#they’re co-protagonists your honor

[doublel27]

I have to say, I really love the balance and parallels The Trainee is pulling off with their interns. Specifically though, the focus on BaMhee and Ryan as our central leads, because they directly parallel each other in this story.

Of our interns, BaMhee and Ryan are the ones that didn’t really mean to be there. BaMhee is there following Tae with no real aspirations of her own outside of being close to him. Ryan is there because his only friend encouraged him to try it and he got pulled into the wrong interview. They both show up relatively aimless and without a real objective which is contrasted by Tae and Pie who are so focused on their dreams/objectives they have a hard time seeing around their own plans. Pah has a dream, like Pie and Tae, but he lacks confidence in his ability to complete his dream, in the way that Ryan struggles with his confidence.

And throughout the story, they’ve allowed Ryan and BaMhee to start finding themselves within the story. Both have become more involved and valuable to production as time has gone on. In the early episodes, BaMhee was usually texting Tae and Ryan was often silent and confused. Now BaMhee takes initiative and makes her own decisions. Ryan has taken to coming up with his own ideas and sharing them, as well as getting involved in scene set up and being better at handling extras.

Both had very significant revelations in today’s episode about who they actually want to be or might be that were explored in 4/4.

BaMhee realized she was still in love with Tae and while she likes Judy, she doesn’t like her enough to want to have a full relationship. I was always worried that BaMhee liked the attention and the confidence of Judy because we didn’t get to see much of Judy beyond her work persona (unlike Jane who we saw behind the curtain much earlier). I actually loved BaMhee’s speech to Judy about how no one person is an exact fit (which is why you cannot survive on one relationship alone - romantic, familial, friend - a person needs multiple people) and how both Tae and Judy have things that fit her and things that don’t. But it’s the love and feelings that she has for Tae that make her want to try.

And I find this evolved for BaMhee because it often felt, in the early eps, that she just wanted to be with Tae to be with Tae and not for her relationship with Tae. Like it didn’t feel like a thing she was choosing so much as clinging to. I know she knows that because she told Tae flat out what she wants, which BaMhee never did before. She laid out she doesn’t want grand gestures or big surprises; she just wants time.

Directly paralleled with Ryan, who has now had Jane in his home, and is finding his footing. We saw it some the last two episodes, but this episode had Ryan contemplating his dreams, and who he is, and what persona he might wear, or not. I loved the throwback to the interview and him explaining while he didn’t want to be porridge with side dishes then, just a person in the background supporting, now he does want to be porridge with side dishes because he wants to figure out what fits him best. Who he wants to be as a grown up.

I love that Jane pointed out earlier in the episode that no “adult” has it all together and even asked if people need big dreams. His own contemplation of his dreams and where he is over where he thought he might be was a lovely reflection in the conversation with Ryan. It’s beautiful how they talk about these things.

And @lurkingshan has a beautiful post on BaMhee’s relationships with Judy and Tae respectively, and how Ryan and Jane are slower, but Ryan and Jane are also deeper. Judy didn’t really listen to BaMhee, not really, or ask probing questions. Judy and BaMhee both operated separately, sometimes in concert and sometimes in opposition, whereas Jane and Ryan communicate about ideas and feelings and dreams. Another contrast I’ve enjoyed was Jane let Ryan in first, with the feeding and bringing him home, before he crossed into Ryan’s world in episode 10. Which is a contrast to Judy showing up at BaMhee’s family restaurant (entering her space first) and having BaMhee feed her while we still know very little about Judy. Yes she talks BaMhee out, later, but she doesn’t ask first. Jane always asks. It’s a very cool contrast of how both of their relationships with their mentors have helped clarify things for BaMhee and Ryan in multiple ways, while being very different.

Anyway, while I am sad my sapphic plans didn’t pan out, I still love this show dearly and it’s so well written and beautifully shot.

[shitpostingkats]

Yu-Gi-Oh Review Roundup: Zexal!

Favorite main character: Astral

Yeah, I like the funny little autism alien. Everyone contain your shock.

But aside from the fact that there is a main character who is a glowing floating non-human, Astral is such a well written character. He starts with some of the barest foundations of a personality, being literally an amnesiac with no idea what is going on. Over the course of the show, you watch him slowly learn about the world around him and his place in it. Same with his relationship with his co-protagonist, Yuma! They start off very combative, but then learn to rely on each other, then a blossoming friendship, until they grow into fully loving and protective best friends. And we get to see that! All the little moments of their friendship is onscreen from day one. 

And aside from Yuma, Astral is just???? Hilarious??? He has this very dry sense of humor that is so anachronistic to the rest of his general naivety and it makes me smile EVERY TIME. He’s FUNNY. 

A personal pet peeve of mine is the assumption that autistic coded characters don’t understand jokes, and the only way to make them work in a comedy setting is to have the audience laugh at them. No!!! Astral’s just got his own wacky sense of personal humor! Even as he grows closer to Yuma, he still has his witty jabs, but this time they’re affectionate. This really is the way he talks, not just some consequence of amnesia and social bluntness. I love him. He’s clever and funny and caring and learning to love and awkward and awesome.

Also, he glows and floats. 

Favorite antagonist: Vector

Vector may not be the most consistently written character, but GOD IS HE FUN.

About 80% of my love of Vector is just in the visual appeal of his design and animation. The black and grey, almost like a gargoyle, with pink accents, plus his chrysalis/butterfly/alien duel disk? Mwah. Because barians don’t have mouths or eyebrows, their facial animation has to be really exaggerated to convey expressions. Vector’s face is made entirely of squash and stretch.

Add on top of that the dub’s pitch perfect and very fun vocal performance, and I just grin every time he comes onscreen. The actor manages to sell how this guy is a wildcard and just evil for the FUN of it. The giddiness in his voice whenever tormenting someone with evil cardgames. Every one of the barian emperors is like “And then there’s this guy. What a weirdo. We’re not 100% sure why we keep him around, but he is OUR little office chaos gremlin and he is a VALUED MEMBER OF THIS TEAM.” 

 When Shark is introducing all the emperors after reclaiming his title, his literal words when he gets to Vector are just: 

“Vector! Need I say more?” 

And even after trying to kill Nash like three times, he’s still in the final Friendship Lineup for the duel of three worlds, his monster used with complete honor and seriousness, complete with a special summoning chant and battle cry. 

THEY GIVE HIM A SPACE IN THE FRIENDGROUP AFTER HE TRIES TO DESTROY THE ENTIRE WORLD.

Favorite side character: Nistro

Check it off the Spk Himbo Bingo, everyone. 

Dextra and Nistro are honestly some of the highlights of the show for me. I love it when yugioh side characters are allowed to recur and get minor character arcs that don’t subtract from the plot but still have an overarching development. The two of them show up in the duel carnival, first working security, then resigning and entering the carnival as competitors. While Dextra, professional, focused, does not make any major changes to her appearance, Nistro seems to revel in the chance to finally wear his full length flame/fur coat. It’s a subtle characterization, but it makes his ultimate turn to WWE wrestler completely believable. 

He’s excitable, hot-headed, and values his relationship with Dextra; the two play off each other very well, somewhat paralleling the dynamic between Yuma and Astral. And, I cannot stress enough how much I loved having a male and female relationship that was just. Good. Dextra is an equal and he cares for her completely, and they work well together, both in chemistry and in their literal jobs. It’s just. Nice. To have this background duo with no drama or yugioh-female-character weirdness.

Nistro just happens to be my personal favorite because he decided the best way to confront an alien hostile was to hit a baseball at them, then casually lean on the bat and smirk. 

Favorite duel: Yuma vs. Eliphas

Basically the entire show, Astral World is this big question mark in the lore. So when we finally got to see and go there, I was excited. Like, kicking my feet and flapping my hands excited. (This is yugioh, after all. It wouldn’t be completely out of the question to just never explore this cool alien world that holds a ton of answers to questions in the plot.) Also, because at this point we had been missing Astral for several episodes, and I was ready for Yuma to have his funny alien bestfriend back. 

But first he’s got to duel for it.

And boy is it a good duel.

Eliphas is a great antagonist, his archetype being based around not only being powerful, but on being levels of power far above his opponent. In one duel, we get the whole deal of Astral world: toxic superiority. His monsters are all wonderfully creatchury, tapping back into some DM era egyptian aesthetics, and just delightfully weird. Etheric Amon is also a highlight. I especially love how it calls to mind the silhouette of Monster Reborn, and the pillar fading near the base gives it a trippy optical illusion effect. 

Being the first person besides Yuma and Astral we see use Shining Draw, it’s an excellent and immediate threat that instantly ratchets up the tension. Same with the New Order numbers using exactly the same summonings and sound cues as regular numbers. The magical powers our protagonists have been slowly mastering through the entire course of the series? Child’s play. Not even anything special.

Yuma v. Eliphas also kicks off the longest chain of duels that I unilaterally love that I have so far seen in yugioh. From this to the duel on the moon, it’s just all bangers.

Favorite arc: Mythyrian Numbers War

Zexal is the first show I’ve really agreed with the general consensus on the quality curve: It gets better as it goes on. Part 2 is just exponentially stronger, and with every episode grows more into its potential. That said, I kinda like the funky monster of the week format the pre-duel carnival had.

So the search for the mythyrian numbers feels like the best blend of those two flavors. It’s basically an arc of cleverly delivered build-up for the main villains, introducing each barian emperor’s backstory one at a time. Plus, some broader worldbuilding about Astral and Barian, which after over a hundred episodes of no answers, was sorely needed. 

It gives the villainous coterie some personality. Dumon’s quiet honor and chivalry, Alito’s brash competitive streak, Girag’s raccoon-based military career. The emperors are a highlight of Zexal, and it’s in large part to this time spent fleshing out each one’s personality and past. And we still get to bounce around to wacky locations and weekly boss monsters. Then, with the mini arcs of Astral World and the three barian mercs, it just encapsulates all of my favorite parts of this series. 

Greatest strength of the series:

*points at Yuma and Astral on the cover art*

It’s them.

My controversial yugioh opinion is I didn’t really love DM. I found the pacing boring, the duels awkward, and that it never delivered on some of its strongest ideas. The basic premise, two souls in one body, one foreign and confused, contrasted by the plucky average joe? Awesome idea. How do they interact? How does that partnership develop, literally sharing a headspace? What sort of adventures do the two of them get up to, racing around the world to uncover the secrets to the amnesiac’s past?

What does this have to do with Zexal?

Yuma and Astral is everything I wanted from Yami and Yugi, and more.

While I found the number of Yami & Yugi interactions in DM frustratingly few, I liked the idea of dual protagonists, and was curious what a well written version of that dynamic would look like. Zexal makes having two protagonist really work. They’re just a delight. From the stumbled irritation of first meetings, then the unsteady alliance of companionship, to straight up would-die-for-each-other partners. They both share the spotlight, learning from each other as the show goes on, and compliment in all the right ways. Their banter feels organic and refreshing, you truly believe these two are the best of friends. When they lose each other it’s painful, when they reunite, it’s cathartic. Their bond is literally the foundation of the show, in a way that I didn’t really see in Yami and Yugi, or the criminally little time we got with Jaden and Yubel. The first time we see Astral smile is when Yuma calls him a friend. There’s a billion little moments like that. The two of them speaking in tandem the first time they work in sync. Astral’s pure delight at getting to experience food for the first time as Zexal. Yuma’s desperation when he thinks he’s misplaced the emperor's key. A massive chunk of the show goes to building up these two, and, by the end, it’s far and away the biggest success of Zexal.

Weakest Points:

A good chunk of the writing effort apparently went into perfecting Yuma and Astral’s dynamic, because other characters suffer from a distinct lack of consistency. 

Shark, love him though I might, spends 2/3rds of the plot having no real reason to be there, then hard pivots into a heelturn that’s really cool, but breaks down the more you think about it. His entire motivation for the duel carnival arc was getting back at the person who hospitalized his sister, then he helps out with the fight against the barians for supposedly the same reason? Despite them having kind of next to nothing with Rio’s injuries. You could make the argument that his hatred of the barians is motivated by suppressed memories of Vector being responsible for his sister’s death when they were humans, except the second he recovers those memories, he turns around and goes back to leading them without so much as an unkind word to Vector. 

He’s not the only villain of the series to suffer from some questionable motives. Vetrix is also a mess, wanting to avenge Kazuma and himself by *checks notes* Opposing Kazuma’s son and abusing his children. Dr. Faker is equally comically antithetical, committing warcrimes for the sake of his sons yet treating both horribly.

Yes, there’s explanations given, but nothing that feels real to the character, just last minute plot twists. Vector’s appealing because he’s a loose cannon, yes, but he has the strength of performance and writing where that’s a believable aspect. His consistency is he’s inconsistent, and takes great delight in being so. Every other main villain feels like they’re just being jerked around into the shape the plot requires of them.

Also, for how exciting it feels to get answers in the latter half of Zexal II, it’s a bit much, even for yugioh, to hold the basic worldbuilding in such a stranglehold until then. Heck, no one even asks why the barians and astrals are fighting until like, episode one hundred. Even characters where it feels in-character to ask, to investigate, they simply. Don’t. For a series this long, I’d love to see that aspect worked into a more reasonable drip-feed of information.

Most yugioh moment: 

“Pack your bags, galaxy-eyes. We’re headed to the moon.”

He says this so seriously. Does he really mean for galaxy-eyes to get its little dragon suitcase and get ready for their trip? Is this a little joke, between an eighteen year old and his emotional support piece of cardboard? HE’S SO CASUAL ABOUT JUST. HEADING TO THE MOON. They need to have a card game on the moon for the sake of the world that is the single most yugioh plot beat of all time.

[metalandmagi]

Winter 2021 Anime Worth Watching!

Since 2020 basically sacrificed itself to give us the most stacked anime season of all time, I’m currently buried under the weight of almost 20 shows airing per week. So for anyone who’s looking for some anime to watch this winter, here’s some first impressions! I’m speed running my list this time by only talking about the new shows...because otherwise this would be my great American novel. 

If anyone’s interested, I have master lists for both 2020 anime and 2019 anime, because there’s no shortage of fun things to find. 

New Shows!

And before anyone asks, So I’m A Spider, So What? isn’t on here, because CG spiders freak me out.

Cells At Work Code Black: This...less comedic spin off of Cells At Work (made by a different studio) takes the wholesome concept of Osmosis Jones meets cute anime girls and turns it on its head. In this much more depressing version, we follow a rookie red blood cell who works in the body of an overly stressed, alcoholic smoker who puts every strain on the body imaginable. I love Red Blood Cell AA2153 and his co-workers, but man am I glad we get the regular Cells At Work airing this season too, because I need something fun and uplifting after seeing my sweet son go through hell every episode. 

*Heaven’s Design Team: Have you ever wondered how God came up with some of the weird ass animals that live on this planet? Like, what’s the deal with giraffes? And why can’t we have dragons and flying horses? Well this is a comedy about the engineers and designers in heaven creating the new animals that are going to inhabit the Earth. That’s it, that’s the show. It’s kind of in the same vein as Cells At Work, having comedy blend with a surprising amount of educational information. If you want something light and funny, this is the show for you (though I don’t think it needs to have full length episodes). I’m just hoping there’s an episode about how the hell the platypus was created. Also it’s the only new one available on Crunchyroll.

Horimiya: A romantic comedy about a girl named Hori who fits the image of a perfect queen bee and a quiet bespectacled boy named Miyamura who never makes an impression at school. When the two meet by chance outside of the classroom, we see that Hori is practically raising a younger brother by herself, and Miyamura is actually a sweet guy who happens to be covered in tattoos and piercings. This show is an exercise in breaking down the images people have of others in their minds, and it’s a concept that really hits home in a fun and meaningful way. Honestly, this has become one of my immediate favorites. The characters have great chemistry, and I can’t wait to see more of them!

Monster Incidents (Kemono Jihen): When big shot Tokyo detective Inugami is called to a rural town to investigate a series of strange animal deaths, he finds a mysterious boy with the nickname Dorotabo who has been shunned by the other children in town. As the detective gets closer to Dorotabo, he discovers that there may be more...inhuman secrets to the boy than he realizes...and Dorotabo discovers that Inugami has some secrets of his own. This is a hard show to sell without spoiling the first episode, but it had twists and turns that kept me engaged from start to finish. I’m really interested to see where the plot goes, because I thought this was going to be something totally different just from the PV and series summary. If it plays its cards right, this could be a great paranormal detective show!

Wonder Egg Priority: A psychological drama about a girl named Ai who starts having dreams about a mysterious egg that promises to give her what she wants most in the world...a true friend. Before long, she begins to see how the dream world and reality are tied together, and trippy antics ensue. It’s hard to say more without spoiling anything, but I had to go back and add this one in because I made the mistake of thinking it was an OVA when it’s actually a full series. And what a series it’s starting out to be. This anime has all the psychological discomfort of a Satoshi Kon product with the beauty and style of something from Kyoani (even though it’s made by Clover Works). It’s really one of those anime you just have to see to understand.

Sk8-∞ (Skate the infinity): An original skateboarding anime from Bones, featuring a typical sports anime protagonist who takes a new transfer student who has never skateboarded in his life under his wing. Together they compete in dangerous races and take the skating community by storm. The character designs rival Appare Ranman’s in outlandish creativity, and I can smell the main characters’ ship dynamic a mile away (considering they’re exactly the same as the protagonists from Robihachi). If you’re looking for some wild and crazy fun with top notch skateboarding animation, don’t skip this!

2.43: Seiin Koukou Danshi Volley-bu (Seiin High School Boys Volleyball Club): Yes, it’s another volleyball anime. And no, it’s not just a clone of Haikyu. This story follows Yuni Kuroba, a physically built but emotionally weak teenager who finds out his childhood friend Hajime is moving back to their hometown for high school. Yuni discovers Hajime has become an exceptional volleyball player and they join their school’s volleyball club hoping to turn the unknown team into a rising star. If anything, this anime is much more like Stars Align or Free, where the sport is a backdrop for letting the characters explore their personal problems. Or at least it seems that way after the first episode. I went into this show ready to throw it in the trash because how could anything compete against my beloved Haikyu, but I found myself really enjoying the dynamics of the main duo and I’m curious to see what the rest of the team is like.

And speaking of sports anime rip-offs…..I can’t believe I’m including this but…

Skate Leading Stars: The show where the animators clearly wanted to design another throw away idol anime but saw how popular Yuri On Ice was so they decided to make whatever the hell this show is instead. It revolves around a fictional team sport called skate leading, and we follow the world’s most insufferable main character, a former figure skater named Kensei who wants to return to the ice and join his school’s skate leading team after he finds out his childhood rival is going to compete in the sport. Look, this show is just trashy enough to get a certain type of audience hooked, and it mainly has to do with the best boy of the winter season, Hayato Sasugai, the aspiring team “coach” who pulled most of us into watching this show with his punk appearance, snide comments and smug personality. He’s basically the lovechild of Izaya Orihara and Shizuo Heiwajima in a high school sports anime setting. The show treats itself with the perfect amount of sincerity to get away with being absolutely ridiculous most of the time without making you feel like you’re watching it from a dumpster...like Try Knights. You will know after one episode whether this show is for you. All I can say is, Hayato is worth the watch, and I haven’t seen any 3D animation used for the skating scenes (yet) so that’s a win for me. 

Honorable mention:

Jobless Reincarnation ( Mushoku Tensei): Yet another isekai where the main character is hit by a car (big surprise) and gets reincarnated into a fantasy world...but he happens to remember his previous life and narrates himself growing up as a jaded adult. I’m only including this because it looked amazing animation wise, and I love the opening where getting hit by a car and dying is actually traumatic. And I love the protagonist’s parents (who are retired adventurers who just want to bang all the time). But honestly...the main character is the fucking worst, and I don’t know if I want to keep watching it because of how creepy and weird he is. Like...he’s the hit on your fantasy mom as a baby kind of creepy and weird. But for anyone who wants a cool looking isekai that had an amazing PV, it’s worth checking out. 

Continuing Series!

Because the real gold of the season is in all the established anime getting their next seasons, I’m just going to list some of the things that are also amazing and definitely worth checking out if you haven’t already (because I’ve already talked about most of them at some point and don’t know what else to say).

Attack On Titan season 4

The Promised Neverland season 2

Beastars season 2

Log Horizon season 3

That Time I Got Reincarnated as a Slime season 2

Re: Zero season 2 (second cour)

Dr. Stone season 2

Cells at Work season 2

Osomatsu-san season 3 (second cour)

Higurashi New (second cour)

Jujutsu Kaisen (second cour) 

Not to mention all the shows I don’t watch that everyone else loves...like World Trigger (which I have seen quite a bit of, but long shounen shows are too much for me now) Quintessential Quintuplets, and Non Non Biyori. 

So there’s just some of all the anime airing this season. Hopefully, someone can find something they like. Here’s to a great year...well, of anime at least...

[makeste]

BnHA Chapter 309: Gotta Go My Own Way

Previously on BnHA: Muscular was all “well if it isn’t the protagonist on his solo journey of self-discovery, for some reason I’m unironically glad I get to fight you!” Deku was all “hey Muscular before I finish kicking your ass would you please take a moment to answer these two survey questions? Question one, do you regret being a total piece of shit? And question two, if you could do anything at all in the world other than being a total piece of shit, would you?” Muscular was all, “pfft, no and no.” Deku was all, “thanks buddy, your feedback helps make me a better hero, here’s a coupon for fifteen percent off your next ass-whooping.” Then he whooped his ass.

Today on BnHA: Deku is all “what up All Might can you believe you’ve been here this entire time?” All Might is all “I sure can since that’s literally my catch phrase, anyway how are your magic movie 1 gauntlets holding up?” Deku is all “they’re holding up fine, how are Hawks, Endeavor, and Best Jeanist doing?” Hawks, Endeavor, and Best Jeanist are all “we, your fellow co-conspirators, are also doing fine, thanks for asking!” Flashback!Deku is all “anyway so I secretly have All Might’s quirk and the most dangerous people in the world are after me, so sorry mom but that’s why I’m dropping out of school.” Inko is all “I CAN’T ACCEPT THAT” while totally accepting it. All Might is all “I GUESS WE’LL JUST HAVE TO GO ALONG WITH IT SINCE I DON’T FEEL LIKE TRYING TO STOP HIM.” Hawks, Jeanist, and Endeavor, as previously mentioned, are all “yeah that sounds like a good plan”, and Gran is all “see ya kid, don’t do anything I wouldn’t do.” So basically everyone in the entire world has suddenly teamed up with Deku to defeat AFO, except for the one person whose entire foreshadowed endgame is “teaming up with Deku to defeat AFO.” O Kacchan where art thou.

dear tumblr image limit: okay look. you don’t like me, and I don’t like you. but just as an experiment, I’m gonna try writing this recap with as few images as possible and we’ll see how it goes

(ETA: spoilers for how it went: it didn’t, lol.)

oh my god WHY ARE WE OPENING WITH MORE KETSUBUTSU ACADEMY KIDS.ffs we’d better at least finally get some Ms. Joke content out of this

(ETA: seriously who do I have to bribe.)

so these two KB kids who no one cares about are watching Deku leap away from the scene after dispatching Muscular. but more importantly wtf is this chapter title omg. “I can’t stay being a child” so that’s how it is huh. we’re gonna have feels and we’re going to like them. well then

oh my god he’s hauling Muscular away dhfksklfkh okay this is gonna have to be our first image because I can’t fucking help myself. look at this

just. Deku is so tiny and he’s carting away this massive unconscious lump of a man like it’s nothing why is this so funny to me. it’s like when people buy furniture, and they don’t want to pay extra for delivery and so they’re like, “I can definitely fit this king-sized mattress in the back of my compact sedan if I fold the fucking seat down, idk.” and they refuse to be talked out of it, and the next thing you know you’re watching them drive home with their open trunk door haphazardly tied down with bungee cords, and somehow it fucking works. because it turns out the compact sedan has super strength

anyway for SOME REASON now Horikoshi is all “have fun with that Deku, meanwhile we now return you to your regularly scheduled SHINDOU CONTENT” whyyyyyy

look at this. we’re really using up a whole fucking entire page on everyone arguing over who gets the honor of carrying Shindou

love how the civilians are all, “shit lol is this actually our fault?? quick, how do we play this off all casual like we were the reasonable parties here all along”

turns out all it took to finally get them to listen was making them watch while a kid got his insides ground into a pulp because of their stupidity!! what a heartwarming conclusion to this little standoff

anyways THANK GOD we’re cutting back to Deku now!! well actually we’re cutting back to Muscular who is being dropped off at the police precinct, good bye and good riddance lol

so Deku’s leaving him there and bounding away and okjdlSKFJLKJDSL OH MY GOD

no fucking way. no fucking way this little jaunt is All Might-sanctioned and approved. are you serious?? then who else is in on this?? what the hell is going on

so All Might is just WAITING FOR HIM IN AN ALLEY FFF WHO ARE YOU, JIM GORDON. or would Alfred be a better analogy here?? but like, Alfred if he ditched the suit for a moto jacket and shades

this new ensemble of All Might’s may or may not severely impact my ability to take this forthcoming conversation seriously; please stand by

also, quite the spectacular landing there, Deku. seriously lol what was that

“HOW ARE YOUR LIMBS” “THANKS TO YOU THEY’RE COMPLETELY FINE” I’M SORRY WHAT

LOL WHAT. “THANKS TO THE POWER OF THESE MAGIC GLOVES” OH I SEE THAT EXPLAINS IT

are these the same gauntlets from the first movie, then? well that’s all well and good, except that now there’s going to be more Deku Discourse than fucking ever lol. so if it’s all the same to you guys, I’m gonna once again go ahead and declare this week’s post a discourse-free zone, at least when it comes to the specific discourse of Deku’s merits as a MC, and the impact that him kicking ass and having working arms has on said merits. this has been something of a low mental energy week for me, so I’d rather reserve the energy I do have for more fun topics, such as All Might’s bitchin’ leather jacket

anyway so All Might’s saying that the gauntlets will help reinforce Deku’s arms, but they can’t withstand OFA at 100%. so basically it’s a support item designed to maintain the status quo lol. we’re basically in the same situation we were before, arm-capability-wise

homg All Might’s getting a call. time to see who else is in on Operation: Deku Alone?? or not so alone for that matter

omg

HI HAWKS, WHERE ARE YOUR WINGS

(ETA: seriously are they really gone for good?? why would he even be back on active duty then?? does he have his own American ex-boyfriend who can hook him up with exclusive support items?? dammit Horikoshi we want answers.)

looks like Jeanist and Endeavor are teaming up as well, just like they said they would. I would gladly follow this trio around all day long tbh

is this the same giant villain from the very first chapter??

looks like it to me, and it would tie in with that callback from the end of chapter 306. we all thought that was Muscular, but maybe it was this guy, and Deku left these three to deal with him while he ran off to take Muscular down

oh my god now Deku is running off again just like that

kids these days

ffffff I have not had nearly enough sleep to follow along with whatever tf Hawks is talking about here sob

like, is he trying to say that All Might is keeping Deku’s whereabouts unknown to anyone except for him?? in order to keep him safe?? but Hawks is pointing out that that’s a bad strategy and probably won’t do shit against AFO and it’s better if he lets Deku work with the rest of them?

(ETA: so @hanashimas​’ translation makes a lot more sense -- it’s not All Might who’s being overprotective, but Deku. in other words he’s trying not to drag All Might into his battles. and in addition Hawks is saying that their strategy is to take the offensive and go after AFO themselves rather than wait for him to come to them. which I’m not too sure about myself, but that’s another topic for another day.)

btw I can’t help thinking how much better this entire conversation would be if All Might was still wearing his sunglasses. put them back on my dude. it’s not too late. embrace your inner badass

DKLJSLDKFJL FLASHBACK ALERT, FUCKING FINALLY

“turns out, we were just trying to scare you straight. fuck lot of good that did though lol”

also what is this. one true love: the hospital bed. is that a scanlator joke or is Horikoshi actually that funny omg

SKLJDFLJLK

ITSA ME!! omg I love this hospital so much. though it’s sure not helping me in my quest to try and keep this post below ten images. I’m already up to eleven haha r.i.p. to me if tumblr doesn’t get its shit together

whaaaaaat, so he’s saying that Deku’s injuries were external (i.e. Tomura beating the shit out of him) rather than internal this time?? whaaaaat. excuse me but that’s some bullshit lmao. believe me, I was there

okay now he’s going on to explain that Deku’s “internal structure” seems to have been protected from the inside and out, and the corresponding panel seems to be implying that using Blackwhip as a brace paid off. huh

and also that his body is just stronger now?? so I guess he’s better able to withstand the quirk after an additional year of training?? I’M NOT SURE IF I BUY ANY OF THIS LOL but I’m willing to suspend my disbelief

OH MY GOD RED ALERT, INKO IS ASKING ALL MIGHT TO EXPLAIN WTAF DEKU’S QUIRK IS, IS IT FINALLY THAT TIME OMGGGG

SO HE’S EXPLAINING IT TO HER OFF-SCREEN, AND INKO IS JUST LIKE

I GUESS THAT’S FAIR LOL. IT’S TRUE INKO I’M SO SORRY, YOUR SON IS A PROGATONIST R.I.P.

AHHKKJH DEKU ANGST IS IT FINALLY THAT TIME OMGGGGGG

what is this soft pop beat that’s suddenly being pumped in over the speakers. I’VE GOT TO MOVE ON~ AND BE WHO~ I~ AM~~~, I JUST DON’T BELONG HERE, I HOPE YOU UNDERSTAAAAAAAND. also, follow-up question, when is Kacchan finally going to come back so he can jump in with the “WHAT ABOUT US~~~” bridge, huh. come the fuck on, Horikoshi

lmao All Might jesus christ

but given that it’s a stupid-ass decision...

anyway, yes!! finally that sweet, sweet “I don’t want to put anyone else in danger” angst!!

mmm that’s good angst Brent. Kacchan with center panel honors as usual, you love to see it. anyways though who do I have to yell at to get Deku a goddamn HUG around here seriously

so Inko is of course reacting with panic, and sensibly saying that she doesn’t approve of Deku’s “RUN AWAY AND FIGHT THE BAD GUYS ALL ON MY OWN, DON’T WORRY MOM I’LL JUST GET STRONGER, EASY AS PIE, IT’S A FOOLPROOF STRATEGY” plan

son of a bitch this manipulative green asshole is really gonna sit here and smile fondly at his mom and try to convince her that he’s Not A Little Kid Anymore. the hell you’re not mister

y'all are really just gonna sit there and let him talk you into this?? surely it can’t be that easy??

OH MY GOD

THE FEELS oh my god oh my god. BUT ALSO YOU’RE SERIOUSLY JUST GOING TO COLLAPSE INTO HIS ARMS SOBBING AND LET HIM DO WHATEVER THE FUCK HE WANTS LKJLJLFK. WHERE ARE ALL THE STRICT PARENTS AT?? AIZAWA, GANG ORCA, MITSUKI, SOMEONE PLEASE COME AND TELL DEKU TO SIT HIS ASS THE FUCK DOWN. NOW LISTEN HERE YOUNG MAN!!

“EVEN IF I TRY TO STOP YOU YOU’LL STILL LEAVE” WELL SURE, IF BY “TRY TO STOP HIM” YOU MEAN POLITELY TRY TO TALK HIM OUT OF IT FOR THREE SECONDS. HE’S SIXTEEN WTF WHEN DID HE BECOME THE BOSS OF YOU ALL. SOMEONE NEEDS TO COME AND TELL HIM HE’S GROUNDED

anyway sob so that’s the story of how Deku talked his parents into letting him drop out of school, and even convinced All Might to be his own personal Guy In The Chair. holy shit. this kid really went and rolled a nat 20 and the rest of them had no choice but to fold without argument

meanwhile here’s a panel of Best Jeanist trying to braid his phone into his hair just cuz

I’m dying to know which part of his language he considers to be crude here. you literally didn’t even use a contraction my guy

so now flashback!Deku is talking to Gran in the dark, and Gran is all “can you believe I’m not fucking dead yet lol that’s too funny. anyway, you sure I can’t interest you in killing Tomura after all?? no?? okay then here’s my cape.” truly a heartwarming scene

I’m kind of torn here tbh. on the one hand, my adhd ass wasn’t all that interested in sitting down and having an extended scene between these two when there’s so much else that I want to get to. but on the other hand, even I can admit that cramming this entire reunion into a single page seems just a BIT rushed. idk. like maybe someone can let Horikoshi know it’s a marathon and not a race. Deku didn’t even get any dialogue here, some of us want to know his thoughts!! but anyway

AND JUST LIKE THAT?!

how did all four of them let him con them into this. I literally just watched it happen and I still can’t figure out how. “I GUESS THIS SIXTEEN-YEAR-OLD HIGH SCHOOL DROPOUT IS OUR LEADER NOW” ffflfjf. when Aizawa finds out he’s gonna go apeshit. AND DON’T EVEN GET ME STARTED ON BAKUGOU KATSUKI, WHO I HAVE BEEN ASSURED DOES IN FACT STILL EXIST. WHAT ABOUT USSSSS, WHAT ABOUT EVERYTHING WE’VE BEEN THROUGH. WHAT ABOUT TRUST???! YOU KNOW I NEVER WANTED TO HURT YOUUUUU

btw lol don’t get me wrong, I am enjoying this, and I’m honestly glad Deku’s not alone because that would suck for him! but that said, Hawks and Jeanist have lost any credibility they might have once had as far as being The Responsible Ones, and as for All Might and Endeavor, fucking hell lol. everyone just deposited all of their fucks in a bank somewhere for safekeeping and decided to never look back. godspeed you mad lads

[thebibliomancer]

Tides of the Dark Crystal liveblog pt 26 FINAL

Tides of the Dark Crystal by J.M. Lee because the heroes have just been swallowed by a kraken. How will they get out of this one? Seriously, how??

Last times on book: Amri and co are on a quest to unify the Gelfling clans against the Skeksis. They’ve succeeded with the Sifa, the Dousan, and now the Vapra. But they were cornered on a mountain by skekSa the Mariner. They manage to escape but Tae got blown up by a grenade in the process. Tavra spiderjacked her to help with the escape. And then Onica’s ship gets eaten by a kraken just when everyone thought they were safe. Rude.

Chapter 26

They don’t get out of this one. -shrug-

Amri woke with his cheek against a hard, wet surface and a bitter taste in his mouth and filling his nose. He sat up in the dim light. The room was small and without windows, doors, or corners, like a bubble made of ligaments and muscles that had gone stiff with disuse. Of course there was a dungeon in the belly of skekSa’s monster ship.

“Take it easy.”

Over the pounding in his head, he hadn’t even realized he wasn’t alone. Tae sat beside him, her calm hand resting on his shoulder as he groaned. From the cautious, stern look in her eye, he knew that it wasn’t really Tae. Not yet. The spider hiding in her hair glimmered.

“Tavra,” he said.

“It seems I must protect Tae’s body a bit longer,” she replied.

Oh boy. I wonder if this is just going to be the solution to Tavra’s spider situation. Her friend is in a permanent coma so Tavra just gradually assumes her body.

That’d feel really weird, honestly.

I’ll have to see how it plays out.

Aside from Amir and TavraTae, the belly dungeon cell also contains Onica and Kylan. But no Naia.

Somehow she managed to escape from getting eaten by the kraken.

... Made a really good dodge roll?

Anyway, they’re well and truly stuck. There’s no way to open the exit without that whistle that skekSa uses.

“I wonder if skekSa ever truly mean to help the Sifa,” Kylan said as he inspected the closed valve in the wall.

“Skeksis alliances shift like the tide,” Onica murmured. “Perhaps she did. But now we’ve lit three of seven fires. The Gelfling alliance rises. This changes things for the Skeksis, too.”

skekSa interrupts with a “Not for long” and then opens the door.

Amri resolves not to be scared, in honor of Naia’s bravery against the Skeksis, and asks the Mariner where she’s taking them.

skekSa sniffed, as if the question had a disgusting odor.

“Somewhere nicer than this dungeon. But don’t be fooled. I’m still very cross with you.”

Hah!

I like that now that the heat of battle has died down, skekSa is back to being affably evil and paternalistic.

She’s not mad, she’s disappointed. And also cross. And probably also quite mad.

She stepped aside, flourishing with her stump. Reminding them what they’d done to her and that she was not about to forget it. Her gesture was toward a tunnel that led into the cavernous labyrinth of her ship, where they were at her mercy.

“Come along, then,” she snarled. “Little heroes.”

Despite her tone, Amri smiled.

Heroes.

You’ve done it, Amri. You’ve made it as a hero. People will know your name. Mostly the angry pirate lizardbirddragon but also Periss. You came up with a Plan and relied on Grottan abilities instead of becoming someone else.

Good job, Amri. Good outing as POV protagonist.

Plus, Amri knows that Naia is somewhere out there and that she wouldn’t give up on them or vice versa.

She would not give up on them. Neither would Tavra and Onica and Kylan, at his back. They would protect him as he would protect them -- with his life. Not as song tellers or Far-Dreamers or soldiers. Not as daylighters, Spriton or Vapra or Grottan, but as Gelfling.

Having no other choice, Amri and his friends followed skekSa down the snaking passageway. But Amri held his head high. He would not be defeated. Until the day that he could no longer, he would resist. The flames within his heart blazed, and not even the shadows of the Skeksis could drown its light.

Frens.

True companions at this point.

This was a good book!

I wish the Vapra got explored more. We got some good details on the Sifa and the Dousan in this book. Got good details on the Drenchen and Spriton in the first book. And good details on the Stonewood and Grottan in the second.

We visit Ha’rar but don’t really interact with any Vapra except Tavra. And she’s probably not typical what with being a paladin princess.

Well, there’s one book left so who knows what we’ll experience next!

Although “next” is on a delay. I have stuff in September and nanowrimo stuff in November. But Flames of the Dark Crystal will be liveblogged eventually.

[ordinaryschmuck]

Why I (Want To) Love Amphibia

Salutations random people on the internet who probably won't read this. I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons. If you've been paying attention to my posts, you would have known that I made a top twenty list of the best-animated series of the 2010s. And if you read my Honorable Mentions list, you would have known that I consider Amphibia one of those shows that, while I like it, I wouldn't go so far as to say that it's one of the best. Don't get me wrong. It's good. But there are issues that I have with Amphibia, and I can't recommend it without being hesitant. I still like it fine, but I doubt some people will be as forgiving as me. So I'm going to explain the quality and faults that the show has, while still being considerate to those who do love it. Because unlike some people who would make a two-hour-long video essay about how much they hate something, I can at least acknowledge that while something doesn't entirely work for me, that doesn't mean it won't work for everyone else. Because there is a reason why this show has such a following...I don't think it's earned, but I won't knock people down when they love something I find passable. And I hope that respect goes both ways as I explain why I (want to) love Amphibia.

Also, this review is going to contain spoilers for the entire series. So if you haven't checked it out yet, I recommend you do it to form your own opinion. Season one is on Disney+, and you're on your own for season two. And I suggest you find a legal way to watch it if you can, because I'm not going to leave a link to a pirating website filled with every animated series and movie you can find. And I'm definitely not going to insert that link into a random letter in this review with the thought that if you have to pirate something, then you might as well work for it. Because that would be crazy.

...

Stop being crazy.

....

Anywho, let's start with:

WHAT I LIKE

The Comedy: Let it be known that this show is funny. Like, really funny. I wouldn't go so far as to say that it's funnier than Gravity Falls, which got me chuckling with every episode, but Amphibia definitely hits more than it misses. There are occasions when the jokes aren't really character-oriented and could be said by anybody in the Plantar Family, but if they're still funny, then who am I to complain. Although there is one issue that I have with the comedy. But I'll save that for when I talk about what I don't like. For now, I can assure you that if you're hoping for some laughs, Amphibia has plenty to offer.

Warnings Against Toxic Relationships: But even the best comedies know when to offer some substance. Because I won't lie, when Anne described what is clearly a toxic friendship in the second episode, I was hooked. I love it when kids shows breach topics that can be important for children down the line. And for the most part, I think Amphibia does it well. There are so many instances that the writers' point out the several red flags that a person should avoid when it comes to a friendship and when it's time to either cut that person from your life and stand up for yourself. One of my favorite episodes is "Prison Break," where Sasha explains how she manipulates people and shows zero remorse for it. Then there's the episode "The Sleepover to End All Sleepovers" that shows how a person's influence can affect others and how much it changes perception as Anne and Marcy still believe they need someone like Sasha in their lives...At least I hope that's what the intention is. Because if the writers are trying to say that Anne and Marcy really need someone like Sasha...Well, I'll save that for my dislikes. Because even though it could use a little polishing, warning kids about toxic relationships is what keeps me hooked into seeing what happens next in this series.

It’s Not Afraid to go Dark: On top of breaking borders with morals intended for kids, I just gotta respect a show for playing around with what's considered "too dark." Especially if that show is on the Disney Channel!

The writers are not afraid to imply that death happens in the world of Amphibia, primarily because it is like a swamp ecosystem filled with predators and food chains. And I feel like because the characters are mostly amphibians, the writers can get away with an entire cave filled with the bones of victims as long as they're not humans. But frogs? No one gives a crap about them. There's a reason they're the ones who get dissected in schools.

Plus, a good majority of the monsters that Anne and the Plantars face are pretty horrifying at times. The crew who work on the show do a great job balancing the line of making these creatures look scary, but never go too far that they'll scar kids for life. Except in the Halloween special...How the f**k did they get away with the monsters in the Halloween special? And while they don't ever show what these monsters do, the implications honestly make things much worse, which again, I kind of respect. It's good to have shows like Amphibia that can scare kids a little bit. Getting through something fictitiously dark helps make kids feel braver and prepare them for the real horrors in the world. Especially since most of these creatures are just exaggerated versions of real-life predators...google them.

The Season One Finale: It was "Reunion" that made me realize that Amphibia has the potential to be amazing...it's also the last episode of season one, so let that sink in.

Joking aside, I honestly do love this episode. It's funny, it brings in elements from other episodes, nearly everybody does something useful, and it all ends with a satisfying and equally gut-wrenching climax. A climax, by the way, that is so perfect that I'm going to do a scene breakdown for why it's so good...so, you know, add that to the to-do list (I have so much s**t to make -_-). "Reunion" has so many elements about what makes a season finale so good that I feel like future writers should take notes for their own series that they plan to make. While I wish every episode of Amphibia had this level of quality, the writers know that the last impression is one of the most important. Because I will defend this show if this is the episode people use to trash it.

Marcy: I will also defend this show if someone trashes Marcy. Trust me, the best way to tell that someone is just hating on Amphibia for little to no reason is if they utter the word, "Marcy is a bad character." That is not true. Marcy is a great character, and I'd go so far as to say she's the best character in the series. She's sweet, adorable, and has a story ten times more interesting than Anne's. Anne learns what a sincere relationship is like through the Plantars, where Marcy falls victim to another manipulative relationship through King Andreas. It's her co-dependency that has the chance to get fleshed out more, and I can't wait to see if she has a moment to break out and form her own path.

Also, in the mass expanse of the multiverse, there exists a world where Amphibia is about the adventures that Marcy had in Newtopia as she uses Dungeons and Dragons logic to get by. And I want to see that universe! Because this clumsy nerd is already a blast to watch with the briefest of cameos. Imagine how much fun she would be if she had her own series!

Sprig: I don't know how much love Sprig gets within the fandom, but I got a feeling that it's not enough. He's funny without being annoying (most of the time), there's a whole lot of heart and sincerity to his actions, and above all else, he's the best friend that Anne needed. When Anne explained her very flawed views about friendship in "Best Fronds," it is clear how essential someone like Sprig is as he teaches Anne what friendship really means. It means caring for each other, supporting each other, making equal sacrifices for one another, and just being on the same page as each other. It is genuinely sweet seeing their friendship bloom, and I honestly hope the Amphibia fandom gives Sprig the amount of appreciation he deserves. Sure, he can be annoying sometimes, but for the most part, he's easily up there as one of my favorite characters.

Wally: Same with Wally! Who would have guessed that a character who appears as an dumb source of comic relief has a level of depth and lovability to him? "Wally and Anne" shows that while he is a nonsensical goofball, he doesn't really care what the frogs of Wartwood think of him. What matters is what he thinks of him. And that is just an incredible lesson to teach kids that just makes me love Wally more. 

(It also helps that he's probably the funniest character in the show. I know I said that he's dumb, but when he works, he works.)

Kermit the Frog Cameo: ...It's Kermit the Frog, y'all. I physically can't hate him. Especially since this is the perfect show for him to make a cameo in!

WHAT I DON’T LIKE

Anne’s Character: I don't have a problem with Anne. I think she's a serviceable protagonist, and I love the fact that she's Thai, offering a form of Asian representation other than Chinese, Japanese, or Korean. But here's the problem with Anne: After a season and a half, I still don't know what her character is. If you were to ask me to describe a Disney show protagonist within one sentence, I could do it effortlessly. Watch:

Star Butterfly: An adrenaline junky of a warrior princess who slowly learns to be responsible with each passing season.

Luz Noceda: A generous nerd that obsesses about fantasy and fiction, who still understands when to take a step in reality when the moment calls for it.

Scrooge McDuck: An old Scottish miser who has the heart of adventure and is a duck that almost loves his family as he loves his money.

For Anne, I don't know where to start because her personality is so inconsistent. Sometimes she makes friends with others without even trying, and other times, she gets on others' nerves easily. Sometimes she's a thrillseeker with the heart of adventure, and other times, she's a person who prefers to hang back and avoid doing work. And sometimes she's the only sane character with logical advice, and other times she's the most insane character who needs advice. Now, you could argue that these are all character traits that make Anne multidimensional. But if you ask me, it seems like her personality is dependent on what the writers want her to be for the episode. Someone like Luz going back and forth between two traits only works if there is a dominant personality trait that takes over the other. If Luz spends an entire episode being angry and serious, it proves that there's more to her than just a character that's nerdy and optimistic. But it's clear she is still that lovable nerd by having her say a corny line like, "Talk to the glyphs, Witch!" But because Anne has so many personality traits, it's hard to tell which is the norm and what is out of character. Case in point: Having Anne obsess over hang-gliding in one episode and doing a puzzle in the next is off as neither correlates with each other. Nor do they tell me who Anne is, other than the fact that she's clearly a character lacking a singular identity. And seeing how she's the main character, the one audiences are supposed to root for and identify with, it's probably not a good thing.

The Story: For the record, I have no problems with the story itself...the way it's written, however...

First off, there's too much filler. This isn't necessarily a bad thing, as filler episodes have the potential to be fun when written well. The problem is that relying on filler instead of telling your story can leave some people (me) uninterested and angry. And the thing is, there is a perfect way to avoid filler that doesn't involve telling the overarching narrative: Introduce personal plotlines. Look at The Owl House, for example. There are several character-oriented narrative threads that get introduced within the first few episodes. Such as Luz learning magic, Eda's curse, her relationship with Lilith, and Amity's redemption. Therefore, The Owl House avoids any filler episodes just as long as it focuses on any of these plotlines and even introduces new ones. Amphibia has the plotlines, but it rarely focuses on them. Especially since the story takes way too long to develop. 

Every time I think the show is finally going to start moving forward and we can continue the story, there are like ten more filler episodes where everything comes to a screeching halt. Now, to be fair, there is an explanation why we're forced to wait for the story to move forward, and it's because the characters are forced to wait as well. But, even then, there could have been better ways to pad out that waiting than just adding filler. For example, I may not have been forced into an alternate universe where nearly everything wants to kill me, but if I was, I WOULD SPEND EVERY WAKING MINUTE I HAVE TRYING TO FIGURE OUT A WAY BACK! In the first season, how many episodes does Anne spend trying to figure out the mystery of how she got there and how to go home? Two. There are two whole episodes, out of thirty-nine, where Anne tries to figure things out...That is insane to me. But to be fair, season two is doing a much better job at moving things along...but it doesn't change the fact that the writers are kind of bad at telling their own story.

There are two episodes, "Anne Vs. Wild" and "Lost in Newtopia," where the story continues, but it's only in the last few minutes. The problem is that if you take those endings out, the episodes themselves do not change a bit. BUT because those are significant and essential moments for the plot, you can't take them out. Resulting in scenes that, while intriguing, come across as awkward in the long run. So now, my question is why. Why is the story handled so poorly? And I have one theory.

It Feels Like the Writers Can’t Decide What they Want the Show to be: Sometimes it seems like Amphibia is written as a pure slice of life series like Big City Greens. However, there are times when the show seems like it's intended to mix slice of life with fantasy like Gravity Falls. Now here's the problem: Big City Greens and Gravity Falls are two very different shows in terms of storytelling, tone, and character work. Big City Greens is an episodic comedy series where character development is unimportant, and the adventures rarely go beyond just being wacky. As for Gravity Falls, it is a show that is semi-serialized where the character development is constant, and the fantasy-adventures are always prevalent in every episode. And there are several episodes of Amphibia that could be a part of either show. Episodes like "Stakeout," "Lily Pad Thai," and "Little Frog Town" have plots that I can see being in Big City Greens. Then there are episodes like "The Domino Effect," "Toad Tax," and "Marcy at the Gates" that I could see being in Gravity Falls. These two groups of episodes are vastly different from one another that it causes Amphibia to feel disjointed in the process. Usually, I'm a fan when a series mixes different genres together, but do you want to know why something like Gravity Falls does such a great job at mixing slice of life with fantasy-adventure? Because, as I said, fantasy-adventures are always present in every episode. "Dipper vs. Manliness," "Boss Mabel," and "Roadside Attraction" each have the most basic slice of life plots of the show, but there is always a fantasy element or a monster to fight. There are entire episodes of Amphibia where there is no monster, and even when there is, it doesn't have the same amount of tension and weight that the creatures in Gravity Falls have weekly. A show like Big City Greens doesn't have to worry about monsters or evil villains every week because it doesn't need to. It's a show about the wacky adventures of a family of farmers adjusting to city life. Why would they have to worry about a monster every week when they just have to worry about each other. If Amphibia was the same way then there would be no issue. But because if it wants to be a mix of slice of life with fantasy, then it does need to worry about a monster every week. I usually try to defend shows that try to play both sides, but this show has to be the one occasion where I have to say pick one or the other. Because the writers tried hard to be both, and personally, I don't think they did a good job.

Characters Don’t. Stop. SCREAMING!: It's here we move on from what's objectively wrong with Amphibia to the things that just bother me personally...and this is one of those things. I get it. An over-the-top reaction to something minimal can be funny on occasion...but it's never "on occasion" with this show. Nearly every episode has characters screaming to get a laugh, and most of the time, it's more annoying than it is funny. It's Hop Pop who does this the most, and I just feel so bad for Bill Farmer. That voice already seems like it's hard to do, so being forced to scream and yell with it for the sake of comedy can't do him any favors. Other shows, especially ones on the Disney Channel, have characters overreact for the sake of humor, but it's Amphibia that I feel like it relies on this the most. I'm sure some people aren't bothered by this, but I am, and this is my review, so I'm mentioning it.

Poly: Speaking of things that probably don't bother other people...I feel like I'm making some enemies with this one. Because, boy, do I not like Polly. Her voice is annoying, she mostly causes problems for the family, and to me, her entire character seems pointless. No, really. Think about it. Anne is the main character, Sprigs acts as her emotional support, and Hop Pop acts as the voice of reason. What's Polly's purpose? Because all she adds are unnecessary jokes, character traits that could have gone to anybody, and acting more as a plot device than an actual character. The only justification for her that I can think of is that she adds gender balance to the main cast. Which would be more than acceptable if there was a point to her existence. But I think it's pretty evident with her exclusion from the original pilot pitch for the program that Polly's personality is practically pointless...that is most likely the only alliteration I'll ever do for a review, so you have better appreciated it.

If you like Polly, then more power to you. For me, I just don't enjoy her.

Sasha: Oh, nelly. I can already see the hateful messages I'm gonna get from this.

Now, as a character, I actually do like Sasha. I think her personality is interesting enough to dissect, and I think she acts as a perfect antagonist to Anne, the Plantars, and even Marcy if you want to get into it. My problem relies on how much the fanbase is already jumping on the "Forgive Sasha" train. Because, "Aw, she's just like Catra and Amity! So sweet, tortured, shippable with the main character, and--" STOP IT! Stop it right now...and think. With Catra and Amity, you see the environment they grew up in, you feel the abuse they deal with, you understand the reasoning of their actions, and you come to forgive them for who they are...At least for Amity, you can. For Catra, it requires more of an argument. But Sasha? Did we see the same cruel mistreatment to her friends? Did we hear the same coldness in her voice as she describes how to manipulate people? Did we witness the same damage she's done to Anne and Marcy in how they perceive healthy relationships? Apparently not! Because while everyone else is already on the same page that Sasha deserves redemption, I'm sitting here thinking that maybe it's for the best to be a little more hesitant. So far, we have yet to see any way to understand her reasoning and have yet to see how she deserves forgiveness. Sure, Sasha was willing to sacrifice herself for Anne, but did Sasha really earn that? It works as a sudden realization that Anne deserves better, but Sasha has yet to do anything that proves she can be better. Especially since the next time we see her, she's trying to help a fascist ruler get back up on his feet...THINK ABOUT THAT!

But, sure, she's meant to be forgiven. That can work. Because while Sasha shows kids the type of people they should avoid, she can also work as a warning for what kids should avoid becoming. That is a great thing to teach...but it can also be potentially dangerous. Because if incorrectly interpreted, Sasha can show kids that every person who seems toxic just needs a chance to change. And that is the last thing you want to teach, given how very few toxic people actually change. You want to know why The Owl House gets away with an equally dangerous lesson about how not every bully is awful? It's because it shows two sides of the spectrum by proving why someone like Amity did the things she's done while also saying that characters like Boscha and Mattholomule are just a-holes for the sake of being a-holes. Sasha has no one to compare to. Sure, there's King Andreas, but he's a government figure. They're built to be manipulative. Sasha needs someone that's on her level of cruelty to prove that while some people can change and have reason to do so, others don't. And seeing how I don't think she deserves to change, at least not yet, that is an issue. It's the biggest issue out of all the issues I have with this show.

------------------------------------------------------------------------------------------

So, yeah, I think it's pretty evident how I feel about Amphibia when I can write paragraphs about the stuff I don't like while barely being able to talk about the things I do like. Because I do enjoy this show. It's funny, most of the characters are enjoyable, and its discussion on toxic relationships still has me hooked to see what happens next. My issue lies with inconsistency. The main protagonist, storytelling, genre, and thematic purposes are all inconsistent. I'm interested enough to watch more, and who knows, maybe I'll make a final verdict review once the series comes to an end. For now, if you had to ask me what I’m excited to make a return, I don't know if I'll be willing to hop to it by saying Amphibia.

(Also, if you're still looking for that link for that pirating website I mentioned, now would probably be a good time to tell you that I really never did put one in. I told you, that would be crazy...That should teach you to try to break the law.)

[askaceattorney]

Dear Anonymous,

That’s probably because the maker of Inga’s sprites requested that they keep the link to them a secret.  I doubt we’ll ever use his gun sprites in a letter though, so here are the talking and non-talking ones:

(Link in Letter)

Dear Anonymous,

That's an interesting theory, all right, but I doubt it would hold up in court (either in the Ace Attorney universe or the real world).  Either way, from what I remember, it seems to like the game tried to make it clear that he was the culprit behind Manov’s death, completely for the sake of revenge.  Even if he didn’t, the guy clearly has some anger to work out, so hopefully a prison sentence will do him some good.  That’s my less-hot take, anyway.

Dear Anonymous,

Clever, but I doubt puppy eyes are enough to sway His Honor’s opinion.  Heck, I doubt he even knows an iPhone from a Gameboy Color.

(Previous Letter)

Dear trearoos,

Rrroooo got it!  That’s a line from Bubs, by the way.  I can’t remember where he said it, though...  Think you could help a fellow Homestar fan out?

Dear skibot99, 

I’ll do my best at answering, though.  I like to think of ask blogs as a way to “fill in the blanks” by showing what characters are like when they aren’t fulfilling their role in their game, movie, book, etc.  For example, what’s Sonic like when he isn’t busy thwarting Dr. Eggman’s plans, what’s Donkey Kong like when things are peaceful on his island, and what’s Henry Stickmin like when things are (ahem) normal in his world?  And if the character happens to be a silent protagonist (ex. Mario, Link, Kirby, etc.), that’ll give you even more blanks to fill in, which makes it more challenging, but also more fun.

So, the key ingredients for an ask blog are a deep love and knowledge of the series your character(s) are from and a good imagination.  If you know what your characters are like in their series and can fill in the rest with your imagination, it’ll be easy for your followers to go along with the illusion that they’re really talking to people from a fictional universe, which should be your main goal, aside from just having fun with it.  As long as you can make it convincing and fun, there’s no real right or wrong way to do it.

I don’t know very much about the Kingdom Hearts series, but I assume there aren’t any sprites you can grab from a resource page, so you’d either have to make drawings of the characters, find some still images, or clip some from gameplay videos (or even make gifs from them if you’re feeling up to it).  It might take some work to get it the way you want it, but like a lot of things, it gets easier over time.  And in my experience, the best source of motivation is your love for the series and its fandom, so keep that in mind if it starts getting burdensome.  I hope that helps!

(Previous Post)

Dear starry-nightengale,

It was an announcement so much as something that wasn’t announced.  That letter was in reference to TGS 2020, which, unless I missed something, didn’t mention a new entry in the Ace Attorney series.  That may not be solid proof that it’s reached the end, but that’s what it’s beginning to look like.

But, as I mentioned before, the fandom’s nowhere near dying, so that’s good news, at least.

Dear Anonymous,

It’s an interesting idea, but I can’t say I feel the same way (and not just because I’m a closet Justicykes shipper).  Besides their considerable age gap, I see their relationship as more of a big-brother-and-little-sister one.  Whether they’re on the same side or opposing each other, Simon can’t seem to resist the opportunity to tease Athena, but he also knows how to provide help whenever she needs it.  In his own way, at least.

I also have a hard time picturing Simon in a romantic relationship with anyone, to be honest.  I’m not saying it’s impossible, but any hopeful candidate would have to put up with his moodiness, his twisted humor, and his equally moody feathered friend.  I’m sure there might be someone out there who can deal with all that, but finding them would be a big challenge, to say the least.

Dear clowncomputing2,

Not at the moment, unfortunately.  I don’t know about the other Mods, but I haven’t watched the anime, and even if I had, making sprites from it would be a bit tricky.  Perhaps that’ll happen somewhere down the road, but for now, characters and cases from the anime are off limits.  Sorry.

Dear Anonymous,

Youse talkin’ to me!?

Dear skibot99 again,

For me, it’d have to be Tahrust Inmee.  That might seem unfair, considering his murder was that of himself, but let’s not forget that he was willing to let an innocent woman and her lawyer lose their lives in order to hide the truth.  Normally, this would be enough to give me an overall negative view of a character, but his motive was to protect his wife and unborn child from certain death.  That may not excuse his actions, but it did put him between a rock and a hard place.  I’m honestly not sure what I would be tempted to do in his situation, but I know it’d be a difficult decision.

I definitely feel for Yanni Yogi, too, but we weren’t given as many details about his past, plus his only motive was revenge, so my sympathy for him isn’t quite as strong.  While we’re talking about tragic culprits, I should also mention Simon Keyes, who “was himself a victim,” as Edgeworth worded it, as well as the almost-killer Katherine Hall, who just wanted to find whoever was responsible for her adopted father’s unjust prison sentence.  Not to mention the overload of remorse she displayed afterward.

(Previous Letter)

Dear trearoos again,

Yep, I’ve been a fan of the Henry Stickmin series since Infiltrating the Airship.  I’ve been meaning to buy the collection, but haven’t made the time for it just yet.  I’m looking forward to seeing all the fails.

In the meantime, here’s some distraction for you:

Dear mungeondaster,

Not yet, but I like what I’ve seen of it...which mostly just includes the blooper reel (Strong Language Warning).  Your description of it makes it sound even more enticing, so maybe I'll get around to it soon.  I've been aching to give something a Co-Mod Seal of Approval lately, anyway.

-The Co-Mod

[thejakeformerlyknownasprince]

Please, obligatory "hunger games au" please?

[Technically a Catching Fire AU, since I didn’t actually want to write all the protagonists killing each other, but the concept is the same.]

When the announcement of the Quarter Quell comes, past Hunger Games champions to be reaped all over again, Rachel thinks Oh.  Thinks, they were always going to find a way to get rid of me.

She cheated, after all.  Broke the Games, ensuring two winners instead of just one.  The poison passing between her lips and Marco’s.  The defiant dare: that the Capitol could have two survivors, or it could have none.  She and Marco sobbed out their love as they clung to each other later that day, and it’s been enough to keep them alive until now.  But it was never going to last.

When she tells Marco this, he laughs.  “It’s not just us, though.  Think about it.”  He ticks them off on his fingers as he goes. “Erek sabotaged the Arena itself to win.  James was one of the figureheads of the District 6 protest.  Ax is too well-liked by too many important people.  Even your boy Tobias smuggled all of those Avoxes out of the Capitol — no, don’t try to deny it, it’s not like I don’t know.”

“So it’s not just us people are rallying behind,” Rachel says.  “We’re not the only troublemakers.”

Marco winks at her.  “You are the rallying point, my dear.  I’m just your adorable side piece.”

“If it had to happen again, better that it do so while you’re still young and strong and pretty,” Alloran intones.  He’s looking over Ax and Estrid, unamused as always.  “Better yet, Aximili, you could’ve kept your mouth shut and we wouldn’t be here at all.”

Ax shrugs.  He’s one of dozen surviving male champions from District 4, so it’s just bad luck that he’s got an honorable streak he can’t seem to shake.  Ax is pretty sure that if his own name had been called then Alloran would’ve volunteered in his place, which is why he’d volunteered for Alloran.

“We’re both out of practice,” Estrid says.  “I’ve been in biotech labs for most of the last thirteen years, and Ax’s been getting fat entertaining the upper crust—”

“Do not speak about things you do not understand,” Alloran says flatly, and Estrid shuts up.

Ax keeps his expression pleasantly neutral.  He’s very good at it, by now.  “She has a point,” he says.  “We’re both past our prime.”

“Not as far past as I am.”  Alloran narrows his eyes at Ax, almost certainly still angry about Ax not letting him go die in the Games.  Alloran might have been a butcher in the Arena in his own time, but he’s seventy-six years old.

Ax lifts his chin.  “Tell us what you would have us do, mentor.”

“Go on, start making friends,” Nora says quietly, looking over the lunch room.  “It’s high time you got to work on your strategy.  Rachel’s no good at alliances — just look at that kid Karen she helped through half the last games.  So it’s all on you.”

Marco makes no move to go join anyone.  “We shouldn’t delude ourselves about my chances.  Last time, I was up against mostly half-starved kids, and I still would’ve died if Rachel hadn’t carried me through, sometimes literally.  Now?” he says.  “Twenty-three warriors.  Every single one of them a card-carrying baby-killer.  My scintillating wit and charm aren’t going to be enough this time.”

“So you have no strategy at all, then.”  Nora only says it because she knows it’s not true.  She knows his mind; she sponsored him in his own Games, and then they co-sponsored eight other kids.  Hell, after what happened to his parents, and hers, each of them is the closest thing the other one has left to family.

“Probably for the best if my strategy doesn’t depend on trusting any of these people,” Marco counters.

“Not even the District 10 girl?”

“What, Cassie?  Just because she cries over ‘em after she kills them doesn’t mean she’s not still a killer.  I don’t trust her any more than David.”

Nora smiles grimly.  “In that case, you’re probably trusting David too much.”  David won 10 years back by luring several tributes into deadly traps with promises of or requests for aid, and then ripping apart their bodies even after they were long dead.  The first kill he’d made had been the 12-year-old girl from his own district, who’d given him some of her food and then been too weak to resist as he held her face-down in the mud until she’d stopped struggling.

“Maybe I’ll go cower behind one of the Careers, see if that’ll keep me alive,” Marco says.  “Big Jake, for one.”  Jake Berenson of District 2 is from a long bloodline of Career tributes, one that has turned out more champions per dead child than any other.  He’s well-liked, well-fed, and strong enough to kill barehanded.

“Erek King,” Nora suggests.  “You know, the District 3 boy?  He doesn’t look like much, but he probably won’t turn on you.”

Marco snorts.  “He’s only a pacifist until you back him into a corner.  Just like the rest of us.”

“Hold the lift!” someone calls, and Cassie lunges forward to punch the door-open button.  Both District 12 tributes slide into the elevator with her, panting slightly.  They’re no longer on fire, she’s glad to see.

“Thanks,” Rachel says.  She and Marco are still holding hands, as always, but up close it looks like Rachel is holding Marco upright by their shared grip.

Marco barely lets the doors close before leaning heavily into Rachel’s arm and kicking off one of his shoes.  It clatters loudly across the floor, and Cassie realizes it has an almost eight-inch heel — their stylist’s trick to make Marco taller than Rachel.  Marco lowers himself to the floor, standing on his own now, and yanks at the other shoe.  It catches on the hem of his robe, and with a hiss of annoyance he rips that off too, revealing that he wears nothing underneath.

Cassie turns away, feeling her face flush.

“What, like you’ve never seen a naked man before?” Rachel asks, laughing.  “You were at the opening ceremony, you saw what Ax was — and wasn’t — wearing.”

Yes, and Cassie had felt sick to her stomach watching the way the crowd ogled him, a piece of meat that they couldn’t wait to devour.

“Come now, my love, you know style’s all part of the strategy, for that one especially,” Marco says to Rachel.  He’s not wrong: if Ax can play the crowd well enough, the sponsors might even be able to get him another version of that scythe-thing he favors.

“Doesn’t mean it’s not crass, sweetheart.”  Rachel grins at him.  “Kind of like stripping down in an elevator to try and shock the baby tribute.”

“Doubt I interest her, my darling,” Marco says, “seeing as I’m not a muttation.”  He laughs and adds, “not yet, anyway.”

Cassie realizes she still hasn’t said a word.  Not about the nudity, not about the taunting reference to her own victory, earned when she nursed an injured muttation back to life and taught it to kill for her.  And what’s she supposed to say?  One of these two will kill her, likely as not, before the week is out.

The best that Tobias can say about his own interview is that he manages not to let anything show on his face.  He does his best to answer the questions — about District 11, about his feather-patterned costume, about what he thinks Crayak has planned for the games ahead — in ways that are unremarkable and inoffensive.  He and Melissa both won, eight years apart, with the same strategy: they’re small and lithe and easily underestimated, but they’re also able to flit through the trees well overhead of their fellow tributes without being spotted until it’s too late.  Now, the advantage of surprise is gone with the broadcast of his last Games, and the advantage of agility disappeared with the bottom half of his right leg after infection set in.  He’s going to die.  But he wants to die with dignity, he told Melissa last night, even though he knows that probably won’t be possible.

Rachel and Marco both have it easy during the interview process.  All Marco has to do is tell the story of Rachel first trying on her flaming dress, and how beautiful she’d looked to his eyes even while waiting for her hair to catch on fire.  The audience is eating it up, laughing and cheering even as many of them sob openly throughout.  Rachel’s so stunning in her wedding dress, even as it crumbles to ash around her, that it’s easy to fall in love with her through Marco’s eyes.  When she promises to protect what is hers, staring fiercely into the camera with clenched jaw and narrowed eyes, half the Capitol falls in love with Marco all over again.

Cassie’s interview is still the most interesting, in that she gets six words into a protest speech about the treatment of the outer districts before her mic cuts off and a “technical malfunction” shuts down the conversation.  Jake’s is exactly what you’d expect from a Career, lots of shrugging and mumbling and letting his bulk speak for itself, while Ax’s causes no less than fourteen rapturous fainting spells as various audience members are overcome with the power of their love for him.

All in all, Tobias is pretty sure he fades into the mass of tributes — Collette in her wheelchair, Loren who smirks under opaque glasses, Taylor whose beauty remains undiminished by her three prosthetic limbs — whom everyone has written off as unlikely to win.  It’s probably for the best, Tobias assumes.  If it comes down to that, he’ll be just like the rebels and sponsors: fighting tooth and nail to keep Rachel alive.

Rachel buries her face against Marco’s neck, dark hair and blond tangling together.  “I think…” she breathes against his skin, too soft for the microphones to detect.  “I think maybe we can trust the Ellimist.”

She feels his jaw tighten where they’re pressed together.  Marco’s the cynic who dances them away from the worst of the traps; she’s the optimist too stubborn to know when she’s been beat.  They make a good team.  She owes her life to his inspired decision to declare his love for her on live TV just as much as he owes her for the trick with the berries.

“He’s one of the Gamemakers,” Marco hisses.  “Fuck that.”

Rachel shakes her head just a little.  “He showed me…  I can’t explain it, not here.  Just— Do you think you can trust me?”

“Always.”  Marco sounds like he means it, because he’s skilled like that.  “Always.”

Ax does his best to breathe, in the seconds between their ascent into the Arena and the gong signifying the land mines’ deactivation that will release them from their pressure pads to begin the Games.  He’s a warrior, the servant of his district and his family.  He has volunteered twice now, once in Arbron’s place, once in Alloran’s.  Let it be done.

Across the way, he sees that even as Rachel rises into position she’s already making some busy motion with both hands close to her chest.  Ax can’t see clearly what she’s doing, but he sees Tobias’s eyes go wide in alarm.

Tobias frantically shakes his head, but Rachel ignores him.  She scans the lines of tributes until she finds her target.  When she does, her smile grows vicious.  Her right hand flashes out as she throws an object full-force at David’s face.

It’s her belt buckle, Ax realizes.  A nearly-useless weapon, small and blunt.  But does the job.  When it smacks David squarely in the cheek it throws him off balance.  Enough that he staggers back two steps — straight off the pressure pad, ten seconds before the gong.

Wha-BOOM!

The concussion of the land mine triggering breezes against Ax’s face nearly twenty yards away.  And just like that, the 75th Hunger Games begin.

The instant the gong sounds, Marco is off and running.  Headed for Rachel.  She whips around when she hears his approach, sliding into a defensive stance, but she relaxes by millimeters when she sees that it’s him.

Without any discussion, she and Marco and Tobias fall into a loose phalanx, facing outward with makeshift weapons in hand.  All Marco’s managed to grab so far is a piece of the platform he was on, but improvised weapons have always been his specialty.  He’s yanking and twisting sharp edges into place like this is yet another chunk of District 12 fence ripped from its posts, when something whistles over his head.

He ducks, almost too late.  Taylor’s knife flies past, embedding itself in the backpack that Rachel holds up to shield herself.  Rachel yanks the knife loose and flips it around in her hand.  Beside her, Tobias holds a stick like a club, staring around wildly.

Taylor’s second knife never leaves her hand.  Instead she dives forward, headed for Marco’s throat —

Shink.

Taylor coughs hot blood onto Marco’s face.  The steel that killed her yanks loose from her body as Ax pulls his blade back into his hand.  

It’s almost faster than Marco’s eyes can follow.  The chain it’s on whips behind him, then snaps outward again.  This time the scythe-thing takes a girl’s hand clean off at the wrist.  Again Ax snaps it back to himself, coiled and at the ready faster than thought.

Marco sees Rachel go pale as she registers the kusarigama in Ax’s hand.  It’s like a chain mace with a bladed head, a machete attached to the end of a bullwhip.  Not the kind of thing that one finds at a corner store in Panem.  The kind of thing that the Gamemakers must have placed here, after having seen the way that Ax wields one like it’s an extra limb.  The kind of thing they must have put down deliberately, if they wanted him to win.

“We have to go!” Tobias shouts.

Marco gestures for him to lead the way.  There’s no use sticking around to get slaughtered at the Cornucopia, and especially no use risking Rachel.  The three of them take off at a steady run, leaving Ax’s graceful slaughter in their wake.

Jake kills a muttation just as it is sneaking up on Marco and Tobias.  This makes no sense, Marco concludes, but there’s no time to question it.  

Marco takes a thrown hatchet to the shoulder protecting Rachel, because that’s all he can do.  He tells himself that he isn’t hurt when she hisses angrily that there’s no one left to impress so he can just stop with the lover-boy act now.

Ax kills the District 3 tribute who nearly killed Marco, but then refuses to kill Marco even as he’s lying wounded on the ground.  

They don’t seem to understand, Marco wants to shout, that he’s not important.  Rachel — beautiful Rachel, strong fierce tough Rachel, Rachel who can launch a thousand ships with the power of her bravery — is the important one.  Marco’s just the clever little schemer who showed the Capitol who she is, just set dressing in her story.

The Games… don’t work the way they’re supposed to.  Six tributes die of smoke inhalation.  One drowns.  There are four murders, and then no more.  The remaining thirteen, and then twelve, and then eleven, keep allying with each other.  Crayak’s direct intervention, or maybe the Ellimist’s, whittles their numbers, but the survivors keep drawing in tighter and helping one another.  And if everyone is allied, no one is killing.

“So what’s it going to be, then?” Jake asks.  He glances around at all of them, but his eyes meet Ax’s and hold there.  Ax stares steadily back.

There’s a wary sort of camaraderie there, and Cassie knows its source.  In a way, these two are just the same.  Each one is his family’s second chance at a champion.  They are seconds sons, both of whom watched older brothers volunteer and be shipped off to the Arena.  Both of whom watched their brothers’ state-sponsored murder in full technicolor on 20-foot screens.  Both of whom volunteered in their turn.  Career tributes, yes, but the sort of Careers who lack all delusions of glory or honor.

“Let’s do it.”  Rachel speaks first.  She’s the first pick in her own family.  First of three.  And Cassie chills to think of the things that Rachel has already proven willing to do, in order to prevent her little sisters’ entering the Arena.

“You know I’m with you,” Tobias says, smiling sadly at Rachel.  She smiles back, brushing the back of her hand over his.

Those two are cousins, if the Capitol propaganda is to be believed, but Cassie wasn’t born yesterday.  Marco and Rachel are very good at playing the game behind the game — so good, in fact, that they’re engaged to be married and claim to have a kid on the way — but up close, they’re also very obviously playing, their flirtation only a game to them.  It’s Tobias and Rachel who look at each other with real affection, with real desperation.  But their story didn’t advance the cause, and so the Capitol took advantage of a passing resemblance — blond hair, long limbs — for its own ends.

“No offense,” Marco says, in a tone that guarantees he’s about to cause offense, “but why would we ever believe you people?  Some of us who didn’t grow up on three servings of meat a day bought by past kids’ victories need proof that you Careers aren’t just going to turn on us.”

“You have no reason to trust us,” Jake says.  “None of us has any reason to trust any of the others.  But I will tell you this much: the Capitol needs us to hate and fear each other, or else this whole sick enterprise cannot continue.  You can all do what you want, but I’m going to choose to believe that maybe, just maybe, everyone else here wants to go down defying the Capitol rather than continuing to play puppet for their entertainment.”

Ax plants the end of his kusarigama against the ground, expression hard with determination.  “You tell us what to do, and I will follow.”

“Yeah.”  Rachel laughs, tossing her head back.  “What he said.  Let’s start kicking the asses of some people whose asses actually deserve to be kicked for once.”

They’re hiding in District 13.  Turns out that’s still a thing.  Marco got away from the Gamemakers; Nora did not.  Marco surprises himself with how much he misses her, like maybe he did care about her after all.  It’s too late now, though.  The next time he sees her, she’ll be brainwashed and mind-controlled, if she’s even still alive.

“Hi, there.”  Cassie sits down next to Marco at one of the long cafeteria tables.  She turns to follow the direction of his gaze.

Rachel’s sitting across the room, leaning close to talk to Tobias.  The two of them hold hands across the table, able to be affectionate in front of witnesses for the first time in their lives.  Rachel doesn’t seem to realize, caught up in conversation as she is, how easy she is to love.  She doesn’t know the effect she has, and maybe that’s part of her power.  She wasn’t lying when she said she only volunteered to save Jordan, and she’s not lying now when she promises to save all of Panem.

“For you it’s real, isn’t it?” Cassie asks quietly.  “She has no idea, and neither did I at first… but you really are in love with her.”

Marco laughs, tempted to deny it.  But what would be the point?  “Isn’t everyone?”

[joanofarchetype]

A Connecticut Yankee...a kid...that's all well and good but we really don't talk enough about the werewolf in King Arthur's court

This is not a shitpost — in Le Morte D'Arthur, Sir Thomas Malory makes mention of "Sir Marrok, the good knight that was betrayed with his wyf, for she made hym seven yere a wer-wolf". Of course, Malory lifted the tale of the werewolf knight straight outta "Bisclavret," which is one of the Twelve Lais of Marie de France. And it is...wild. There's also "Melion," an anonymous Breton lai which along with "Biclarel" is believed to have evolved from the same source as "Bisclavret". In this post we're gonna refer to the protagonist as the "knight" or the "wolf-knight" and tell a somewhat composite tale.

(A note: this takes place well before commonly established werewolf lore, which crystallized thanks to Universal's The Wolf Man. Curt Siodmak wrote all that stuff about the full moon and silver bullets in 1941 so well that our common imagination accepted it as ancient fact.)

So anyway our guy is a knight who disappears for a couple nights a week and his wife is like ?????? dude ??????? where ??? do you ???? go ??????

And my dude is like "babe I love you but I can't tell you because you won't look at me the same" and she's like "I am your wIFE you better tell me right quick or otherwise have a good nose for almonds in your oatmeal" (jk she doesn't say that because if she did he might've gotten a little foreshadowing of her treachery, but alas, our man was a sucker)

So the knight tells her he's a werewolf, and on the nights he disappears he's wolfing around the countryside and his wife is like !!!!!!!!!! on the inside but makes sure her face is only 🤔 on the outside

(Mind you, Marie de France goes into how the wife is grossed out because she shared her marriage bed with a beast, which has some interesting implications but we'll get to those later)

She starts digging about his transformation until he explains how in order to return to his human shape, he *needs* to put his human clothes back on or else he'll be stuck as a wolf, at which point wifey is 👀👀👀👀

Wifey's like, "but if ur in wolf form, how do u remember where u put ur clothes lol" and the knight's like, "no no, I retain my human mind even in wolf form and besides, I always put them under this one rock outside this cave"

now bear in mind he's never been able to talk about this to anyone so he's pouring his heart out about his deepest secret which he kept even from his wife & I know we're all pretty used to medieval repression but imagine how it must have felt to share this secret at long last 😥

So to recap:

knight: 🤵🏻🛡🐾🌕🐺🤫😅😍♥️💐 wifey: 👰🏼💭🤢🤔👀🧐💡💡👔💍🔪🔪🔪

Our knight is like "yeah so I was born this way and it's just a part of who I am and whew it's kind of a relief to finally be talking about it with someone"

Wifey nods along 🤔🤔🤔 because she's had a💡moment and is 🍳 up a plan...

so the knight has unleashed (pun intended) his secret for the first time in this life and is feeling just dandy, but what he doesn't know is his wife is already plotting his downfall with her...LOVER (dun dun dunnn)

wifey & her secret lover steal the knight's clothes when he's transformed, essentially trapping him in wolf form, get him declared dead in absentia, marry each other & take over his lands

and the royal court goes for this because at this point the whole kingdom knows about the knight's habit of disappearing for days at a time (because medieval nobles are messy gossipy bitches who live for that drama) so they just assume he abandoned her

*~*ONE YEAR LATER*~* (or if you're Malory, *~*SEVEN YEARS LATER*~*)

the king & hunting party corner the wolf-knight in the woods. knight is overwhelmed at the sight of his monarch & runs up to what for all he knows might be his oblivion to kiss king's feet at which point king's like, "THAT'S NO ORDINARY WOLF. HE SHALL JOIN MY COURT IMMEDIATELY."

the wolf-knight goes to live at court where he's basically regarded as a knight (so the takeaway from this part of the lai is that a literal wild animal had a better chance of becoming a knight in ye olden days than a peasant or a woman but I digress)

anyway so there's a celebration at court and who comes to the party but the ex-wifey's new husband, now a baron. understandably, the wolf-knight does NOT react well and attacks him, and the reaction of everyone at court at this near-mauling isn't to say "whoa whoa maybe bringing a wolf to court was a bad idea" but rather "huh, this wolf has never been hostile towards a human before so obviously this guy must've personally wronged him." which is...progressive.

so the new husband/baron/co-conspirator is all "wtf keep it away from me" and the king is like "idk man, what were you wearing? maybe you smelled like royal beef jerky at the time. seems like you were asking for it"

king & the other barons take wolf-knight to the new baron's property. they just need to figure out what's going on because they're not ready to take sir wolf to his final veterinary visit, u feel? they're attached. now get ready for this next part because it's a doozy.

ex-wifey hears about the king's visit so she's waiting with gifts & cakes & shit. the wolf-knight sees her & immediately BITES OFF HER NOSE & he bites it so good her progeny can feel it & henceforth all her descendants are — I SHIT YOU NOT — born noseless. talk about losing face.

under questioning (*cough cough* torture *cough*) the wife admits to her crimes & yields the stolen clothing, which they put in front of the wolf & he just stares at them until they realize "wow yeah sorry dude our bad" and leave the room to give him privacy

when they see the wolf-knight again he's in his human form and in Marie de France's "Bisclavret" it's expressly written that the king embraces him in the bedchamber and gives him "many kisses" (hashtag heterosexual friends doing heterosexual things)

the king restores the wolf-knight's lands and ex-wifey has to live with her ex-baron in exile, forever marked for her betrayal. some real Mark of Cain shit. (obviously this lai has a lot to say about spousal dissatisfaction but that’s another day’s dissertation)

the wolf-knight (Bisclavret, or Melion, or Marrok, or Sir Wolf or whatever you fancy calling him) not only regains his good name, but also the support of a court which now knows his secret dual nature.

something to be hated or feared, only understood and accepted. no one at court shuns him once the secret's out & no one tries to change or "heal" him of his lycanthropy.

remember when I said we'd come back to the wife's reaction? in "Bisclavret" Marie de France specifically states that upon finding out his secret, the wife no longer wishes to "lie beside him." let's unpack that a bit by exploring similar themes across folklore.

the marriage bed serves as a common motif in tales of animal transformation. ex: in "Beauty and the Beast," the protagonist has to overcome her revulsion towards her suitor's ostensible monstrosity before she can accept his marriage proposal. traditionally these stories with mysterious, beastly husbands who are secretly a true catch serve as an allegory for arranged marriage, designed to help young women process their anxieties about being passed from their father's house to that of a strange new husband.

(we should differentiate these tales from those of an ostensibly appropriate groom who turns out to be a monster in disguise such as "Bluebeard," "Mr. Fox," and "The Robber-Bridegroom," as those deserve a detailed thread of their own but also provide good thematic contrast here)

more often the Beast is kind, patient & gives Beauty the time she needs to the detriment of his own freedom from the curse. once the protagonist gets over her anxiety, she ceases to perceive her groom as just a hulking hairy beast and he can take the shape of a prince at last.

circling back to wolves! in most lore both ancient and modern, werewolves represent something uncontrollable; an animalistic second nature which threatens to literally tear through our well-mannered social façade. "Bisclavret" and its various incarnations don't do that.

if you read "Bisclavret" under a queer critical lens, you can interpret the knight as bisexual; a husband has a secret duality to his nature which he is unable to express in their current social order. significantly, he is born with his lycanthropy rather than being afflicted by the sudden, violent means through which most fictional werewolves are afflicted. it's a part of who he is, and it requires no further explanation or cure.

the wolf-knight finds freedom rather than shame in his lycanthropy, and as a result maintains both honor and control while in wolf form. unlike other famous werewolves, he doesn't function as an expression of tension between the id and the superego.

considering how often wolves are used to imply sexual violence (see also: "Little Red Riding Hood" or its medieval predecessor, "The Grandmother's Tale") this would be a fairly positive portrayal of a bisexual man.

however, his wife doesn't see it that way and is repulsed at the thought of sleeping with him again, so she commits adultery and conspires against him. so really, the crimes in "Bisclavret" have a lot to do with sex, just not sexual violence.

the king's attachment to the wolf & the way he embraces the knight can easily be read as homoerotic. there's absolutely an argument to be made about the normalization of homosocial behavior & male kinship across eras but...two things can be true. either interpretation is valid.

so what we have is a werewolf protagonist — not a villain or tortured anti-hero but an honorable man who isn't made to shed his lycanthropy at the end of the tale (tail). rather, he is accepted by his contemporaries and given a place in society to live as he truly is/ROLL CREDITS

[gra-sonas]

Exclusive interview with Michael Vlamis from Roswell, New Mexico

Protagonist of this month’s web interview is Michael Vlamis, known for having played a small role in the television series “New Girl”, now he is seeing his career taking off thanks to Michael Guerin, the character he plays in Roswell, New Mexico, series created by Carina Adly Mackenzie and inspired by the Roswell High novels written by Melinda Metz. He recently produced and starred in his first feature film 5 years Apart and is currently engaged in several projects as a writer and actor. In this interview Michael talks about his passion for acting, his first difficulties in playing dramatic roles and his character in Roswell New Mexico. Through his ironic and light narrative, Michael advises emerging actors to follow their truth and honor their uniqueness, without forgetting to enjoy life to the fullest.

1) Roswell New Mexico will arrive in Italy in September 2019. Can you tell us more about your character and the plot?

Bout time! But seriously, I’m excited for all of you. Our show centers around three aliens living amongst humans in secrecy in small town, Roswell, NM. After being away for 10 years, an old flame of one of the aliens returns to town and begins to uncover the truth behind her sister’s death, which leads to us potentially becoming exposed. It’s a fun, wild show that has romance, action, sci-fi, and more. I get to play Michael Guerin – an alien bad boy with a heart of gold. Yes. I just said that about myself.

2) Have you ever seen the original series of Roswell, or read the Roswell High novels? If so, did Michael’s characterization inspire you in any way?

I was familiar with the 1947 UFO crash in Roswell, but I hadn’t seen the show or read the novels. Once I booked the role, I did research on both to have a feel for the original properties, but I preferred to not dive in too deep, especially not into the original character. It was easier to bring a fresh take that way. Ignorance is bliss. But I have heard the original Michael and myself both have wild hair. So there’s a similarity.

3) In the series, topics such as immigration, its social consequences and sexuality are discussed, were you expecting the reactions that fans had about the Malex couple?

I had no idea what to expect! This was my first show. And the first time I’d be getting intimate with a man. All I knew was that I wanted to honor the story and the character as truthfully as possible. I poured everything into our scenes, as did Tyler Blackburn, the other half of Malex. He was an absolute joy to work with and a huge reason people have resonated so much with our relationship. I receive messages on social media daily from fans who say our characters inspired them to come out to their own families, which means a lot to me.

4) Where does your passion for acting come from?


There’s nothing I love more than story telling and as an actor you’re constantly telling a story. I also love being honest and living without a filter, but that’s not always acceptable. When I act, I can do anything I want because I’m in character and I’m “acting.” If you aren’t living your truth, you’re holding back, and holding back is the worst thing you can do on screen. I relate and feel so much when I watch great actors and I can only hope I’m doing the same for our fans. The truth is what fuels me.

5) Have you ever had second thoughts or doubts about not being able to realize this ambition of yours? If you hadn’t become an actor, what would you have wanted to do?


I didn’t realize I wanted to be an actor until my senior year of college. I was studying business and playing baseball at the time, but was always getting hurt. After my second knee surgery, I decided to hang up the cleats and audition for a short film. I booked the role and after acting in the film, I knew it was what I wanted to do. And to be honest, I never had a doubt I wouldn’t be successful.

I was so naïve, but I think it’s important to be naïve sometimes. If you live life practically, you’ll never achieve your dreams. Because dreams aren’t practical. They’re dreams! And I never knew what I wanted to do, even while I was in school, so I really don’t know. Probably a writer, director, or producer, which are all just has hard! I got really lucky. And I recognize that every day. But I think it’s important to note that even if it took until 90 to achieve my dreams, I would say I got lucky.

6) Did you have any difficulty in embracing new roles that didn’t belong to comedy?


Oh, yeah! I got in my first acting class when I was 25 and it messed me up. The first four weeks I performed comedies and then my teacher, Sandy Marshall, started giving me dramas, which I struggled with. After a scene, she once said, “Michael, that was good. But we don’t have good actors in my class, Michael.” She was saying she only had great actors. She was very tough on me because she saw potential and one day, I had a breakthrough. Something clicked. I realized there’s no “right” way to do a scene. All you have to do is make the circumstances real and live truthfully from moment to moment. Sounds like the easiest thing in the world, but it was surprisingly hard for me to recognize. Once I did, I never looked back.

7) Have you ever encountered difficulties in identifying yourself with a character with completely different life experiences than yours?

I haven’t because the character, no matter how different, is made up of my own life experiences that may not be similar, but do relate. For example, the character I play in Roswell grew up in the foster system and was severely abused. He’s also an alien! Obviously, I’m not an alien and I didn’t grow up in foster care, but I was a fat kid longing for acceptance and felt like I had a lot to prove. I bet Michael Guerin felt similar. As for scenes where I have to portray something I’ve never experienced, such as losing a parent, I convince myself what’s happening is real. I have to, otherwise I feel phony. The difficult part is going to a place so deep and dark you feel sick to your stomach, but that difficulty is my favorite thing to do.

8) What would you recommend to a beginner who would like to pursue this career?


Don’t be afraid to break the rules and never compare yourself to anyone. That’s a dangerous road and gets you nowhere. Everyone has a different story and all the things that make you unique are what are going to give you a career. Oh, and get really damn good at acting. That’s your only shot. Unless you have an aunt or uncle in the biz or something. If you do, let them know I’m down to be in their next film. Thanks.

9) What gives you the right charge to start a day of shooting on the right foot?


Music and coffee. In that order. I also always drive to set with the windows down, even when it’s snowing. Adds a little bounce to the curls. Kidding. But maybe not…

10) Are you currently working on other projects?

I recently produced and starred in my first feature film, 5 Years Apart, which should come out next year. In addition to that, I have a TV show I co-created that’s getting some great traction, and a feature film I wrote just got optioned by a big producer. In 2017, I wrote every day out of desperation. Now, I’m known as a writer and those projects are taking off. Life is hilarious. Enjoy it.

~ latestmagazine.com

[shinneth]

subject to future deletion

Normally I wouldn’t resort to that and I might end up being too lazy to do it anyway, but between getting sick again, dealing with some very intense verbal abuse every day irl, and the monthly burdens of the gender, I’m really not in a good place right now and I need to vent something. 

It’s officially gotten bad enough to interfere with my ability to write, even though I’m at a point in my current story that I’ve been very eager to reach... and every step of the way I’m struggling to write it and I hate what I currently have and it’s taking everything in my current power to not just scrap it entirely. 

Basically, I think I’m failing as a writer.

The irl stuff is actually not what I’m gonna get into because it’s really nothing new and it’ll probably resolve itself, but the side-effect of suffering that kind of negativity is that it enhances lingering negative feelings you’ve had about other things.

Namely, things you do to get away from the pains of the real world. The things you do to have fun and get some enjoyment out of life, no matter how challenging it is to be in this thing because it’s so wrongfully derided and demonized by the majority of your peers.

I try to keep telling myself it’s just because I’m still relatively very new to the fandom compared to my contemporaries, but as I’m typing this right now and listening to my favorite wrestler Shelton Benjamin in an interview, immediately I see the pit I’m starting to fall into. 

Like, it’s uncanny. This is what he said as I started on the above paragraph:

“If I sit and constantly compare myself to other people’s successes, you would drive yourself crazy. Because no matter what, there’s always someone who’s gonna be more successful.”

“I need to remember where I come from; how far I’ve came.”

Basically, in the very small world of Stevidot (and to a lesser extent, SU’s fandom as a whole), despite my efforts, I feel very much like the Shelton Benjamin in a small, dedicated group of talented Stevidot content creators.

Which is to say, I’m basically a midcarder in the mix with a bunch of top-tier legends. Shelton graduated from the same group as some modern very well-known mainstream stars that I can easily associate with a very well-known and accomplished Stevidot contributor.

Shelton graduated with the likes of John Cena, Brock Lesnar, Dave Batista, and Randy Orton. At least half of those names should be at least vaguely familiar for my followers as most of them have had such great success that they’re known in avenues beyond wrestling (save for Randy Orton, but he’s well past outshined his father as a legendary wrestler who’ll never be forgotten). 

I could easily say Watcher is the John Cena of Stevidot, while Platon’s probably the Brock Lesnar... sinderella0069′s the Batista. But I honestly don’t feel like I’ve done enough (or stood out enough) to even be a Randy Orton for this pairing. I’d at least give that honor to Ig just for being so active with it on Tumblr despite the wave of hatred thrown her way (even though she’s shifted focus onto Stevinel now). 

Again, I keep trying to tell myself that it’s because I’m not even remotely as tenured in the fandom as any of them are. 

Then I see this said in a review on a very recently-made Stevidot story...

And said reviewer has not once ever left a review on any Stevidot story of mine. Not even a follow or a favorite or a goddamned kudos. Considering I currently have an actively-updated Stevidot story going on (and a two-shot that I just did last month), I highly doubt my stuff was just overlooked.

Now, is it true that Stevidot is hard to come by? Of course it is. But this isn’t the first time I’ve seen a fellow Stevidot fan lament about the lack of Stevidot content while completely disregarding anything I contribute.

I know there’s one that outright doesn’t like my content based on personal taste (nothing to do with Stevidot itself, just how I execute it). There’s another big-name who shows no interest whatsoever in reading what I have to offer - and at this point I feel that’s for the best, because I have a feeling they’d hate my execution as well. 

While I’ve always primarily written for myself, I also felt a great fulfillment for providing content for a niche crowd that really deserves more than what they have. I think Stevidot’s a fantastic pairing with tons of unexplored potential and should be much more readily available than it actually is. Even if I tend to not get many reviews, I keep track of the site traffic every day on my stories and I know for sure that there are people reading my stuff. Since I’m really bad at leaving reviews myself, I go out of my way not to whine about not having very many overall for my series since I’d be a huge-ass hypocrite to do so. 

However.

Statements like the the aforementioned review and statements I’ve seen elsewhere by those who I know are at least aware of me are like stakes through the heart.

Because it can only mean one thing: my content doesn’t count.

I’m honestly not sure which is worse for me; being critically panned for the stuff I’ve put my all into over the past year, or being treated like my stuff doesn’t even exist. 

I prided myself on contributing as much as I did for Stevidot over this past year. Quantity doesn’t = automatic quality, but I’ve got 20+ years of writing experience in, so even someone with a shit self-esteem like myself can’t just say I’m an objectively bad writer, because I’m not. 

But apparently it doesn’t matter that I put in over half a million worlds in the name of Stevidot to a good chunk of the very tiny Stevidot fanbase; according to them, my contributions are irrelevant.

Is it my fault?

One thing I will admit is a detriment to my particular brand of Stevidot is that, save for one story (which happens to be by far my most successful Stevidot story in terms of recognition numbers), the rest of my series follows a continuous narrative that greatly deviates from canon as of Change Your Mind. I’m also notoriously a very verbose kind of writer - I have the tl;dr curse something fierce. 

So all stories I’ve written since my main 3-act series (which ended up being nearly 200k in length on its own) have been direct sequels to that. Because of the heavy deviation from CYM, the environment of the following stories is very different and easy to get lost in if you skipped GA entirely. 

Because there are so many dangling threads and new opportunities to be had after GA ended, I basically committed myself to my AU.

It’s not like anyone else is going to explore these possibilities.

Beyond that, honestly, I just don’t want to rewire my brain back to the canon status quo - not after the shitloads of character development I’ve not only given Steven and Peridot, but nearly everyone at this point has had a moment or two of really intense character growth. 

I like having Peridot co-star with Steven. I like having her become a more competent and active teammate than she’s portrayed in canon (while still giving her comic relief moments). I like that I didn’t redeem the Diamonds and instead had them killed off to force our protagonists to deal with the fallout of the collapse of a mighty empire on a much grander scale than what’s going on in the actual show.

In a way, this AU of mine has helped me cope with the shortcomings of the show itself. I already went on a stupid tirade once about how the sadistic nature of my writing has basically made me no-sell whatever trauma Rebecca Sugar’s throwing on Steven and upsetting everyone else. I’m still fairly certain I’m still outdoing her in that department. 

And because 100% of my passion for creating Stevidot is through this narrative I weaved, I have no desire to leave it. 

So I’ll admit my stories aren’t exactly the most accessible to the average reader who hasn’t been following my work since Day 1. 

Then again... I first got into Sinderella’s series completely ass-backwards at first. I eventually read it in the proper order, and like many of the great Stevidot epics, it’s canon divergent from a much earlier point in the series, so it was very easy to get confused about why certain things happened differently at first... but ultimately, I wasn’t that bothered by it because I just wanted some good Stevidot. I’d figure out the finer details later. 

I really do owe this author more props than I’ve actually given - she’s one out of two readers I know for a fact have been following my series since the beginning without missing a beat. I’ll probably review her newest story sooner or later now that it’s complete. 

Not gonna lie, though... when I saw our numbers side-by-side like this:

Considering they’re very similar stories (Stevidot smuts that were originally meant to be one-shots), mine is over a month old and hers is only a few days old and there’s already that big of a gap in our numbers? 

It’s hard not to feel like a failure; like I did something horribly wrong to suck this bad by comparison. 

I really should stress that I bear no ill will against Sinderella or any Stevidot author; this isn’t a competition, so this isn’t a matter of popularity. I knew coming into this that I wouldn’t get popular overnight; especially not with such an unpopular ship being the focus of my story. 

But when other Stevidot stories get frequent reviewers that I’ve never seen once acknowledge my stories even passively, I can’t help but feel like I’ve massively fucked up somewhere. That despite all my efforts, I might as well be invisible. When they say “Oh, good thing your story is here! It’s been such a Stevidot drought around here until you came along!” to other authors after I’ve written half a million fucking words in under a year for this ship...

You know, is it unreasonable to feel that I utterly fucking failed in several ways? 

I guess it’s no wonder why I’m struggling to keep writing. I still want to - like I said, I’m at a part I’ve been eager to write for a while now - but ever since I started it, I’ve just hated almost all of what I have so far (almost 8k words). And I’m really having trouble trying to salvage it.

I’m honestly not the type who’d scrap all my progress and start from scratch once I’ve gotten this far in. But maybe I’ll have to make an exception this time, because I think I finally made the mistake of trying to write while being mentally and emotionally distraught.

I thought I’d calm down once I wrote all this out, but honestly, I’m not really feeling it. Now I’m wondering if I should have just reached out to someone instead of making this, because now I’ll come off as a whiner with my pansy-ass first-world problems. 

But then again, I’d be an asshole to subject anyone to my idiotic woes. 

Maybe this’ll pass. I’m hoping it’ll pass. I really, really really really don’t want to lose my drive to write again. I was used to it coming and going in short and random spurts for almost all my life - then it finally came to me and stayed with me just a little under a year ago, and I’ve been desperate not to let it go because I’ve been more productive now than I’ve ever been in my 20+ tenure as a writer. 

I don’t want this to go away. There’s still so much more I want to tell. 

But then my logic goes... if you tell the story and no one’s there to hear it, is it ever really told?

[recentanimenews]

Happy Birthday, Space Cowboy: A Shinichiro Watanabe Retrospective

  Today we wish a very happy birthday to the Cowboy Bebop director, the one and only Shinichiro Watanabe! Watanabe-san has been a powerhouse in the world of anime for well over two decades, working with acclaimed studios such as Sunrise Inc., Studio Nue, and BONES. His mastery at blending Western and Eastern elements has earned Watanabe a devoted fanbase in many different countries. One of the most consistent aspects of Watanabe's catalog is his skill at successfully amalgamating a variety of genres from sci-fi to Westerns to comedy and more.

In honor of Watanabe's birthday, I'll be exploring the artistic depth of three anime from his impressive oeuvre and celebrating the very special spark that can be found in all his works. Read on for more!

Terror in Resonance (2014)

Terror in Resonance seems critically underappreciated when compared to some of Watanabe's other directorial efforts. Though it lacks the robust character development and sense of immersion found in his other titles, the series still retains many of the qualities that make Watanabe such a globally respected anime auteur.

Terror in Resonance follows two high-school-aged terrorists named Twelve and Nine as they plot a series of bombings in order to reveal the injustices enacted against them — and many other children — during a secret government operation called the Athena Plan. Along the way, a lonely girl named Lisa finds herself enwrapped in the boys' mission, and experiences camaraderie for the first time due to their presence.

The show's basic premise alone reflects Watanabe's willingness to explore uncommon thematic spaces by featuring literal terrorists as two of the main characters. Common in his other works as well, Watanabe invites viewers to feel compassion for characters who inhabit the outermost margins of societal acceptability. The show doesn't endorse Twelve and Nine's actions, but it does position them as isolated characters with real human attributes, acting coherently in retaliation to the incorrigible exploitation they faced as children. Twelve and Nine also make extreme efforts to make sure no one is killed due to their bombings, which serves as an empathetic deviation from standard depictions of terrorists as one-sided, monstrous caricatures.

Ultimately, Terror in Resonance features many trademarks of Watanabe's unique touch: compassionate explorations of loneliness, a tragic narrative interspersed with brief moments of beauty, and yet another gorgeous soundtrack by Yoko Kanno (a frequent collaborator with Watanabe).

Macross Plus (1995)

Watanabe made his directorial debut as co-director for Macross Plus working alongside Shoji Kawamori (the creator of the original Macross). This four-part OVA is the best flying mech, artifcial-intelligence-pop-music-gone-horribly-wrong redo of Top Gun I've ever seen. I remember I first saw it on the Starz Channel back in 2002 or 2003. It was fun to revisit the US dub recently with the fresh realization that Bryan Cranston — aka Walter White, our favorite fictional suburban meth dealer — did the voice acting for the main character Isamu. Isamu is like a more womanizing Spike from Cowboy Bebop, mixed with the arrogance of Mugen from Samurai Champloo, and is an early example of a recurrent protagonist-archetype in Watanabe's titles. The playful comedic qualities Watanabe would become known for were already apparent in much of Macross Plus, such as the scene when Isamu and his rival Bowman bring up old adolescent/high-school gripes while they're both engaged in an airborne mech-duel to the death.

Once again, Yoko Kanno's absolutely incredible score must be mentioned. The soundtrack ranges from orchestral music perfect for dogfights to emotional ballads and '90s trance (there's also a really cool reference to the Aphex Twin album "Selected Ambient Works 85-92" on a bus sign in one scene). Watanabe's first directorial outing already grapples with a subject near and dear to his heart: music. The last episode features an intense sequence involving an AI popstar named Sharon Apple, who takes control of everyone viewing her concert via seductive musical mind control. This scene explores a what-if scenario: an imagined future where technology meshes with the power of music for nefarious — rather than healing — ends. Either way, since Watanabe is a self-proclaimed "music freak," it's fun to watch him implement a plot device about just how disruptively powerful music can be (his most recent anime Carole and Tuesday tackles AI and pop music with a more neutral lens, as an FYI). Macross Plus is not to be missed.

Cowboy Bebop (1998)

  I'll never forget what it was like to experience Cowboy Bebop for the very first time when it initially aired on Adult Swim in 2001. I must have been 12 or 13 at the time, and few pieces of media have made such a lasting impression on me. I was already extremely impressed even after seeing the first episode "Asteroid Blues," but it's the fifth episode entitled "Ballad of Fallen Angels" — where viewers are introduced for the first time to the central antagonist Vicious — that completely sold me on the series.

"Ballad of Fallen Angels" culminates in a climactic battle that takes place in a church, with the main character Spike duking it out against Vicious and his goons. The most memorable moment for me is the scene when Spike is thrown out of the top of the church by Vicious. Spike falls in slow-motion as viewers are treated to a montage of his tragic crime syndicate past and his relationship with his lost love Julia. It's such a stunning moment that perfectly echoes the old creative writing adage "show don't tell," since it subtly expresses so much about Spike's life without explicitly battering it over your head. The scene speaks volumes in just a few wordless seconds, with no sounds to be heard at all other than Yoko Kanno's gorgeous choir and piano-based track "Green Bird." I've drifted toward arthouse movies as I've grown older, and I truly think the aforementioned scene was my first time experiencing the ineffable artfulness that I find in the experimental films that move me most. It feels a little silly and overblown to say, but the sequence feels like it contains a large spectrum of life — love, hate, sadness, memories, dreams, etc.

Cowboy Bebop is a show that abounds with moments like this. There are so many moving scenes rich in an atmospheric tenderness that aches with longing, loneliness, and beauty. Intimate scenes where characters in interstellar ships stare quietly at a sea of stars. A view of someone smoking a cigarette alone in a dimly lit alleyway. Or something like the ending of "Waltz for Venus," when a music box-esque song plays while Spike gazes into the sky as spores that can blind drift downward like snow.

I could go on and on about the series — the masterful quality of Keiko Nobumoto's screenplay, the riveting action sequences and lovable characters, the expert blend of genres coupled with breathtaking animation and music, and how Spike's somewhat Buddhist philosophy (whatever happens, happens) influenced my own. Cowboy Bebop truly deserves all the praise and is undoubtedly one of the best animated works of all time.

So here's to you Shinichiro Watanabe. I hope you have a birthday as stunning and cool as the anime you've graced the world with.

What else do you love by Shinichiro Watanabe, and why? Sounds off in the comments below!

    Do you love anime? Do you love writing? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: news+feed@crunchyroll.com

[thewolfisawake]

The Tales series if you haven't gotten it already

Favorite character:

Undeniably goes to Yuri and Velvet. What can I say? I’m into the dark-haired protagonists that ‘aren’t like the others.’ I can get onboard with why they come to the conclusions they do even if I don’t think it’s write. With Yuri, I admire the ability to do when others cannot. And can’t deny, he made me laugh the most with his sense of sarcasm and panache. Plus that voice...Troy Baker, they did you dirty. Meanwhile with Velvet I was like ‘yes, let’s be married in this quaint little town together’ in the beginning. She was just cute. Then it became attraction of ‘I don’t give a damn what happens to this world so long as I get what I want’ and ferocity. 

Least Favorite character:

Emeraude. Like what the fuck is your problem lady? You’re getting jealous of a child. Your feelings towards someone should be directed towards that person, not abusing some third-party that doesn’t even understand what you two have going on. 

Cumore. Fuck him too. For a side character that you don’t even really fight, he’s a real ass that his death was catharsis. Pure catharsis. There was no a single moment that he showed any redemption. He was a cruel bastard that held no regard for human life. He was willing to make excuses for anyone under him to get in trouble. He lied to people to enslave them and work them to death. He dragged people into the desert to look for an impossible item and left them without resources to die. Fuck him so much. He might’ve been cartoonishly evil compared to some not nice guys but those actions translate to atrocities. 

5 Favorite ships (canon or non-canon):

Selfish Coexistence (Basically the Berseria Party) - Their relationships seem so hard to define to me as they all use each other for various reasons. They also seem to develop care through their selfishness and all of the either are like *shrug* guess we’re doing this now or ‘what is this I’m feeling?’ ‘emotions?’ ‘disgusting.’ There’s an understood protection amongst all of them and then a fierce rationalization for their action rather than saying ‘because I like you okay!’ They’re very smart yet they’re all dumbasses and I love them all.

Ludju - You know what’s better than one adorkable dumbass? Two adorkable dumbasses. I like Ludger and Jude’s relation better than any I have unlocked during the story. Jude by nature is very caring but it just is different with Ludger? Main thing I can note is that Jude touches Ludger a lot. Like a firm, ‘I’m right here’ shoulder touch. A nudge in the arm. Catching when about to faint. And I just don’t see Jude do the same with anyone in his party in either game.  I just find their interactions from the extra scenes are really cute.

 Velvet/Niko - “If you were a boy, I think I’d be in love.” Gurl she don’t have to be a boy to kiss fall in love. Shipping a Main Character with an NPC? Is it madness? Absolutely. But I had feelings about that from the very beginning. Like this could’ve been so fucking sweet. Could’ve had it all. And then the Advent happened. 

Alvin/Presa - Oh man. Ooooh man. This was just a curiosity on the way of Tale’s of Xillia’s path. Like it was a lady that lent to Alvin’s skeevy or ladykiller vibe he gave off. And it was like was she just a jilted one-time or something else? And the answer seemed like ‘something else’ but didn’t know what. It was a little ‘wonder how that went...’ Then you do Tales of Xillia 2 and I thought I was wrecked. Because it reframes so much of their interaction to a really sad relationship that fell apart because Alvin was a coward. 

Flynn/Yuri/Judith - Haha! Didn’t expect the end part of this one did you? I think everyone knew I liked Fluri. Like their dynamics are so interesting. But I really do enjoy Judy being involved. I’m really sad that Judy and Flynn don’t get much interaction even in the PS3 version but I don’t find it hard for them to get along. But I do usually see that more times it’s Flynn and Judy dating Yuri and their relationship changes over time.  They can scrap together, they can travel together, and not needing as much talking to get what anyone means. I find it hard to describe this one but I feel it. 

Character I find most attractive:

Yuri and Velvet are like the reflexive thoughts. But I actually really also like Jude and Judy. I mean look at this cute little nerd, he’s adorable! And then there’s hot elf lady that she could kick me in the face and I’d thank her. In general you can probably guess my type from those four.

Character I would marry:

Probably Yuri. I’m sorry that this is my answer to so many but he is like my type to a T and it’s just ruined so many standards for me. Like a funny guy that is good at cooking (and has a sweet tooth!) and can go venturing with? What else is there? I mean yeah there’s the hair and voice but that’s like given. But yeah, I’m a basic bitch with that.

Character I would be best friends with:

Eizen, if that’s a bit surprising. Sure he’s a bit of an edgelord but I feel like I’ve never left it so he’s already doing better than I. But I like the idea of sailing on the ship with him there, probably not gonna be able to let me struggle for that long. He’s funny with a dry sense of humor to me and also he’s a low-key nerd that knows a lot of things and likes finding new and interesting things. So yeah. 

And as much as I give shit about him, I actually think I would be friends with Sorey. He’s the kind of excitable that makes others excited and that’s kind of what I do. So we’d kind of excite each other. And so long as it’s not spelunking, I’m down for going exploring. 

a random thought:

What defenses occur with the end of blastia? Barriers were what repelled monsters from most of the inhabited areas in Terca Lumireis. Dahngrest and Zaphias look to have fortresses that can hold back most land beasts. But there are other places. What stops the monsters now? Will they go towards more mana based works? 

Also, someone also mentioned, does ANYONE know how to do medical work? Like actually patching up injuries? How to care for someone in sickness? Healing artes were what were used! They can’t use blastia anymore! What happens now?

Can there be a history of how things changed from Berseria to Zestiria? Mainly the shifting of how malevolence works from turning people to reflect their sinister nature to straight up monsters with no sense? How the Shepherd thing went to include the malak as much as it does. The change from malak to seraphim. Just...how did we geeeetttttt heeeerrreeeeee.

An unpopular opinion:

I fucking hate that I had to be told from other friends that actually could find the material or read the fucking wiki to understand the dynamics of the Kresnik family. Ludger has a LOT of fucking baggage that we don’t even get to hear anything about! Partially because he’s silent and partially because ‘oh he was young so he conveniently forgot?’ And a lot of it was important to the last half of the story! That’s bullshit! And even further bullshit is that there was no reason they couldn’t have found time to put it in the game but they chose not to. 

Tales can’t make a fun last level to save their lives. I haven’t enjoyed a single final level in any of the games I’ve played. I don’t mind doing puzzles for it but straight up spiraling branches full of dead ends is frustrating. ESPECIALLY FUCK XILLIA 2′s! Randomly generated based off those in the party and then you can’t even see when a path is not truly there so you can follow the path and then all of suddenly blank ground, meaning dead end you have back up and retrace another path. And then like Berseria’s made me feel nauseous from the ‘ethereal’ look it was going for. And just made it hard as fuck to see. And more of this awful tower climbing. I just...mmmmmmm, I will probably always enjoy the game until the final level exists. I swear.

My Canon OTP:

Uuuuuuhhhhhh I don’t think I have one. 

My Non-canon OTP:

Most protags x happiness?

Most Badass Character:

Don Whitehorse. He was like definition of like ‘stubborn old man’ but man was he cool. He was staunch in the honor of the guilds under his control and was proud of what he and other had built up with their own hands. Also you don’t often see a man willing to sacrifice his life to right a wrong done by his own. 

Most Epic Villain:

Gaius. Like me and my friend were like ‘what the fuck’ when we were co-oping Xillia together. Like this was a king that meant business! Mhm. .

Pairing I am not a fan of:

Most of the pairings are fine to me. 

Character I feel the writers screwed up (in one way or another):

Sorey. I’m sure I’ve gone on this so many times but I really hated that they kept alluding to him having to make hard decisions but whenever one was brought to him, someone else took it for him. Like if his job is that important and it’s expected to make these choices, THEN LET HIM MAKE THEM. I was so angry over that. I spent the entire game waiting for when they’d do a major point where Sorey had no choice but to step up. 

Favourite Friendship:

Alvin & Elize - I really like how much they have both grown from each other. And how when Alvin broke her trust that he had to live with her mistrust and work to earn it back. Their friendship had uneasiness that seemed hopeful at the end of the first game and turned to just banter and teasing by the second. Growth baby, it’s wonderful.

Character I most identify with:

Mmmmm, probably Ludger. Look at all that debt. Can’t do nothing but cry over it.

Character I wish I could be:

Yeah, no. JRPG rules means everyone has some fucked up shit in their past or coming for them. I’m fine over here.

[x0401x]

Okay already.

Y’all are really damn eager for it, so here you have it: the infamous List of Erased Gay, AKA a glimpse of how we could be having it all if KyoAni weren’t doing us so dirty this year, Tsurune edition. The Violet Evergarden edition seems to have left a big impression, so maybe this listing will become a thing.

Then again, along with the canon gay that we lost, we gained a lot of anime-only shippy service that is not only weirdly fixated on Minato alone but also ruins the nature of many characters. KyoAni has been outright baffling this year in how little it understands the novels that it has been adapting, and even more in how proficient it has become in destroying the main relationships of each title. All in all, the personalities and purposes of the main characters have been severely altered, and there has been a disturbing trend (not only in Tsurune, but also in Violet Evergarden and Liz to Aoi Tori) of making the protagonists obsess with someone who apparently does only the minimum for them and being lukewarm with the people that seemingly care more for their wellbeing.

That’s not what any of these novels are about.

But since this post is centered on Tsurune, I’ll only talk about how the aforementioned major flaws apply to it. That boils down to KyoAni erasing most of what Masaki did for Minato and about 85% of the scenes they had together, replacing it with additional scenes without much purpose involving other characters. For whatever incomprehensible reason, KyoAni is hellbent on enhancing Minato’s relationship with everyone except the person he has the strongest bond with in the books, and a lot of you guys seemed to notice this. So, in order to address the cringeworthy disaster that the Tsurune anime has become, I’m naming this one as the List of Erased and Misplaced Gay.

Had to put it under a cut because of how long it got. While we’re at it, please consider reading the novel translations.

I gotta apologize to the Anons for stalling so much with this post. It took me a while to write it down since I had to skim the novel to take notes. By the way, to the people who haven’t finished the anime or don’t plan to read the novel: none of what’s cited here are things that will happen; they’re things that already happened in the canon timeline and didn’t make it into the screen. I’ve put them under a cut because it’s too much stuff. It feels like I just wrote a fanfiction but this is actually how canon goes.

I’m going to sort out the list by character relationship, from the mildest to the most blatant (y’all know which one it is).

Noa and Rika

Noa’s anime counterpart seems pretty meager, but her canon self is far more active, and if her saying “there’s no one in this world greater than Seo” isn’t an indication that she ain’t as straight as her arrows, then maybe her shouting at Nanao to “shut up and go burn in the fires of hell” after his advances might be an indication of it. Telling him that he “should be quiet because Seo’s feelings matter” when he flirts with her might also be one. Or not. Sadly, there’s not enough material in this aspect for the girls in the first volume.

Ryouhei and Nanao

These two are the straightest characters out of the group, but their interactions are always full of implications regarding the other club members. The two of them are often used as a means to translate the exchanges between the boys in a way that sounds suggestive as hell, and Nanao is oddly smug about it, which really doesn’t help.

Here’s a compilation of these dialogues, for convenience’s sake:

Nanao: Seiya doesn’t seem like himself today. Ryouhei: Minato probably turned him down. I already got rejected too. Nanao: I understand he wants everyone to join the the tournament, but aren’t those two too stubborn? That Minato guy is such a calamity, being popular with both boys and girls. I’m only popular with girls on that point.

(Try to convince me that Minato isn’t bi after this one. You shall not succeed.)

Kaito: You guys, don’t just stand there and chat; practice! Nanao: Geez, Kacchan, don’t take your anger out on us just because Seiya left. Kaito: Hah? What’re you saying? Nanao: Don’t you watch Seiya a lot? Kaito: Of course. Archery is about practicing while watching each other’s shooting forms.

Nanao: Kacchan, you really suck at endgames. Kaito: Shut up. I got what I needed, so it’s fine.

Kaito: I don’t wanna do team competitions with half-hearted feelings. Didn’t it seem like that guy had been practicing secretly? And I can’t understand the fact that he knows Masa-san. Since when have they known each other? Nanao: Aren’t you Masa-san’s favorite among his acquaintances? Minato’s a genuine bow geek, so I think he’ll unexpectedly be on the same wavelength as you, Kacchan. Kaito: We’re definitely not the same! And anyways, I don’t like that guy. There’s nothing decent about guys with nice faces, including you.

Seiya and Masaki

This one is in the misplaced gay list. In this case, implying Seiya’s non-existent co-dependency towards Minato. In the novel, Seiya isn’t jealous of Masaki and Minato’s relationship. He’s polite with Masaki all the way and starts calling him “Masa-san” from day one. Seiya also never says that he hates Masaki. Because he doesn’t.

Kaito and Masaki

Another example of misplaced gay. Kaito is very obedient around Masaki and obviously stans him as a good example of successful archer, but not in the exaggerated way that the anime tries to sell. In fact, it feels like the anime tries to get him to Minato’s level of fanboying, but although the two of them are equal when it comes to fawning over archery, they have a different vibe when it comes to Masaki. That’s probably because Minato is much closer to Masaki than Kaito is, and Kaito canonically sees Masaki as the brother he never had, while it’s unclear what exactly Minato sees Masaki as in his life.

For starters, Kaito never tried to keep Masaki for himself. He is jealous of Minato for also knowing Masaki and apparently monopolizing him, and he’s mad as hell that Masaki decided to start teaching archery because of Minato, but he never tried to keep Masaki’s existence itself a secret. The only one who did that was Minato. Kaito never refrained from talking to Nanao about Masaki at all. He also talked to Masaki about Nanao, enough for Masaki to be able to recognize Nanao at first sight.

Masaki jokes around Kaito like he does with everyone else, but Kaito responds to it right away with threats that he doesn’t really mean. Whenever Masaki dares him to actually do it, he meekly recoils. They’re found family through and through.

Daigo and Hiroki

The anime has been doing a piss-poor job at showcasing this ridiculously married duo. There isn’t much about them in the first volume, to be fair, but the little we had was enough to deliver that they’re old friends who complete each other. Hiroki is also the only person who listens to Daigo nerding out embarrassedly about idols without judging him, and the two of them are considered “special goods” of Kirisaki for being so inseparable and well-balanced.

Shuu, Sen and Man

These three aren’t nearly as close in the anime as in the original work. The twins absolutely love Shuu and admit to worshipping him. They’re clearly very jealous of Minato for holding Shuu’s attention, and physically attempt to drag Shuu away from him when they’re talking to each other. They’re also openly aggressive with Minato more than to any other team member of Kazemai.

In Kirisaki, their interactions are also different. The twins normally follow Shuu around and monopolize him, which he doesn’t seem to mind. The author describes Shuu sandwiched on both sides by the twins as “charming in some aspects”.

Shuu gives advice to them when asked, which the twins do often, not only because his shooting is their ideal, but also because they find his explanations easier than the teacher’s. He also defends the twins from the more hot-headed senpais when they’re called out for their rudeness.

Also, the twins’ admiration for Shuu isn’t equal. Senichi is way more serious about it than Manji is. The way this trio is depicted, it feels like Senichi is Shuu’s arranged fiancé who happens to be madly in love with him and has to deal with Shuu being in love with someone else.

Delicious.

Kaito and Minato

The anime keeps trying hella hard to maintain that Kaito and Minato have some sort of hero crush on Masaki and that this is the main connection between the two of them, but the novel begs to differ. It also keeps trying to pretend that Minato is the kind of spineless idiot who would act like Kaito is right in trying not to let him into the club because of his target panic, and who would attempt to gain Kaito’s friendship by catering to his unfair treatment. The novel also begs to differ.

Minato is a serious and assertive character. He acknowledges that he’s in bad condition and tries his best to prove his resolve, but only within realistic standards. He tells Kaito right to his face that entering the club is his own decision and warns that Kaito should back off from speaking on Seiya’s behalf, arguing that Seiya would be displeased with it. He also lectures Kaito on being a little shit to everyone, especially to Nanao, simply because he’s insecure.

After Minato joins, Kaito immediately bares his fangs at him. Albeit not putting up with his shit, Minato asks what he could do to be acknowledged as a comrade because you sort of need camaraderie in a team, and Kaito spits out that such a day would never come.

Kaito is outright displeased having to work together with Minato as kaizoe. Minato also isn’t in high spirits. The two of them comically have the same reaction when finding out they’d have to do it.

Minato decides to strike a conversation after the yawatashi, when he and Kaito are getting changed, mainly because he had noticed that Seiya and Kaito’s relationship wasn’t going well because of him. Kaito barks at Minato that there’s no honor in working with him, and Minato reasons that they should reach a mutual understanding, since they’d be in a team competition. Kaito retorts that he didn’t even want to be in them, but he had to after Minato joined. It only becomes clearer that Minato is ruining Kaito’s prospects one by one.

Despite all the clashing, Minato notices that Kaito’s passion for archery is genuine. Still, there’s a lot of misplaced gay in the anime during the training camp. Minato doesn’t desperately try to win Kaito’s favor, isn’t saved by Kaito from falling into the river, and doesn’t ogle at Kaito’s back when he shoots as the oomae for the first time.

Kaito finally shows a slight sign of warming up to Minato by thanking him for saving Nanao’s hat, which had been a present from him and his sisters. This is destroyed by him finding out that Minato and Seiya had attended Kirisaki for middle school.

After the whole accident with Masaki, Kaito assures Minato that it wasn’t his fault, and then he emphasizes it the next day, saying that Minato wasn’t worth being saved by Masaki if he was still twitching with guilt.

When Minato gets a ganglion on his hand, he tries to hide it from everyone, but Kaito notices something wrong. He forces Minato to have it examined by Tomio. And after Seiya performs first-aid on Minato, the following dialogue goes on:

“Shit, you’re seriously so…” “Sorry that this happened right before an important competition… It was because I was careless that I got hurt.” “Aah, you’re so freaking annoying. It doesn’t look like you get why I’m pissed off.” “You’re angry because I messed up?” “Wrong! This is why I said I wanted to focus on only the individual competitions. You tried to hide that injury from us earlier. You think you can compete in a team like that? In the end, you just don’t acknowledge us. All you do is keep secrets!” “I just didn’t want to worry everyone! What, don’t you have a secret too, Onogi!? You said you want to focus on the individual competitions, even though you actually couldn’t help but want to be in team competitions!” “Wha--no way that’d be true!” “I heard it from Nanao!”

Kaito almost gets back at Nanao for opening his mouth, but Minato put himself nose-to-nose in front of Kaito. This is one more example of closure that the anime doesn’t show.

“Onogi, didn’t you say that I was using target panic as an excuse to run away from archery? But aren’t you running away too? You run, run, and you’re still running away even now.” “What do you say that I’m running away from?” “From your ‘comrades’.” “What the hell are you talking about…” “You’re scared of making comrades. You’re scared that your thoughts and desires won’t be followed by other people. Even though you really longed for it, you didn’t want to disappoint others or yourself, so you decided to seal away that wish and not look at it. You’re the weakest kind of archer with that cowardice of yours.” “What did you saaaaaaaay——?!!”

This is how we get to the fight right before their face-off against Kirisaki, which was showed in the anime, but in a wholly different way. The fight itself is different as well. Kaito grabs Minato by the lapels of his gi, but Minato steps forward without any hesitation, unlike in the anime, where he seemed pretty terrified and just stood in place like a rock.

“Kaito.” “Don’t call me Kaito!” “Then, Kacchan.” “That’s even worse!” “Kaito, call me by my name. Call me Minato. Then we’ll be comrades.” “Haaa!?” “Besides, in the Kazemai High School Archery Club’s male division, everyone is calling each other by their first names, but we’re the only ones calling each other by our last names. It’s embarrassing to feel special, right?” “There’s no special feeling——! It’s normal, average. You’re such an airhead.” “When I learned that you wanted to be in a team competition, Kaito, I was really happy. I felt the same way.” “So what?” “Tommy-sensei didn’t make me the ochi for the evetuality of my target panic starting up. It was to make me feel like I had four comrades in front of my eyes. So, Kaito, you must feel the four of us at your back, right? You aren’t alone. I’ll protect the end of the line so that everyone can follow behind you. I’ll go with you to the very top.” “You were just babbling on. I’m gonna trample you.” “Why would you trample me? We’re going together.”

Yes, they didn’t get to this point by Kaito being hysterical about following Masaki’s teachings or by Minato telling everyone to forget them, because that’s just fucking dumb. If teachings weren’t necessary, there would be no need for taking classes in the first place.

It’s only here that Tomio hands them the headbands. They all put them on and Minato doesn’t need a pep talk from Seiya in order to tie his own. Kaito then finally calls Minato (and only Minato, as he’d already been on a first-name basis with Seiya since the beginning) by his first name for the first time.

Kaito and Seiya

To quote myself from an earlier post:

One of the things I noticed is that not just their relationship but their personalities are different in the anime, and this in turn affects the rest. What I find so good about them is the irony that Seiya is a dog person who acts cat-like and Kaito is a cat person who acts dog-like and you can feel this shit in their exchanges.

There are many details to this relationship that could be considered gems. When Kaito meets Seiya and Minato at Kazemai, he recognizes Seiya right away from their tournament in middle school, but not Minato. As I said before, the two of them refer to themselves by their first names off the bat and Kaito is quick to try to get Seiya into individual competitions with him. He insists that the two of them can “aim for the top together”, and gets extremely frustrated when Seiya refuses. He’s also pretty offended when Seiya claims that Minato is above him when it comes to natural ability.

The day after Seiya and Minato fight in the rain, Seiya catches a cold and is overall very distracted, enough to mistake Kaito’s bow for his own and use it instead. Kaito asks him how he managed the feat because one would normally be able to tell the difference, to which Seiya responds that he “did think it felt sort of tougher”.

I will not turn this into innuendo. I shan’t.

Kaito then notices Seiya looks red and places a hand on his forehead, confirming that he has a fever, like any good shoujo protagonist would do with the heroine. And this is where the author begins to hint that Kaito treats Seiya differently from the other club members. Kaito is overall gentler with him for no given motive. Even though he’s the type to care for everyone, he normally scolds those he looks after and makes clear that they should be able to look after themselves, but he doesn’t do this with Seiya at all. And the best of it is that Seiya responds to his awkward kindness.

When he realizes that Seiya is sick, the first thing he does is tell him that he should take a break because he’s busy with other matters aside from club activities and Seiya brushes him off, but then closes his eyes and says that Kaito’s cold hand feels good against his hot face and goddamn. What a low sweep. Goddamn.

Basically, all Kaito can do is frown and he doesn’t manage to come up with much of a response. By the time Seiya leaves, Kaito is still staring at him, and he gets visibly annoyed when Seiya isn’t there anymore. Again, for no given reason.

Kaito confronts Minato two days later about joining the club, acting as Seiya’s spokesperson on his own accord and telling Minato that he shouldn’t upset Seiya or raise his hopes fruitlessly. He gets angry when Minato argues that Seiya wouldn’t forgive him for butting into their affairs, and maintains that Seiya would be going to the individual competitions with him, not to the team competitions.

Right before the training camp, when Kaito and Seiya are cleaning up the targets together, Kaito finally confronts Seiya about his stance regarding Minato. He calls Seiya out for being like an overprotective father around Minato, and makes observations that even Seiya himself admits to be right:

“About your good point of nicely taking care of everyone, it seems that it’s because you’re following the rules. Like, you go forward at the green light and stop at the red light ‘cause you were taught to do so. Still, you’re different around Narumiya. You do with him what you really wanna do. But I’m not saying that you’re black-hearted. Your good quality is fairness ‘cause you have enough brains and ability to take action to properly make use of what you’ve learned. Many people are relying on you. Your guiding principles were misled ‘cause you, the club president, got too engrossed with one person. I mean, you shouldn’t have forced everyone to go for team competitions this time.”

Seiya is predictably displeased that Kaito hit bull’s-eye, and tells him that he should be focusing more into practice if he has time to be observing him. And sure, I get that he would want to tell Kaito to hop off his shit because this little fucker has a lot of secrets............ but he certainly didn’t have to hold Kaito’s hand while doing it. And he most certainly didn’t have to hold it so tight that the arrow on Kaito’s hand creaked a little.

Kaito says to Seiya’s face that a lot of what he spouts sounds fishy, and Seiya changes the subject by claiming that all he wants is for Minato to draw the bow like he used to once again. Kaito can tell that there’s more to his motives than this, but as Seiya leaves as fast as he can, he’s unable to ask. The arrow that remained on his hand was Seiya’s, and the emphasis on the fact that it was a wornout one probably stems from the long-standing burdens that Seiya has been carrying.

Yeah, this debunkes the anime’s stupid excuse that Seiya is in the archery club because of Minato. He’s depicted in the novel as being his own person and having his own will, so he does have a mind outside of Minato. Even if Minato had never joined the club, Seiya would have stayed in it.

Anyway, fast forward to the day before the training camp, Kaito confronts Seiya about not signing up for the individuals. Seiya ignores him, which pisses him off.

Once Kaito finds out that Seiya and Minato went to Kirisaki in middle school, he bitches to Seiya about keeping it a secret. Seiya argues that he hadn’t told anyone because he didn’t want everybody digging up on them and retorts that Kaito could have simply looked them up if he’d really wanted to know, but after Kaio leaves, Seiya admits that he should have properly talked about it when Kaito had asked. He resigns to the fact that finding out about it way after people of other clubs probably made Kaito feel awful and says he has no right to be the club president. Yet he’s cheered up by Ryouhei and decides to discuss the subject properly with Kaito when he gets a chance.

Kaito is so thrown-off by the fresh frustrations that he loses the improvement he had acquired during the training camp on the spot (no, he didn’t fail because of a stupid obsession with making his bow turn, KyoAni). He actually made it through the first round, but fell short in the second, together with Nanao (yes, he participated), Yuuna and Noa (yes, the girls didn’t fuck up right from the get-go and none of them had zero hits).

Kaito continues acting off during club activities and gets into an argument with the girls and Minato, but he’s immediately shut down by Seiya because this bitch weak.

Later on, in order to help the boys enhance their teamwork and to distract them from the stress of having to face Kirisaki, Tomio bought them sports fishing passes and sent them to a fishing spot. Since fishing alone was forbidden, the five boys split into two groups. Ryouhei and Nanao went with Minato, leaving Kaito to work together with Seiya, who had brought Kuma along. The two of them caught river bugs to serve as bait together and sat at opposite sides of the shore.

I think it’s worth mentioning that Kaito was being his usual sharp self with the others, but with Seiya, he acted completely tame. There wasn’t any trace of his frustration in his attitude.

Seiya went back to Kaito after having caught one salmon, and found that Kaito’s fishing line had become entangled on a tree. After Seiya sent a picture of what he had gotten to Minato and the others, he and Kaito sat down...... really close together under a shaded area. Seiya took a tomato curry bread out of his backpack and shared half of it with Kaito, and after they were done, they chatted idly, with Seiya commenting that Kuma seemed to be showing respect for Kaito. Kaito then stroked him and Kuma sat down next to Kaito as if to nestle close to him.

Once Kaito gets the Kuma Seal of Approval, he and Seiya have the following conversation:

“About the whole deal with Kirisaki’s Shuu, it was wrong of me to keep it all a secret; I’m sorry. I’ll discuss things properly from now on.” “Ah, no, you don’t have to talk about it. There’s nothing you have to apologize for. You had something you didn’t want anyone else to know about, and it was wrong of me to get curious over it. Even if I knew, it doesn’t really mean I could be of help to you guys, either.” “That’s not true. I’m counting on you, Kacchan.” “You…even though I was talking seriously… Can I punch you?” “Well, the competition is over, after all. I think Tommy-sensei gave us this mission not to acquire stamina and patience through fishing, but to make us step away from the bow once in a while and relax. Minato seems to be conscious of Shuu and getting flustered by him too.” “Rather than him, I’m a little worried about you.” “Me? Why?” “Aren’t you fretting over Narumiya’s target panic more than he is? Other than that, how can I put it? Uh… Anyways, you’re also a disappointment.” “I don’t quite get it, but well, I’m thankful that you’re worried about me.” “You’re nice to everyone, and yet you act sassy with me.”

Kaito had actually wanted to ask Seiya if he felt some sort of guilt regarding Minato, but the question was too insensitive even for him. He also acknowledged that he might not be able to find the right words to reply with if Seiya said yes, and didn’t want to seem like he was criticizing Seiya for it. So, instead, he goes with this:

“Seiya, when I first saw you at the information session, I thought that you were a guy who was well-composed and really good at archery. I’d been watching you for a while, and I thought maybe you were similar to me in some way. You have passion, some kind of conviction, don’t you? I want to respect it. I respect you for working hard to earn a calm and collected self.” “You praising me feels unpleasant. Should I say that you should go practice if you have the time to observe me?” “I want to win the prefectural tournament - with all five of us.” “Yeah… that’s right.”

The author then describes the maple trees overhead, and just to put it out there, maple stands for reserve, which might be an allusion to Kaito holding back from digging further into the matter (even though he was right, like he always is about Seiya). They also mean strength and endurance, and that matches Kaito’s comments on Seiya.

A few days later, during a softball tournament of their school, Minato and Seiya’s class was playing against Kaito’s. Seiya teases Kaito when they spot each other about how the soccer field is somewhere else, since Kaito was being recurrently summoned to be part of the soccer team by the school’s soccer club at the beginning of the semester, to which Kaito responds with, “Seiyaaa, not you too”.

When the game begins, Kaito is the first batter and Seiya is the baseman. Kaito gets a hit in the second try, and gives Seiya a “how’s that” look when passing him by.

On the first day of club activities after Masaki was hospitalized, Kaito was the one to announce that everyone should continue practice like normal in order not to waste what they’d been taught. Before doing so, he gazes at Seiya for a brief moment as if to ask for permission to speak on his behalf.

After Kazemai’s tiebreaking match with Kubo high school, while everyone was having lunch, Seiya and Kaito were checking the competition’s program and discussing the formalities for the exiting of the next round, which would be slightly different from the others.

At the tournament, when Seiya diagnoses and treats Minato’s ganglion, Kaito is visibly impressed by the fact he carries first-aid items around with him, and Seiya merely responds that he shouldn’t underestimate a son of orthopedic surgeons who used to play with medical tape instead of building blocks.

Keep on roasting him with care, you four-eyed witch.

In other words, Seiya and Kaito interact a lot. Onogi “hands off my man” Kaito is often on the role of looking out for Seiya, who in turn looks out for everyone. Just like Masaki with Minato, Kaito is always spot-on about Seiya and gets really damn close to finding out his heaviest secret, and prods into Seiya’s business enough to shake even a careful planner like him. Meanwhile, Seiya is sharp as a knife with him, but recognizes he shouldn’t be, and resorts to sassing Kaito when he gets too sappy. He also acts somewhat tsun when Kaito is too gentle, and not-so-subtly starts hanging around Kaito most of the time after he starts acting like a normal best friend to Minato once again.

Seiya and Minato

It all obviously starts right on the first part of the first chapter, because Ayano Kotoko wastes no time. When Minato and Seiya meet during the morning of their high school entrance ceremony, Minato hinted that he might have been getting sick, and Seiya teases him about it. Then he says that if this did end up happening, he would offer to “faithfully nurse” Minato in the special hospital room of his parents’ clinic, to which Minato retorts that he would turn Seiya down because “who knows what you’d do”. Seiya claims he wouldn’t do anything, but the feigned innocence is so evident here that you don’t even have to guess what kind of face he’s making.

When Minato, Seiya and Ryouhei are approached by Tomio, Seiya bluffs that he knows Minato is “carrying his treasure around” and smirks when he falls for it. After Minato fails magnificently at the demonstration shooting and scurries to leave, Seiya says he’d be waiting for him to join the club, holding Minato’s place in the boys’ team for as long as it was necessary.

When Minato comes back home late in his third night visiting Yata no Mori, he finds Seiya waiting for him in front of his house. Seiya already knew that Minato had sneaked out somewhere the previous night, and as he questions Minato about it, he finds one of Fuu’s feathers on his hair. Minato does nothing but give roundabout answers, and then straight-up lies that he was just wandering around on his bike, which Seiya is far from believing but lets slide. This whole moment sort of feels like a father questioning his teenage daughter about sneaking out of home to see her boyfriend.

Seiya then confronts Minato about joining the club, competitions and target panic. He reveals that he doesn’t feel their loss in middle school was only Minato’s fault, since he got caught up with the whole situation and lost control of himself as well. Minato happens to hate this whole talk, and ends up saying he doesn’t want to do archery with Seiya, which isn’t true. He simply doesn’t want to keep causing trouble, but doesn’t know how to convey it. Although Seiya does understand what Minato means, he’s still hurt by his words because Minato being able to rely on him is his anchor. He then responds in the way he always does when he’s upset.

By being a stone-cold bitch.

The anime is trying to paint Seiya as meek and passive, but he’s an icy little fucker when his mood swings for the worse. He stares at Minato as if looking down on him, and this is when he throws the “Actually, would you be able to endure it if I did blame you? Or not? It’s easy to make you cry.” bomb on Minato’s lap. And instead of leaving it as that like he did in the anime, Minato grabs Seiya by the collar and pushes him to the ground, then Seiya pushes him onto a tree.

The following day at school, Minato found himself looking for Seiya during his absence, even though he had been avoiding him before they fought. A day later, Minato leaves a box of Pucky in Seiya’s mailbox as a sign of apology. No, he doesn’t write that he would be waiting for Seiya. He didn’t have to, since novel!Seiya never once doubted his love for archery. What he did was draw a dog on the box, which is something that Seiya used to do to display an intent of reconciliation. Seiya also leaves a box of (premium) Pucky for him as reply.

The next morning, Minato contacts Seiya, who welcomes him to the archery club, and he almost tears up at it.

Misplaced gay ensues in a non-canon scene of the five boys bathing together at the training camp. Nanao’s comment about Seiya’s “love” for Minato never happened in the novel. Seiya also wasn’t around when Minato retrieved Nanao’s hat from the river, so he wasn’t even there to help, although he was worried when he saw Minato coming back all soaked.

During the softball game, Seiya yet again shows exaggerated worry as the pitcher aims at Minato’s left flank. He attempts to get someone else to be the batter even though Minato had dodged the ball and was unharmed.

Even as the game ends, Seiya asks if Minato hadn’t been grazed even a little, and despite being reassured that he hadn’t, Seiya asks if Minato had been going to his yearly check-ups. When Minato answers that he hadn’t, as already four years had passed since the accident, Seiya yells that he shouldn’t neglet his check-ups because his wound still throbs from time to time, loud enough for Minato to flinch. Seiya then comes up with suggestions to motivate Minato to go, like asking his parents to drive Minato there (no, he doesn’t do check-ups with Seiya’s father) or offering to tag along in case Minato feels bored while waiting. Minato feels extremely uncomfortable and declines it all, asking Seiya why he worries so much. Seiya responds that he has the “responsibility to worry for Minato’s health”, and Minato jokes that he sounds like he feels guilty for something. Seiya says nothing back, and when Minato prods for an answer, he replies that it’s part of his responsibility as club president. That isn’t the whole truth and Minato can tell as much. In fact, he had only joked because he had been hoping to hear Seiya ask back “what are you even talking about”.

Minato had felt for a while that Seiya seemed to wish for his improvement at archery even more than his own, as if he were trying to compensate for something. He recognizes that some aspects of Seiya’s worry are unnatural and can’t be explained with the word “meddling”. As Seiya’s sense of guilt became gradually clearer, Minato grew scared.

At this point, in the anime, all of this was replaced with flashbacks from Minato and Seiya’s childhood that never happened in the novel, like the day Minato’s family went to greet Seiya’s, their multiple discussions about entering the archery club when they become middle scholars, Minato saying that he asked Saionji to include Seiya in their class but was denied (yes, he kept it a secret even from Seiya in canon), Minato introducing Seiya to Shuu, Minato saying he didn’t want to do archery anymore after he got hit, and Seiya convincing him to do it.

The next day, when Minato and Seiya come home from school, Minato asks to talk and the two of them go under a nearby tree. He starts off reporting that he booked a check-up, and announces that what he has to discuss is serious talk and that he was bracing himself for it and that he wanted Seiya to answer without teasing him. Seiya asks if he has to talk about it right away, and Minato says that things might end up just like the last tournament of middle school if he doesn’t. Basically, his built-up anxiety over their unresolved matter might cause his target panic to act up again. It’s finally then that Minato asks Seiya why he didn’t go to Kirisaki even though his parents could pay for it and why he kept trying so hard to get Minato back into archery.

This entire conversation was replaced in the anime with the scene of them on the street, and although some things are similar, most of it is wholly different:

“I swore that I would protect you on behalf of your mother. Creating an environment where you can draw a bow is my duty.” “Could it be that you spoke with Mom at the hospital she was transported to? Did you make that promise there?” “No. It was my fault that your mother died. That you suffered a wound that won’t disappear for the rest of your life.” “What are you talking about? That was an accident. An accident where a runaway vehicle ran over people walking on the sidewalk. The police took this conclusion too, and there were lots of witnesses so there was no doubt about it. Why are you saying something like that? Didn’t you just happen to be at the scene by chance?” “Don’t you remember? On that day, you were walking with your mother. I stopped you two to talk on that road. I said goodbye and left, heading in the opposite direction. And then, an awfully fast car passed by me… If I had turned around, if I had turned around… ‘If’…It’s all suppositions now. If, at that time, I hadn’t stopped you, the two of you would have passed that place sooner, and then you wouldn’t have been involved in the accident. I was the one who injured you and snatched your mother away from you. So I swore that I’d fully atone for the sin of hurting you. I will protect you…”

It’s kind of impossible to tell that Seiya sounds exactly like a mom at this point, just like in everything he does for Minato. Minato resents not realizing that Seiya had burdened himself with something so heavy and had been in pain ever since the accident which I think says a lot about the fact that Kaito noticed something was wrong with Seiya in the way he acted around Minato and in the things he would say from the very beginning. Minato feels like the problems resolving around his target panic are dust next to what Seiya was dealing with and that he wants to accept Seiya’s troubles. Seiya had always been protecting him, and now he thinks he wants to protect Seiya in return.

Yeah, he never really said that he had managed to get back into archery because Seiya waited for him, or that it was his turn to wait for Seiya. That’s misplaced gay, and unsurprisingly, it’s watered-down. Their exchange in the novel is actually pretty calm in spite of all the tension that had built up until then:

“I’ve always thought that you were smart, Seiya, but you’re actually surprisingly dumb.” “Huh?” “Am I wrong? It was you who kept me on the earth. Because you stopped us at that time, I only got injured. I’m here thanks to you. Thank you, Seiya. I think I really am a lucky guy.” “Minato… I’m a sneaky person. Maybe I said all that because I knew that you would forgive me, y’know?” “Uh-huh, that’s fine. Even if you become a vicious criminal who shakes up the world, or even if you get a contagious disease without cure that leads to death, I don’t plan on ever stopping to be your friend. Even if it’s at a prison at the farthest ends of the north, even if it’s at an isolation ward, I’ll go see you.” “What’s with all that…? Were you planning on putting up a cool façade by saying all that?” “Of course.”

Seiya then smiles and places his head on Minato’s shoulder without any lame excuses, while Minato thinks about how Seiya can lean on him sometimes, for he won’t collapse. About how he wanted to stand firm on the ground, not too stiffly or too limply, but flexibly. And then Seiya throws in the golden line that the anime shouldn’t have cut out, because doing so ruined his character and painted his obsession as something positive and justified:

“Minato, I just want you to believe this. I love archery too. I’m not drawing the bow for someone else’s sake, but because I love it.”

Catch me stanning this eternal friendship until I die. Yeah, that’s as far as the “gay” goes for them. Of course, they’re still shown together in as many scenes as possible, but the ambiguousness is no longer present as soon as Seiya stops treating Minato like his own child and actually gives him the space any normal friend would. Literally everything that happened in the anime between them beyond this point (and I do mean everything, even just their conversations) is KyoAni’s original content.

Long live these unapologetically healthy best friends. Fuck KyoAni’s fanservicey ass.

Shuu and Minato

The way Shuu is being depicted in the anime is underwhelming at best. He might be quiet and calm on the outside, but on the inside, he’s extremely passionate about archery and about Minato, though not in this clichéd and overused way that the anime is portraying.

Even though Seiya also used to be on their team, Shuu considers Minato his only rival and bow friend. The two of them know each other well and are actually pretty close, since they literally attended the same middle school.

None of this actually shows in the anime at all. One may argue that it’s easy to notice he’s interested in Minato more than anyone else, and it really is, but their rivalry isn’t nearly as fiery and there seems to be no trace of their friendship. Shuu simply keeps spouting been-there-done-that catchphrases that any rival of any sports animanga has said to the protagonist, and that’s it.

In the novel, Shuu is rather obsessed with Minato in different ways. He doesn’t only crave for Minato in competitions, he also craves for him outside of the dojo. He misses him since they’re attending different schools, but ever since they were little, he had always wanted to spend way more time with Minato than he actually had in his hands. He hates having to part ways with Minato when business is over and is unforgiving of anyone who might “steal” Minato from him. KyoAni for some reason has made Seiya hostile towards Masaki, but Shuu is the one who resents Masaki for becoming Minato’s goal rather than himself.

The flashbacks also aren’t helping. When they were kids, they acted... well, like kids, and not like mini versions of how they are now. They were loud, openly competitive, and would fight for Saionji’s side because he had bad hearing, so they had to talk close to his ears. They were also like older brothers to Saionji’s grandson, which the anime didn’t show.

Their first meeting was different. Minato usually came around the dojo to peek at practice, and Saionji took him as pupil along with Shuu because he believed that teaching the two of them was his fate.

Minato had always annoyed Shuu and was always the only one capable of instigating fiery emotions in him, starting with the fact that he made Shuu realize that someone else his age was as talented as himself. Shuu was extremely irritated when Minato suddenly stopped coming to their practice, having no idea that the motive had been the car accident. He was irritated yet again when they met by chance in middle school, and all the while, he keeps thinking, “who do you think you are to irritate me”.

When Hiroki comments that Shuu must be so elegant and skilled with his shooting because he was taught by a former imperial guard, Shuu responds that he’s actually like that because there’s someone whose heart he wants to shoot through. He credits Minato for his own prowess because his desire to be better than Minato is what got him so far. The twins ask if there was someone who managed to charm him that much and if the saying “the greatest hate springs from the greatest love” has anything to do with it. Shuu responds with nothing but a daring smile and an “I wonder”.

Other interactions between them that the anime watered down are their greetings during the beginning of the tournament and Shuu’s words before he left. In the novel, Minato froze at the sight of him and held his breath when he got close. Shuu reminisces to memories of when they were kids, which is why he goes to Minato’s side and whispers into his ear. Then he puts a hand over Minato’s scar and asks if it still hurts, and Minato answers that it doesn’t.

Just a heads-up: everyone is watching this unfold. Kazemai and the twins are staring at this bullshit but everyone feels they can’t get close because the gay atmosphere around them is too intense.

Minato says that he knows Shuu turned his back on him for getting target panic while he got a full score during the individual competitions at the middle school championship (because of the “cold look” that Shuu had given him in after their loss), and claims that he can’t face Shuu at all. Shuu responds that he hadn’t turned his back on Minato even once, and that he had only not comforted or admonished Minato at that time because he didn’t think there were words for Minato’s situation.

He reveals that he had no idea Minato had suddenly stopped coming to their secret practice because of a serious injury, and that he had realized just how eagerly he had been waiting for Minato when they met again in middle school. He had believed that Minato would definitely come back in high school as well, and asked Minato to “show his archery again”. Minato seems a little touched by it, and Shuu comments that Saionji actually never taught anyone personally, and that Saionji apparently believed Shuu and Minato to be the last duty entrusted to him. Shuu believes that their meeting was a “gift from the God of the bow”, and after saying so, he leaves.

Many things didn’t happen, though. Like the two of them meeting after the tournament and at the shrine. Shuu never asks Minato to take responsibility for changing his life, never acts like a total dick with Seiya and never tells Minato that one can’t do archery for someone else’s sake.

The day before the first team competitions, Minato had barely slept because of his meeting with Shuu. He was glad that Shuu hadn’t given up on him and felt strongly that he didn’t want to lose face in front of him. He was extremely impatient after seeing Shuu’s shooting, and their difference in skill was ever so present even in the next days, as he wanted to become the kind of archer who could be a match for Shuu as fast as possible.

During the second phase of the tournament, Minato and Shuu meet again, and the dialogue they have is way different from the anime:

“Minato, it’s been a while. How are you feeling today?” “Not bad at all, Shuu. A lot of cheering squads came for us today, so I’m fired-up.” “I’m surprised to hear you say such a thing. You said before that you weren’t drawing for the sake of other people watching you. You thought spectators were annoying.” “I’m honestly happy to be supported now. Besides, I’ve just always loved doing archery, be it before or now. So why is someone like you drawing a bow, Shuu? Aren’t you doing it for the same reasons as me?”

Instead of replying, Shuu just smiled brightly, and this ticked off the twins, who started attacking Minato and had to be stopped by Shuu. He apologized on their behalf, which yet again spiked jealousy, and left with them.

Right before the tiebreaking match, Minato wondered if Shuu was watching from somewhere. Minato had never participated in one of them before, and it was all thanks to Shuu. Having someone as skilled as him to be the ochi was reassuring, and Minato entrusted him and Seiya with his back in their middle school days. However, unlike how the anime goes, the novel explicitly states that Minato’s state of mind being at ease during competitions was Shuu’s merit, specifically. He knew that Shuu would always hit, and so he could remain calm, knowing that someone could cover up for him if he made any mistakes.

Similar to this scene, right before the final match between Kazemai and Kirisaki, Shuu yet again comes to talk to Minato as he was being bothered by the twins:

“I’m deeply moved to face you in competition again, Minato. Did you hurt your wrist?” “No, it’s already fine. I can’t help but feel happy to take on the strongest member.” “I’m looking forward to it.”

During the duo’s last shot, the clouds opened up, and the grains of dust illuminated by the sunlight formed the shape of wings on their backs. As Shuu misses his last shot, he mouths the word, “congratulations” to Minato while the Kazemai boys are hugging him.

In short, Shuu and Minato’s relationship is originally complex and tridimensional, and the anime is reducing it to something dry, commonplace and boring.

Masaki and Minato

Here comes the bible that you asked for, you heathens.

First off, this duo is ridiculous. Their relationship literally has absolutely no business being as good as it is. You just know that it’s the most important one of the story from the fact that it begins when chapter one ends and appears on the very first illustration (other than the one in the cover).

I’m gonna start from the start: the character relationship chart from the official site. It says that what Minato borders for Masaki is “reverence”. That’s pretty heavy for a high school student.

A number of things ensue right before Masaki and Minato’s first meeting, which the anime didn’t show:

When Minato hears Masaki’s tsurune for the first time, his heart starts racing.

While he’s approaching the dojo, he’s praying in his head for Masaki not to disappear until he gets there. He was already thinking that maybe Masaki might be a ghost that haunted the shrine, but he didn’t care if this was the case.

Minato watched Masaki’s shooting for waaay longer in the novel. He stood hidden behind a fence as Masaki fired six shots and then did the finishing formalities.

While Masaki was collecting the arrows, Minato was sighing heavily, rubbing his sweaty palms against his uniform and wondering if he should go talk to him. But it’s totally not a crush. Totally not.

I hate these two so much.

Just to put it out there, it feels like Yamamura Takuya (the anime’s director) is fanboying over Masaki. Or more like over an ideal version of him. In canon, Masaki is an absolute dork and not nearly as composed and mature as the anime tries to sell him. He’s usually clumsy and vulgar, and jokes around a lot.

That being said, he gets friendly with Minato overly quickly. Although he’s confused as to why a random kid would be in the woods watching him, their first conversation is about anything but that, and suddenly Fuu is the topic. It escalates from Masaki offering to nurse the scratch on Minato’s hand to Minato volunteering to replace the lamps of the shrine’s waiting room, and then to the two of them drinking canned coffee together at the shajo. In-between this, we have Masaki joking about Minato being suspicious of him and that he wouldn’t charge for the medicine, knocking over a drawer and sending the contents flying, throwing unnoticed sarcasm at Minato while he changes the lamps and Minato mistaking the can of coffee for alcohol. Masaki then resumes shooting the rest of the arrows after that and Minato stays as audience. Once he’s done, Minato questions him about his shooting routine, and Masaki answers every question even though they literally just met.

All of this in just one night.

To add up, the novel has a veil of supernatural in it, and Minato and Masaki’s encounters in the shrine are portrayed with an atmosphere of mystery. They feel somewhat fantasious since there’s a lot of symbolism and ellusive language involved, like the shrine is a separate world that belongs just to the two of them, where both Minato and Masaki find not only each other but also themselves, renewing their love for the bow. And this is where I myself started becoming inspired while reading this novel. I, too, felt like praticing archery for once, so that I could point the bow at my head and shoot an arrow right into my face because I can’t take this bullshit.

But I digress.

Minato goes home without asking Masaki’s name, then proceeds to search for information regarding him on the internet like some stalkerish middle school girl. He finds nothing and berates himself for not asking, but also wouldn’t know what to do if he had really asked. 100% not a high school chick flick.

The next evening, Minato visits the shrine again. It’s raining, and when he finds Masaki shooting just like in the previous night, he notices that it feels like Masaki is performing a prayer when he does so. Minato watches hidden behind the fence yet again and wonders what Masaki could be wishing for in a night where the stars aren’t visible, because apparently Masaki’s presence increases Minato’s poetic tendencies by a hundred.

When Masaki spots him, he gives a peace sign and beckons him, but Minato’s brain has bluescreened at that point, so being the little shit he is, Masaki crouches and gestures to Minato as if he’s calling over a dog or a cat. This predictably has Minato flustered, and Masaki jokes that seeing him under the rain in a dark spot is scary. Minato comes to the shajo dripping wet and Masaki lends him a beginner’s uniform, telling him that he doesn’t have to be so formal.

By the time Minato returns, the floor that he had dirtied is completely clean, even though Masaki had asked Minato to mop it once he finished changing. The two of them have canned coffee together again, this time with oyaki. Fuu hadn’t showed up because of the rain, and that’s when Masaki jokes that Minato’s shoulder is the perfect perch for him. While arguing that he isn’t an ornament, Minato asks about the hours of activity in the dojo, and finds out that it was supposed to be used until 9pm but is currently only used during daytime, so the only one who is there at night is Masaki, except for couples that sneak inside occasionally. Minato is taken aback at the fact that couple come to a sacred place to make out and whatnot, and for some godforsaken reason, the author seemed to think it was a good idea for Masaki to retort with, “You don’t seem to have much experience in that area. Shall I teach you the basics?”

*high-pitched screaming*

One might argue that this isn’t as suggestive as it seems, but Minato responds with, “You perverted old man” and Masaki just... freaking grins. And then this bitch hits jackpot when he tries to get Minato to fire an arrow because he can tell that Minato has experience with archery and that he wants to shoot. Minato is exasperated and wants to run away from it, but Masaki coaxes him into opening up, assuring him that not even telephone lines pass through the dojo, so whatever Minato would say would be heard by no one but him. This is when he throws the infamous “I’m not someone who exists in your reality” line, and Minato ends up squeezing out everything that had been burdening him. It’s then that they finally introduce themselves to each other and Minato finds out that Masaki used to have target panic.

The next day, Minato doesn’t attend club activities despite Seiya and Ryouhei’s insistence to get him to join, and goes to visit the shrine again. He finds Masaki dressed in formal hakama instead of kyuudougi for the first time and stops on his tracks unintentionally at the sight of Masaki’s muscles glowing in the evening lights.

This is not homoerotic fanfiction. This is not homoerotic fanfiction. This is n

You kind of can’t ignore at this point that Masaki grins every time he sees Minato. Meanwhile, Minato shudders at the sound of Masaki’s arrows piercing the air, which is unlike any he had heard before, and thinks about how he never gets tired of seeing Masaki shoot. There is joy in the fact that such ideal shots are being executed right in front of him, and cheesy as it may be, this makes him happy to have been born. And since Minato already knows about Masaki’s goal of scoring ten thousand shots, this thirsty motherfucker is already wondering if he’ll ever see him shooting again after he accomplishes it.

Minato is, in fact, just as much of a sports nerd as any sports animanga protagonist. It just so happens that he’s less showy about it, and basically the only one who gets it out of him is Masaki.

Masaki carried out proper practice with Minato, unlike in the anime, where Minato only shoots once. They start with practice at close range, and it’s then that Masaki starts using his ridiculously improper tips, like “push your hips forwards more, like you’re peeing standing up” and “look at my armpit hair”. For better or worse, his advice is easy to grasp and Minato makes the most out of it.

By that point, he’s also already grasped Masaki’s personality. When they’re done, Masaki calls Fuu over while they’re having coffee. He also shares with Minato all the material he had about archery, which ranged from students’ books to exclusive publications to old magazines, and the two of them have a priceless dialogue that the anime cut out:

“It’s amazing that you collected all of these books so thoroughly.” “I didn’t; they were a gift.” “I knew it.” “What do you mean by ‘I knew it’?” “It’s because that kind of detailed work doesn’t suit you, Masa-san.” “Don’t you feel like treating your seniors with even a bit of respect?” “Not at all.” “Good grief, does that mean I have to teach you by praising you?”

Masaki then hands him a rubber mascot and recommends him the muscle training that he learned from his grandfather. The two of them speculate on the reasons why Minato might have gotten target panic and discuss methods to cure it. Then Minato finds out about Masaki’s powder container and the bikini pattern on it, and they have yet another beautiful exchange that KyoAni has ruined:

“What kind of drawing is that?” “Oh, Minato is a healthy young man too, eh?” “No way, this is…” “Yep, it’s a bikini.” “You have some rare items here, old man.” “I’m honored to receive a compliment from you.” “It wasn’t a compliment—!”

Harold, they’re bi.

The following evening, Minato goes to the shrine not realizing that his back had been injured when he and Seiya fought, but Masaki notices it and insists on treating it. This results in Minato taking off his shirt so that Masaki could stick a bandage to it, and honestly, Minato could have been thinking about anything at that moment and I would have been okay with it. He could have thought about Seiya, about the club, about what to have for dinner that night even. Any crap would have sufficed. But nah.

Nah.

He’s thinking about the cold touch of Masaki’s hands on his skin and shivering at it. Because. You know. That’s what straight boys do.

Minato’s shooting is horrible that night and he’s sullen because of the lack of the smell of coffee, since Masaki had brought tea instead. He asks to see Fuu, but Masaki reveals that Fuu had only been with him because he was feeding it and healing its wound, and after it got better, it left his hands. This leads to an exchange that somewhat feels like foreshadowing:

“So it dumped you after you healed it?” “Any problem with that?” “Noooope.”

And it causes Masaki to notice that Minato is feeling anxious, so he tries to confort him, and Minato confides to him about the whole issue with the club and Seiya. Masaki tells him that he’s probably conveying to Seiya he has lingering attachments, and suggests that he takes upon Seiya’s offer. Minato counter-argues that he has no confidence for it, and Masaki asks if he’d be just drawing a bow all alone from that point onward. Minato questions what he means by “all alone”, and it’s only then that Masaki says, “Don’t think that I’ll be here forever. You shouldn’t keep coming to this place.” Minato is confused by his words but doesn’t ask for clarification because they sound like Masaki had grown tired of him. He compares it to something like what a child would say to a stray animal that they’d picked out of pity but then grew bored of.

Masaki is completely unaware of the effect this had on Minato and casually asks him to put away his powder container, tossing it to him. And my God, my sweet lordly goodness gracious, there’s a really odd emphasis on the bikini pattern when Minato catches it. THE DOUBLE ENTENDREE IS TOO STRONG, KIDS. Minato is clearly scared of being dumped by him like he was dumped by Fuu, but it's almost like the author tries to hint that Masaki being into women has something to do with Minato’s insecurity. Y’all may think Minato was actually not that affected by it, but after he left the dojo, he did everything robotically and had a restless night, with the mascot that Masaki gave him appearing in his dreams all the while.

The next afternoon, Minato goes to the shrine to return Masaki’s powder container, which he had accidentally brought home with him, and then the whole misunderstanding about Masaki being dead happens. When Minato returns in the evening, Masaki’s tsurune sounds like a funeral march to him. He finds Masaki in nousha clothing and two shots short of achieving ten thousand, and thinks that the scene as a whole looks just like a skillful stage production. He’s also oddly fixated on Masaki’s “exposed skin” and “fascinating profile”.

It’s here that Minato shows the first signs of selfishness towards Masaki. One would think that being excessively cared for by Seiya would mean that he’d be more of a free-spirited person, and his discomfort at Seiya’s meddling might seem like a sign of that. And indeed, Minato is like that with everyone else, except Masaki.

With Masaki, he’s the greediest little bitch.

He starts begging that the night would never end. He literally wishes that time would stop so that he could be there with Masaki forever. Like, screw his dad, screw Seiya, screw the entire rest of his life; he just wants Masaki to remain there.

Masaki was, of course, oblivious to this. He decides to recreate a scene from Zen in the Art of Archery that he had once mentioned to Minato with his last two shots. He lights up sage and positions it at the target bank, and after he shoots, he thanks Minato and says he has no more regrets. This makes Minato feel like he might disappear at any moment, and that’s when we get the iconic “don’t pass on” scene.

I must point out that one of the things I find really interesting in character dynamics is when a character has set rules of conduct and ideals for themselves but they break all of them willingly for the sake of only one other character, and that’s exactly what happens between these two. This trope is used by the author in a very obviously intentional way, which is even better.

Before Minato runs to Masaki and begs him not to leave, there’s a series of ironies to consider:

Minato dislikes being clingy with people on default.

He doesn’t do things like wishing upon stars, but if he were to, he’d wish for Masaki to stay with him.

The night before, Masaki had told him: “In the future, if you find someone that you like very much and you have to part ways with that person, will you give up without doing anything when that time comes just because you have no confidence? There are things people can’t beat no matter how much they wish to be strong. But if you do meet something that you truly don’t want to lose, it should be able to make you cling to it and shout.” Of course, Masaki had absolutely no idea that this “person” could be himself. Since he was talking about the future, he probably meant a lover.

Minato’s response is that he’d never so something so embarrassing in his life.

Yeah, boi played himself.

When Minato holds onto Masaki and shouts at him not to go anywhere, a lot is different from the anime version. For starters, since Masaki had his sleeve down, Minato basically shoved himself onto his bare chest. He also grabbed Masaki roughly with both hands, only, it’s not said where he grabbed. I............ kinda hope he didn’t grab the same spot as he did in the anime. ‘Cause. Well. Titty out.

Anyway. Minato was half-crying back there, and his words to Masaki during this moment are an absolute treasure and I have no idea why KyoAni would cut so much of it out, so here go his original lines:

“Are you a ghost? No, wait, a zombie? You’re so cold… But I’m never letting you go! You’re still my master, after all. Until the master passes on all his skills to the disciple, he has the responsibility to watch over him. No, wait, you don’t have to be my master. I just want you to stay here, Masa-san. If you’re a ghost, you can possess me; if you’re a vampire, I’ll give you my blood; and if you’re a zombie, huum, well… I’ll try to not mind even if you stink a little!”

Read this again. Digest it. Or at least try, because there’s just too much going on. Sure it’s all really damn funny, but Minato’s possessiveness is peaking here. He’s basically declaring that, supposing Masaki were actually a ghost, Minato wouldn’t let him rest and wouldn’t hand him over to even death itself. At first, Minato tries to argue that there should be still something chaining Masaki to the world of the living, since he hasn’t fulfilled his role as mentor yet. But then he thinks it over and decides that he wouldn’t want Masaki to leave him even after having taught him everything he knows. And the solutions that he comes up with are not only over-the-top but also risky.

“If you’re a ghost, you can possess me.” What the fuck, kid? “If you’re a vampire, I’ll give you my blood.” What the actual everloving fuck, kid?

So, yeah, he’s known Masaki for less than a week and is already willing to give his flesh and blood and overall control of his life for the sake of keeping him at a reachable distance. Bonus for actually picturing Masaki taking possession of his physical form and biting his neck to suck the life out of him.

How very straight.

The fact that Masaki’s jaw drops and he lets his bow fall to the floor is an icing on the cake. After he laughs his ass off once the misunderstanding is solved, he comments how “it’s really true that the sillier the kid is, the cuter” and then teases by asking if Minato was relieved that he wasn’t a ghost. This chapter section is just glorious.

Masaki then asks if Minato hadn’t been showing up because he thought he was a ghost, and Minato answers that he was merely doing as told after Masaki said that he shouldn’t come to the place. As if him being a ghost would stop this relentless little fucker. Masaki reveals that since Fuu had returned to the forest, he believed Minato should return to where he belonged as well. However, Minato had immediately come back to him, and he couldn’t do anything about that.

The two of them then went to collect the arrows and sat next to each other for their usual coffee time. Masaki explains that the powder container was a present from his grandfather, who was also his former master, and tells him the meaning behind his ten thousand shots. Yes, the one he opens up to about his grandfather being a good archer but a shitty teacher is Minato, not Tommy-sensei.

The thing is: his grandfather never asked if he liked archery. He simply thought that Masaki was fooling around because his form was messed up, so Masaki was cast away by him as someone who should be ignored due to apparently not taking archery seriously enough. The truth was that Masaki was actually trying his best, which is why he was so deeply hurt by his grandfather’s attitude that he quit archery and didn’t join the archery club in college. However, he undoubtedly loved it, and had always been thinking of ways of reconciling with his grandfather, but to no avail.

His grandfather was still estranged from him when he passed away, so Masaki came up with the idea of shooting ten thousand arrows in order to communicate with him from the other side. After he overcame target panic and fixed his form, he was able to become the exemplary archer that his grandfather wished he would be, so he set the task upon himself to get rid of his burdens and send his grandfather’s soul to rest.

No, KyoAni, it wasn’t for petty revenge against a dead person, omg.

It’s also clear by this point that Masaki and Minato are parallels of each other. Masaki, too, ended up returning to the forest, to his family’s shrine and to its dojo, and troublesome as it could be, he found himself unable to stop drawing the bow. While he talks about this to Minato, there’s a quick emphasis on the azaleas blooming nearby, and their flower language surely has something to do with the scene. Amongst other things, they mean “remembering your home with fondness or wishing to return to it”, “caring for yourself and your family”, “temperance and emotional evenness”, and “delicate passion”. All of this emphasizes how awesome a character Masaki is, and the way the anime ignores every single one of his best points is just appalling.

When Masaki finishes speaking, Minato decides to shoot at the targets instead of the close-range practice he had been doing until that point. Masaki lets him, and he goes as far as getting dressed up in the uniform in order to do it. He hits for the first time ever since his target panic started acting up, at the edge of the target. Overcome with nostalgia and feeling so happy that he could die, Minato shoots again and manages to hit the center. Minato then realizes how hungry he had been for the bow and realizes that there’s actually still hope for him as an archer. Masaki asks if he had also recovered, and he declares he’ll join the archery club.

After he joins and Masaki comes in as the coach, Seiya sees his reaction and asks Masaki if he owned a pet bird. Masaki is confused and answers no, because he really doesn’t. Minato, on the other hand, wants to run the fuck away because shit, Dad found out who he’d been with all those nights.

Training camp starts shortly after this, and it’s wildly different from the anime. Starting from the fact that the whole servant thing never happened. Masaki never made the boys serve the girls, never tried to coax them into doing his priest work, never wakes them up at 4am, never barges in on them taking a bath and never keeps them from practicing. I’m trying to figure out why KyoAni made him do all of this, not just because it wasn’t in the books, but also because literally none of that made any sense and served no purpose other than for painting Masaki as an irresponsible asshole.

In the novel’s training camp, the boys and the girls share the load. They all do the chores and are made to help around the shrine alongside practicing because they were staying there. They would cook their own meals, and Masaki and Tommy-sensei did them the favor of taking them to hot springs at some point. There was training aside from practice, and the kids would gather in the boys’ room right before sleep time simply to hang out.

Masaki had also done thorough research on the tournament results and tried to get the kids to reach them with a cautious and slow start. All the way up to this point, through the training camp and until the tournament, Masaki coaches the kids properly, giving really helpful tips, fixing their quirks and being overall a good observation example, never casting pressure on them and never poking his nose where he shouldn’t.

This is all very important to everyone, but above them, it is to Minato. He’s by far the one who benefits the most off the training, and Masaki’s careful supervision is everything he needs while his target panic isn’t cured.

There is some misplaced gay in the anime for the two of them in the training camp, though, as the scene of Masaki helping Minato get dressed doesn’t happen. But in the novel, the clothes Minato wore were Masaki’s, not his grandfather’s. And after the yawatashi, Minato comments on how it was an honor to serve as Masaki’s kaizoe.

Ren was introduced differently in the novel as well. In it, he went straight for Minato at first sight, played a prank on him, and then asked if he was “Minato-kun”. Meaning that Masaki gushed so much about Minato to his brother that he already knew exactly who Minato was and what he looked like. Minato almost doesn’t believe that Ren and Masaki are related because Ren seemed like he was mischievous in his younger years.

After Minato falls in the river getting back Nanao’s hat, Masaki lends him his jacket and takes him back to the shrine for a bath. Not because he was “stinking of river”, but because he wanted Minato to warm himself up as fast as possible. Minato argues that Seiya might worry if he doesn’t return soon, and Masaki tells him not to fret about it as he should prioritize his own health.

Once Minato is done, he meets with Masaki in the dining room and Masaki pours him hot coffee. Since he usually only ever saw Masaki in a hakama, Minato thinks it’s refreshing to have a glimpse on his everyday life.

Not just the warm drink but being there with Masaki makes Minato feel relieved and relaxed, and he opens up about maybe being a bother to everyone. Masaki brushes it off, and so, he ends up also venting about Seiya and how he acts like a meddlesome family member. He reveals that Seiya unintentionally pressures him into meeting his expectations, but what Minato thinks wouldn’t worry him often has the opposite effect. Masaki asks when he’d started acting that way, and Minato tells him about his car accident and that Seiya had witnessed it. Masaki suggests that Seiya might have earned his protectiveness from the event, but Minato feels like Seiya harbors some sort of guilt towards him. When he says he feels like repenting for it, and this leads to the two of them being little shits like they usually are around each other:

“‘Repenting’? I’m a Shinto priest, not Christian. I can perform exorcism rites and blessings, though.” “Eeeh, you don’t seem very holy, Masa-san.” “What did you say? Well, then do you want to ask Ren? Unlike me, he has some kind of ability to sense the supernatural, and he has a priest certificate anyway. But there may be surprises, so people with weak hearts should take caution.”

And then these two bastards just look at each other and start laughing.

Minato takes the opportunity to ask about what Masaki had been teaching Kaito and Masaki explains it.......... sort of differently than how he had done with Kaito:

Masa-san held Minato’s arm so lightly that he almost wasn’t touching him at all. His faintly transmitted body temperature was warm. And then, he let go of his arm just as gently as when he touched it. Minato desperately chased after the feeling left on his skin so he wouldn’t forget it.

The last sentence fucks me up immensely, fam. The rest goes on unlike in the anime too:

“Why do you think you’re the ochi for this time’s shooting order?” “To watch over my teammates’ backs?” “You’re on the right track; that’s half-correct. You have to protect Seiya’s back in particular.” “Me, protect Seiya?” “It’s a role that only you can take. I’m also happy to pass on the teachings that my master left to me. I can’t express the feeling of his palm with things like words and pictures. Thank you, Minato.”

This renders Minato speechless, and makes him think that he also can’t help but long for the day to come when he would pass the warmth of Masaki’s hand on to people who will share their wishes and ambitions with him.

After the sports tournament in which Seiya’s protective dad vibes started getting more serious, Minato went to the shrine to pray, wishing to be able to laugh the whole thing off but having no idea who to talk to about the topic. Masaki shows up as if on cue, just in time to also warn him not to lean too much to look into the shrine’s pond, or else he might fall down.

Turns out that Masaki had been taking lessons to improve his knowledge so that he’d be able to coach the kids better, and as he came back from it, he decided to review what he had learned in order not to forget it, and allowed Minato to stay and watch. Some of the material had to do with target panic, and he let Minato in on it as he shot.

Once he’s done, they have their usual canned coffee, since Masaki always has enough for himself and Minato for some reason. While drinking, Minato stares at Masaki’s hand because he’s just as straight as his arrows. He analyzes Masaki’s shooting as something like a forest in a tree, combining strength and generosity, and becomes disheartened at his own lack of skill.

Masaki offers to call Fuu upon hearing Minato sigh, and Minato dismisses it since he had been able to hear Fuu’s cry, and then comments to Masaki that he had seen a karp with an injured eye at the pond. Before Masaki had arrived, Minato had met Ren there and Ren had told him about a creepy legend involving the fish. Minato had heard from Masaki that Ren had more disposition than him to feel the supernatural, so he’s successfully freaked out, but Masaki reveals that the legend is Ren’s own invention as Ren is a writer of children’s literature in addition to being a photographer and illustrator.

Masaki laughs his ass off at the fact Minato actually believed in a scary story made up for little kids, and although Minato is utterly embarrassed, he’s also happy, since it feels like Masaki is laughing his worries away. After Masaki unknowingly serves as emotional support for Minato as always, Minato earns some determination and decides to properly question Seiya on the matter.

Even when he’s facing Seiya and his issues finally come to light, Minato is thinking about Masaki. When Minato opened up to Masaki for the first time, Masaki had commented on how painful it must have been for him. They weren’t words of pity or consolation, but they resonated with Minato because they were truthful which means Shuu has to step up his game and get on that level. To Minato, truthful things were good, and good things were beautiful, just like the tsurune that had captivated him in the forest. Therefore, Minato wanted to convey honest feelings with his own words to Seiya as well.

So, yeah, Masaki grows to be an ideal for Minato even outside of archery.

Along the course of all this, there’s a fair amount of hints of latent bisexuality other things about Minato that the anime hasn’t displayed, which come mostly in the form of narration, thoughts and silent actions. And unsurprisingly, they’re always related to Masaki:

Minato thinks Masaki’s eyes are bewitching.

He’s weak to Masaki’s smile.

He has mixed feelings when Masaki treats him like a child and when he sees Kaito acting familiar with Masaki.

He hates not being able to see Masaki. Above that, he really hates not having alone time with Masaki, specifically.

He often stares at Masaki and observes details in him, like how long his fingers are and how well-built his body is. The moment he started thinking that “those fingers had the ability to produce a beautiful tsurune”, I cry-laughed because this is just too much bullshit.

He actually, non-ironically sees sensuality in older men when they look suspicious of something, and he notices this in Ren. But the first thing he does is compare him to Masaki in that aspect and conclude that Masaki still has some childishness in him and that he’s gentler than Ren.

God help this boy. Ayano Kotoko is merciless.

I don’t even care if he’s never confirmed as bi, but I refuse to believe that Minato is heterosexual. But of course KyoAni isn’t making any of this clear. Of course.

Anyway, moving on. Episode 11 was a disgrace. Literally none of it happens in the novel.

What goes on after Minato settles things up with Seiya is that Masaki takes the boys to an equipment store to buy stuff for the club. There, Masaki and Minato have a talk about Masaki’s grandfather, and Minato finds out that he was actually a famous archer. Minato then becomes convinced of why Masaki was so into archery, as anyone would want to draw a bow having a master that great so near them, but Masaki retorts that he’d been holding a bow before even knowing anything very well (which brings us back to the fact he started archery when he was a toddler). As a matter of course, Masaki asks why Minato started archery, and Minato answers it was because he once watched a competition ten years before with his mother and never forgot it. He also comments that the tsurune of the archer that won and Masaki’s were exactly alike. And that’s where we get the second obvious hint that fate is one of this duo’s main elements.

After they’re done, Seiya and Masaki stay behind at a café to do accounting work and the other four left first. Minato remained outside while the others decided to go into a bookstore, and after a creepy encounter with an injured cat that reminded him of the injured fish, Minato was almost killed in a truck accident. A truck driver lost control of the wheel and the timbers that the truck was carrying flew out. Minato was almost fatally hit but Masaki saved him at the cost of a head injury that sent him straight to the hospital.

Minato and Seiya went with Masaki in the ambulance and waited outside the surgery room for him. Seiya was used to it after having gone through the same thing during Minato’s accident, so he remained calm, but Minato was a ball of nerves. His sense of reality was impaired, and he was asking himself what would happen if Masaki never woke up.

When Ren arrives, Minato apologizes for being the reason why Masaki was in such condition, but Ren dismisses him and tells the boys that they’re free to go home. Minato insists he'd stay, and the boys end up staying as well. Masaki regains consciousness not much after that, and asks about Minato immediately after finding out where he is.

Ren leaves to call a nurse, Seiya leaves to contact Tomio and Minato stays by Masaki’s bedside. Minato doesn’t know what to say; neither how to apologize nor how to thank Masaki. He had gotten nine stitches and seeing the bandage on his head caused Minato to feel pained.

Read this one more time, and then read the in-betweens. Masaki has earned himself a scar. Minato wasn’t taken away by the gods, but now the two of them are “separated from everyone else”.

While Minato is hanging his head in guilt and gripping the bedsheets, this dialogue ensues:

“What’s wrong, Minato? You’re making such an ugly face. I’m perfectly alive.” “Masa-san, if you had died, I’d have followed after you.” “Hey, hey, don’t say such disturbing things.” “I really mean it.” “Good grief.”

And what I love about this is that Minato says the literal most drastic shit that he’s thinking, out of fucking nowhere, for no goddamn reason. Neither thanking nor apologizing was quite right; he just had to declare that not even death can do them part, again.

Because fuck you, that’s why.

Masaki then stretched out his hand (which had an IV in it because why not add more pain to this clusterfuck) and ruffled Minato’s hair. Minato started crying, unable to stop even if he willed it, thinking to himself that he knew the weight of Masaki’s hand, and that it was still warm. He wanted to thank everyone who had helped Masaki survive, but could only keep crying until Ren and Seiya came back.

Next day at school, Minato was approached by a classmate who had heard rumors about the accident. When the boy mentions that Masaki would be publicly acknowledged for his deed and that he became a local hero, Minato glares daggers at him because he hates the idea of Masaki being treated as a martyr at the cost of almost throwing his life away to protect him.

Minato and Seiya were consoled by Tomio when he saw them, and Minato once again felt like crying his eyes out. He knew that Masaki would have laughed at him if he were there, but the tears were welling up in his eyes all the same.

When they all go visit Masaki after school, Masaki wastes no time to give the boys advice. He finishes by giving Minato a pep talk: “Enjoy the state of the draw. If you keep stretching to open left and right from the center line of your body, your arrow will naturally be let go of along with the triggering of your spirit. That’s what the ‘release’ is about. Drive target panic and delayed hold away.”

After that, Masaki told them that they didn’t have to visit him anymore, but Minato refused it and went to visit him every single day.

The day before the tournament, Minato went to the shrine. He saw the surrounding cherry trees without any flowers and thought about how different they were in comparison to when he and Masaki had first met. He then prayed for everyone in the club to to their best at the tournament and for Masaki to get better as fast as possible.

After lunch, Minato went to the lobby of the building by himself, still plagued by his anxiety over not knowing when his target panic could start up again. He then sees coffee in a vending machine and walks towards it “as if drawn to it”. He buys a can, drinks the contents, and when he’s throwng it away, he notices someone standing under the shadow of the pillar behind the vending machine. The person was drinking the same brand of coffee as Minato had drunk, and he got a deja-vu from the sight, so he peeked into the man’s face.

Really feeling the Red String of Fate vibes in this Chili’s once more, and it was, of course, all on purpose. But that’s just the tip of the iceberg in this chapter. As Minato’s eyes met with Masaki’s, they have their usual comedy routine:

“Masa-san!?” “S’up, Minato.” “Don’t you ‘s’up’ me!? Why are you here? Today’s not the day you’ll be discharged from the hospital, right?” “I escaped from the hospital. It’d be a bother if Tommy-sensei and the others hear about this, so keep quiet.” “‘Keep quiet’, you say…” “Yeah, yeah, you hide too, Minato.”

Masaki pulls Minato into the shadow of the pillar and explains that Ren helped him flee from the hospital by pretending to be him. On top of that, he was wearing a cap to hide the bandage around his head.

When Masaki expresses his wish to watch his students, Minato argues that they were recording the matches for him, but Masaki shoots back that he can’t see the details on camera and comments that Minato had forgotten to tighten his left pinky during the draw. He clarifies that the rubber dormouse was meant to train his muscles of the hand and help him control them, and asks if Minato had been worrying over something. As always, he hits jackpot, and also as always, Minato doesn’t hide it from him. Masaki then assures him that he’d shot well either way, that it was fine to be nervous and that it was okay not to hit. His attitude is too easygoing for Minato, who asks himself how Masaki can afford to be drinking coffee so carefreely at such a timing. It all makes his worries seem foolish, and he soon starts feeling better. Masaki informs him that he’d leave as soon as the last round ended and leaves Minato to fight back a smile before he goes back to the venue.

This scene is probably the one that makes most obvious how Masaki is always there for Minato, almost like it’s a rule. He’s conveniently placed at a distance where Minato can find him, is able to realize that Minato is distressed, and easily makes him feel better. It’s undebatably intentional from the author’s part.

Fast forward to right before the final round, Tomio gives the boys their headbands. They’re yellowish green, which is Minato’s assigned color, and that’s obviously intentional as well. Tomio calls them “treasure items” and reveals that they’d been “blessed by a certain priest”.

While the boys take on Kirisaki, Masaki is in the audience, wondering if Minato realizes how much he attracts those around him. He reminisces to his 10,000 shots, and how he had decided on that absurd number because he intended to let go of the bow permanently after he was done with them. He found extreme joy in archery, but he was tired of pursuing abstract goals with it, so he had decided to give it up. But on the night he completed the 10,000 shots, Minato had extended his hands to him, and his eyes had told Masaki that he could still draw his bow. Minato is described as the one who sent his smouldering soul into the wind, his “fire-starter”.

This is also valid for Minato, who is, at the very same moment, reflecting on how he wouldn’t have arrived at that place if he hadn’t heard Masaki’s tsurune on that night. He then has a long monologue about life and meetings, both between people and between humans and gods, all related to archery one way or another.

Right upon finishing the formalities, Minato looked at the audience, and found Masaki standing in the wind. As always, his eyes are drawn to him, and also as always, Masaki grins at him when spotted.

Later on, while Kazemai prepared for the regional tournament, Masaki was discharged from the hospital, and the first thing he and Minato do after meeting again is check on each other’s codition. Then, Minato reveals to Masaki that he and the boys had contacted an acquaintace of his grandfather’s and learned the words he had expressed about Masaki before dying. Masaki is confused, and Minato says that his grandfather had regretted becoming estranged from him. When Masaki argues that his grandfather would never say something so admirable, Minato tells him the words directly: “I look forward to Masaki becoming a fine archer”. Masaki almost cried right then, and so, the boys’ practice started. Masaki joined them, and I think it’s very obvious that he was going to shoot the target next to Minato’s.

There were also these sentences in the narration as Masaki holds back tears: “‘Fortune’ might have been a word that referred to all meetings. A gift named coincidence, as though someone had devised it.”

Of course someone fucking deviced it, Ayano. It was fucking fate. We fucking get it, Ayano. Fucking thank you. Unironically.

[luanna801]

I’m getting mighty curious about this D.N. Angel series you mention in some of your posts! Would you mind telling us a little about it and what makes it worth the read?

Listen, I’m always delighted to have an excuse to ramble about D.N.Angel (I would probably ramble about it far more if I wasn’t worried about annoying people), and delighted to know that my posts got someone interested in the series! So no, I don’t mind at all - I’m absolutely thrilled to get this ask. :-)

Okay, so the first thing you need to know about D.N.Angel and what makes it worth the read is that the main character is an absolute sunshine:

^Meet Daisuke, our protagonist and deserving bearer of my #Actual Most Adorable Human Being Daisuke Niwa tag.

I enjoy morally grey characters, but sometimes it’s just really nice to read a story about someone’s who’s kind, and gentle and good-natured, and cares for others with every fiber of his being. And Daisuke is all of that, and more (he also looks like he literally shines when he smiles, bless). That’s not to say he’s lacking in flaws or moral complexity - you’ll see that right off the bat when I explain a bit more about the premise of the series - but he’s a continuously sweet and lovely person in a way that’s very lovable.

Daisuke’s deal is basically that he’s been trained by his family to be an expert thief from birth but never knew why (and never demanded answers about this because… well, he can be rather too nice for his own good, frankly). It isn’t until his 14th birthday, when the series starts, that he finds out that he comes from a long line of phantom thieves who have the unique magical ability to, under certain circumstances, transform into an entirely different person by the name of Dark:

^This is him. (The series’ title is obviously a reference to him, although he is not technically speaking an angel. But he is a winged magical being so, y’know, close enough.)

So basically this is a Magical Girl series (despite the protagonist being male), with the twist that Dark is a separate person unto himself, as opposed to just being Daisuke’s transformed self. When Daisuke isn’t transformed, he basically exists as a voice inside Daisuke’s head, and vice versa. Naturally Daisuke isn’t too thrilled with this situation at first, so a large part of the early series is the two of them learning to co-exist with each other.

(Co-existence, or lack thereof, is a major theme in the series! But I can’t discuss that much without getting a bit into spoiler territory.)

The transformation is, specifically, triggered by Daisuke (or Dark, when he’s the one in control) having romantic feelings, which leads me to…

… Risa Harada, Daisuke’s crush (at the start of the series, anyway).

Daisuke and Risa are classmates and he’s had a crush on her for a while, but she isn’t interested in him romantically and turns him down when he confesses to her (leading to his initial transformation into Dark). She feels like Daisuke isn’t cool enough to be boyfriend material but unsurprisingly… well, this happens:

(The art from this series gets a lot better as it goes on, I should tell you.)

So yeah, Risa has it bad for Dark pretty much as soon as she lays eyes on him. This starts off as a pretty shallow crush at first - he’s cool and mysterious, while Daisuke seems like your typical Boy Next Door - but as time goes on, she grows up quite a lot and their dynamic gets a lot more depth.

Meanwhile, Daisuke’s been told that the only way he’ll stop tranforming into Dark is if he gets into a successful, requited relationship with someone, but Risa only has eyes for his alter ego. But someone who feels quite differently is:

Riku Harada, Risa’s twin sister.

Riku and Risa are your time-honored trope of identical twins who have completely contrasting personalities. Riku is a down-to-earth tomboy, while Risa is a romantic adventure-seeker. And unsurprisingly, Riku thinks Dark is a lawbreaking jerk, while Risa thinks there’s nothing cooler than a magical bad-boy.

And, on the flipside, while Risa thinks Daisuke is far too average and milquetoast to be a romantic prospect, Riku likes and admires him for the kind and creative person he is.

Despite their differences though, the Harada sisters do have some major similarities - they’re both very outspoken in what they believe in, very stubborn when they make their minds up about something, and very brave. And while they do clash over their differences at times, they also genuinely love and are very loyal to each other.

The Daisuke/Risa/Dark/Riku love quadrangle occupies a fair part of the early arcs, but it largely ends up being resolved a couple of volumes in and the series from there on focuses a lot more on developing the relationships and plots revolving around the various magical shenanigans everyone deals with, which I appreciate.

Most of the D.N.Angel plots revolve around magical artwork, which Dark (and Daisuke) typically try to steal and which often ends up creating a lot of unintended magical havoc, both for the main characters and on a larger scale. Which brings me to this guy:

^This is Satoshi Hiwatari who, cards on the table, is my absolute favorite character in the series and it was therefore vitally important that I talk about him last, as he brings out my tendency to ramble.

Satoshi, like Riku and Risa, is Daisuke’s classmate, and when the series isn’t focusing on the more serious and plot-driven elements, there are often lots of cute scenes of all of them in school, doing regular things like going on field trips or putting on their school play. (Of course, these are also in turn always hijacked by magical shenanigans, because these kids do not lead normal lives.)

So Satoshi comes from a long line of magical artists who make most of the aforementioned magical artwork that Dark and Daisuke are always stealing. Because of this (and other reasons which are more spoiler-y), his family and Daisuke’s are mortal enemies, and they’ve been trying to capture Dark for generations, which is currently Satoshi’s mission.

Oh, and to facilitate this Satoshi is somehow a freakin’ police commander at the age of fourteen, because he’s just that much of a super-genius. This is ridiculous, obviously, but it should be noted he’s usually much more competent than any of the adult police officers, so. *shrugs*

Also, his life is The Worst. You’ll understand more about why when you read the series, but it’s vital to understanding his character that he has basically never known love or kindness in his life and is one of those characters who severely needs hugs at all times (but would probably have trouble accepting them.)

In spite of the fact that they work on opposite sides of the law and have this longstanding feud between their families, though, Satoshi and Daisuke come to form an increasingly close friendship as the series develops, which is really sweet and one of my favorite aspects of the series.

There are also two main villains of the series, but I’m not sure how much to talk about them without giving away spoilers? But suffice it to say that a lot of the overarching plots of the series tend to revolve around them and the different ways that they go about targeting Dark, Daisuke, and other characters in the series. There’s also quite a bit of backstory development regarding Daisuke and Satoshi’s families, the nature of Dark and the other magical beings who exist in that universe, and things like that.

This is far from a complete overview of the series (particularly since I was trying to avoid anything too spoilery), but that should at least give you a solid starting point! Let me know if there’s anything you’d like me to expand on more, and if you do pick up the series, I look forward to hearing your thoughts. :-)

[newsiegirlscout]

Prompt: A and B slow dancing in the kitchen, humming one of their favorite childhood songs together because it’s late and they’re tired and they crave affection as double one-sided pairing adult lab partners Melvin Sneedly and Stephanie Wykoff (background character book six in Melvin’s daydream.)

Stephanie yawned, rubbing her eyes and holding the bacteria culture up to the light.

“Curious. They’re bioluminescent.”

“Indeed they are!” Melvin replied. The light in his eyes would usually be paired with a delighted clap or something of the like, but even he seemed a bit tired. “And if we add just a drop of the phosphorescent solution…” he said, using a pipette to dilute another culture, “They add that glow to their index.”

Indeed, the culture was now flashing softly green and purple and Stephanie snapped a three-second video and jotted the observation down. “Fascinating. So they’re a learning species?”

“Ah, not quite.” Melvin countered. “Rather, that’s each of the different glows competing within the cell. Give it a minute or two, and eventually one color or the other will win over.”

“Ha,” Stephanie said softly, kicking her rainbow-socked heels against the lab chair and dividing the culture into two different test tubes, “Almost reminds me of the background of that one song from the movie they played in science class that day after finals came early….”

And she sang the opening bar gently and as melodic as Melvin had ever heard her, drumming her cedar-toned fingers on the countertop.

“There’s always time for a living,

Can we just do it again,

One more time like it once was,

Wayyy-back, when.”

She smiled with a faint blush (never willing to admit she had enough of an infatuation with one of the co-protagonists, a boy with cherry-red hair and a love of science but who always managed to slip up, to draw a chibi sketch of him on the bus home holding hands with her; she had never quite believed it when she realized he didn’t wear a bow tie, or smile in quite the same way a certain boy genius did) when Melvin raised his hand and looked up from diluting the agar with more of their formula.

“Hold up, I remember that song!” he said with a lopsided grin straight off a colored-pencil drawing,

“You gave me something to believe in,

We were the best of friends,

Well, I remember the good times,

Way-back, when.”

His voice was rough and husky in the night, and still a touch adenoidal as always, but silvery and light just the same, and Stephanie thought perhaps she had melted on her stool just a touch too long.

“This is just like the sort of song you’d play at a nicer school dance.”, she said softly, “Not the kind at Jerome Horwitz, per say, but just the thing they’d pick if colleges had school dances.”

“Say what you want about our grade school’s time-honored tradition”, he said with a touch of a grudge, “I got a lot of research done at most of them. That said, I would have always loved to ask a... treasured labmate to one, if she’d accept?”

He held out his hand, and she took it and bowed formally to him.

“Why, Mr. Sneedly, I’d be delighted.”

“Well, then…”, he said, hazel eyes on his own geometry-patterned socks, “May I have this dance?”

And they waltzed in the laboratory gingerly, they carried the tune and tried not to think of how much they’d each never felt any love of any type in this quantity before.

“Memories will fade,

If you want to leave, I’ll let you go

I’ll guide you on your way

I’ll be there for you, don’t you know…”

And the night was peaceful once more.