#the fights in this show are still fucking top tier animation btw

[sleepy-cephalopod-studies]

I've learned many things about the Japanese dub of The Boondocks

The OP music is changed to Megapolis Control by J-Pop group Soul'd Out and it completely alters the vibe of the original, but I don't entirely hate it

The dub cast is actually good when it comes to characters sounding a fair bit like their English counterpart. Also I swear Orochi/Hogback from One Piece has the same VA as Uncle Ruckus which is...something

The script changes and translations are so fascinating that it'd take someone more advanced in their Japanese studies to really dive into how you go about translating these dialects of English into Japanese and keeping the feel while also being accurate. Somehow it really works well imo. They tended to translate as directly as possible which may lead to Japanese viewers not understanding references some of the time, but I think a literal translation works best for a show like The Boondocks.

The question of most ppl learning there's a Japanese dub of the Boondocks: Sometimes they change it to another word that would be more familiar to Japanese viewers if it flows better, but they DO use the word and just pronounce it 二ーガ--presumably because there's no Japanese equivalent--the dubbing team didn't bother changing it, or fuck it maybe the American producers said it was fine. It largely depends on the context of the line: sometimes a character will say ばか in a sentence where a character is being dumb or use really informal slang when it's used as a term of comraderie, but in scenes where it wouldn't work to substitute translation-wise in Japanese (like the "N*gga Moment" scene), they go with the katakana form.

I would love to hear how the dub and tbe show in general is perceived by Japanese fans. Surely a few westaboos out there are into it, right? Either way it's kinda fascinating how a show centered around the very specific cultural experiences of Black Americans is perceived by Japanese viewers who may not get the cultural references most of the time. Especially when the show takes art influence from Japanese anime and aspects of Japanese culture like Huey's love of martial arts coming out in a lot of episodes. An interesting cultural exchange.

[naysaltysalmon]

Shoutout to @tiburme for tagging me~!

Rules: Name 10 favorite characters from 10 different things and then tag 10 people.

Oh, massive spoilers below btw.

1. Gon Freecss from Hunter x Hunter: My favorite shounen protagonist by far. At first you think he’s your typical happy-go-lucky bouncy boye :D who definitely doesn’t have abandonment issues or self-destructive tendencies that literally actually almost kill him later on, and then, uwu... The amount of complexity that Gon has as a protagonist who hardly ever has stand-alone development is nothing short of astounding. How during the Chimera Ant Art his characterization totally dips off to the side to become an unknowable entity even to the audience, while still retaining amazing character development regardless -- not to mention how brilliantly daring his decision to threaten Komugi is that nearly every other author with such a happy-go-lucky protagonist would shy away from in cowardice -- is absolutely surreal to me. The more I think and write about Gon, the more I fall in love with him. If I ever meet his father, and by that I mean his real father, the creator, Togashi, I have nothing else to say but,,, well done, sir.

2. Tanjirou Kamado from Demon Slayer: I’m really hoping the Demon Slayer movie comes out soon because I absolutely love this boy and how charming he is. Unlike most protagonists, not just of shounen anime but of seemingly macho story lines that involve power-ups and training in general, Tanjirou never lets go of his kind heart. (Welp, except maybe in some cases when he’s facing the Upper Moons later on -- I haven’t caught up yet -- but WE’RE GONNA IGNORE THAT for now.) From the beginning, Tanjirou’s kindness isn’t an obstacle holding back his power, though other characters pose it that way, but rather he cultivates his empathy to grant peace to the demons he faces. He smiles in the face of anyone who treats him poorly because of his cluelessness, and that’s just so heartwarming to see, and dare I say subversive to the hardened, calculating, and cocky male protagonists we so often get. Good job, Gotouge.

3. Joseph Joestar from JoJo’s Bizarre Adventure: Giorno Giovanna was a close second, but I gotta go with Joseph. He’s the one who made me fall in love with the series, and with the later parts too. Unlike Jonathan Joestar, who was chivalrous and manly, Joseph was a riot: colorful, arrogant, funny, but also extremely clever. I absolutely loved his, “Next you’ll say...!” because at first I expected it to just be him being an overconfident asshole and eventually he’d be proven wrong at the ~Dai Pinchi Moment~ (please excuse my weeb speech, I legit didn’t know what else to call it), but then he hit the mark every time and eventually I was just waiting for when he’d pull that out and it was so hype. Also I surely can’t forget his transformation as an old dude in Part 3 -- him screaming “OOHHHH MY GAAAWDDDA!” and “HOLY SHIIIT!” murdered me every time. And of course, last but not least, the raw fucking emotion when Caeser died -- the dude actually gave a shit and wasn’t made entirely of wit and absurdity, but heart too. Joseph set the tone for what JJBA was as a whole for me (fuck off with that “but Part 3/Part 4 is the best Part” bullshit, Part 2 will always be top tier for me because of Joseph Joestar’s brilliant, bright, and beautiful absurdity -- but Part 5 was really good too). Araki really is a genius.

4. Link from The Legend of Zelda: Twilight Princess: My love for this series is a bit older than the series I’ve already mentioned, and TLoZ: TP was actually probably the first time I got seriously obsessed with a fandom. I love all the Links in their own ways, but Twilight Princess really drove home the “lone wolf chosen by the gods, fighting against the world” narrative for me. It made me feel important and strong at a time when no one cared about me. Seeing Link struggle silently through his quest with villagers who meant well but did nothing for him, and Midna who started out as a reluctant acquaintance and eventually became so much more, meant so much to me at the time I played the game. I will always love Twilight Princess the most because of what it did for me at one of the darkest times in my life, and because I felt completely and utterly immersed in every part of the story and gameplay through Link’s character, who was, and in many ways, still is, so relatable to me: Silent courage really is what I use to get through every day.

5. Greedling from Fullmetal Alchemist (Brotherhood): For once I’m not naming the protagonist of a series! Lissen, I still smile whenever I see the slightest reference to Edward Elric, but now he’s more of my childhood love. He’s just a part of my personality already? LOL. Anyway, FMA(B) has so many good characters that choosing just one doesn’t feel right (I mean, same with HxH tho). I say Greedling because that encompasses both Ling and Greed though, two of my favorite characters from the series! Ling’s apparent childishness in constantly running away from fights, making other people pay for his food, and failing to grasp the seriousness of the situation (until Lan Fan’s arm gets cut off lol oops) is so adorable and entertaining. He’s the best kind of idiot asshole, and I especially love how he teases Ed. After him and Greed fuse, Ling’s stout heart becomes even more apparent, as he constantly eggs Greed on to remember his past life, his friends, and become someone outside of Father/the Dwarf in the Flask. Conversely, Greed’s nonchalance and (of course) avarice are nothing short of entertaining and heartbreaking. Greed’s realization at the end, when he finally admitted to himself that what he wanted all along were “friends like these,” completely crushed me the first few times I watched FMAB. And when he’s screaming in the tunnels under Central after having killed Bido, remembering his friends, and he doesn’t understand why, and later attacks Wrath/King Bradley... that shit was so entertaining and cathartic to watch. None of his development feels like forced redemption, nor like it was too little development, since it mostly happens in the background and away from the “validating eyes” of the protagonists other than Ling. And at the end, when Ling and Greed work together to take down Bradley and all the soldiers invading Central HQ... it’s so beautiful. Many have said this before but I’ll say it again: Hiromu Arakawa wrote the perfect series.

6. Ciel Phantomhive from Black Butler: Another protagonist! And another older obsession of mine. Ciel remains in my mind to this day mainly for his heartlessness in relation to his age, and the fluidity with which Toboso tells his story. Normally when authors write younger characters into their serious stories, they make “child adults” of sorts, but Ciel feels totally realistic to the extent that he is both childish and adult to me. Obviously, Ciel is responsible and (normally) level-headed due to being the head of the Phantomhive household, but also from trauma. Yet, his cruelty at times is what sticks in my mind the most: You really feel that he’s someone who feels he’s been abandoned by the entire world, given his experiences, and that makes him disregard or use others sometimes in order to reach his own ends. Normally, authors would be too cowardly to let their protagonists, let alone child protagonists, go to such lengths to avenge their family, or carry out their duty as the dog of the military (looking at you, Arakawa -- she’s still a goddess tho). But Ciel is unforgiving. He lies to Snake and tells him his troupe is still alive. He murders the entire troupe because he’s triggered -- a childish decision, but driven with adult-like power due to trauma. It’s devastatingly riveting, and I cannot forget his unrelenting, contained rage to this day.

7. Ahsoka Tano from Star Wars: The Clone Wars: This one may come as a shock to most of you, because I hardly ever post Star Wars let alone Ahsoka content on here -- but it’s true. Other than the blatant, half-assedly inserted heteroromantic partner they gave Ahsoka in, like, idk season 3??, Ahsoka is a fucking goddess. From her origin as a wee baby in the earlier seasons who didn’t really know what she was doing and was a bit of a cocky brat, to how she matures and becomes wise, resourceful, and fierce in the later seasons, I just love Ahsoka’s design and character to this day. The episodes that stick in my mind aside from the obvious are when she’s possessed by the Dark Side of the Force on that Force balance planet and her arrogance becomes so exaggerated that she threatens and attacks Anakin, her teacher. It was so fucking cathartic. Normally female characters, let alone young protagonist female characters, are never allowed to show the ugly sides of themselves in fiction, since women are always portrayed as perfect beautiful majestic angels or some bullshit like that. (Or they’re cocky/sexy/slutty villain women. ‘Kay then.) Seeing Ahsoka devolve into her basal desires and come out of it like hardly anything happened and she’s still a perfectly valid character was so amazing to see on a meta level; it wasn’t about her learning a lesson or anything, it was a thing that happened like any other character and then they moved the fuck on. I also distinctly remember the episode where she was trapped on that island/planet and she had to take out the aliens that were after her all by herself. That was so fucking empowering to watch and god fucking dammit I need to rewatch this series now. And of course, let us not forget the fact that the entire time, we were all expecting Ahsoka to just be another domino in Anakin’s downfall -- and she was, but not through the refrigerator -- but through walking away from it all. That was so powerful and moving -- and heartbreaking. By the end of TCW, her character carried weight and agency in the narrative, and god, I only wish whoever wrote her could write more female characters in the future.

8. Tigress from Kung Fu Panda: Maybe another surprise, but I think she deserves this spot. Tigress is a female character who starts out as kind of an antagonist, given how she outright tells Po to leave the kung fu temple within the first day of him arriving. She’s even jealous of the fact that he’s chosen as the Dragon Warrior rather than her -- but that’s due to the backwash of years of trying to live up to the memory of Tai Lung in order to please Shifu (which means “master” in Chinese but ok I’ll shut up now), her master and mentor over the years. She never says this out loud in the movie, which is what makes her character more believable. Others even joke about how stoic she is (and not in bad taste). Her character development is definitely present for those who are looking -- but I put her on this list because I’m so happy the movie doesn’t make it some huge dramatic emotional thing, because so often in media women are depicted as being overly-emotional and here Tigress is just a hurt child trying to make her mentor happy. But, she gets over it, her and Po become allies, even friends to each other -- she and Po talk like equals in the second and third movies, and she even tells him to back out of the fight with Lord Shen and he listens (I mean he doesn’t stay put but he doesn’t undermine her opinion either lol, like most jokesy protagonists of Western media would -- looking at you, Marvel). I like Tigress because she’s an antagonist without being a bitch, she’s powerful without being overpowered, and she’s not sexualized despite being a well-trained, at times jealous, and even emotionally awkward kung fu master. And I almost forgot to mention the best part: There is never an indication of romance between her and Po, or any other character, for that matter. She’s perfectly capable, complex, and lovely on her own terms. And that’s that on THAT.

9. Bilbo Baggins from The Hobbit: I wanted to include at least one character protagonist from a live-action movie/book, lol. I feel like Bilbo’s pretty self-explanatory. He doesn’t wanna go on an adventure because he likes his doilies and warm sheets, but then Gandalf seduces him with the call to the outside world and possible death (LOL), and he fucking goes for it, grumbling the entire time. Isn’t that what any of us would do if given such a proposition? I like to think so. Bilbo obviously has his own gradual, evil transformation with the One Ring, becomes murderous and uses it to disappear, and grows a strong bromance with the King Under the Mountain (which happens in both the movie and the book), but I think what I like about him is that he really feels... down-to-earth? Like even though the adventure changes him, it never feels like he’s been stretched in a way that makes his core character traits of grumbling and bluntness disappear. He gets better at the whole adventuring thing, for sure, but he remains Bilbo, at least, to me, throughout the journey. It was heartwrenching watching him try to save Thorin in The Battle of Five Armies, honestly, but Bilbo’s the kind of character that I feel like has his own story and mythology aside from The Hobbit, and maybe that’s just the result of J.R.R. Tolkien writing the lore for every aspect of his universe, but My Point Still Stands. He feels like his own man apart from the series he’s in, yet he’s still so much fun in his series.

10. Barley Lightfoot from Onward: And last, this one is because I saw Onward yesterday and was pleasantly surprised by the characterization in it -- and anyone who thinks differently can kiss my *ss. :) I was not expecting the movie to take the twist of fleshing out the “annoying” (more like adorable) overconfident nerdy big brother. Normally those characters are swiped to the side because God Forbid The Comic Relief Have Any Sadness In Them. I was expecting the movie to focus on Ian’s journey to meet his fatha and that the movie would pull something stupid at the end like “oh actually there’s another phoenix gem underneath the school” or “actually since only his legs appeared then you still have 24 hours with him” or some shit like that, but I guess this isn’t an anime so those absurdist explanations wouldn’t hold water anyway. But still, for a kid’s movie, I was NOT expecting this movie to go so hard with the characterization. For once, the main character doesn’t get what he wants at the end, and instead realizes it’s his big brother, Barley, who’s been looking out for him his entire life. Meeting his dad would betray that reality. What happens instead is that the lovable big brother never actually said goodbye to their dad before he died, because when their dad got sick, said brother ran away from the hospital room in fear of all the life-sustaining equipment. (Is this some meta thing about Chris Pratt and Guardians of the Galaxy? Off topic and call me stupid, but I didn’t realize Chris Pratt plays him until I saw everyone freaking out about it afterward on Tumblr laksjdflak.) So instead, the lovable big brother talks to the dad at the end, and unconfident younger brother grows confidence and thanks big bro for being with him his entire life. It was so touching, dude. I cry. But the moment that sticks in my mind the most was when Ian was crossing the invisible bridge... Ian needed to have confidence in himself to be able to cross over a chasm in their path, and Barley knew that if Ian didn’t believe in himself, he would fall and die. They tie a rope around Ian for good measure, and Barley encourages him the entire way, but halfway over, the rope comes loose and slips off. Barley sees this and starts panicking, but of course continues to encourage Ian so that Ian will get to the other side. What got to me wasn’t the fact that he faked it for Ian, but that there are actual tears running down his face as he’s encouraging Ian to get to the other side, because he knows otherwise Ian wouldn’t have the confidence and would fall to his death. Like dude, that raw, complex emotion in a kid’s movie?! DUDE?! I was fucking surprised. The clear anxiety and grief in Barley’s face as Ian’s totally clueless and even dancing around in the air was just too much, omfg. Of course, then it’s played off for laughs, but... I guess that makes sense for the annoying overconfident nerdy big bro character. :’)

Okay these are way longer than I anticipated and I’m sorry, but also I’m really not. Hope you enjoyed reading my thoughts on my favs!

Seems I don’t talk to that many people on here anymore: @stupidbluejay @mirycactusito @chronicstarlight

[ghostmartyr]

SnK 104 Thoughts

Hey Galliard.

Hey. Hey. Galliard.

LET’S SEE YOU GRIT THOSE TEETH.

We’re reaching the end of this arc segment, and I think the relief is making it a little easier to appreciate all the things happening. ...I mean it would, if anything remotely positive were still going on in this world.

Wait, Falco’s alive.

Okay team, there’s still hope.

I’m still having trouble working out why all of this is the chosen strategy. Paradis has caused an incredible amount of destruction, and disposed of most of the top brass, so looked at from an Us vs. Them situation, as long as the Scouts and Eren make it out okay, this is a pretty successful operation. It’s going to take some time for Marley to chase after their island with all the devastation.

What’s the score? The harbor, a bunch of surrounding cityscape, plenty of the interment zone, most of their top brass, and... let’s call it four Titans.

The frustrating part is that I’m having a really difficult time working out the scale of it all. In every section of this battle that we’re shown, Paradis has won somewhat easily. But I don’t know how large Marley is. Magath and Willy are willing to offer up the internment zone and all of the talking heads inside of it in order to gain allies in their offensive. They were ready for Eren. They were not ready for their Titans being out of reach, and they were not ready for Armin.

Since Eren’s decision to play along as the villain of Willy’s story, I’ve been sulking and wondering what the endgame is. What’s the point of playing right into Marley’s publicity stunt? What’s the point of making yourselves look so bad when your only contact with the outside world has been self-defense?

Reading this chapter, it’s hard not to think, “what’s the point of standing back when you know you can win?”

(Even though they’re all so very screwed if their escape blimp plan gets derailed. Like. Their eggs have 1 (one) assigned basket. And Eren’s already nearly died several times during this mess. Dun dun dun.)

And I’m not sure how much of that is a sign that Paradis has landed a fatal blow against Marley, and how much is just... here’s where our focus has been. In a very tiny corner of the world, Paradis has the upper hand.

Marley, unlike the rest of the antagonistic world, fights wars with Titans. The lowercase ones too. In this battle, they have lost two of them, one with the unique ability of controlling ravenous hordes of cannon fodder, one with the unique ability of making very kickass weapons.

What they’re left with is Reiner, Galliard, and Pieck. None of them in a state where they are a dominant force.

Magath wants Marley to enter a world where their military strength isn’t determined by Titans, but you can’t change that overnight. Their greatest trump cards have all been beaten or stolen away. In terms of Titan strength, Paradis wins right out. Marley has the numbers to win a siege war, but that isn’t the war being fought at the moment.

A few things are happening with this battle. One (the most annoying, being something Willy and Magath plan to exploit), Paradis is doing a fantastic job of selling themselves as the demons everyone calls them. Two, they’re making it clear who wins in a battle of Titans (however dicey things are during the fight, Paradis is leaving (hopefully) with three of Marley’s Titans horrifically maimed, one MIA, but presumed dead, and one actually dead). Three, they’re leaving a country that the whole world has bad experiences with in a very vulnerable position.

Marley might be putting work into making Paradis the scapegoat, but the night they declare war Paradis stomps every weapon they have faith in. Ambassadors from other countries get along with Willy, less so with Marley. One night of sympathy for the Eldian plight their buddy Willy has gone through isn’t going to change that.

The hope in the aftermath of this might be that Paradis has proven itself too dangerous to be left alone, so other countries will gladly work with Marley to stamp them out of existence, but... I’m wondering a little if those other countries might be more interested in wiping out their known enemy before turning their attention to the island. Marley has zero good will built up.

Ugh, I don’t know. Thinking about all the different ways people could respond to this makes my head hurt. Especially since Paradis does have links with other countries now, and that makes it harder to get the Beauty and the Beast mob song going.

And again there’s the question of scale. Which is really just me questioning how many Erens Armin just pulled, and how many Erens it would take duplicating to raze all of Marley to the ground. Armin’s feat is obviously destructive, but.

Fuck it, I want five pages of next chapter devoted to graphing out population and military personnel of Marley. With real numbers. The sixth page can provide Paradis’.

Has this operation hamstrung Marley as badly as their morale makes it feel like, or not? That’s all I want to know. Acceptable sacrifice vs. monstrous horrifying mass murder of horror is easier to parse out when the mission objectives and accomplishments are written in plaintext.

...It’s obviously going to end up being both anyway. I still feel really lost.

In character land, where things are slightly simpler, Armin’s having his own version of Eren and Reiner’s conversation. If Eren and Reiner are the same, so are Armin and Bertolt. That’s... oy.

I complain a lot about action chapters because I always feel like I just want to watch the anime version and get on with it without turning over every rock, but some of the complaining comes from really, really wanting to get back to the sad monologuing about feelings everyone in this series is prone to indulge. Hell, pull a Naruto and let everyone get a significant backstory flashback when it looks like they’re in mortal danger.

Armin’s from Shiganshina. Ground zero of this war. He’s one of a small percentage of people who lived through watching Wall Maria’s destruction. He’s standing right there when everything their people have known is annihilated.

Bertolt also burns him to death. Basically.

Now Armin’s the one holding all that power in his hands. He kills people and takes away their homes just by taking a few steps.

The good news is that he knows he has an expiration date, so he can look forward to that instead of seeking therapy to help him later in life.

...

Yeah, there is no good news. Let’s pan back to Falco, who is breathing and somehow showing more signs of mental stability than Gabi.

Kid’s made of some stern stuff. If Eren’s betrayal doesn’t completely shatter him, he might be able to make a bright future for himself if he stays alive. He’s compassionate and doesn’t freeze in a crisis.

Unlike some people.

-cough- Jean -cough-

Nah, that’s mean.

From the looks of things, whether it’s Pieck’s interference or Jean’s own heart getting in the way, Jean’s mind was absolutely prepared to kill the little boy if that meant removing the Cart Titan from play. I don’t know if he tried to arrange a shot that would dodge Falco, but I do think that he accepted that there was a good chance the kid would die in the crossfire, and went for it anyway.

This series was so much happier when people were getting eaten alive.

-looks at rest of the chapter-

-rest of chapter looks back-

Well. You know what I mean.

I’m glad Pieck’s alive, even if it’s only for now. Truthfully, I don’t think I want any of the Warriors to die. Their lives have been hell. I want to think that someday, all of the Eldian kiddos get to breathe free air without being a tool of war. If they die, it’s just another footnote to a sad story.

Then we have Galliard, who.

..Yeah.

(btw

Does Titan inheritance run on some kind of lottery system, and does that matter?)

I thought Eren would be done horrifying me after the civilian slaughter. I mean, where else can we go from there? Dead children hit one of the highest tiers of tragedy. Maybe more of them will fall out of the cracks, and surely the psychological trauma of individuals like Reiner will continue to be bad, but we’re done with any of it being shocking.

...

.....

Eren’s a fucking tryhard.

Okay! Okay. Uh.

Points for... pragmatism?

“Aha, I have cracked the case, if not the crystal! Hark, I shall have Jaws crack the crystal, and I shall drink up this woman’s juices as they drip from his teeth while he silently screams at me to stop!”

Eren with the Jaw Titan in the Conservatory.

I mean. If you think about it.

I have been calling the Warriors tools for ages.

Eren using Galliard as his own personal nutcracker is really only the natural evolution of that.

Yike.

I’m surprised Reiner’s already up and about. It makes sense that it’s to protect Galliard (Porco is going to have so very many issues when he wakes up), because protecting people is the one thing the world hasn’t broken inside of him. Even after all he’s been through, he still wants to be the good guy, keeping his comrades safe.

But the dude’s dead inside. He has the strength to stand, but not much else, and I don’t know how the story can lead him into anything dynamic when he’s so screwed up.

Also of curiosity is... Eren’s perfectly willing to nom Galliard. Reiner shows up, gets punched maybe a building length away, is very obviously in no state to win any kind of fight, and Mikasa and Eren walk away.

All of the other Titans are removed during the festival by strategy. Pieck and Porco get dumped down a hole. Zeke is probably working with Eren, and he’s still escorted out.

Reiner gets a conversation.

Reiner’s participation in Eren versus War Hammer would have turned the tables. The only reason he isn’t part of it is because his conversation with Eren robs him of his final will to live.

So uh. ...Eren? Not to be rude or question your moral character or basic sanity... but... I don’t know... how, uh, on purpose is Reiner’s current emotional state?

...On a related note, is that your way of keeping him alive? ...Am I. Am I going to have to start shipping you two seriously?

This has the feel of something else I’m going to find easier to discuss in later chapters, but looking at the last few pages... Eren has the chance to kill Reiner and Galliard. He definitely has no problem nomming Galliard. What changes? Reiner caring about Galliard?

Eren easily could have taken out two of Marley’s Titans, and he chooses not to. It’s a decision Mikasa is either fine with or encourages. I don’t quite know what to make of her very excellent stoic face after Eren punches Reiner. She goes from that to zooming over all “Eren!” and... does that mean killing Reiner has been judged the wrong decision all around? What’s with the interruption, you two? Is that closeup of Eren’s eyes on the opposite page just there to look pretty, or is something going on?

Look, you’ve killed everyone else in the general vicinity, I’m allowed to wonder what makes this special. What, Eren can see his sparkling eyes when his face isn’t armored up and can’t handle the dokis?

Geez, this was a chapter.

Next month we get to see how great the great escape is--only guarantee is that there is no escape from the monsters in their heads.

...I’m with Mikasa. Can we go home now?