating the crap out of him every chance he got, the young Michael Kaiser grew up.

But notice how the Name is included in the sentence. The first part talks about the abuse, or the cause, and the second part with the Name talks about the result.

I don’t know how accurate this would be since I’m merely referring to a fan translation, but the way this sentence is worded, plus the sense of detachment evoked in calling Kaiser as “the boy,” is sending out the message:

Point #1: Michael Kaiser is not the boy who was abused. It was the boy who was abused who became Michael Kaiser.

This point also ties in well with the last words of the chapter:

At that moment, something in the boy snapped. No, not snapped… Born would be more accurate. That something is…identity!

He was a Boy first before he was Michael Kaiser.

With this, the Name now holds even more weight.

Further along chapter 260, context on “Michael” is given:

Paired with the first page of the chapter, this specific panel hammers home the notion that the Name is important.

Let me bring attention to this part:

‘Michael,’ the name that the mother gave the boy shortly before she left

and then this:

was never uttered by the father. Not even once.

Seeing that Kaiser had no friends, peers, or other adults around him growing up, it can be assumed that only the Mother had ever called him Michael.

But she left. She left after giving the name.

And the Father refusing to call him “Michael” precisely because it was given by the woman who left would also constantly remind Kaiser of this fact.

This makes two things clear in Kaiser’s mind:

The Mother who called him by his given name abandoned him.

The Father who refused to call him by it never left.

Point #2: To call someone by their given name is to abandon them.

Kaiser calling Isagi by given name is therefore his way of “abandoning” him—or, in other words, eliminating him. Yoichi is someone he must eliminate if he wants to live a successful life, like how the Mother who gave him the name eliminated him from her life to become a popular actress.

Kaiser not going by “Michael” also makes sense with how he wants to become a strong person who doesn’t give up easily (re: his conversation with Ness in c243). Why would he go by something that reminds him of abandonment when he’s trying to keep going?

As for why he goes by his father’s surname instead of just giving himself a new name entirely… it’s a lot more complicated...

From the same page as the previous panel, we have this:

Yet, the father treasured a rose the mother had once given him. The boy didn’t understand why the father kept something from someone who ruined the father’s life.

The Father kept a rose from the Mother who left.

In the same way, Kaiser goes by the surname of the man who had made his childhood a living hell.

Both are keeping something from someone who ruined their lives.

To understand why Kaiser goes by surname, I think we must first understand why the Father kept the rose.

As @aiulbones pointed out in the replies of this post, the unwilted rose in the glass is a Beauty and the Beast reference.

There are lots of variations on the fairytale, but from what I remember of the versions I’ve read as a child, there was no one rose in a glass. Instead, there was a rose bush or rose garden. The rose in the glass—or simply, the Enchanted Rose—is actually the trademark symbol of the Disney 1991 adaptation.

In the Disney movie, the Prince was cursed to be a Beast and must find true love before the last petal of the Rose fell. To protect the Rose and possibly slow down the fall of its petals, it was encased in a glass dome.

When Belle betrayed the order to stay away from the West Wing, she came across the Enchanted Rose, inciting the Beast’s fury:

Most people think the Rose represents Love, but it’s not. If it did, then it’d make no sense for it to make the relationship between Belle and the Beast worse.

In contrast, at the end of the movie, right after Belle says “I love you” to the Beast, the last petal of the Rose falling is shown, and shortly after, the curse is broken:

(skip to 01:13 in the video)

In short, the Rose is a representation of the Beast’s curse. It does not represent love. It does, however, also represent a search for love. And only when that love is found would the curse break.

The Father keeping the Rose represents his inability to let go and move on from the woman who left him. He hates her, but he’s also still obsessed with her. This obsession has become his curse. And like how the Beast was unable to form a deep connection with Belle while he was being overprotective of the Rose, the Father is unable to love Kaiser as his son because he is still obsessed over the Mother.

Now, let’s go back to Kaiser.

I agree with @gachagon’s idea here:

I see Kaiser using his last name as opposed to his first name as a thematic symbol of him rising above the circumstances he was born in. His surname may be shared by a man who cared nothing for him, but he can make it greater than that man ever was and have it be a title befitting just him.

Also love @pinkinsect’s thoughts:

his father never actually called him michael so i wonder if that name feels foreign to him? if kaiser is a reclamation of some sort

Kaiser going by his surname is a way for him to rise above the Father who abused him. This is nice and all, but remember, Kaiser also has a Rose—the blue rose tattoo.

Roses represent curses.

(order of images is top, then left to right. Click on the image to read.)

According to Kaiser, the blue rose symbolizes the achievement of the impossible. A symbol of defiance. But what is he defying?

I was originally a mentally weak person. I constantly gave up when I faced things I believed to be impossible.

Kaiser is defying the idea of being weak, of being helpless, of being trash—an idea instilled in him by his Father.

His curse is his childhood trauma. And the fact that the Rose is blue—representing the impossible—and even tattooed on his skin tells us that this curse is not easy to break.

Point #3: Kaiser may have thought he was reclaiming the surname, but in reality it was just a manifestation of his obsession.

The same way the Father’s obsession over the Mother is manifested in his refusal to call Kaiser by name.

Gathering all the points we have so far:

Point #1: Michael Kaiser is not the boy who was abused. It was the boy who was abused who became Michael Kaiser.

Point #2: To call someone by their given name is to abandon them.

Point #3: Kaiser may have thought he was reclaiming the surname, but in reality it was just a manifestation of his obsession.

Conclusion

Kaiser’s goal is to become impossible to define, but the irony is that his entire name—Michael Kaiser—defines a prison.

Yet, it also concisely sums up his entire life.

And to even live as just the Michael Kaiser was something he had to fight tooth and nail for:

After losing to Yoichi, Kaiser has become even more obsessed over defying the idea that he is trash.

He thinks that the only way to stop being trash is to defeat Yoichi. But this view of winning as the sole affirmation of worth is unhealthy and needs to be stopped.

Kaiser needs to realize that… he never was trash.

He doesn’t have to keep defying anything because there is nothing to defy.

Besides, he has already defeated the “impossible.”

He is no longer the Michael who was abandoned, nor is he the Boy who was abused. But until he realizes that he is not the trash Kaiser like his father, he will never be able to break the curse.

But how does one break the curse, exactly?

Roses represent curses.

But Roses… also represent a search for love.

And Kaiser is already…

...very much loved.

He just needs to realize it.

[yanderenightmare]

Dear Newcomers

This blog contains erotica and is meant for a mature audience—a distinction I’ll allow you to make for yourself. 

With that addressed, I bid you all a warm welcome!

My name is Marie—Miss Krueger if you’re nice, and Mistress Nightmare if you're naughty—and I'm the author behind the posts.

The type of erotica you can expect to read here is primarily dark-themed, including graphic depictions of non-consensual sex and sex with dubious consent, often shortened to noncon/dubcon—as well as this blog's niche, Yandere fantasies—which is, to those of you who aren’t yet familiar, a genre/character trope taken from Japanese manga culture and now similarly used as a term for love-interests within erotic literature that are, with nuance, obsessive and possessive to a maniacal and often abusive degree. Call them Jason Dean, David McCall, or simply the Joker to your Batman—these characters are lovesick and quite literally crazy for you, dear reader.

I, the author, write mostly character inserts—original characters with overlapping traits to many recognizable characters across different fandoms—most often of the Yandere sort. Still, you can also find other character types and the occasional fanon material among my posts. Fandoms I’ve written the most for include BNHA and JJK, but others are to be expected.

I write for FEM and GN readers—a distinction made clear at the top of my posts. For older posts that have not yet been labeled, readers should expect a FEM reader characterization—sorry for any inconvenience this might cause.

Please refer to this Rules post regarding what you may request. But fair warning: I rarely adhere to requests—only if and when they really pique my interest. Such is my right as a creator. Above all else, I hope you will respect that.

For those who’re interested, this is a link to my published work, Marie’s Collection of Erotic Thrillers; College Years—hopefully the first book of many. For additional information on this, see this promotional post.

Other than that, feel free to roam my blog as you like.

NAVIGATION ♡ KO-FI ♡ RULES ♡ REQUEST ♡ MASTERLISTS

[tamapalace]

Sega Emojam Shows How Bandai Could Add Messaging to Tamagotchi

If you haven’t already heard, Sega released a new product in Japan, the Emojam. This is an emoji-only pager that allows you to communicate with your friends by the use of emojis. The Emojam is part of Sega’s Japanese-based kids brand LinkLink, which is themed around children's freedom and connection.

The device itself aims to bring back “pager culture” from the 1990’s while enabling commutation for the younger generation. The little page comes in two different designs, but also has some cases you can purchase to protect it, and spice up the look.

In order to communicate with another user’s Emojam you have to physically connect them together using the terminal at the bottom of each device, very similar to the Digimon V-Pet. Once connected, you can choose to be friends, which will enable messaging between the two devices anywhere there is Wi-Fi, so you can’t just message anyone without knowing them in-person.

Once friends, you can send up to 1,100 original emojis between devices, and these are not the standard Unicode emoji’s, there are unique emojis, and other characters emojis available to purchase as well. SEGA is selling dedicated download cards to add more emojis from other collaborations.

Sega mentions that sending these emojis is like solving a puzzle with a secret meaning between friends.

We have had some flavors of messaging on Tamagotchi in the past. If you can recall the Tamagotchi Friends device dating back to 2013 allow users to exchange text messages that were written in free text on screen. The messages were transmitted through NFC (near field communication) as the devices were “bumped” together. There was the ability to write, receive, view inbox, and even draft messages.

Later in 2018 with the Tamagotchi Meets, and of course in 2019 with the global equivalent, the Tamagotchi On, you were able to view your friends list within your notebook and choose “edit text” which then allowed you to type an open text message.

These messages would be transmitted to another Tamagotchi Meets/On/Some device after connecting for a playdate, gift, or any connection. You could view messages you’ve exchanged in the message history list, and even delete them too.

Then in 2020 with the Tamagotchi Pix allowed users to send and receive mail, but this was only for scheduling meetups, and you could only view a users greeting which is set on their profile.

Noticeably, the Tamagotchi Uni does not feature a messaging feature. Which is interesting considering the Tamagotchi Uni is all about uniting Tamagotchi users through the Tamaverse and Wi-Fi connectivity.

Could a future Tamagotchi include an enhanced messaging system similar to Sega’s new Emojcam? Let’s think about this. Bandai could enable messaging over Wi-Fi for users who have connected together in person, to ensure that users are not speaking to those they do not know.

Bandai could limit communication to preset phrases or even emoji’s (imagine customizable emojis of your character), but perhaps they could even communicate with open text too. Imagine being able to view your inbox on your Tamagotchi and communicate with your friends right from your Tamagotchi!

[musashi]

Hiiii, so this is a call for some help with a video I have in the works right now.

I am looking for a Latinx volunteer to... I guess sensitivity read and/or help me fine-tune a very specific part of a youtube video script. Preferably someone in the Ace Attorney fandom, but you do not need to be by any means--if there are any plot details you need me to explain to you to make my points clearer, my autistic ass will jump at the opportunity.

It's a misconception debunking video with a little 'character assassination' bit at the end where I plan on talking about unfortunate boxes, flanderizations, and stereotypes that some of the characters in my favourite visual novel often get lumped into. One of these characters is Diego Armando, a Latino (dark skinned Japanese in the original) man who is constantly held to higher scrutiny by the fandom than his lightskinned peers. He is frequently demonized, painted as a misogynistic scumbag, held in much worse faith than other culprits for his very understandable and sympathetic wrongdoing, and overall just treated incredibly harsh for things that other comparable characters get away with on account of them 'looking' white and having more anglicized names.

Since I am white myself I do not plan on speaking excessively about the experience when it is not my own but I think it is a huge fucking disservice to not focus on the fact that this fandom treatment all just stems from racism. It's the one part of my video where I don't plan on even entertaining "the other side" or explaining where the misinterpretation "comes from" I want to just. Make the point. That it's racism, with no rhyme or reason.

But I obviously don't feel qualified to just do that on my own so this is just me putting out feelers to ask if anyone would like to read over this part of my script for me, offer concrit (scalding concrit if you must, please, I want it to be as tight as possible) and basically just make sure my own white privilege doesn't gloss over, misrepresent, or miss anything. Basically just asking for help not fucking it up.

Again you do not have to be into AA to help me with this, I can tell you all about the character and what he does and doesn't do, his place in the story, and the things I hear about him in fandom and how they don't hold up on other comparable characters. Just know I will have to spoil the whole final game for you if you ever plan on getting into it haha. And, once again, please only volunteer if you are Latinx yourself.

I will, of course, give you full credit and thanks in my video and in the description, and link my viewers to any and all platforms if you'd like. Since I make no money off youtube and am horrendously broke myself, if you have any donation links posted anywhere I will boost the hell out of those too. That's about all I can offer for compensation OTL

Please contact me via ask if this is something you're interested in. You can also reply on this post and I can open DMs for you or get in touch with you via email or discord. I really, really, really want to include this in the video but I want to do it right.

Even if you're not someone who qualifies, if you are an AA blog or have lots of AA blogs following you, I'd appreciate a reblog to boost this! Thank you :3