#the text is a mix of the translation in the link and some amazing work by yours truly

[transsongtaewon]

He was just more meat in the water, decayed and rotten.

-Bertold Brecht, Vom Ertrunkenen Mädchen

[orlamount]

Survey responses

This survey was created so I could get some primary research on how people experience music when grieving.

p

I found question 3 interesting because 7/10 said that listening to music helped them to express and navigate their emotions.

4

kkll

hhh

hhh

ggg

gggg

Anne Carson

I came across Anne Carsons work and felt inspired from it. Anne Carson while primarily known as a poet and writer, Carson's works often blur the lines between text and visual art. In pieces like "Nox", she combines poetry, prose and collage to create a meditation on grief and the loss of her brother.

Wrote and created after the death of her brother; The poem describes coming to terms with his loss through the lens of her translation of Poem 101 by Catullus "for his brother who died in the Troad". NOX is a work of poetry, but arrives as a fascinating and unique physical object. Carson pasted old letters, family photos, collages and sketches on pages. The poems, typed on a computer, were added to this illustrated "book" creating a visual and reading experience so amazing as to open up our concept of poetry.

I was really drawn to her work because of the mix media and the creativeness of how she presented it. The mix of collage and sketch really intrigued me. From my perspective, I think the use of mixed media is Carson's way of navigating all the emotions that come with grief, insinuating, there's no easy solution or path to solving grief. In her book she uses passages of research and recites memories to do with her brother.

I similarly took the words from my survey to

What stood out

Once I'd read through all the responses, I wrote down key words that stood out to me. I wrote them all on a page and then after I created links between

[trentsleatherboots]

Carach Angren, interview translation Dutch > English

Published in the magazine Rock Tribune, edition June 2020, nr. 192.

Text by Morbid Geert. Fotos: Stefan Heileman.

WILL THE REAL FRANKENSTEIN STAND UP NOW?

At the end of last year you could already read about how we kept close watch on Carach Angren. Back when they were still heavy in the production process, on Halloween Day we went over to Ardeks homebase and studio to see the first glimpse of their new work and later Rock Tribune got invited to listen to the album in Germany. Now it's almost time for 'Franckensteina Strataemontanus' to be shown to the world and that's why we wanted to take an even deeper look. Weaponed with an oil lamp and shovel we went onwards towards the graveyard to uncover the soul stirrings of Ardek. (Text: Morbid Geert)

---

Ardek, the last time I talked to you the songs were still in a very early stage and what we heard was more of a pre production. Did you tinker more afterwards to come to an end result or did you purposely keep your hands off to avoid overproduction?

"In terms of song structures and lyrics not much changed on the premature songs that you heard. What followed however was another production-finish, where especially the mix and mastering made a big change. That last stadia really lifted it all to another plane and you can really hear that."

A FRESH LOOK.

As far as I knew, Patrick Damiani was still fully onboard working on the songs at Tidal Wave Studio in Germany. How important was it for you to pull an extra producer into the process? After all, you are very much at home with that as well? Or maybe not as much as you'd like?

"Back then he worked on drumediting and played the basslines, but his role is way bigger than that. We've worked together a lot and now we're doing something for L'Âme Immortelle, where we vibe together perfectly and know exactly how to handle such a project.  When he takes on production for Carach Angren however, I notice how much better he controls it. He has so much knowledge about drum sounds, mixing,... and he's really specialised in it. It is nice to add that knowledge, it brings a lot of added value. These days a lot of bands record at home and that all makes it a lot cheaper, but a good producer brings a lot of experience and equipment, it ends up with a whole different result. Besides, we left the mix and mastering to Robert Carranza."

That last one is a pretty big name, who among others worked with Marilyn Manson. I can imagine that has a big impact on your budget, but was it worth it?

"I think so. When I listened to 'Killing Strangers' by Marilyn Manson on headphones and heard the bassline, it went so deep that it turned me upside down. Apparently Robert Carranza mixed that album.  Furthermore he does a lot of different things such as make latin music and win grammy's, but in the extreme metal scene he is totally unknown.  However, he wanted to help himself to our record and yes, the price was steep, but I managed to convince both the band and the label… even though that wasn't without some doubts, since all eyes were on me for a bit. I had a good feeling about it and shared it, with the result being having a record now that doesn't sound like the others.  He had a fresh look on our work and thus we could avoid the recognisability of the average metal producer.  There are too many records that when you hear them you know exactly who had their hands on them and in which studio they were recorded.  Contrary to what you might think, there was constant contact with him (Robert) and a lot of talking about how we wanted it to sound. In particular the clarity of the sound is massive and gives it a bit more of a cinematic effect. There was no compression applied where everything sounds constantly loud and where as a listener you'd get easily tired, but the dynamics were preserved."

DIDN'T FEEL LIKE IT ANYMORE.

To refer back to Patrick Damiani: if he does so much and even plays the basslines, do you see him as sort of a 4th band member or is that just a bit too much credit?

"That's not how we see him. He's an amazing producer and musician, who gives us his opinion and helps us out. On the other hand he is not part of the creative process and he isn't on stage with us… but it is a relationship that's been going on for 12 years and something we get a lot out of."

Now I'm saying '4th band member', but after the recordings of your new record ended, your brother and drummer Namtar left the band. Can I ask what happened and if you saw this coming, or whether it was a bolt from the blue?

“In November he recorded his drum tracks and back then everything went fine, but then there came an offer to play at '70000TONS OF METAL'. Since we always looked at the financial side of the band together, we talked about the offer and he was immediately against it.  I thought that was strange and to me it seemed better to sit around the table with three to talk about it. Then it became apparent that he'd been wrestling with it for sometime and in brief didn't feel like it anymore.  We offered him to take a break of a few months instead of just throwing away what we've worked for the last 20 years, but that wasn't a solution.  It wasn't an easy decision, but afterwards we saw it had been an issue for a long time and at that point you rather put a stop to it.  That hit us hard, but you can never force somebody to stay in a band.  To keep our motivation high we played '70000TONS OF METAL' after all with Michiel van der Plicht of God Dethroned as replacement. That pleased us all and he's willing to help us out in the future."

Michiel van der Plicht in indeed an amazing drummer. Are there any plans to keep him in the band permanently or is this an emergency solution and is there an offer still standing?

"I discussed that extensively with Seregor, but together the two of us stay the core of the band. We already have an extra guitarist live and in the studio we will definitely have those people join again, but all decisions will be made by us two in the end.  We want to avoid that other people leave a mark on the band, causing us to lose our individuality (personality). It's about so much more than just making music: the stage decor, our own stage outfits,... for us it is very clear and it's going well, so we only need help to fill in with the music in the studio and during lives."

MILKED OUT?

Let's get to the core of business. At the end of this month is the release of your 6th album, 'Franckensteina Strataemontanus'. Now lends the Frankenstein story itself perfectly for a horror metal band, but I wondered if the story isn't too milked out by other bands… unless you do it with a completely new vision. After all, that's what you did with 'This Is No Fairytale', where Hans and Gretel were transported to the now and the horror became bigger than ever. 

"When we started, I had the same feelings about the Frankenstein story, but there's a twist to it. Everything started for me as a dream, where I flew through an old house. There, I heard dissonant piano tunes and I got sucked into a room where a portrait of an old man hung on the wall. Later I made a drawing of that portrait and it got stuck in my head. When I began doing research for the album months later and even read Mary Shelley's amazing book 'Frankenstein', I found out that there is a theory that when she wrote her book she was influenced by Johann Konrad Dippel, an 18th century alchemist.  Then when I looked him up, he turned out to look like what I had seen in my dream, which personally motivated me to dig deeper. Dippel is an unknown figure for the masses and that's why it seemed fascinating to us to do something with it.  There is fiction and truth mixed in our story. By the way, Dippel lived in Frankenstein Castle near Darmstadt, where he was looking for the elixir to eternal life. He was also a theologist, but he clashed with the church and was therefore cast away. Because he also did experiments on cadavers and sought life extending resources, he would've inspired Mary Shelley for her story. What we did was make a concept around the source of her story instead of following the clichés.  That monster with screws in his head, we've seen it already before…"

Yet it doesn't seem like a concept album, because I notice that you address very diverse subjects.

"It is definitely a concept, since all stories are connected to one another, even if it's not noticeable. 'Operation Compass' is about the North-African desert war between the Brits and Italians. In official documents the Brits were ordered that if there were to be a fallback, to make all sources unusable for the enemy with 'Dippel's oil' (a nasty substance that made water undrinkable but did not poison it, so it was in battle with the Geneva protocols).  In our story it leads to a demonic outburst that went towards the soldiers. So you see, Dippel comes back throughout different moments in history. 'Der Vampir von Nürnberg' is about a real figure that is still alive. He committed necrophilia, killed people and drank their blood, … but is now at large. In our story he lost his ways after reading Dippel's books, which once again links it with the core story. 'Here In German Woodland.', the opening song, is about a boy that gets lost and dies in the forest surrounding Darmstadt, but later comes back and eats his parents. In the closing song 'Like A Conscious Parasite I Roam' it all comes full circle: Dippels life elixir only works for his soul, and his body rots away, so he searches for a guest body and his spirit creeps into that little boy." 

In a few songs, some German lyrics show up. Is that besides the concept also because of the grim sound of the language or is it simply because you live so close to Germany and it has a certain impact? 

"The subject lends itself to it of course and Seregor speaks German very well, which made things easier. And yes, the sound does play a certain role. 'Der Vampir von Nürnberg' sounds way better than the English translation, it immediately sets the right tone."

Some of these stories are the result of reality, but are often at least as gruesome as many fantasy stories: such is the bonus song 'Frederick's Experiments' about the sick science experiments of emperor Frederick II, a man who apparently was not inferior to the Nazi doctors?

"Yes, you can say that he set a good example! Seregor came with the idea and somewhere the story did fit within the total picture, even though we couldn't fit it into the big story. Our label Season Of Mist however asked for a bonus track and that's how we managed to include the song after all."

CROSS-POLLINATION.

What I noticed with the first sneak preview, but what has become clear now, is that Carach Angren this time worked very innovative musically.  Watch out, it is immediately clear that it is from Carach Angren, since you already have your own sound, but at the same time there are noticable things we haven't heard from you before. The title track has a considerable industrial touch and we also hear something from Laibach in it, just like 'Monster'. Is that something you've only recently been getting into or have you maybe secretly been an industrial fan for years?

"It is more recent, even though I've always been appreciative of it. By also collaborating with Till Lindemann for his project Lindemann, I also came into contact with it more and started taking it up unconsciously. Afterwards I got to experiment with it for my solo project and that's how I came up with the song 'Monster'. Seregor tested some things out for singing for that song and it just made sense.  It was very cool to experiment like that, which you should when you're making a record based on Frankenstein…"

It became a musical experiment instead of scientific experiment, but you do create a parallel, yes.

"Inside Carach Angren we like to put a lot of variety in the songs and if you can also give that a different look, then that is something you should try. We ourselves are absolutely crazy about it! Some fans will have to swallow when they hear those songs, but for them there are plenty of old school songs on it."

To come back to Lindemann: he and Peter Tägtgren got you involved since you are so good with classical orchestras and arrangements, but in the end it seems to have become two-way traffic, doesn't it? Have you learned a lot from it and developed other visions? 

"We worked together in a very awesome way and you do learn a lot from that. You grow as a componist, as musician and as producer. It made me compose more compactly and I sometimes pursue slightly less complex songs, like the two more industrial based songs. Always great to be able to take a different approach."

Both those songs have an easier buildup, but in the other songs you go back to the complexity that you left out purposefully 'Dance And Laugh Amongst The Rotten'. Is it a way to generate more contrast?

"In some ways yes, but it depends on how it works out in a song. We tried to make the title track a bit longer, but then the effect fell away and it didn't feel right anymore. But strangely enough I write a complex song like 'Der Vampir von Nürnberg' easier than a less complex piece like 'Monster'.  With less arrangements it quickly becomes hard to keep it exciting(engaging), but seeing as you want to keep the concept to level, you need to have enough variation. The industrial songs sound a bit less complex, but there is a lot happening in the background and they are full of tiny details that make the difference."

MIXING COLOURS.

With the new approach you have opened some doors to maybe do more experimenting in the future. Is that actually your goal or is there nothing reasoned behind it and do such new influences pop up sooner when they seem to be able to improve the song?

"It all almost comes down to what the concept of the album requires. Back when we wrote 'Death Came Through A Phantom Ship' we added swirling waves and custom/adapted sounds to it. With the new record the 'marching' of the pulsing industrial beat seemed to work the best with our Frankenstein theme. You have to see it like a painter who is mixing colours to make a new colour to fit his vision. We don't do any different and we would love to experiment more in the future. If we see what we've already tried with singing now … in the long run we were completely out of control trying to do crazy things."

The singing is indeed a very remarkable part of 'Franckensteina Strataemontanus'. We always thought Seregor had a good black metal voice, but we were very impressed by the way he twisted his voice this time around and helped set the mood.

"We are very happy about that ourselves. He delivered an excellent job and we really pushed everything to get to that point. We actually took several weeks to make sure my home studio was in perfect condition and sometimes Seregor had to redo a certain part up to 10 times to get the result we wanted, but he did it without struggling. A lot of singers that ask so much from their vocal chords are dead on their feet after an hour, but then there is Seregor who gets through the day without complaining, even while screaming his lungs out.  While recording 'Operation Compass' we did however find out it is better to record a deep grunt in the early morning, since your voice is still a bit slow and heavier from sleep.”

MUSIC AS A BOOST.

The whole corona crisis made it so that as a band it is way more difficult to promote an album now, since all concerts got cancelled. Did that have a big impact on Carach Angren or can you make it?

"I myself am very concerned with the people who are really affected by the disease and that is why I can partially ignore the inconveniences for ourselves. Nevertheless, it has a serious effect on the music industry, although that is secondary to me. We are dealing with a pandemic, people are dying and we all have to work to keep everything under control. In addition, it is strange to release an album in a full crisis, but we decided to go for it anyway. It's a cool record and we already started the promotion, so we just keep going. For now, tours are not planned, but that does not mean that we will now stream all kinds of performances to attract attention. We are not that type of band… what is a shame is that our plans for a very cool video clip are now also being abandoned. We had to go to Germany and there are also the social distancing rules, which make such a recording impossible.  But should we really want that and turn it into drama? Of course it sucks to have to promote the release like this, but the whole world is just not what it was a few months ago."

Do you have any alternative ideas to bridge that gap? I know that you guys always have enough visual ideas and there already is a lyric video for 'Monster', but I can imagine that there is more to come.

"We are working on that yes, because last month we made one for 'Der Vampir von Nürnberg' and next month we might take another song in hand. We will keep doing those sorts of things together with some 'making of-' videos that we recorded in the studio, that way we can give the album some extra promotion.  Nothing for us to worry about so… by the way, there is something about releasing a record in times like these. The people have been stuck at home for months and have nothing to do, so if we can give them a new piece of music to listen to to get through the day, then that is awesome too. It would be disappointing for the fans if we just put our new work on the shelf because of this pandemic. Every band should do what they think is best, but we had already started our press campaign anyway and we would also be a lot less driven if we only had to arrive 'with old stuff' within six months or later."

Carach Angren already has a few beautiful video clips which are build up with a real story and don't only have something musical to offer. In addition, there are also the lyric videos, where certainly those for the complete album 'This Is No Fairytale' with comic images by Costin Chioreanu stand out from the crowd. Have you never thought of bundling everything on a DVD?

"We've honestly never thought about that, but that's actually a really great idea! I think it would be nice to bundle everything together and that way we immediately remove some (away) from youtube. That can always be a good idea for the future."

LEARNING SCHOOL.

As songwriter of Carach Angren you may have previously absorbed a lot of influences that shaped you into the musician and songwriter you are today. Can you list the five most essential records or artists that shaped you personally and what exactly were their interests?

"That is a good question that doesn't let itself be answered very easily. In the classical field and orchestras I think Tchaikovsky and Stravinski are very important. They both had a lot of influence on me as a componist. Another important inspiration to me in that respect is John Williams (modern componist famous for his film scores for Star Wars, Jaws, Jurassic Park..) They helped shape me even more when it comes to layered composing, although I don't come close to what they do. As a child I followed keyboard lessons for 8 years, I did a year of conservatory and studied a year of music and media, as well as cinematic orchestration. Those last two were online, but on a serious level and you really had to write pieces for an orchestra. I learned a lot there, but ever since then I kept learning by actually doing it myself, looking through books and analyzing musical pieces.  But if I hadn't gotten the theoretical basis I had as a child, I would've never been able to do this today. On production level I have to mention Nine Inch Nails and, something you'd might find strange, Michael Jackson! If you see how well their albums are produced, and how many layers are incorporated, it's amazingly well done! You can say about Michael Jackson's music what you want, but the way the songs are built up and how much dynamics are in there thanks to the arrangements by Quincy Jones, it is absolutely astounding.  There is no lack of bells and whistles and sometimes, for example, the snare drum comes in in four layers, something you don't hear so loudly even in extreme metal. I mainly listen to those albums as an audiophile to analyze them and see what I can get out of it as a producer. Last week I checked the solo record of Roger Waters, in which I heard effects that seemed to be situated outside the loudspeaker field. Then I want to know how that is done and whether I can integrate it with Carach Angren. That kind of thing is the reverse of the compression they use too often today and you wonder why we don't all go in that direction anymore."

---

Translated by Jeordie/Trentsfishnets.

(For the record, if this interview already exists in English, I will just see this as translating practice C:)

[cyclesprefectpress]

[image description: a proof of a font of handset type for letterpress printing, displaying every letter, symbol, and special character in the font. it's called "Sixteenth Century Roman," 24 pt., and is a rough-edged serif font with a deliberately worn look. end description.]

hello hello i am return from a deep dive into several reference materials that assumed a little bit more knowledge about how Medieval Latin works than i actually have, but, it was all exTREMEly inch resting to me. i am absolutely not a historian but here we are, a speedrun of my pinballing around trying to ensure that I know what the fuck im storing in my type corridor:

so 16th Cent. Roman, i already knew, was a font Paul Duensing designed based on this incomplete set of old Italian punches he acquired (punches, the first step of old school typecasting, where you carve the relief letter shape into the end of a stick of steel, and you uuuh punch that into the copper matrix, which is then the negative mould-shape you use to cast multiple copies of the lead sorts with hot metal; surviving punches are precious artifacts not the least because they are. they’re hand-carved!! often by the type designer themselves. historical and also wildly cool craftsmanship). these punches were all beat up and probably water damaged, fucky and rough-edged, so he re-did and filled in the gaps in the alphabet with similarly styled letters of his own. very cool. an extremely nerdy lil passion project of a typecaster in the 1960s, very typical of type people. we all find a Thing to obsess over, and sometimes it's reviving an incomplete set of punches from the 1500s that you found in, idk, it's usually a bucket in somebody's basement.

anyway it's got a bunch of ligatures and the long s, sure sure sure, but WHAT are all these gibberish characters with tildas and lines thru the stems of ps and qs and such—

Duensing's full font is in Mac McGrew's specimen book, great, i have that, except McGrew's book has complete proofs and a little bit of history for each font but doesn't always cover what each symbol in a unique alphabet is for, and i knew just enough about Latin to guess that they were abbreviations but not what each of them stood for. a little bit of searching got me this far, which is to say, "Abbreviation in Medieval Latin Paleography," a translation of an Italian essay on the subject from 1929. It is prefaced by the translators with gems like: "Take a foreign language, write it in an unfamiliar script, abbreviating every third word, and you have the compound puzzle that is the medieval Latin manuscript." Scribes writing in medieval Latin just tossed out letters they didn't care to deal with, constantly, and had stand-in special characters and abbreviations for syllables/words/particles and there were intuitive rules but way too many variations in time and place and person to make a reasonably-sized, static lexicon. amazing. hope all u paleographers are having fun over there.

the essay has a great big glossary of truncations and abbreviations and so on which clearly cover most of the figures in Duensing's font:

[image description: screenshots of the essay, with various symbols and the Latin syllables they abbreviated. an m with a bar over it, ex., stood in for men or mun. end description.]

ok! BUT this q with a little swoop off the end kept bugging me!! for all these dead-use symbols this essay is using handwritten samples, obviously, and there's clearly variation in execution and also typographers take liberties, and i just thought, sure my piece of type looks a lot like the quod here but it does link the staff to the swoop where the handwritten sample doesn't, and it could just as well be a fanciful ligature for qn which apparently can stand in for quando, and i have no idea which is a more common-use syllable likely to be cast in the font if you're only going to pick your top 14, and i just like to be sure about things.

SO. i went to double-check with Johnson’s Typographia. Johnson made like a thousand pages of printing manuals set in tiny tiny type in the 1820s which are rad as hell and tell you all sorts of things about how to run a shop and build your own press and cast type and going rates for work and employment and also, the alphabets/type case layout for whatever language or symbol set you might have to set type in, when handsetting type was mostly the only way to get stuff printed—English, Arabic, Chinese, Hebrew, musical notation, astronomical signs, aaaand it’s got a section for "Marks & characters used in the Domesday Book & other ancient records.”

[image description: a photo of a page of the manual, with similar but not always identical symbols for abbreviated use. many of these abbreviations are described as "a Domesday contraction." end description.]

and WHAT is a Domesday contraction, WELL, it's a contraction specifically from/prevalent in the Domesday book, a deeply boring and historically important tome about property distribution in England. It’s literally a survey. who owned what, in 1086. presumably mind-numbing. enormous, handwritten in Medieval Latin, EXTREMELY cool, go look at some images of it at least, very important to historians, economists, linguists, and a complete pain in the ass to set in type when that technology became available, having to cast any significant proportion of these variant characters in an alphabet. Johnson says, (in 1824) “It is an improvement of latter years only*, to have type cast to resemble the abbreviations used in the more ancient manuscripts; they being formerly rudely imitated, either from a common fount, or else were cut in wood for the purposes of any particular work.” wow that sucks. but in 1773 the government really wanted to be able to reproduce the Domesday Book in type, so a couple people tried to cut a set of punches for Domesday abbreviations and Joseph Jackson got it done and it only took 10 years to print an edited version of the manuscript. and then apparently all the type was destroyed in a fire in 1808. WOW that sucks.

but the point is, Johnson has a great big glossary of characters as they were translated into type in the making of the printed Domesday Book, and the Domesday punches were used or refrenced in the printing of other medieval latin works, which consequences a degree of standardization in the abbreviations used in those versions of the text that handwritten manuscripts never had or needed.

notably the Domesday quod looks even more different from my piece of type here which was pretty annoying, so what are the chances this thing is a quando, and anyway that's when my sister texted me back with better computer skills and a different search engine and found me a perfect match on the first try. it’s a quod. this National Diet Library digital exhibition has several different sample fonts, both black letter and roman, with quite consistent letter forms, if not choices about which abbreviations to bother casting.

*I don’t……exactly know what he means by this, since Gutenberg and contemporaries absolutely did cast many Medieval Latin abbreviations for their fonts nearly 400 years before this. His dismissal of “from a common fount” might be fair, since i think what he means by it is that you’d have a generic set of abbreviation characters which you would have to use in conjunction with whatever font was the main body of your text, and it’s messy to mix things that weren’t designed specifically to match. he may just mean that it’s new for his contemporary foundries to be casting all these expanded alphabets of abbreviations; Gutenberg didn’t have foundries to buy from and made his own type. he could include as many characters as he had the patience for. maybe Johnson is just a guy from the 1800s that didn’t have the internet and i shouldn’t jump down his throat for not knowing something. idk!! i have homework.

anyway that was my Friday!! feel free to correct me and/or suggest further reading if early typecasting is your Thing or. again. you just have better googling than me.

[huigusu]

#showyourprocess

From planning to posting, share your process for making creative content!

To continue supporting content makers, this tag game is meant to show the entire process of making creative content: this can be for any creation.

RULES: When your work is tagged, show the process of its creation from planning to posting, then tag 5 people with a specific link to one of their creative works you’d like to see the process of. Use the tag #showyourprocess so we can find yours!

Thank you so much to @cloudylotus​ and @wendashanren​ for tagging me for this set ❤ (please check out their respective posts here and here as well 🥰) and to the members of mdzsnet who started this!

1. Planning

I try to alternate between gifsets based on quotes and gifsets based on a single scene for the cql edits I create! This is because the ones based on quotes require significantly more thinking for me to come up with scenes to fit, alongside getting all of them to adhere to one colour scheme and then inserting the typography, rather than just me focusing on a single scene 😅 This time it was time for me to pick a quote, which I usually do from my #words tag on my tumblr where I like to collect poetry I resonate with.

“Oh, let my chest split open, let my blood spill over, body be still! I’ve bled for you, and you won’t even show me your face.” - Yi Kwangsu (via skogenflicka)

For the quote used in this set, I had thought that it fit wangxian so I had already tagged it to find later 😄 I also searched it up to read a little more on the background of the story and author and was surprised to find that it was from a short story on gay, unrequited love, which made it somehow more appropriate as I wanted to fit lwj’s perspective during his mourning years.

To select the scenes, I split the quote up into four lines and wrote the summary of the the scenes that demonstrated them quite literally, as in the things lwj did for wwx out of love even when wwx was pushing him away, + ep number and timestamps for easier gif creation. I knew that I wanted to focus on text effects too so the 3rd gif was specially picked for the horizontal movement of lwj across the frame.

2. Creating

- oh, let my chest split open (wen brand at the cold springs)

- let my blood spill over (blood running down his hand as he holds onto wwx)

- body be still! (lwj holding the rods as punishment for visiting burial mounds)

- i’ve bled for you, and you won’t even show me your face. (wwx pushing lwj’s hand off his and turning away)

I use Handbrake to isolate the scenes I want and then Photoshop to import and pare down the number of frames. I favour larger gifs, especially so that there’s room for the typography, so these were the usual 540px ratio across for cropping. For the first gif in this set, I didn’t have the special episodes downloaded so I used a screen recorder to get the needed frames of lwj’s chest brand! I remember not being happy enough with the length/framing of the brand from the regular episodes. I didn’t cut out his nipple and so many tags I see talk about it 😂

Colouring

Okay so! I knew I wanted to try out a darker colouring as the ones I do are more bright, so I went to look for tutorials and I found this psd that had a good effect for what I wanted after I modified/removed many of the layers. I wanted to work with existing colours already within the chosen scenes rather than modifying or emphasising them to go with the muted, anguished mood of the quote. The colour scheme thus became dark, maroon red (wwx) from the blood and wwx’s tassel, as well as turquoise (lwj) from the water and lwj’s robe. I then added a channel mixer layer and selective colouring layers to make the turquoise of the waters that the psd had removed stand out more, and then another vibrance layer and an additional selective colour so that I could match the blues/reds across gifs. Thankfully, I could copy this colouring over to the other gifs with a few alterations of hue/saturation, curves and levels 😊 After colouring, I resize, denoise, and sharpen the gifs.

Typography

I really wanted to work with some text effects and get out of my comfort zone in this one. In line with the three parts of the first line of exclamation in the quote (and the parallel structure for the first two parts which I found hit so hard 😭), I wanted to highlight the alliteration I found in them - the words ‘split’, ‘spill’, and ‘still’. For the first two gifs, I decided on linear gradient overlays at 45 degrees + taupe drop shadows with the colour from the colour scheme other than the colour already in the gif. In the second gif, I used the pen tool to draw a line (in blue below!) that followed the curvature of their hands, then pasted the text in. I realised that I had to draw a separate line for the word ‘spill’, which after a lot of trial and error turned out to be much simpler after turning off the first pen layer visibility (the new line kept connecting to the first 😓)

As for the third gif, I initially thought of masking each frame to make the words appear as lwj moved from left to right, then I remembered that using the ‘overlay’ blend mode on the text hides it when it is on top of the colour black! 😄 In this case, lwj’s hair is black so I just had to position the words properly so that the words ‘body be’ would reveal themselves while giving time for the word ‘still’ to also have a nice effect after. (If you look closely you can see them a little in lwj’s hair 😅) The word ‘still’ took a lot longer to figure out, but in the end using ‘difference’ for the overall text layer and ‘pin light’ for the dark maroon colour overlay gave the clearest dark red effect as the camera panned.

Finally, in the last gif, I wanted to have the effect of the word ‘face’ change from a dark maroon gradient to turquoise with wwx’s hand moving lwj’s away to have it be a bit symbolic I guess 😅 of wwx’s leaving lwj? The ‘linear burn’ setting for the overall text layer (solid turquoise) and ‘difference’ for the gradient overlay (maroon) ended up working best to make the red disappear the moment wwx’s hand ran over the word, unlike other settings where the colour looked mixed/too messy.

3. Posting

I usually save the gifs and look at them on tumblr to see if I need to adjust any colours to match better or make them more vibrant (and ask yan what she thinks HAHA). These were fine, so I wrote the caption to summarise the source of the quote, added links to research and the op of the quote on tumblr, and wrote my tags. If it’s a post with translations of what the characters are saying/from the novel I typically take more time to edit the translations/do my own translation. I check if it is loading fine on mobile and edit the saved draft if necessary, then I post! 💕

Tagging but no pressure please!! 💗

@lanwuxiann for this amazing wangxian wedding night edit 🤧🤧🤧 that had me yelling into my pillow

@inessencedevided​ for this heartbreaking nie brothers set (which included manhua scenes!!)

@lan-xichens​ for this really lovely wwx + lotus pier edit, the colouring of which i think about from time to time

@mylastbraincql​ for this gorgeous jyl set with soup set with such pretty blending

@still-snowing for this beautiful piece of wangxian art about lwj holding wwx’s hands through the years that i teared up over multiple times

[kyotakumrau]

2020.09.27 Rolling Stone Japan - interview with SUGIZO - translation (selection)

SUGIZO talkes about how he met his friends and why was it important to him now to release a live album

Original text: Joe Yokomizo

Photos by Keiko Tanabe

Translation: kyotaku

SUGIZO is releasing the first live album in his solo career, 'LIVE IN TOKYO', on September 30th. This work delivers the two day birthday performance 'SUGIZO 聖誕半世紀祭～HALF CENTURY ANNIVERSARY FES.～' that was held last year on July 7th and August 2nd at Nakano Sunplaza, giving you a chance to not only enjoy the live atmosphere but also the magnificent collaboration with his sworn musician friends.

It's a masterpiece I'd love many people to listen to, but it might be surprising to people who only know SUGIZO from LUNA SEA and X JAPAN and not his solo work.

In this interview we will get to the bottom of it, discussing the live album, the foundations of SUGIZO's solo work and his music, and the history with the artists who joined the project.

ー It's the first time in your career you're releasing a live album, which is very unusual now that the video releases are so common. You were that happy with how those 2 days turned out?

I was planning to release a live album from before. I heard from my staff they wanted to release the material from this half century celebration, but because I've released live video works so many times I thought it's time to change my approach.

I feel that young people nowadays are not really familiar with live albums. These times we can easily watch live videos everywhere including YouTube. But back in our childhood the live album from the artist we were indulging in was a real prize. For me it was YMO, JAPAN and PiL. Miles Davids or Frank Zappa also had quite a few live releases. And, Deep Purple or Peter Framptom also had famous live albums, even as I wasn't influenced by them. With such artists, live albums in 70s and 80s were treated as extremely valuable. I have a lot of admiration for those times, so I was hoping to eventually be able do it myself.

－ I see. Before we talk about the content, I wanted to ask you when did you encounter the so called psychodelic trance music that is the foundation of your solo music?

In the mid 90s. First, I was really into hardcore techno or minimal techno in early 90s, speaking of the ambient world like The Orb or 808 STATE, I really love the scene of that time. And few years later, at the same time when I started my solo activity, European drum n bass or abstract hip hop were very popular, I was quite influenced by the club culture and music around then, and then naturally I gave myself to trance.

The first rave I went to see was Vision Quest in 2001, and from then I got even more into it. The feeling of life in the perfectly linked music and the flow of universe, like dancing with the rising sun and chilling in the afternoon, my instincts were telling me that people had a connection with this kind of music from the ancient times. Not the music from the cities, the music with roots in nature. Kind of primitive music. I found great value for music there.

◆Then they discuss JUNO REACTOR, learning what kind of rhythm feels good, how working with a South African percussion team Amampondo helped them grow spiritually, especially thanks to the drummer Mabi, SUGIZO's chase of the 'black groove' to finally understand East has its own good points; he can be proud as Japanese and SUGIZO's solo activity reflects everything he's learnt.

Next, Joe asks SUGIZO for a primer of his solo work, SUGIZO lists 'Misogi', 'FATIMA', 'DO-FUNK DANCE' and 'Lux Aeterna'◆

meeting Kyo（DIR EN GREY/sukekiyo)

－ Remarkably for each of two days you invited guest vocalists. All of them are musicians you're very familiar with, could you tell us first about how you got to know Kyo (from DIR EN GREY/sukekiyo)?

From the start I was close with some people they know and their staff members. So I went to see their show and we were introduced. It was surprisingly recently, like around 2005 or 2006.

－ What was your impression when you saw DIR EN GREY for the first time?

It was the first time I felt threatened by a younger band. I'm sorry for saying this, but I haven't felt threatened or impacted by any of the younger artists, within this genre. That's why I was quite surprised with how great they are. What they're expressing, their worldview are incredible. At that time I could feel that their performance or sound are not there yet, but I could already feel the intensity of what was pouring out of them, the endless possibilities.

I was especially looking at Kyo thinking 'he's a genius'. There's no theory or detailed reasoning with him. He's just doing things by instinct. But he's good with words, good at drawing, as an artist he can express himself in so many different ways. Then, when I met him in person he was just so pure and innocent, doesn't it seem like he's not greedy at all? So it was a shock of 'a genius like this exists?'.

－ It was Kyo who wrote the lyrics for your collaboration song 'Zessai', was it a request from you?

Yes. Thinking to sing the best it'd be better if that person writes the lyrics, and when I asked [Kyo] he happily did. When I sent him a 2nd stage Mix demo asking 'it will be like this, what do you think?', he already had the singing (melody) put in. And the lyrics have been done too, when I asked 'woah, that's the actual thing?', he replied 'yup, I've done them'. It's the same with DIR. Thus, he's a genius. When an image comes to his mind he cannot wait. It all felt so fast. He's really a phenomenal creator.

－ How was the performance at the Half Century Anniversary?

I felt he definitely is someone who follows his instincts. When you stand on the stage and things get serious it totally doesn't matter if you're younger or older (as in how long you've been working in a music business). Of course there was no stage fright, I felt as a performer he's just huge, and at the same time it felt like there was mutual respect. It felt like it would be a waste to let it just finish like that. That's why I'm very happy that we can release the collaboration from the stage [on the live album].

◆Next, they talk about TERU and TAKURO (from GLAY), followed by Kiyoharu (I'm skipping here a lot)◆

－Kiyoharu said 'I've performed on various stages so I can't imagine myself losing, but when playing together with SUGIZO the pressure is very different'. Often when two different performers stand on stage together sparks will fly.

The same thing can be said about RYUICHI and SUGIZO, the spark/heat of the collision of a guitarist and a vocalist is often very attractive. In a way there's also the aesthetics of traditional rock, that the combination of Kiyoharu and SUGIZO might be able to embody this spark's attractiveness. That's why the collision on the stage makes me shudder, but also it's possible to blend together. With [the combination of] Kyo and SUGIZO there's no blending together, it feels different. And with TAKURO・TERU we're different type of people. When Kiyoharu is on stage I feel he's the same species as me.

－ It's interesting that the character of all those three groups of musicians is totally different.

That's true. I think it's amazing I could have a line-up like that, it's really by chance that they are my good friends coming from the same genre.

◆they finish the interview talking about the sound and working with Dub Master X, sound mixing for the album, SUGIZO wants the live sound to have intimate, close feeling◆

一 So how was it to complete a live album without compromising on anything?

It's a live album, but it it makes me feel like I was able to create a 'SUGIZO's Best Album'. 2 years I go I released what was meant to be my biggest compilation, but obviously the sound from the studio and from the concert have totally different types of energy. As someone who's been performing on the stage for a very long time, I'm really glad to able to pack that energy for the first time officially on an album. Of course live performance has less precision than the studio album, but performance has way more energy.

Another thing is that as you know it is difficult now to perform due to the pandemic. I haven't played live for half a year, when thinking about it, it's the first time in my music career to not play any shows for this long. That's why I'm really yearning for the stage performance, the live show. When I was still doing them it was something obvious, but now that I can't, making this album made me keenly aware how important concerts are in my life and how much I need them; and to tell the truth working on this live album was like saving myself in a way. Obviously a live album can't rival the real thing. Not even a live dvd nor a live stream can match the excitement of being there [at the show], but I worked on this album hoping to let you feel at least some percent of that feeling. At any rate, I'm really grateful to be able to create a work like a live album that inspired me so much as a child.

Btw 絶彩 feat. 京 [LIVE IN TOKYO] available here

[fantranslatorbychoice]

Kakuriyo no Yadomeshi Volume 6 Chapter 7 - Tenjin-ya's Hotspring Manjuu Part 1

T/N: I all, how are you all doing? Thank you for waiting, I did my best but I’m not at my best so if there’s typos.. Sorry, I did minimal beta.. I am doing my best to get to Part 2 over the weekend, please look forward to that...

As always, if you like this translation, you can heart it, share the link, reblog, I just respectfully ask that DO NOT REPOST ELSEWHERE. This is my contribution to the scant English content of this fandom, and I worked really hard to finish this thing, it’s not like I just copy-pasted everything. I even had to build the kanji in Jisho one by one. Try it and you’ll see what I mean.You can rave about this, rant about this, reply, etc. but if possible please link back to this page. If you’re unsure how to do that, just copy the web address of this page. If you’re on a blogsite just insert the web address as a hyperlink as a link back to here. Honestly if this light novel was officially-published in English, I wouldn’t even be doing this right now... And if it did, I’d take this offline to support the publishers and Yuuma-sensei. Creators support creators, is what I believe in. I’ll prolly do 1-5 once 6-10 has been done, or however long I can manage to translate the raw texts, it can take a toll at times.  As previously-mentioned in earlier chapters, if you stumbled upon this one, the two seasons of the anime covered volumes 1-5, so other than the extra details, you didn’t miss much stuff.  There's more recipes in this chapter, but again, if you're planning to try these, I cannot guarantee your success. The methods aren't exactly precise in the book, and based on my experiences in dealing with desserts, precision measurements are the key to success. So as always, try at your own risk, I am not liable for any losses O_O  Alright here’s chapter 7 now...

P217 "Say, Aoi-chan, is there anything I can do?" "Oh, Kasuga?" After the full moon and so many days, Kasuga came to Yugao. It was before working hours, and while sitting on the counters, Kasuga was wearing a depressed face. "Everyone doesn't want to give me anything to do. They say that since I am the Minister of the Right's daughter, I should just take a break. The Okami-sama just couldn't put so much pain onto me. Gah, I just have too much free time." "Oh, so that's how it is." "Yeah-- Even though until today they were always sending me out to do all sorts of errands. And I had a fight with O-ryo-sama too." "With O-ryo? Why??!" "O-ryo sama, she somehow changed, somewhat. She started wailing and complaining when I decided to get married into the Northern Lands, as well as resigning. Even though I told her that it was out of my hands, she just pouted and ignored me when I was talking to her. I wonder if she's resentful because I was getting married before she did." "..." P218 In O-ryo's case, she's just lonely... But at the end of this month Kasuga's already resigning, it's probably sad if she doesn't get to do some work. "That's it then. If that's the case, how about working here in Yugao? Just about now, we're short of helping hands." "But I'm already here, Aoi-sama--" "Ahaha, Ai-chan hasn't had her public appearance yet." The kitchen trainee-helper Ai-chan who has helped me so much, peeked with a bouncy face. With the original appearance that she made for me, I still don't ask her to serve the customers because she still easily gets sleepy. If Kasuga's going to lend a hand, that's going to be a great help... "But Kasuga, I wonder if you wanted to be a waitress until the end..." "Hmmmm.. I won't say it's what I feel but, right now I have nowhere else to go. I get it now, I'll work at Aoi-chan's place." "That's great! If that's the case, then Kasuga is our new-hire! That being said, you can't leave us now just yet, Kasuga." "What the, don't you make things so serious, Aoi-chan! Even though I said that I'd quit Tenjin-ya, I'll probably come back here again if I failed." "...Is that even possible?" P219 "If that happens, that's a problem. But if anything happens, I don't know." "..." I wonder if Kasuga is worried about something. While propping her chin on her hands, she seems to be only thinking of one thing. "Oh, that's right! Kasuga, won't you come make some Tenjin-ya's hotspring manjuu with me?" "Hotspring manjuu? That squirmy brown sugar-flavored hotspring manjuu?" "No, the new hotspring manjuu by Tenjin-ya that was requested of me. That's why I'm in the middle of its test trials. Come here for a bit. Oh, and the apron's over there." I allowed Kasuga to wear the spare apron, and immediately she went inside the kitchen. We have just finished gathering the ingredients for the manjuu that we were going to make. Home-made rice flour from newly-harvested rice, some sake, and Kimon's specialty product Cassowary eggs. Hand-made red bean paste were made into balls and arranged. There's also products delivered from the Northern Lands such as milk and cream cheese. "Aoi-chan, what are you planning to make with these?" "I wonder if I can call them steamed flour manjuu? We have a pan that's good enough to be used for steaming. It looks like Kasuga's cheeks, it's fluffy and springy and soft." "What, you're saying that I'm a round-faced Tanuki right now?" "No, I didn't say that you reminded me of that..." But it won't be a problem to make it into an authentic Tanuki face... P220 Kasuga puffed her cheeks more than ever. "Aoi-san, good morning. What is the daily special** for today.. hey, it's Kasuga-san?" Ginji came to Yugao to check what meals were going to be served today. Kasuga has been here since morning, and he seemed to be shocked. "Oh, Ginji-san. Uhm, you see, starting today Kasuga is now our newly-hired employee. I explained the circumstances as such and such to Ginji-san. "Oh, I see now. The other waitresses had reservations on Kasuga and probably didn't want to impose. It's important to take care of your body before getting married." "I'm sturdily built, I can do multitasking too..." "I understand, Kasuga-san. Well then, I'll tell them that your days of being a waitress in Tenjin-ya has ended and you'll be our all-around help here. Up to now, with you having worked as a waitress in Tenjin-ya, you've also have a job here in Yugao as a hired help, so don't talk about weird things." "..." Kasuga eagerly nodded her head. Definintely, she wants to work as a waitress until the very end... With regards to O-ryo, she truly had to support Kasuga during those times, and yet why on earth is she sulking? If I meet O-ryo, I really had to ask her about it. T/N: Teishoku=定食=can be the regular set meals or the daily special. A lot of times, Japanese restaurants adjust their menu according to the ingredients available for the day, the week, or even the season. So oftentimes the menu can change up to a daily basis. P221 "Alright then! In anyhow and in anycase, today is hotspring manjuu! Hotspring manjuu!" With a plop I put my hands together, and briskly propped up my kimono sleeves. "Say, Ginji-san, the hell's cauldron in the "secret base", can we use that, I wonder?" "The hell's cauldron, you say? Yes you may, it's not fixed there you know." Alright, as I closed my fists triumphantly. Since we already had permission, we first had to do some preliminary preparations. Food preparation is easy. The steamed manjuu that we're making would be of two flavors: "Egg" and "Cheese". The "Egg", well, it's plain flavored. I'll add the Cassowary eggs, milk, oils and other ingredients, and mix them all until smooth, and to replace baking powder I'll use rice flour, and add some liquor to that. Once the flour bits have disappeared, these will be sufficiently mixed altogether. For the "Cheese", we'll use the cream cheese delivered from the Northern Lands. Once it has softened we'll mix in on a mixing bowl that looks like a goldfish bowl, and mix the dough which was also used for the "Egg" flavor. For those two flavors, I halved the dough with my hands. Because the dough has a high moisture content, it's necessary to put them in the steamer individually. But because there's no cups here like those in Utsushiyo, for the meantime as these steam we'll just use the small bowls as replacement, and only the "Egg" with the red bean paste balls were loaded in. "Aoi-chan, are we not going to put bean paste in the 'Cheese' ones?" P222 "This manjuu has no bean paste, the cream cheese mixed in this dough is going to give out the flavor." The manjuu filled with bean paste is delicious, but what I plan to do today, apart from that it should be a product with an enjoyable taste and texture... "After this we will.. Steam it in hell.. heeheehee" "Aoi-chan's face looks like a demon from hell" "She's a cooking demon, Aoi-san." As expected from a bride from hell, says Kasuga and Ginji-san. No, I didn't hear anything, I didn't hear anything. Now then. With the three of us, holding the hotspring manjuu inside the small bowls, we went towards the secret base in the mountain out back. In front of the pampas grass field, Kasuga who was feeling down and depressed suddenly had her moods lifted up. "Amazing! There's a place like this in this mountain behind Tenjin-ya?!" "Even I only learned about this a few days ago." The pampas grass and Kasuga, together, it surely looks like a painting. It reflects the autumn. As expected of a Tanuki. In the middle of the pampas grass field, an open area that has the open-air hotspring pops out like a hole, and beyond that there is a small shrine. Yesterday above that shrine I drank sweet sake, today it's different. In the nearby gazebo with the hell's cauldron, we're going to make hotspring manjuu. P223 "Uwah, it's hoooot." "Be careful, Aoi-san. The temperature of the steam that spouts out is above a hundred degrees**. We arranged the small bowls that we were using on a large bamboo strainer, and we carefully placed those inside the hell's cauldron. After that we closed it with the wooden lid, and waited for the steam to rise. "The steaming takes about 30 minutes. Let's go pick some pampas grass. We'll use those to decorate Yugao with, to make it more autumn-y." Somehow, while we were waiting we started gathering pampas grass. Kasuga's wild instincts awakened, and with a poof turned into a Tanuki, and started running around the pampas grass field. From where I thought she was hiding in-between the pampas she would pop out and appear, and then vanish and pop out her face somewhere, in another place. That cute little Tanuki, how is she already leaving to get married... "..." "While we're at it, is Ginji-san going to run around as a fox too?" "Ehhhh. I'm fine, you know--" Without knowing why, Ginji-san glowed. And I thought I was going to see a Tanuki and a fox playing together in the pampas grass field... "Ohhh, that, Steamed-juu, Steamed-juu**" While leisurely watching Kasuga run around the pampas grass field, with that so good a mood, we have forgotten about it. T/N: This is in Celsius guys, OK? So for Fahrenheit users, that's 100 x 9 divided by 5 plus 32 because 0 degrees Celsius=32 Fahrenheit so that makes it.. 212 Fahrenheit. Yes, even though I don't have to do this, I like doing something like this from time to time lol FOR SCIENCE!

This was shortened from “steamed manjuu” but steam-man sounds weird so I adjusted the translation to make it more appealing lol but hey, I translate the nouns however I see fit lol P224 This is likely a winner. When the lid of the hell's cauldron was taken off, a sweet smell along with the airy and billowy steam came out, and the lovely, fluffy, yellow steamed manjuu came to view. It seemed that it flowed out of the small bowl that it was steamed in, and it has thickly swelled into a round ball. This is somewhat steamed well, the carbs look delicious... "It looks delicious, Aoi-chan let's eat it right away" With a poof, Kasuga returned to her human form, and demanded it so as she pulled my sleeve. If there were aluminum cups or paper cups or any disposable cup that we could use, it's easy to do these... Using the small cups to have these steamed, while taking care of the emitted vapors I cut it into a cross-section and pulled it out using a narrow knife. I divided this into three portions for three people, and while it was still piping hot we took a bite. At any rate, this is the "Egg". "Uwah-- it's fluffy and bouncy!" Spontaneously, anyone could notice that. The fluffy and springy texture, it almost certainly had an impact on the memory. "It's because we used rice flour. Bread as well as steamed manjuu that uses rice flour, that gives off a prominent, bouncy feel.** The Ayakashi living in Kakuriyo love rice, and comparing this to those made with wheat flour, using rice flour a lot better. And particularly, these are made with rice flour made out of Kimon's rice brand, 'Onihonoka', doesn't that give off the vibe of being a souvenir product?"

T/N: Honestly any bread-ish product that uses rice flour is fluffy and springy. I love rice cakes too, they’re kinda like these. T_T P225 "Oh, that's a very important thing you know. Made locally, consumed locally. Isn't that great, the egg's fragrance is also left behind. It goes without saying that the Cassowary egg is this land's specialty product. Its ingredients and the process are but simple, and the basement workshop can make the process of hell steaming easier. It's unreal that souvenir products get mass-produced, it's because it's difficult to figure out how much the cost of production would be." Because Ginji-san has already experienced failures on such in the past, his face got agonized. "Say Aoi-chan, this cheese type that we also steamed, can we try eating it too?" "Yes of course. Well.. Here's what I was planning to do.." I could predict that the popularity of the "Egg" was going to be great. But if it's just that, I worry that its impact as a newly-released product would wane quickly. Aside from that, as cheese it not yet a major product while it's gradually being introduced and spread out, I put my focus on it. A dessert made especially with cream cheese. It was good that there's also some here in Kakuriyo. "I have realized that lately, I have been eating a lot of cheese, but in Kakuriyo aren't there any foods served that are called as such? But here, we're near the Northern Lands where their dairy industry is booming, and I think that I want the Ayakashi living in Kakuriyo to know about the flavors of cheese. Cheese-flavored steamed bread. I used to make a lot of those in Utsushiyo." I was a regular buyer of those convenience store breads. These were desserts similar to cheese souffle. P226 I wonder if Ayakashi can be allowed to receive them? "Uwah... I thought it was going to taste something like before, but this is entirely different. It is rich, and has a bit of sourness, doesn't it?" "It differs from the "Egg" as its taste is mildly more apparent, but the cream cheese's unique flavor has fully dissolved into the dough, didn't it? This tastes good. For sure, this is going to be Tenjin-ya's unique and finest souvenir item. And in spite of becoming like that, that is what makes this thing important." Kasuga and Ginji-san seem to have their enjoyment in eating got stolen. Those two, seemed to be taking in things well. "Nonetheless, this is a big gamble. We're going to divert the attention away from the cheese flavor, so I think it's a good idea to turn it into a limited-edition item." "If you say it like that, it's like an expansion. The dough used for 'Egg' can be the base, and we can serve the flavors of each season. There's plain dough, dough with bean paste, and we can change the flavorings. I think it's possible for that dessert. Indeed, it can be promising. I think we should go for it!!" Somehow Ginji-san seems to feel it in his gut, a while ago he was worried about calculating the production costs and the production methods. Kasuga reached out for the steaming basket with her hands, and started gouging out the freshly-steamed manjuu by herself, picking it out and taking a bite, tearing a part out and taking a bite, she seemed so happy as her mouth was chewing. It seems that she has taken a liking to the cream cheese. "This hell-juu** is delicious, right?" T/N: Hell-juu=hell manjuu= the original was jigoku-man, from jigoku-manjuu, but that doesn't ring a bell, or at least, not in my case. Well, whatever, I translate so I heck this on my own accord lololol P227 "Hell-juu? That somehow sounds like a disturbing name, isn't it?" Manjuu steamed using hell's cauldron, abbreviated into hell-juu. But Ginji-san just nonchalantly acted as if he didn't hear what were being said. "I think that's great! It's catchy, and it sounds uniquely Kimon-y. It also makes it easy to design the packaging for the souvenir's box!" "Y-you think so?" For sure it's easy to roll off the tongue, but I wanted to give off the impression of a cute, sweet little baby chick, I was perplexed at how the naming was ostentatious. But Kasuga making a name for the souvenir product by herself, I just found her so adorable. Kasuga seems glad, and I guess that's good somehow... "Say, Aoi-chan. What shape will you sell this with? For sure we can't sell these still being inside a bowl, won't we?" She bluntly asked the question, which is just as important, I pointed my finger out to think. "That is our number 1 question. We can make them right now using bowls as they steam, but essentially we need to make them using tools such as aluminum containers, thin paper cups and other sorts of shape holders. I think it's hard to get hold of them in Kakuriyo." "..if you're just thinking of one shape, won't the inn be able to make the tools?" P228 "Really? Ginji-san, that can be done?" With a face brimming with confidence, Ginji-san declared "Yes, that's right". "Here at Tenjin-ya, we have a large-scale workshop underground. If it's something that is like an item from Utsushiyo, Dr. Saraku would research about it quickly, and the Iron-mice can make them for you overnight." "Wow, the underground workshop people are amazing! If we're going there now, let's ask them." My plan was impulsive, and as such Ginji-san doesn't have any time to spare anymore. "Even if I was to go with you, from here onwards I can't go to any other department to do my work. Hmmm, but if I let Aoi-san go by herself, I will get worried. You might get lost." What's that? Ginji-san perceived that I easily get lost... "Then in that case I'll take her to Tenjin-basement, Wakadanna-sama. I've gone there a lot due to errands." "Ah, if Kasuga-san is there, then I'll be relieved of worry! Yes, please do take care of Aoi-san." Ginji-san had me under Kasuga's care, and with a quick bow of the head, quickly left the place and left us. "Say, Kasuga, what place is Tenjin-basement?" "Uhm, you see, Aoi-chan, the underground workshop is where everyone here at Tenjin-ya, trespasses into." "Oh, it's that kind of place." Originally, before going to Tenjin-basement, we were going to discuss with and ask Dr. Saraku about the production of the new hotspring manjuu. P229 And for that reason, we were going to give Dr. Saraku some Hell-juu to taste-test.

"Uhm, excuse me, Dr. Saraku!" "Hmmm... Oh, who's there~?" "Uhm, it's Aoi.. From Yugao!" In Tenjin-ya's underground workshop, managing the trespassed Tenjin-basement, the "Development Department Chief" Dr. Saraku, was just coming out of a nap when we came in. Previously when we went to the research room, he was in the corner wrapped in a blanket and looking dead asleep, and we shook him awake. "Hmm. It's nice that you came by, Yomego-cha~n. Oh, Kasuga-ojouchan is also here!" While wearing his black glasses, Dr. Saraku looked at both Kasuga and I to confirm that it was us. Waking up and wearing his lab coat, he gave out a huge yawn. "Could it be that, you have finished making the new hotspring manjuu?" "Yes. But we still have a small problem, we heard from Ginji-san that Dr. Saraku can resolve it, and we thought to give some to you for taste testing as we consult about it." Kasuga opened the cloth covering the steaming basket, and with a "Here you go" took out the small bowls used for steaming P230 the two types of steamed manjuu. "Hmmm. This looks like a Kakuriyo-style cupcake?" "N-no... We didn't have any equipment that's why we used the small bowls for steaming.. And that's our problem." Right away, we explained the choice of ingredients to Dr. Saraku, and we gave him each type for sampling. "Mmm! Mmm! Isn't this very good? This is the exact opposite of the old-fashioned and unpopular brown sugar manjuu! It's light and soft and fluffy. There's so much moisture so an appropriate container is needed, eh? The cheese added to this makes it feel so fashionable as well." "For me, I also reasonably like today's old-fashioned manjuu." "Kasuga-ojouchan, you probably have an attachment to that." While humming, as Dr. Saraku tore from the manjuu and repeatedly ate it, he was thinking on what shape it should be made into. "If we made each of the plain manjuu into a small bite-sized piece, we can fit a lot of it inside a box. Since the chewy dough of the plain manjuu is relatively elastic, it is better to make them small so that they are easier to eat." "Certainly... like chewy bread and doughnuts, it's easy to tear apart, and we probably can make a lot of them when small." "In addition to that, right now its size easily fills in the stomach and it's good that we sell it this way. If the manjuu was bigger, P231 it would be a problem when half gets left uneaten." "Ah, yeah, that's right, that's right." We nodded enthusiastically, Kasuga and I. For sure, with a smaller size it's easier to adjust the amounts anyone would want to eat. "Also, the colors for 'Egg' and 'Cheese' doesn't seem distinct from one another, and I'd like for them to be distinguishable solely by looking at them. It't probably a good idea to change the color of the steaming cups." With a rustling sound, Dr. Saraku fished something out of his research desk. What the, it looks like something sold in Utsushiyo, a paper cup used for steamed bread and cupcakes. "The item that Yomego-chan wanted, is something like this?" "Yes, yes, this is it. But what's with this one?" "This is an item that we developed. It's an item delivered from Utsushiyo. We took it for future use." According to Dr. Saraku, they were producing a paper cup capable of withstanding the steaming process, and that seems to be easy here in Kakuriyo. It's very easy to tear off as well as edible, the inner part is waxed, the outside feels like it was made to look like soft washi paper. The colors were white and red. Right away, it was red and white, the favorite of Ayakashi. Immediately Dr. Saraku started drawing a blueprint. And then... "Uhhhh.. Workshop Manager No. 3, Workshop Manager No. 3, this is urge~nt, go to Saraku's place" "Yes-chu" The Iron Mouse Workshop Manager who was called for heard the broadcast opened the door, and immediately appeared. While wearing work clothes and scurrying P232 it went to us. "Workshop Manager No. 3, can you not make me a prototype of this blueprint of a receptacle? White and red. First of all, it's made out of paper, the inside has a powerful waxy coating. It should have the feel of withstanding the steaming in Tenjin-ya's hotsprings-- that is the most important detail of all. You understand?" "I understand-chu. I'll make it right away-chu." The Iron Mouse Workshop manager received the instructions without any hesitation, and left the research room scurrying out. I thought the assignment's instructions were sloppy but, right now it's somewhat amazing that it was comprehensible. "By the way Yomego-chan, we have to talk about the unavoidable aspect of this souvenir product, do we use preservatives or something, and how? What about the expiry date? Is the shelf-like short, is it long, we have to adjust how many we will sell as well as the flavors, you know." "So about hat, we were planning to ask Shizuna-chan about that. Because we will be using Tenjin-ya's hotspring vapors to do hell-steaming, we heard that it can help the food less prone to spoilage." "Oh... that kind of talk. Surely it's because it's about hell-steaming, for that type of hotspring it's OK to use 10 minutes of time. Shizuna-ojouchan is just below, certainly she is at the 5th level underground research room. It's Tenjin-ya's deep subterranean area where the aggregated steam is used, many researches are done there." After hearing that, we briefly went to where Shizuna-chan was. P233 Tenjin-basement 5th floor. That is where all researches of the collected steam underground were done, and has testing sites for hotspring types for use by the bath house managers. It was a bit dark, and the steam was hot. All around it, it seemed like an excavation site. The researchers wearing a lab coat were surrounding a hotspring that glows a dull, eerie,red-colored light, they were pouring something, churning, collecting, and arranging. Ah, that's creepy. What are they even doing... Shizuna-chan was wearing an earnest face while giving out instructions. "Well now, Aoi-san, Kasuga, what brings you here?" Peeking out and realizing that we were there, she went away from her place, and came to us with a smile. Shizuna-chan in a lab coat looks cute. "Shizuna-chan, are you in the middle of an experiment? We have something that we want to consult with you for a bit." "It's because we're... making Tenjin-ya's new hotspring manjuu." After telling her about it, Shizuna-chan clasped her hands together and went "Wow, new hotspring manjuu?". Somehow she seemed to be interested in it. "Since we're already here, please walk this way." And after that, she showed us around the personal laboratory she was using. "I apologize, it's dirty..." P234 "..." Uh, hm. For sure, it's fairly messy. Dr. Saraku's lab may be staying within the limits, but comparing this place, this looks like it hasn't been tidied up yet, and there were so many stuff in it. The room is also cramped, it seems. Surprisingly, this looks like a girl that couldn't sweep the room entirely by herself. "Oh" On top of Shizuna-chan's research table, placed astutely was a picture of Tokihiko-san. Tokihiko-san was Shizuna-chan's master, and is currently Orio-ya's Chief Bath Manager. Somehow it looked like it was torn out of a magazine, from Orio-ya's special feature edition. It seems that beside him was Hatori-san's face, up to two-thirds of the whole has been torn off... "Well then, what's the consultation about?" Shizuna-chan served some tea for us. From there, while sipping tea, we talked with Shizuna-chan about the situation with the production of the new manjuu, and we gave her some Hell-juu for taste-testing. "Wow, this is delicious...! This, surely this has been steamed in our hotsprings, isn't it?' "You knew?" "Yes, through its flavor and aroma. I know it very well, it is this the hotspring's flavor." P235 As expected of the bath manager. And such and such, we continued our conversations. "So this manjuu, you want to preserve it through hell-steaming, yes? For sure, the hotspring drawn from Tenjin-ya's subterranean areas have sulphur as its component, and it has a germicidal action. The preservation itself is connected to this so.. Aoi-san, how many days would you like the shelf-life to be?" "Oh, that, at least about 20 days, I think it's good enough for a takeaway souvenir product." "If it's for 20 days, using Tenjin-ya's steam, I think it's possible using only the hotspring resources maintained here, that would be effective. It's a natural preservative, and doesn't give the body negative side effects." Based on what Shizuna-chan said, the antibacterial effects of the hotsprings are being used to develop medicine, and it's very much the work of bath managers. "It's not difficult to boost the antibacterial effects of the available hotsprings, Even the employees at the bath management research area also know the possibilities. Indeed, please allow the bath management research team to cooperate with the creation of the Hell-juu as well!" "Wah, thank you Shizuna-chan!" "It's Aoi-san's suggestion, and it's a souvenir item that Kasuga christened. I want this souvenir item to be loved by so many people for a very long time..." Shizuna-chan the nure-onna's smile, the twinkle was starting to crumble. Covering the corners of her eyes with her lab coat, with a frail voice she utters "So sad..." "I don't want to imagine Kasuga eventually leaving Tenjin-ya. Because I wont have a roomate T/N: So basically, they're using steam to sterilize the manjuu. Wow, so science-y.. WAh, this brings back old memories... I miss I old job x_x lol it depends gahahaha P236 anymore, and I'll be alone... It's lonely~..." With those words, even Kasuga's eyes started welling up in spite of herself. I see now. These two girls are more than two roomates sharing the same room. "I, truly understand Kasuga very well. I asked Odanna-sama about it. That is why, I asked how can I help Kasuga with my own hands, even though that's the only way that I can do to help~. Even our room, Kasuga always cleans it for me~" "Shizuna-chan..." Kasuga looks like she's about to cry while smiling, and she gently hugged Shizuna-chan. “Shizuna-chan is such a cry-baby. Even though you're part of the management staff somehow you still roomed with me, and I've thought about that for a long time, because it is what it is, right? Me, I'll still go to Tenjin-ya again. This time as a guest, and enter the baths under Shizuna-chan's management. Surely, I'll be diligently tidying up the room, you know." After a moment, Shizuna-chan eventually recovered and calmed down from her sobbing. Waveringly, she slapped her cheeks impressively. I didn't know, Kasuga has so many strong and long bonds... "Kasuga, I'll give this to you. It's important to take a rest, OK?" Shizuna-chan fished out something from her research desk, and pulled something out. P237 It was a brown, ordinary medicine jar with a red label stuck on it. When it was opened... "Wah, it's the 'SUPER - Sea of Blood Ointment'!" "Really? What is that gooey red thing?!" Kasuga seemed really happy... And I was disgusted by what I saw, it was something, like a blood-colored slime. "Heehee, Aoi-san this is medicine that you apply on your skin. It was developed and made by Tenjin-ya's Hotspring Research, and it's a really effective ointment. 'SUPER' is not for sale, please have one, Aoi-san. Before washing, when the seasons have become harsh, be sure to use it for cracked and fissured skin. Even I apply it every night on my feet and hands." "Eh, that's so helpful! Thanks Shizuna-chan!" Lately, the water used for washing dishes have been cold and stinging, and only Odanna-sama told me that my hands were cracked and worn. This looks grotesque on the eyes, but with this I'm pleased. I'm grateful to be given something that I can use.

Having finished our consultations, as well as receiving the mysterious medicine SUPER - Sea of Blood Ointment, as Shizuna-chan went "Bye-bye" we left the Tenjin-basement and went back up. "Ah, you're just in time, Yomego-chan, Kasuga Ojou-chan!" P238 "Dr. Saraku" In front of the Development Department research room, Dr. Saraku and the Iron Mouse Workshop Manager were waiting for us. "Look, look, it's finished. A container to use in steaming!" "What, that's fast!" Somehow only one hour has passed, and a sample container for steaming Hell-juu has already been finished. This was some technical prowess. Tenjin-basement's Workshop Iron Mice are magical. And triumphantly with a smug face saying "It's before breakfast-chu", the Workshop manager looks cute somehow. .. "Here, you can try checking the strength of this while steaming Hell-juu. Our workshop has a hell's cauldron that you can use. Also, we have to show the finished product to Byakuya-san. Ochouban-chou will set the price point, and in turn will also do the commercializations." ".. what? Price? Isn't that done here already?" "What are you talking about? The earlier you do that, the better. It's important to be the leader. In some respects, if someone tells you to do it, it's like getting told off twice."** "..." Kasuga and I looked at each other's faces. We were only going to provide taste-testing, but now were thinking how to react. Somehow, isn't the progression fast...?

T/N: Sorry guys, I had no idea how to translate this part so I just did my best.. I mean, it does happen that some words couldn't get any hits in Jisho so.. yeah. Maybe 1% total... But then again, it's Dr. Saraku so... Meh.

End of Chapter 7, Volume 6. Previous - Chapter 6   Next - Chapter 8

References:

Wonderful site for the youkai references

Other stuff I used to do this: Kodansha Kanji Learner’s Dictionary (you can buy here, I’m not sponsored btw). I was about to buy the older edition but then the newer one came out 2013 so I bought that instead. Worth buying since I was able to find nearly all of the words I needed just by stroke pattern alone.

Merriam-Webster's Japanese-English Dictionary (the red-covered 1996 version is apparently out of print right now). This is what I have been using for a very long time, I bought it when I was still a fetus (yes I am old so what lol), and after so many years, when compared to newer editions, I still prefer this one since its entirety is Japanese-English, the English to Japanese gloss are just 16 pages tops, so you get more Japanese words for your buck. But that’s just my opinion, maybe other people prefer the Jap-En x En-Jap IDEK.

Basic online dictionary, Jisho. Knowledge of verb conjugations  and other words are necessary since not all have entries.

If you can read Japanese, you can buy the whole set in Amazon Japan, they’re shipping worldwide now, I think.

[avwrites4ever]

Fantasy Setting Idea - Classic Japan (Heian Period)

It’s a New Year! And what better way to start it off than gush about something I love! I hope you will enjoy it too, and get excited, because I’m bursting with ideas!

I’ve even gushed about this to people at my work, the poor things. That’s how excited I am.

I just love discovering new writing ideas and hoping someone will do something wonderful with them. It doesn’t have to be me. Just someone.

So.

The Heian Period.

Also known as the Golden Age of Japan.

I think it’d make a fascinating base for a fantasy setting. So would ancient Korea, if the movie Ramage taught me anything.

*NOTE: This isn’t a history lesson. I’m just examining broad strokes of certain elements of culture & setting which I think would lend themselves to a fascinating fantasy story.

(Although there is a History of Japan in 5 minutes video at the end.)

Fun Fact:

The Tale of Genji, written during this time period, is probably

the world’s 1st novel.

The 1st novel. Ever.

Written by a court lady in Heian Japan, no less. She is known as Murasaki Shikibu, but that’s a nickname (her real name is unknown.)

Chiefly, I’ll quote from Royall Tyler’s intro to his translation of The Tale of Genji.

And if I can find my copy of The Pillow Book, written by Sei Shonagon, I’ll include that too. (Please don’t confuse with the film of the same name, which is not the same AT ALL.)

Here’s a summary of The Pillow Book:

http://cup.columbia.edu/book/the-pillow-book-of-sei-shnagon/9780231073370

*Not sure if this is the best translation, I just like the summary.

*Note: Translations are tricky, & often if you don’t like a translated text, it might be because the translation is bad, and not actually the fault of the original work! Please keep that in mind while reading.

The Tale of Genji & The Pillow Book are both primary sources, by the way, meaning they were written by people who were actually living in the Heian Period!

(And both ladies were rivals of each other, which I find hilarious, considering I like both of their works.)

They’re not dry & boring either. Far from it. (I mean obviously, or I wouldn’t recommend them.)

I recommend The Pillow Book first. If you have a good translation, while reading, you’ll learn about how life was during the time, which will make reading The Tale of Genji easier since, being a novel, Genji assumes you live in the Heian Period and so know all about it (the inside jokes, the word play, the burns, everything.)

I also find Sei Shonagon a fascinating person. Very funny & clever. She journals like I do, only less randomly. She’s very interested in the world around her & all its funny, heartwarming, or baffling moments.

If not for the barriers of time & language which, funny enough, translation has more or less broken, I feel as we’d have some great conversations.

I love how real people in history are both very relatable & very different from us.

I mention these 2 because it was chiefly while reading the intro to Royall’s translation of Genji that I got the idea for this post. Though I was already fascinated by Heian Japan while reading The Pillow Book.

Though, if anyone is interested, I first became intrigued by Japan’s history while reading Rurouni Kenshin. Considering it’s a manga, consisting of pictures & text, you might start there.

(Though Rurouni Kenshin is set shortly after the Meji Restoration, which I believe is something like the start of Japan’s modern period, since samurai are in decline. But don’t quote me, I could be wrong.)

Anyway.

Also, Tumblr apparently doesn’t know what the Heian Period is, so few pictures here will be actually of the Heian Period, and doubtful if they’re accurate.

Actually, I’m using this as an excuse to put in pictures of Toshiro Mifune & old Japanese black & white films & pretty landscapes & cats & anime, because I can.

So! What about Heian Japan so intrigues my writerly brain?

Lots of things, naturally,

Certainly a fantasy world based around the Heian Period will be different from your typical western Medieval-esque fantasy settings which are so popular.

Yes, I’m brilliant, no one would ever have guessed that.

(Though speaking of Medieval-esque fantasy research has taught me those, such as Game of Thrones, to give a popular example, are actually closer to reflecting the Early Modern Period.)

See this link for better argument by someone more researched than me:

https://acoup.blog/2019/05/28/new-acquisitions-not-how-it-was-game-of-thrones-and-the-middle-ages-part-i/

https://acoup.blog/2020/12/04/collections-that-dothraki-horde-part-i-barbarian-couture/

I mean yes, I was surprised too that a person who claims to do their research apparently hasn’t, but here we are.

Speaking of which, take everything I say with a grain of salt, because I know nothing. Nothing!

By which I mean, I am not an expert about the Heian Period, or even Japanese history. For example, a lot of what I’m talking about will involve the perspective of court nobles & rich people, since those were both the characters in the primary sources & were what the authors were themselves.

I’d love to read a story where the main characters & people involved are peasants in the Heian Period. (And who stay peasants, & aren’t secretly royal or noble.)

I’m only suggesting this as a way to expand your mind beyond fantasy settings which have been done before.

I hope too that I’m not advocating cultural appropriation either (an easy trap to fall into.) If you think I am, let me know!

Now that’s all out of the way, here’s some specifics about what I love about the Heian Period:

It’s a Hidden & Secret World Insubstantial as a Dream, Structured by Social Manners & Rank

What struck me right away while reading The Pillow Book & The Tale of Genji is how closed their worlds are. Noble women especially lived in a world of curtains, panels, blinds, and  paper, silk, or bamboo screens, and walled gardens. People speak to each other not only through these divides, but also through messengers / servants.

What connects all these things are how fragile they are.

As Royall writes in his introduction to The Tale of Genji, even in courtship, (pg. xix):

“He cannot see her, and he may have no idea what she looks like. He will not normally see her even if she speaks to him in her own voice, since she will still be in another room, behind a blind and a curtain, and the curtain will remain even if she allows him into the room where she is.”

Seeing another person is very intimate. This makes it very easy to build up mystery and intrigue of a person before you actually meet them. Catching a glimpse of them or a snatch of their voice, or the hem of a sleeve from under a screen can be electrifying. Especially of a gentleman to a lady, or vice versa, because of all those blinds and screens and so forth. Royall mentions this in the introduction to his translation of The Tale of Genji. 

“If he then takes it upon himself to brush her curtain aside and go straight to her, he will by that gesture alone have claimed something close to the final intimacy.” (Introduction, pg. xix.)

What prevents him, of course, is a combination of good manners & reputation. Royall writes, “Good manners maintained a proper distance, which amounted to unholding the accepted social order.” Loss of reputation could mean loss of friends and entertainment and wealth, even exile. Having other people to talk to or play games or music with was essential.

Introducing ghosts, shape-shifters, and uncertain magic to such a setting is only to be expected. (There is a ghost in The Tale of Genji.) 

Also note that then & now personal names were seldom used, & especially not in public unless by someone intimate with you (such as a family member or old friend) or the person was extremely rude. Instead, people were referred to by their rank and title or last name, or even the place where they came from. Some were even referred to by a number, for example, First Princess (Onna Ichi no Miya.)

Notes or letters were vital within such a formal social structure. Even more vital than text messages are today. For in notes, especially poetry, someone could speak from the heart. So much that even the type of paper used was important. For example, most romantic notes were written on thin, colored paper, often kept in the front fold of a robe. They could also be scented and contain a branch from a tree or flowers.

And of course, clever word play and innuendos were all the rage. People were also expected to memorize poetry, and judged if their poetry or writing wasn’t up to standard.

Anyone who loves words would excel here. Think of all the possibilities! Secret lover’s notes, inside jokes between friends, sick burns between enemies or rivals. Plots to overthrow the Emperor could happen in plain sight. Throw some curses and magic to the mix and see what happens. Having some sort of mystery would also work well.

Hope you enjoyed this & makes you excited about creating a unique, rich, fascinating fantasy world.

Or really any part of Japan’s history, which roughly goes like this:

Obviously, if any of this intrigues you, & you want to use Classic Japan as a setting, you’ll need to do research. And I mean it. Or I will hunt down some rusty spoons.

I’m serious though. The reason why I’m writing this post is, hopefully, other people can also learn about Heian Japan, or more of Japan’s rich, beautiful, bloody history. Share the wonder with others, so the wonder won’t be lost or forgotten.

And in doing so, discover the wonder at being able to laugh at jokes made by someone who doesn’t even speak the same language as you, doesn’t even live in the same time or place . . .

It’s truly amazing. People are more alike than we know. And amazingly different. Reading manga & learning about Japan (and other countries) has been & is such a glorious experience. I understand myself & other people better.

It’s opened up the world.

[shenlongshao]

GG Strive: Highlights pt. 2

Welcome to part 2 of the GG Strive highlights! If you haven’t seen the previous one, please go here.  During the livestream, the developers announced the official website for GG Strive(both English and Japanese) will feature content to help people understand the lore of Guilty Gear. The website features manga based on the events of the games separated by chapters. There’s also Youtube videos of the Xrd series’ story modes uploaded directly from Arc System Works.  My perspective of the manga will mainly be from me being a long-time fan of GG. I’ll look at how well and how much information it gives to those not familiar with the series. And, I’ll also be reviewing it as a manga in general with how the writing is, etc. I’ll be using the grade system to judge each aspect. This will definitely be a long post since it’s about the lore.  WARNING: My review will contain some spoilers. If you haven’t read the manga yet or you don’t wanted to be spoiled, it’s best not to read this post.  (Here is the line for the GG manga!) https://www.guiltygear.com/ggst/en/story/ Readability:  The GG Story Digest comics follow the format of reading from right-to-left and turning the pages is from the left side; this is different if you’re not used to reading Japanese material. The font size and style of the dialogue, titles, etc. is generally clear enough. But there are times where it may be hard to see like this one.

The story introduction text of Chapter 5 is mixed in with the background image that has some dark shades of gray. This made it hard to see what it says, especially since the website doesn’t have a zoom-in/zoom-out feature for the pages. You would have to use your browser if you have trouble seeing certain words. Other than this, the readability is very good! Rating: A Artstyle & Presentation: The artist chosen to do the GG Digest comics is Sumeragi, whom you may recognize because she’s known to do artwork for Blazblue. The presentation of her art is nicely done from the opening scenery of each chapter to the expressions on the characters’ faces; there’s a good amount of detail on everything. My favorite part about Sumeragi’s style is the beautiful, soft colors implemented at certain moments in the story like this one.

It perfectly highlights how special the moment is whenever I see it, but it also makes me wish all of the chapters were in color. Sumeragi’s art fits the modern anime style that’s been more mainstream for a while. I think her artstyle is really cute of how she interprets the characters’ designs. I couldn’t help but be reminded of Blazblue more than Guilty Gear at times, though. I personally would loved it if they got with an artist with a distinct style reminiscent of the 90s/early 2000s(for example like Outlaw Star or Record of Lodoss War). Other than this part, I like looking at the pages! Rating: B + (Note: I’ll be going by the English version of the manga by the western side of Arc System Works. The translation has gotten better over the years, but I’ll check the Japanese one for any noticeable differences in the future.) Writing/Pacing: The general quality itself is good, so there won’t be errors like “Welcome to die!” or “This guy are sick”, XD. I noticed the dialogue based on the events of the first Guilty Gear game is improved and the personalities of the characters is conveyed well in each chapter. It does a great job of providing brief character bios and the world of GG in a straightforward way. If you were ever confused on which paths took place as part of the main story, the writing will help make it easier. The writing also adds small details in some of the chapters that you may recognize. For example, on this page below...

For GG fans, doesn’t the man Sol is talking to look familiar? It’s the same guy Sol was stepping on from this.

What happens is the following page between them is probably the funniest part to me throughout all the chapters. The final chapter of the manga ends on a cliffhanger, which is done on purpose for you to watch the Story Modes on Youtube. Now for the negative part... The website does state it’s a quick-overview of events, but I think it’s too quick. There’s so many important details missing that the manga completely ignores. Examples include information about Forbidden Beasts, the Assassin’s Guild, the other Sacred Treasures(like Anji Mito’s fans called Zessen), nations like Zepp, the P.W.A.B.(Postwar Administration Bureau), etc. Other mainstay characters that play supporting/vital role to the series(for example Faust) is reduced to being just there for 1 or 2 chapters. There’s some that don’t appear at all like Slayer, I-No, and Anji Mito to name a few. Things like this is essential to world building in general, but especially for introducing new people to Guilty Gear.  Except for Chapters 5 and 3, the chapters of the manga is short. The final chapter being short is understandable, but not for the previous ones. It ruins the overall pacing of the manga because it’s too focused on getting to the point instead of inform you of the details. The second part is something the official GG website lets you know immediately; there will be some events that differ from the games. This itself isn’t an issue, though there are some things I personally disliked. One of them for me is how the Xrd SIGN design of Justice being incorporated in the earlier events of GG(like The Missing Link). That design of her looks like a xenomorph reject with breasts, XD. It’s not as amazing as Justice’s iconic, mech-like design. Another one is based on GGX Plus when Sol encounters Dizzy. It follows the game version at first, but it then changes a bit with creating a scenario where Ky intervenes. How it was done ruined how is in the game with Sol showing some of his humane side to Dizzy and sparing her on his own. It could’ve been done better. I think it’s best to view the GG Digest manga as a basic guide to the world of GG for those new to the series. For long-time fans, it’s just nice seeing more GG related content in general. It obviously doesn’t negate the source material like the novels, Drama CDs, etc. The manga is definitely worth reading, but still important to play or watch the games’ stories for full context. Rating: C  I’m glad the story of the Guilty Gear series is being promoted more in the West. I love the lore of GG and its characters, especially since it has the depth of an JRPG rather than a generic plot in most fighting games. Sadly, it’s not easy finding info due to either it’s Japan only and/or it’s very rare. There are a few fanmade English sites and blogs continuously trying to provide this for years. Each of them do have some reliable info that can be trusted, so it’s good to browse around to put the pieces of the puzzle together. So far, there’s no #1 source for GG lore yet because besides the part of finding info, there’s also still areas where mistranslations, misinterpretations, etc. of GG is still present. Mistakes like this happens sometimes and not always easy to spot, but can be fixed with no problem! But sadly, it isn’t always that simple because some people handling GG information be very... “heavy-handed” instead of helpful.  So I think it’s best to be not afraid to check and dig, dig, dig! I’m still digging for more GG material, XD.  Stay turned for part 3!

[uraboku-fan-club]

Ty for the quick reply! I agree that Hotaru's health absolutely comes first but it would've been nice if there had been at least a text page or blog post that revealed the plot point she wasn't able to expand upon to so that'd we have the answers. I'm a little confused that the manga ended cause of health issues but didn't Hotaru start a new manga as well? Did the publisher rush her to end, did she want to end the series or a combination? I'm glad she didn't give up drawing at least though! :)

No problem! While there may not be daily posts anymore I’m always here to talk :3

Uraboku ended for a mix of reasons. Hotaru does have health issues plus the work consumed her life. She felt it was unfair to leave fans with all her breaks and rather than just dropping the series she found a stopping point for the series. One day she might pick it up again but she didn’t promis anything. The super amazing @forgetful-amoeba typed up the afterword which you can read here. This is all the information we have about the end.

Hotaru does have another series which for the life of me I can’t remember it’s translated name. The Japanese name is Shinomiya-kun ni wa Wake ga Aru. Twitter translated that as “Shinomiya-kun has a reason.” You can see the characters here. As far as I know there’s no fan translation except the few panels listed in the link (which for some reason don’t show in the mobile app so look at in in your browser) Then again the release of that series is slow as well. It’s only up to 13 chapters which are in 2 books. If I had to guess, I think Hotaru wanted to keep drawing so she started a simple series. It’s a shoujo which is what she wanted Uraboku to originally be but the publishers were like “no we need fantasy and a dude protagonist”

Edit: The manga books have adorable afterwards that explain all this information too. I won’t post it because I’m a scaredy cat who doesn’t want to accidentally break the laws so please buy the official and support it!

[elyreywrites]

do you know who you are?

a fic written for Pride Month 2020!! (yes, i know pride month is over, but i posted this on AO3 on June 30th so.) this is a projection fic. it’s not an exact projection of my experience, nor is it meant to be a generalized representation. this isn’t everyone’s experience.

warnings: slight mention of Jack and Janet Drake potentially being homophobic, and discussion of compulsory heterosexuality

thank you to my betas in the Capes & Coffee Discord - Bumpkin, ZulieTheProgrammer, and Oceans!!

title is from Moana’s “I am Moana”!

please REBLOG - DO NOT REPOST

AO3 Link

Teen 1,678 words Bart Allen & Tim Drake & Kon-El | Conner Kent slight one-sided Tim Drake/Jason Todd - as in, tiny-Tim has a crush on Robin-Jason

Summary:

He’s twelve and watching Robin fight. He’s seventeen and staring up at the ceiling. He’s nineteen and text-spamming his best friends.

Tim’s growing up and finding himself, and he would really appreciate if the Realizations didn’t happen when he’s trying to sleep. Kon and Bart would probably appreciate that as well.

- - - - -

It starts as he’s watching the second Robin knock out some muggers. It’s not the first time Tim has seen Jason’s Robin take down a group of criminals, but it’s the first time that he nearly gives himself away as he squeaks.

 Jason’s so strong, and cool, and pretty, and – oh. Ah. Okay.

He calls it a night at that, bright red from the questions that are swimming around in his head. He spends most of the trip home lost in thought. When he’s sitting on his bed, one of his best pictures of Jason’s Robin sitting in front of him, he gives them a voice. Talking usually helps him get his thoughts in order. “Okay,” he whispers, “do I like boys?” He doesn’t dislike them – not at all. But does he like them? Maybe, but… how is he supposed to know? “Is that too big of a topic?” he wonders aloud to the picture. “Let’s start with this: Do I like Robin? Jason-Robin.”

That doesn’t turn his brain into a jumbled mess like the previous question did. Of course he likes Jason-Robin. He’s absolutely amazing, protecting people and checking on the working girls and kicking criminal ass! He’s only a couple years older than Tim is, but he does so much more! And he’s real in a way Dick isn’t.

Jason’s just a kid like Tim, though they have such different backgrounds. Dick was a trained acrobat, with skills Tim never really believed he could learn. Jason seemed closer. He was still more amazing than Tim could ever hope to be, but it wasn’t an entirely impossible stretch like it was with Dick.

“And he’s so passionate, especially when it’s a kid that’s in danger. And every time he smiles, it just makes me so happy that I kind of want to giggle and—” Tim stops babbling. He doesn’t need to anymore, after basically answering his own question. Yes, he does like Jason Todd, the current Robin. As in, he has a crush on him. Tim falls back on his bed to stare up at the ceiling.

“Well,” he says, “that explains the weird, squirmy feeling I get in my stomach every time I imagine talking to him.” That feeling is always accompanied by a fierce blush and Tim hiding his face for a good two minutes. He thinks he probably should have caught on sooner. Deciding that was enough Realizing Things for the night, Tim quickly locks the picture of Robin up with the rest and collapses on his bed to sleep.

The next day – a Saturday, which is Mrs. Mac’s day off – Tim hops on the computer and starts researching. He has a crush on one boy, but Tim still thinks girls can be cool. Batgirl is pretty awesome, after all! After a few hours and a lot of new information, he settles back on his bed again. He’s bisexual, and sexuality can apparently be really fluid. In all honesty, it didn’t take him hours to find the term, he just fell into a rabbit hole of researching sexual orientation and gender identities. Tim’s fairly secure in his gender, but he’s glad to have learned. It’s something to keep in mind about other people – to not assume anything based on appearances.

He’s bisexual, with a crush on a boy, and his parents will still expect him to only date girls. At least the boy was Robin and completely unattainable.

- - -

Years later, Tim is laying on his bed, staring at the ceiling once again. It’s a different bed by now, in his own apartment at seventeen. The thing is, he’s pretty sure he has no interest in romance. And now his brain was mixing everything up in a tangle of thoughts and feelings again.

“Holding hands is nice,” he admits. “I like cuddling. That was fine.” He hasn’t gone further than making out with anyone, so that’s about the limit of his physical experience. It’s the implication of emotions that makes him want to skitter away. Specifically, emotions of the romantic variety. Now Tim’s reassessing every romantic relationship he’s had, though he’s only ever dated women.

At the time, he had thought he was happy while in each relationship, but… it’s becoming much more likely that it’s because he was previously starved for affection. He suddenly got that affection while dating someone. That thought makes him want to hide from everyone he’s ever dated. Stephanie is the only one he really still has to see, and that has him burrowing under his blankets.

It sounds awful, honestly. Like he was using the relationship to get the affection he so desperately wanted. Logically, he might be overthinking this. He just wishes his dumb brain would tell that to his anxiety and the ingrained societal expectations. “I didn’t mean to,” he mumbled into the blankets.

Romance, dating, being happy in a relationship? He has no other experiences to reference! He didn’t know that something wasn’t right.

Hell, he’s only having this Realization because a woman was flirting with him at a gala and asked if he would like to get dinner together sometime. A romantic dinner date with a woman he wasn’t close to. The entire scenario would be romance with no physical affection, and that didn’t sound pleasant in the slightest. It did, however, make him realize that he might need to think things through again.

So, here he is. Thinking things through. No romance – if he’s remembering his research correctly, the term is ‘aromantic’, similar to ‘asexual’. Asexuality was something he’d heard more about over the years, but he rarely heard of aromanticism. It had just stuck out because while the terms were similar, their meanings were pretty different.

Now he’s glad it stuck in his mind. It gives him less reason to panic about being confused. So, he was bisexual and aromantic. That’s fine! He’s a vigilante, romantic relationships would be difficult anyway.

- - -

A year and a half later, Tim’s fingers fly across the screen of his phone, sending text after text without waiting for a response. Either his friends would wake up or they wouldn’t. Hopefully they would.

Tim: Oh my god. Guys, wake up, I’m an idiot. Bart, Kon, please. I’m so dumb. How the hell am I this oblivious? I’m not bi-aro at all. I’m just fucking gay. It’s 5 am and I can’t sleep, and I just want a boyfriend. I want to do couple things, like cuddle up while watching movies.

Clone Trooper: dude, it’s the middle of the night. why do you do this to us?

Tim feels no sympathy for his friends – he’s been running on less than six hours of sleep for years. Sometimes less than four hours. High school and vigilantism don’t mix well. Anyway, they can deal with waking up to deal with his Realization.

Sonic: bro we cuddle up when we watch movies are we not good enough for you anymore

Tim: Yeah, but that’s platonic, Bart. And yes, I’m aware of the time. I’d like to be asleep too, but I’m lonely and sad and having Realizations! Suffer with me.

Clone Trooper: … suffer how? are you expecting us to have an existential crisis too, or is this just suffering by being awake?

Tim: Being awake. It’s not an existential crisis, it’s just a Realization.

Sonic: its the middle of the night i think it can be deemed an existential crisis

Tim: But seriously, someone please tell me how I jumped passed the logical conclusion I should have come to of “I’m just not attracted to women” and directly to “I have no interest in romance at all”? How did that make sense to me?

Sonic: society conditioned u to like women

Tim blinks at his screen. Bart isn’t wrong, but Tim has absolutely no idea where he’s going with that. He already had the Realization about societal conditioning, thanks.

Tim: Okay? I’m aware, but I’m not sure how that translates to how I didn’t think of the logical conclusion.

Sonic: dude. for years it was a fact – since you were a kid u were so conditioned that u should like women it was just a fact

Clone Trooper: think of it like this, tim: as far as you knew, you liked women. later, you figured out you like guys, but you still think you like women too.

Tim: We’ve established, yeah.

Clone Trooper: so, suddenly something is weird. the only really new thing is that there is romance involved. so that’s clearly gotta be the issue.

Oh. He stares so long the screen goes dark. He drops his phone on the bed and stares up at the ceiling, turning that over in his head. So. He jumped to not wanting romance because it was so deeply ingrained that he was supposed to like women? His exhausted brain seems to accept this explanation enough to calm the edge of self-recriminations.

Tim: That. Makes sense, I guess. But still, it really seems like I should’ve realized a while ago. Also, I’m kind of surprised that you aren’t teasing me for being oblivious.

Sonic: oh thats coming but teasing is saved for when u arent having a crisis

Clone Trooper: later, we’ll absolutely laugh about that jump in logic. but right now it’s too early and you’re already having A Time.

He’s not sure if he has wonderful friends or terrible friends. Tim suspects that he’s still going to hear about this in a few years. It’s the kind of thing they won’t let die for a while.

Tim: Fair enough.

Clone Trooper: great, glad we got that cleared up! now tim...

Tim: What?

Clone Trooper: please. GO THE FUCK TO SLEEP.

Snickering, Tim plugs his phone in and smothers his face in the pillow. He’s still lonely and he still wants to analyze every missed evidence over the years, but he’s also exhausted. The chat with his friends did get his brain to shut up enough that he might actually be able to sleep. He can rethink his entire life again after he wakes up.

[architectuul]

Zoo Story: The Future

Have an online walk through the past, present and future of the Lisbon Zoological Garden with the Gulbenkian Foundation, which was online before the online event started. 

Map of the original edition “Guia do Turista em Lisboa” (1929) [property of Manuel dos Santos and Ascenção Araujo, Lisbon] modified by the curators with the satellite image of Lisbon (2020).

The project for the Future Architecture Platform 2020 will take you to the Lisbon’s Zoological Garden designed by Raul Lino asking questions like what role is the Zoo expected to fulfill in the contemporary city and what will it be in the future? For more check up online virtual exhibition “Staged Nature: Zoo of zoos” curated by Enrico Porfido and Claudia Sani from País(vi)agem with Arian Lehner and Theresa Margraf from Mies.TV, with whom we had a short talk about it.

---

How do you see the future? Enrico Porfido: Do you mean the future of the zoo or the future in general? Because I don't really see any future coming... In this direction, with such a pessimistic interpretation of the imminent future, it doesn't make sense to make many plans for the future. But hidden somewhere, there is also an optimistic point of view where, “thanks” to COVID-19, this crisis represents an opportunity to change our way of living, interpreting and reading our realities. During the study and research phase for the exhibition in Gulbenkian Foundation we understood that the Zoo is not only a place where animals are kept, but it is a place where different themes can be discussed. For example, our approach to nature, its valorisation and the relationship with the historical city. It’s not only an issue of animals in a cage, but our anthropocentric approach to reality! If we can start changing it in the zoo, we might be able to change it also outside it, in our everyday life.

The original map of the Lisbon Zoological Garden, designed by Raul Lino at the beginning of XXth century | Source © Archive of Gulbenkian Art Library

How did you develop this project in the time of pandemics? Arian Lehner: The whole development of this project was very interesting, because we were all apart, in different cities. In the process of creating the exhibition we had a lot of discussions, where we very early understood how to talk about the zoo as an urban piece in the city. One important point which triggered an idea and vision for the future, was the thought of a biologist, who said that the zoo is showing naked animals itself without their natural environment. Such spaces like a zoo might in future  show a variety of glimpses into different places of the world, where  it won’t necessarily be needed to keep living animals in cages.

Why is then important in the whole environmental context? Arian Lehner: A zoo can transform into a condition of  heterotopia which creates different worlds inside it. Animals will be linked to their environments to understand what is relevant to survive. It is a glimpse into the world, within your own city so you don’t have to travel around the world to understand other ecosystems.

Zebra, elephant and giraffe pavilion house designed by Raul Lino. | Source © Archive of Gulbenkian Art Library

You used different media for dissemination of the project, could you explain more?   Enrico Porfido: More than innovative, I would rather say that we were complementary. We are two groups that cover different  dissemination channels and networks. AtPais(vi)agem we are more traditional-academic, while Mies. TV has a more digital approach. I think it worked well because we mixed those two worlds!The main idea was to enlarge the public audience of the Gulbenkian Foundation’s archive within sharing their drawings via digital tools. So, we decided to drop an old-fashioned-paper archive in a contemporary digital media! This goes in the direction that the Gulbenkian Foundation took even before COVID. Indeed, they already had in mind those virtual exhibitions as instruments for making their archives accessible to as many people as possible.

Which types of media did you use? Arian Lehner: Because of the huge variety of new media, we did not fear of putting theoretical architecture-content in this new digital field. If you can buy shoes on Instagram, why can’t we use the same platforms for academic discourse as well? Our goal was to bring the content of Pais(vi)agem to as many people as possible in an understandable way. The exhibition consists of short and long texts, short and long videos, animations, sounds in order to make it understandable. Our exhibition is not closed but it’s a kind of open source, where you can learn and link to many other sites. Such as the cooperation with postcards by Modern in Belgrade

Postcard from Belgrade: "Belgrade Zoo's Ark: A Voyage to the Great War Island" designed by Hristina Stojanović, Modern in Belgrade.

The cooperation with BINA - Belgrade international week of architecture? Enrico Porfido: The collaboration with BINA was a nice experience, although we couldn’t develop it as much as we planned due to COVID restrictions. During the digital talk in September, we compared the zoo situation between Belgrade and Lisbon with local experts and this was really inspiring. And it also ended up in an ephemeral collaboration with the collective Modern in Belgrade, that supported our project sending some “postcards” from the Belgrade’s zoo.

Creating an open-source exhibition? Arian Lehner: This is a process of democratisation of information. We created a digital exhibition that doesn’t translate everything into representation through worlds or images drafted by the curators. What we have is live interviews with experts in the zoo, we didn’t do any representation or transcripts but left the video without the filter so you can listen directly to the experts themselves.      

Map "A walk to discover Raul Lino's architecture in the Lisbon Zoological Garden" designed by the exhibition curatorial team

An amazing change of discourse and presentation coming from an institution like Gulbenkian; what did Future architecture bring to you? Enrico Porfido: From our experiences, there are many new synergies coming out from this adventure. During the Future Architecture fellowship, we started to build new connections and to consolidate our network. This platform has this big added-value of generating interesting synergies. In our small collective, we decided that there is no more time to work for somebody else or being employed for somebody that you don’t want to work for.  We decided it’s time to do something different, because we have limited time to express ourselves. We are aware of what our generation of architects is doing today and which are our opportunities to raise our voice without being arrogant.

Arian Lehner: This current  fear or the future has a  global dynamic. It is not restricted to one nation alone, but the entire planet is facing challenges. Future Architecture Platform is some kind of global dynamic too – obviously a positive one – which is very important because we work within a transnational network and dissemination of information and knowledge.

The Rhinoceros' pavilion | Photo, illustration by the exhibition curatorial team

What would you say about the future after this talk Enrico? Enrico Porfido: That we have a long way to go! Especially for making people understand that architects do not only design houses.  Architects are not just builders! Our superpower is to read reality and territories. There are many tools that we can use, in such a way architects can work as coordinators. We can gather and guide different experts from biology, ecology, anthropology, history, etc. because we can understand the territorial dynamics and coordinate different expertises. Territories have different scales within themselves and architects have the sensibility to understand, observe and work within them.

Is this something connected to a generation? Enrico Porfido: I guess it’s the approach we have to reality. The oldest architects’ generation would probably answer this question in the same way of how they work – alone.This is why we had so many names, the archistars of the recent past and present. But there are not 30yo archistars, why?

The Elephants' pavilion | Photo, illustration by the exhibition curatorial team

How could we develop tourism so that it could work as a creator of new destinations? Enrico Porfido: We can change the way of planning tourism but there is one thing that we all need to understand:we are all tourists at somebody else’s place. You don’t like to hear chatting in the bar under your place, but how is it when you visit another city? I don’t think you care much about the residents.I am obviously generalizing, but here in Barcelona we see the tourist issue as a really strong problem. I can agree that the massive tourism brings along some negative aspects, but we all need to learn how to cohabit. We need to be more tolerant as residents and more educated as tourists. We need to find new models for tourism. I have no clear idea how we should plan the tourism of the future, but I guess people will start to travel more for knowledge and for experiencing the reality of a specific place.  Tourism is a social phenomenon, so when the society “goes massive” also tourism does it.

The Giraffes' house | Photo and illustration by the exhibition curatorial team

Arian Lehner: Psychologically speaking: I travel to somewhere far away because I want to experience different smells, sounds and newspaces. This uniqueness makes travelling attractive, rather than staying at home in the monotony of one’s own life. The important part of visiting places is that you are “only visiting” and many places you just want to see but not live there for the rest of your life. It’s really like a refreshment and before coming back to your monotonous life, which is also safe. Are there different ways though that can create the same effect of travelling somewhere else, diving in a completely different world, place, space? Maybe this could in future be visiting your local zoo because everything will look different, because of different elements that this place is composed of, maybe it is a techno park with different robots. In this way you don’t need to fly away somewhere else to be yet again in a city that has the same Starbucks, the same looking Airbnb – but you can have a different psychologically effect like visiting a different place. That is an interesting challenge.

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Staged Nature: Zoo of zoos: A walk through the past, present and future of the Lisbon Zoological Garden, Gulbenkian Foundation via Future Architecture Platform, 2020 (illustration exhibition curatorial team)

País(vi)agem is an independent research group, which aims to investigate the relation between tourism, landscapes and local communities, co-founded by Enrico Porfido and Claudia Sani in 2015. Enrico is based in Barcelona and working as researcher and freelance consultant on tourism and strategic planning. Claudia became a project manager in the office Urban Act in France, dealing with urban ecology and social district regeneration. In 2020 Elisa Brunelli joined the members’ board.

Mies.TV is a documentation and investigation platform with the goal to initiate discussion on the topic, resolve understanding and reflect on how the role of an architect is changing. The channel has filmed over two hundred interviews ensuring a vast archive of data to enable a thorough and widespread illustration of different standpoints and how these are positioned within a global perspective. Through open screenings, architecture festivals, television shows and panel discussions  aims to communicate architecture to an audience internal and external to the realm of architecture with the use of modern tools.

[kenkamishiro]

20190318 Translation of Ishida and TK from Ling Tosite Sigure’s interview

I wasn’t expecting another interview with Ishida, since there will already be a bunch with him and the artists in the TG compilation album, but here we are. Very interesting discussion on Ishida and TK’s creative processes, so I highly recommend reading it!

If I’ve made a mistake or mistranslated something, please let me know.

Original interview can be found here.

Ishida × TK from Ling Tosite Sigure - Everyone is suffering and fighting against something

[Tokyo Ghoul AUTHENTIC SOUND CHRONICLE Compiled by Sui Ishida] Interview text by: Kaneko Atsutake Editing by: Yajima Yukako (CINRA.NET Editorial Department)

The Tokyo Ghoul anime reached its conclusion late last year after being broadcasted over 4 cours. The compilation album "Tokyo Ghoul AUTHENTIC SOUND CHRONICLE Compiled by Sui Ishida" that assembles the theme songs from the anime sets itself apart from the typical anime soundtrack. As the phrase "Compiled by Sui Ishida" implies, the author of the original work Ishida Sui himself was responsible for directing and curating the songs used in the anime. From the lineup of recording artists including TK from Ling Tosite Sigure, People In The Box, österreich, amazarashi, Cö shu Nie and Ziyoou-vachi, Ishida's ideas and Tokyo Ghoul's view of the world are conveyed in a distinct manner.

What each of these artists have in common are, to borrow Ishida’s words, “the impression that they are fighting against something,” and to borrow TK’s words, “scraping away a part of themselves to give birth to their creations.” As Ishida states during the interview, he projected himself too much onto his protagonist Kaneki Ken, and during the serialization of his manga he physically and mentally drove himself into a corner. However, it may be safe to say that the intensity of confronting oneself in a way that only creative works can possess is what led to Tokyo Ghoul becoming such a huge hit.

I asked Ishida and TK, who provided the two songs “unravel” and “katharsis” for the anime, to speak about each of their creations and their approach when it comes to confronting themselves.

When I heard about the compilation album, I was reminded once again that it’s rare for an anime to have theme songs that clearly reflect the vision of the original author.

Ishida: At first I didn’t know much about how anime theme songs were decided. I’m pretty sure it’s something like, “The partner company is here, let’s work with this artist,” but when the anime was green-lit, I just kept repeating, “This is what I like, I want to work with this artist.”

TK: I think what’s unique about Tokyo Ghoul is how well its musical appeal can be expressed. I don’t know how it works, it might just be nothing more than conveying what you love, but it’s probably surprisingly rare for the music and the original work it was derived from to be linked in such a genuine way.

What’s more, that musical appeal of Tokyo Ghoul has been conveyed worldwide. There’s a ton of cover songs uploaded on YouTube after all.

“unravel” (opening theme of the TV anime “Tokyo Ghoul”) placed 3rd on “Most Played Songs of Domestic Artists Overseas in 2018″ presented by Spotify.

Ishida: TK-san, have you seen the cover videos on YouTube?

TK: They get sent to me if it stands out. Sometimes they’re already up only a day after the original song is released. A pretty amazing feat even if it’s just replicating the song (laughs). Whenever I see that, I can really feel just how much of an influence and pull Sui-san has.

When I was asked if I could listen to the album, I felt that the lineup was very consistent with Sui-san’s feelings, despite each band having their own different philosophy. Ling Tosite Sigure and People In The Box (hence referred to as “People”) are completely different. People and Ziyoou-vachi are completely different, but I can tell that Sui-san felt something from them. It’s because you can see the work and the people behind it, that I became interested.

I’m not really interested in omnibuses, after all (laughs). If the selections aren’t made with a clear intention in mind, it just becomes a jumbled mess.

Ishida: I agree.

TK: But when I think about how your manga was born and grew together with these songs, I can listen to the flow of them in great depth. I thought it was fascinating how it feels like these songs embody Tokyo Ghoul from beginning to end.

Sui-san, did you have some sort of criteria when deciding which artists you wanted to participate?

Ishida: At first I was thinking of a “person who looks like they’ve suffered, with an androgynous voice” kind of image...but that went out the window because of groups like Cö shu Nie...a serious disposition then? As if they’ve been fighting against something. I have that feeling inside me too, so I feel like this is my way of empathizing with them.

TK: When I’m listening to an album, it feels like a part of themselves is being scraped off no mater what song I’m listening to. Even though Ziyoou-vachi’s sound is very upbeat, you can feel how delicate Avu-chan’s (Ziyoou-vachi’s vocals) voice is. You can definitely hear it in each song, whether it be fighting or suffering.

TK: It seems like this time you’ll be talking with various people (the CD booklets contain conversations between Ishida and all artists participating in the album. The conversation with TK contains a different version than the one shown in this interview). I’m sure you’ll be talking a lot about creative works and music with the others, so I thought I’d talk about something else, are you fine with that? (laughs) I think even the people who love Tokyo Ghoul don’t know anything at all about Sui-san as a person...though I’m not in a position where I can talk about people (laughs).

Ishida: Yeah. I want to hear about you instead (laughs).

TK: But I’m worried about you. Didn’t you mention once before that you were only eating chicken tenders?

Ishida: Yeah, I remember. There was one time where I didn’t take in any carbohydrates and only lived off of chicken tenders. And recently I’ve been eating paprika raw.

TK: You’ve on a whole new level now (laughs).

Ishida: And after, something like celery. I began thinking I needed to eat more vegetables, but because cooking is such a hassle, I’ve been eating anything that looks nutritious raw like celery or paprika. It’s not like I’m eating a ton of it, I’m just standing around for a bit munching on paprika every now and then (laughs).

TK: Munching on paprika every now and then, what kind of life is that? (laughs)

Ishida: I’m sitting down all day since I’m writing, drawing, and doing menial tasks for long periods of time. So the stimulation from standing up and walking around eating something reduces my stress and passes some time.

TK: Do you complete your work in your studio?

Ishida: I wouldn’t call it a studio, but yes, when I shut myself in there I do. When I was serializing my manga weekly I wouldn’t have any time to go out, so I’d move around as much as possible inside the house, or even walk a block around the neighbourhood for a few minutes. That was my life.

Between when your manga was being serialized and now, your pace of life must have changed as well.

Ishida: It’s completely changed. I have so much free time now (laughs).

TK: Have your thought patterns changed? Yesterday I just completed my next song “P.S. RED I” but while I was working on it I was constantly thinking, “What do I do about the lyrics? How can I arrange the instrumentals while I’m doing the mixing?” That song took up most of my brain space, but when I’m not doing anything creative my thought patterns drastically change.

To me it feels like serialization goes on forever, so my concern is about the thought patterns during that period. Plus when that suddenly comes to a stop, would you be struck by a sense of emptiness, or the contrary, where the next thing you want to work on will appear right in front of your eyes? I wonder which one it would be.

Ishida: I was emotionally unstable every day soon after my series ended. The moment I finished I was like, “Is it over?” and I was in bewilderment for half a day or so until it finally sank in and the next day I was thinking, “I did it! It’s really over!” Instead of feeling accomplished, I felt free because I didn’t have to draw anymore (laughs).

But that feeling lasted for a few days, and after I became scared since I didn’t have anything to do now. “Huh? What am I supposed to do now?” While I was serializing my manga I was so sleepy that if I laid down I could pass out in two seconds. But now that it was over, I couldn’t sleep because I was so tired, and I ended up having insomnia for about a month.

TK: So your next idea didn’t come to you right away.

Ishida: That’s right. Rather, I came up with concepts during my serialization. The busier I was, the more I wanted to do something else, the more I wanted to draw another manga. While my manga was serialized in Weekly Young Jump, I’d say weird things in my head like, “I wonder if this can’t be serialized in Weekly Shounen Jump?” (laughs) I might have a hot idea and think, “I want to build more on this,” but once your serialization ends, that incredible feeling disappears.

TK-san, how do you feel once you’ve finished a piece?

TK: That I’ll never be able to make another one again. That’s what I’ve been thinking ever since the second album (released in 2007). Since the title of that album is “Inspiration is DEAD” (laughs).

Ishida: Really!? (laughs)

TK: I’ve started thinking about it again recently, but it’s something that I’ve always thought about for a long time. But now I’ve come full circle and started to think the contrary, “What if it [inspiration] might not be dead?”

But I think it’s true that it’s when you’re chasing after something that inspiration really hits you. Since my mind is moving at a lightning speed right before finishing a piece, it’s during those last moments that I find lots of things I didn’t notice before. And because I can’t bring myself to overlook them, I end up saying, “Give me another hour.”

Ishida: I totally understand. I always end up noticing or adding in new things right before the deadline.

TK: Every time I think, “Why didn’t I notice this in the beginning?”, but it’s never noticeable then. There’s certain revelations that unfortunately only come at the very end.

Ishida: It is unfortunate.

In the beginning we talked about having “fighting against something” in common, and Sui-san said, “We don’t know what we’re fighting against.” But if you think about it, I wonder if it can be phrased as “fighting against ourselves” or “confronting ourselves”. What do you think, TK-san?

[T/N: This wasn’t mentioned in this interview, so they may have been talking about this during the other Ishida x TK interview that will be in the TG compilation album.]

TK: I don’t think there’s anything like that inside of me.

Ishida: Oh really?

TK: “Can I create music from within my empty self?” That’s where I’m starting from.

I mentioned earlier about how once I’ve finished creating a piece, I think about how I won’t be able to do it again the next time. But by then I’ve dug deep down into myself, deep down to the very bottom, grabbed everything I can, and after coming back up to the surface, I’m in a state where I’m devoid of anything inside me. I’ve been gradually digging deeper, digging in different places, and just barely writing new pieces. It feels like I’ve dug all the way to Brazil once I’ve finished digging (laughs).

Ishida: You’re gonna split Brazil in half (laughs).

TK: If I’m given a story based off an anime like now, I can just throw myself out there because the story already exists. But when I’m making my own creation starting from scratch, I have to confront my empty self and start asking myself, “What do I want to create?”

That’s why I’m so happy once I’ve grabbed onto something, and the moment I think, “This might be it,” I feel like I’ve been saved. That’s when I’m truly able to feel that I still have something I want to hold on to.

Can Tokyo Ghoul also be considered a work that you’ve dug deep into yourself in order to draw?

Ishida: Tokyo Ghoul is a work that almost has a “me, myself and I” kind of mentality. I should’ve just tried drawing an ordinary manga from the start. Like an average everyday manga (laughs).

I didn’t know much about manga, I just wanted to start my manga right away without any self-reflection. But when I started drawing it, I had to face myself a lot more than I expected. I found it very tiresome, not understanding the nature of my roots, not being able to draw unless I dug into myself in various ways.

TK: What volume were you on when you realized that?

Ishida: I think it was a bit before OG volume 7? I was very conscious of it in volume 7, so I decided that I had to suffer. I came up with the idea of torturing Kaneki, and because I thought I wouldn’t be able to draw it if I didn’t do the same to myself, I drove myself into a corner.

How did you do that?

Ishida: To put it simply, by just not sleeping and working non-stop. At the time, I slept so little that I’d lost my sense of taste. But I thought that by doing that I’d get closer to Kaneki, so I continued to step it up, letting it become a part of me more and more, until I was no longer in the right state to draw manga. Actually, there was a time where I was just barely drawing for a while. That was the first time I thought that creating was dreadful.

TK: To me it feels like what you experienced up to your sixth volume is similar to my experience with my first album. For my first album, because I was drawing on a blank canvas, I could create freely without a thought. Because at first there was definitely something on the canvas that I could see, it could take form if I placed something there.

However, once you’ve got something down in the middle of the canvas, when you start drawing on it again, it’ll depend on my choices as to how to expand the canvas, where I should draw.

Ishida: I see.

TK: There was this one moment where although Kaneki had looked in front of him until now, he could no longer see what he wanted to do because he had retreated deep into himself. I think that’s close to how I felt regarding my second album.

After all, it’s really difficult to continue on from there. In my case, it’s whenever I’m writing a new album, but in the case of manga, when I think about how you have to write a new chapter every week...it leaves a weird taste in my mouth.

This may be hasty to ask, but now that it’s been a while since your series has ended along the anime having concluded, how are you thinking about the concept of your next work?

Ishida: I won’t have an easy time starting it if I don’t have a firm objective in mind. I know it’ll be difficult for me to get started, so I need a really good reason and some degree of preparation.

Isayama Hajime of Attack on Titan also says something similar in “Jounetsu Tairiku”.* He said, “But I probably have to start over again,” and I thought, “Is that so, that sucks.” (laughs) So right now I’m in the middle of searching for a reason, the significance of it, my next motivation.

[T/N: “Jounetsu Tairiku” is a documentary. Isayama had an interview with them back in November 2018 which included talking about Attack on Titan’s final arc.]

TK-san, once you made your first album and felt empty for the first time, what did you find was important to help you move on and start your next work?

TK: It’s really tough for me since I have to scrape off a part of myself when creating something, but I feel very strongly that I only exist in my songs or during live concerts. I’ve got the sense that I really might disappear if I quit, so I can’t stop.

Even if I say I feel empty, if my empty self disappears, then I truly will disappear. I think it’s also different from motivation, but it’s because I feel that way at a cellular level that I can continue to keep making my next piece.

End of the interview.

[texterseo91-blog]

Professional SEO Copywriting Services - What They Are, And What They Aren't

If you type the words"seo copywriting" to Google, tens of thousands of posts and supplier websites come up. However, just how many of them are genuinely helpful? Is seo-friendly copywriting the standard? Are copywriters now so-savvy? In fact, if you're searching for a expert SEO copywriter, you are likely to have to store around.

There are hundreds and hundreds of seo optimization companies that masquerade as copywriters - that may set them in the guide so far as search engine saturation and rankings. SEO optimization indisputably brings the visitors to your site. Without it, you would be missing at the never ending sea of sites. It is tempting to employ an SEO company to just install your keyword content, submit your site, and let it go. This really is a sad mistake for internet companies to create - when the traffic is delivered, they lose earnings. A wholesome dose of advertising consciousness is your genuine goldmine in regards to so-savvy copywriting solutions.

Have a look at the work of a number of the highest seo optimisation companies. Do it today. Google 'seo optimization'.

SEO companies are usually rather wordy - they are pressing on the constraints of search engine ratios. They understand that as a SEO company, their intention is to obtain a web site into the surface of the search engine success. Once they have done that, they have finished their occupation. They are not there to write sales copy or think of a tricky, brand-building motto. They're there to assist you feed machines not brains. Regrettably an SEO firm simply does not have the marketing savvy to create web site content that brings in the vital elements of advertising: psychological draw, a persuasive message, and also an amazing offer.

Can you inquire a seo optimization company to compose your printing brochure? Help you design a script to your television commercial? Can you ask them to compile a media kit to get prospective investors? Of course not - that is not exactly what they focus in. SEO optimization businesses specialize in communication with search engines - not individuals.

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So, what exactly do accurate seo copywriting services perform to your own website?SEO copywriters focus on the concept, then the translation into Google. They're specialist translators which produce a smooth transition out of search engine terminology to customer-centric terminology. They compose your backup with no key words in your mind (a 2-7percent key word ratio, that's the norm ) but they still add voice and style to what you are selling.

A fantastic SEO copywriter steers apparent of cookie product descriptions but nevertheless manages to slide your key words in there for Google and Yahoo to see. They understand how to build your new and your business picture using professionally written, good copy. They are the important part of a legitimate search engine advertising effort - they provide your business a voice which stands a cut above the rest.  Have a peek here Texterseo

Your site includes a voice, and seo copywriting services must construct a clear message

The voice of your organization is the terminology on your own site - all the phrases, product descriptions, connect text, and metadata the search engines pick up and send - and - people wind up reading. A seo copywriter will hit a balance between using promotional and keywords words efficiently. They do not sacrifice quality for the sake of a greater saturation rate. They need copy that's fascinating to see - and brings earnings. They wish to key words to be incorporated into high-pulling articles.

A fantastic SEO copywriter will understand that headings and names are equally as significant to the search engines since the people who visit. They understand the significance of daring and bullets to make reading easier on the eyes to your computer-weary clients. They also understand that Google finds it a lot easier to read also.

An SEO copywriter is a hybrid of the creative imagination and tech-savvy - pleasing both search engines along with also the interest of your prospects. They need results that convert to high search engine results, in addition to higher revenue volume.

Evaluating seo copywriting services - is the copywriter an seo company in disguise?

So, how can you know whether you're genuinely working using an seo-savvy copywriting support? The simplest way to learn would be to read their site. Many seo companies rely heavily on search engine numbers - even in their own site copy - but do not let this alone frighten you off. Statistics are the number of seo companies see their end of their deal - the outcomes. Look at their portfolio. (If they do not have a portfolio or links to internet work, operate!) Read their site text to find out whether sounds just like someone took time composing it is there promotional terminology? A call to action? A definite list of advantages? Is the material persuasive? Are their posts useful and worth studying - or do they appear to grind out info in monotone?

Things to look for when picking a professional SEO copywriter:Here are a couple of things to search for when you pick an SEO author, as well as why.

   Does your seo copywriter have a portfolio or links to keyworded posts? Does it include more than simply seo-related work? (Most seo copywriters either started away in print media or mix with it from time to time. Experience in other marketing mediums demonstrates they know how to promote to individuals, not only machines.)

   Are their posts unique and persuasive? Read some of the seo-keyworded posts by printing them out on newspaper - does the backup flow easily? Might it be exciting or educational? Can you observe the repetition of key words enough that it destroys the phrase flow? Oh, and if you are at it, Google their posts and find out how they rank in the search engines, too.

   Does your seo copywriter have a title? That's correct - a title. (Will Smith. Cathy Bates. Melissa Brewer.) A good deal of seo copywriting providers farm out their work to India along with other tech-saturated nations. This is very good for pricing - but the quality may vary and is determined by the English abilities of each individual author. The posts on their site needs to have a byline and data for their writers - expertise, a portfolio, an"About Us" section - whatever that your customers would wish to learn about you.    Does your seo copywriter care about your advertising strategy for a whole? Do they give complementary solutions - both web and print, to enable your marketing security to intersect with your search engine attempts? Can they make referrals to reputable providers from the advertising business?

A truly capable, creative seo copywriter is a diamond in the rough. When you locate a individual having a hybrid of advertising and technology abilities, you've discovered a true partner in your internet advertising efforts. Do not forfeit your company site to search motors. A fantastic no author can aid your site - and your new - increase to the peak of the search engines in addition to the forefront of your client's thoughts when they're in a shopping mood. SEO copywriters may also help you produce online newsletters, e-books, posts , sites , and some other backup where phrases are used to market products or solutions. The ideal mix of keywords and internet marketing increases sales, attract clients and increase your company exponentially - both offline and on.  Check This Out Wortschmied

[aokane-eldarya]

Hello :-) hope you're doing well . Just wanted to know what do you think about eldarya and mclul writing .

Hi anon :D

Thanks for you concern, I’m doing well enough (although my cat woke me at 4:30 am and did not let me go back to sleep and she pee on the dirty laundry…)

Sorry to answer you only now, I needed the time to think (and finish my opinion about Leiftan spin off). It might be a bit long lol

So, generally, for both games, I would say that, considering the conditions in which the episodes are made, the writers are doing well ; it could clearly be worse.

Chino has three games to manage and it’s just amazing that she manages to deal with so many stories at the same time and in record time. When you work in a professional way, it can become exhausting quickly, you have to think about everything, keep in mind each of your stories, the characters and background of each of your characters…

Not to mention the technical aspect and management of each team and each person who work on your projects.

My main problem with MCLU and Eldarya comes from the means that are given to the teams.

I really feel they do not have enough time to go deeper, to do more research. Normally, when you write, it is best to let your text rest, not to touch it for a while. (personally, when it comes to my novels, I do not touch for a month after finishing the first draft) 

Then you read it again with a new look, you correct, you rewrite. Then you confide it to several beta readers (I usually give them one month delay for a novel) and then you read it again, you help yourself with the advice of beta readers to eventually correct the content, then the form and the style.

For an otome, you must also think of all the graphic aspect, the appearance of the illustrations.

The creation here seems to depend on a calendar and the availability of the translators, whereas it should be the opposite. I’m not saying that they have to take all the time they want, but that the time should be calculated more accurately.

For MCLU :

- My first problem is the presence of Hyun and Rayan. Now, I understand better for Hyun who seems to me to be a bit extreme in his feelings and who is hasty in my opinion (it reminds me of one of my ex who thought I was the woman of his life when we were a couple for only a few days ), so, it’s ok. For Rayan, I really love him, I think he’s really interesting, he’s definitively my crush, but I don’t understand why some passages have been put in place even when you have a low LoM. You can not use the argument that it’s her soulmate, like Leiftan. And it’s quite paradoxical, because for certain passages, our choices are perfectly taken into account and we are not confronted with certain scenes.

- I also have a problem with Priya, who does not have the same place, it seems to me, as the other crushes. We still have trouble knowing where we go with her. We have learned some interesting things about her past, we also know that she will rather enjoy the life. Maybe with Priya it will be to convince her, to reassure her about being in a serious relationship. It’s difficult to know at the moment and the fact that she has that perfect and Mary-Sue side is not helping her for the moment.

- I really love how Nath is writing for the moment. I know from experience that when you love a character, it will be easier to write it and to write it well. That does not mean that we can not write well a character we love less, it only means that it will take a little more time and energy. Chino said Nath is her favorite and it shows in my opinion. She has a predilection for tortured characters.

- Castiel is also a character that I appreciate. During those four years, he really became a more mature adult, he kept what made his charm when he was younger, while working on his flaws. I’m still waiting a little, but for the moment, it seems to me to be well written.

- There are other characters I like the way they are written at each of their appearances, like Kim or Amber, even Yeleen and I love Chani with all my heart

- Even though I do not like her, Melody seems to have more to show than in HSL, so I’m a little intrigued.

- I do not really have an opinion about Alexy, Rosa, Morgan, Nina … I still can not understand how they are written, especially Rosa and Alexy. Unlike Castiel and Nath, I can not see how they have evolved and become who they are today. So wait and see.

- I do not really like Clemence’s writing, too caricatural for me for the moment.

- About Candy… I have mixed feelings. Sometimes I love how she thinks and reacts, sometimes I just wonder where she put her brain. I love that we can have so much access to her thoughts. I know that some people do not like it because of the AP system or because some of her thoughts could be embarrassing to players who want a more malleable character. I have to admit I’d like her to have more questions, but maybe because I’m a very introverted person myself and I’m constantly thinking, having a lot of questions in my mind.

- Regarding the plot, there may be some clichés, but I do not think that’s a problem. Clichés are good too ! I am not asking an author to give me something that is necessarily original and never seen. I first want my emotions to be jostled. Sometimes laugh, sometimes dream, sometimes cry.

- There are scripting facilities especially concerning Candy’s studies. This point is delicate, especially because it is an otome. There are people who want more, others who want less … It’s complicated. That said, I think that some things could be avoided, even when we do not want to develop too much.

That’s all that comes to me about writing MCLU right now, actually.

For Eldarya :

- I really, really love Eldarya, but my main problem is the lore. I want more. I want so much more. I really feel that this is the most damaging to the game and gives the impression to some players that the game has problems of inconsistency and misunderstanding. But again, it’s really difficult, because there are a lot of players who do not care, who do not want more lore, more explanations and just want the plot to advance, again and still, who do not want to take the time to observe the world in which Erika evolves. And the most incredible is that these same players are able to blame problems of inconsistency ! And, of course, there is this word limit problem. This is really a problem for me, because it forces writers to get to the point, to give the maximum, but with the minimum.

- The way our character is written is really correct for me, but I would just like her to have a lot more questions about the world around her. Simply because it makes sense to do it in an unknown world !

It’s a personal taste, but I love her sexual freedom, the fact that her relationship starts this way. Because it’s really, really pleasant to be able to play, in an otome, a character who has the same sexuality as you. In most of the otome games I’ve played, the character does not have that freedom, she’s either uncomfortable or completely ignorant. I can deal with this, because some people work that way in real life, but when it happens again and again, it becomes very frustrating.

But, I still have a problem with the way in which the relationship is presented.

For Leiftan, it’s completely perfect. It’s from the beginning that they get closer slowly, Leiftan is really adorable, he never rush her when he loves her from the beginning. And the beginning, it means several months, almost half a year ! And considering this, considering the link that unites them, I just find that their relationship is fantastic. This is the only one of the relationships where Leiftan really tells her “I love you” and not in a roundabout way and retracting, like Nevra for example. And we really have the choice to say “I love you” too and it’s so fucking amazing because it’s so natural! I love them, I love their relationship !

 And then there are the chiefs of the guard. The problem is that the beginning of the relationship was not as idyllic with them and that there were problems, they did not really respect her when she arrived and for a moment, and they have even betrayed one of the worst ways possible. They stole his earthly life!

So, the relationship with them sounds a little … weird.

Valkyon is pretty much ok, because for the moment, the beginning of their relationship was mostly focused on the physical aspect, not yet sentimental. So … ok.

For Nevra and Ezarel, it’s clearly more weird in my opinion. It’s rushed. They are there, animated by the passion of love and you do not understand just why, how it happened so quickly. Not even three months ago, they forced her to drink a potion to erase her from her family’s memory, and now it’s almost as if Nevra is going to ask her to marry him, to take his example.

The reason is simple, it is to try to put the three guys at about the same level as Leiftan (even if Leiftan remains favored). But it still weird.

- I am totally in love with the way Leiftan is written. I. Love. Him.

- There are other characters I like the way they are written, like Chrome, Ewelein, Camera, Keroshane…

- About Ezarel, Valkyon et Nevra… I don’t really know. I always had a little trouble with their personality. They bother me a little, but I hope their arcs will make them more interesting.

- I’m really, really intrigued by Lance.

- Miiko was written a little awkwardly for me, the aspects of her personality were not presented in a balanced way

- I do not really have an opinion about writing other characters.

- And finally, about the plot, I really love it, i’m really interesting, passionate about this, I can spend hours thinking about theories, thinking about all the details, doing research… I want a library with a list of info unlocked for each episode.

[velvetchen]

Anonymous | pt. i

[ back to masterlist ]

Scenario: Tumblr AU Pairing: Chanyeol/Reader Word Count: 1671 Rating: T 

Summary: You just shot to tumblr fame when the latest chapter of your webtoon went viral. Messages start flooding in – hundreds of people saying things good and bad alike. One anon catches your eye, and you find you just have to reply to them… 

next part >>

You found out when your friends all started calling you. That morning, you woke to your phone bursting with notifications – your twitter, tumblr, texts, everything. You picked up your friend Jia’s next call, your groggy hello met with the sound of her excited screaming. “Y/N! You’re famous! You’re all over the internet today?”

Groaning, you rolled over and checked the time. 8:37, too early for anything. “What?”

“I said, you’re internet famous,” she said. “Strawberry Shortcake just hit it big.”

That shot you awake. You jolted upright and pulled your laptop towards you, logging in and opening your tumblr. “What? Oh my god.”

“I know!” Jia squealed. “Oh my god! You totally deserve it, Y/N, you’ve worked so hard on it. Congratulations!”

Your activity page had numbers you’d never seen before. Reblogs with comments. Your inbox, full. You felt dizzy. “I’ll call you back, Jia,” you said. You didn’t wait before you hung up.

What had just happened?

Opening a new tab, you typed ‘strawberry shortcake tumblr’ into the search bar – and nearly fainted at the results. The first link was your tumblr. The second was an article about it. About you. About your webtoon.

You didn’t know what to feel. The webtoon you’d been working on for more than six months, so far resigned to a few reblogs and barely more than five hundred followers, was suddenly famous.

We Can’t Get Over This Super Cute Romance Webtoon, And Chances Are You Won’t Either

Strawberry Shortcake, a super sweet love story written and illustrated by the owner of the strawberryshortcakecomic tumblr – known only as S – is something we just can’t get enough of. The cute story, light humor and to-die-for cold-hearted, bad-boy-with-a-heart-of-gold love interests will have you rushing through the chapters and smiling like a fool. The webtoon is available in English on Tumblr and translated to Korean on LINE Webtoon.

You scrolled down to the comments.

iluvBTSxox: aha wow so cute ~ ^o^ prettyboy88: ㅋㅋㅋ so nice blossom3bunny: i love it so much, thanks mika-chan for recommending it~~~

So that was how it had gone viral. Mika-chan, another webtoon artist, ultra-famous for her anime-style webcomics on LINE and tumblr. You felt flattered beyond belief. Immediately, you pulled up her tumblr – and there it was – her reblog of your latest episode along with the caption “one of my favorite webtoons ;o;”.

strawberryshortcakecomic asked: mika-chan!!! Thank you so much for liking my webtoon ;;;;;; I’m so happy you liked it <3 I hope you enjoy my work in the future too!

You’re welcome ㅋㅋㅋ it’s very cute

You couldn’t believe she had replied to you. Much less reblogged your work. It felt surreal. Opening your tumblr inbox, you got to work answering, still on the high of your newfound fame.

Anonymous asked: author-nim~~~~ the last chapter is so nice, please update, when does jinho take yoon ah on the date

I will be updating soon! thank you for liking it

Anonymous asked: that lake scene is so sweet omg

Haha I know right! Thanks :)

Anonymous asked: I CAN’T WAIT ANY LONGER OH GOD THE FEELS!!!

You won’t have to wait much longer, the next chapter will be up soon !!

 You moved to the kitchen with your laptop, setting it down on the counter and opening the fridge to get some yogurt and fruit for breakfast. You sat back down immediately, intent on answering as many new messages as you could.

snsd-superfan asked: i love jinho he’s so hot ugh

;)

Anonymous asked: mika-chan brought me here and can I just say I’m in love with you and your work

Thanks! Love you too anon

The next message stood out, because while so far you had only seen one-liner compliments and messages about your work, this one was much longer. You read on, intrigued:

Anonymous asked: Dear S, I’ve been following you almost since the beginning of Strawberry Shortcake and I wanted to congratulate you on your newfound and very well-deserved fame! I know how hard you’ve worked and how much effort you put into making the chapters for us, your readers. I’m so happy to see you get the fame you were destined for! Now, about the last chapter, hmm. I feel like something is going on with Seong-jin...is he plotting something behind Yoon-ah’s back? Sincerely, C

You thought a minute before you wrote out your reply, pausing in between words to make sure it was perfect. This ‘C’ person had obviously put a lot of thought into their message. At least that’s what it looked like.

Dear C, Thank you very much for your long and thoughtful message! Honestly, I feel extremely surprised. I don’t know what to do with all this fame, haha. I’m so flattered you think I deserve it, and that you’re a long time fan. How long have you been here?

As for the plot...you’ll just have to wait and see. I have a lot of things in store for Seong-jin!

Love, S

You continued scrolling through your inbox, but that was the only message of its kind - which only made you more intrigued. When a reply popped up, you felt yourself swell with a strange excitement.

Anonymous asked: Dear S, you’re very welcome for the praise ^^ I’m sure things will only get better from here. I meant it when I said you deserved all the fame. I’ve been following your blog since the third or fourth episode I think. That was a long time ago! You’ve come so far since then. Your art has improved a lot too. I can’t wait to see what you have planned for Seong-jin. He’s my favorite character (yes, I don’t like Jin-ho! I think he is too perfect...something’s wrong...haha) Sincerely, C

Was it too soon for you to reply? Shrugging, you started typing anyway.

Dear C,

Aw thank you, you’re making me blush lol. Thanks so much for your support! And wow, since the third episode? I don’t even remember that far back, you’re right when you say we’ve come a long way. Thanks for the comment on my art, do you really think so?

I should be offended you don’t like Jin-ho, but maybe you’re on to something ;) kidding, kidding, I don’t want to give away any spoilers. Seong-jin is my favorite character too, he’s very close to me. He was the first character I came up with for SS. At first he was going to be my main character but I made Yoon-ah the main character at the last minute.

Love, S

Anonymous asked: Dear S, I clearly remember the day I found your comic. It was actually reblogged by one of my real-life friends. I was crazy about webtoons so I was super excited to find a new one to read. You didn’t disappoint :) Am I really on the right track about Jin-ho? I mean, he is a vampire, but he still doesn’t have any flaws. I’m guessing that’s intentional. Maybe he’s hiding some dark secret lololol. I hope Yoon-ah ends up with neither of them though, they’re not that nice to her :( Sincerely, C

Dear C,

Oh, please thank your friend then! They must have known me from my other blog ^^

You’re right, it is intentional, but there aren’t any dark secrets coming up...yet. Haha. Jin-ho is that very cliche k-drama character isn’t he! Hot and cold and handsome as hell. I have a lot of fun drawing him. ;) And yeah, neither of them treat Yoon-ah right, but that’s plot progression for you. I’ve already confirmed on this blog that she will end up with one of the two. The ending is still a long ways away but I hope it’s satisfactory!

Love, S

Anonymous asked: Dear S, yes, I’ve been following your other blog too since then! You’re very private haha. But you’re very nice and friendly too ^^ Jin-ho is total eye-candy! My friend has lots of screenshots of all the shower scenes lol. She sends them to me. He is definitely a cliche character, but those can be very fun to read and write too. Even if there aren’t any dark secrets I’m sure he’s still hiding something. Oh well, I hope Yoon-ah ends up with the right one then. I like her a lot and hope she gets a good relationship. I don’t doubt in your ability at all to come up with an amazing ending :) Sincerely, C

Dear C,

Am I private? I guess I must be, since I don’t even have a proper pen name! Aww, you think I’m nice and friendly, thanks, you’re not too bad yourself :)

Your friend has good taste lol. I’ll draw more shower scenes just for her ;) You’re right about cliche characters not having to be one-dimensional. I put a lot of thought into Jin-ho when I was creating him and he’s actually very similar to me. Stubborn, secretly caring, introverted (unfortunately not I’m not as hot lmao). You seem to know a bit about this writing thing, do you write?

Yoon-ah will get the happy ending she deserves! She’s my precious little flower baby.

Love, S

 Anonymous said: Dear S, it’s okay, you can be as private as you want,. I’m just warning you that fans can get a little crazy about finding out who you are...so be careful. No, I don’t write, unless you count writing music, which is a lot different from making webtoons I imagine :) Are you really similar? I guess I’ll have to start paying more attention to Jin-ho from now on. Sincerely, C 

Dear C,

Thanks a lot for the warning! (wow, do you have experience with this fame thing?) I know, just a couple of hours since the explosion and I’m already getting hate. Writing music could be like making a webtoon, hmm...you’re making a story without words. Or with only dialogue. Huh, I guess not really.

Oh no, have I revealed too much? ;)

Why don’t you come off anon? I’d love to talk to you some more.

Love, S

a/n so a little background - like all the scenarios i’ll write this is set in an ambiguous location with no set culture/mix of cultures, so you can take it to be anywhere (i intended korea). webtoons esp. romancey webtoons however are pretty popular in korea so a bunch of the comments and etc will be like on a korean website. after this part the story will mostly be told through a collection of messages, articles, posts & dialogue. also i know asks don’t let u write that much but bear with me ok