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osharenippon · 1 year ago

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Shoujo Manga’s Golden Decade (Part 1)

Shoujo manga, comics for girls, played a pivotal role in shaping Japanese girls' culture, and its dynamic evolution mirrors the prevailing trends and aspirations of the era. For many, this genre peaked in the 1970s. But why?

Manga stands as one of Japan's primary cultural exports, deeply ingrained in the local culture and enjoyed by individuals of all ages and genders across various genres. Conventionally, manga is divided into two editorial segments: shonen (targeted at boys) and shoujo (targeted at girls). While shonen manga, propelled by hits like "Dragon Ball," "Slam Dunk," "Naruto," and "One Piece," has achieved global popularity, girls' comics, with their own international sensations such as "Sailor Moon," hold a crucial position in the market. The evolving landscape of girls' manga serves as a fascinating lens through which to observe the shifting fashionable aspirations and beauty ideals within Japanese society.

Shoujo manga has a rich history, dating back to the early 20th century. However, it truly gained recognition in its modern form in the late '50s and early '60s when prominent Japanese publishers introduced shoujo manga anthologies such as Kodansha's Nakayoshi and Shoujo Friend, as well as Shueisha's Ribon and Margaret. The acclaimed "godfather of manga," Osamu Tezuka, is often credited with creating the first modern shoujo, "The Princess Knight," in 1954, and the first shonen, "Astro Boy," in 1952.

A distinguishing feature of shoujo manga is that it is created by and for girls. But, in the '50s, this wasn't the case, and male artists dominated the shoujo field, which was considered an entryway to the manga business. By the 1960s, that would change as publishers recognized that women creators possessed a unique proficiency in crafting narratives centered around female experiences. Female manga-kas resonated with readers in a way that many male artists couldn't, marking a crucial shift in the landscape of shoujo manga.

The Volleyball Craze

A notable display of how shoujo could mirror societal trends unfolded in the '60s. In 1964, the Tokyo Olympics marked a new beginning for post-war Japan, and the female volleyball team, known as Toyo no Majou (the Oriental Witches), achieved stardom by clinching victory in the finals against the Soviet Republic. This triumph triggered a nationwide "volleyball boom," resonating particularly within the shoujo manga realm.

Shueisha's Ribon, historically the leader in the shoujo manga field, started publication in 1955. Still, the editorial house would only begin to make its series available in standalone tankobon format almost 15 years later through the now iconic Ribon Mascot Comics imprint. The first series to be made available by the imprint was Chikako Ide's "Viva Volleyball."

Simultaneously, over at Kodansha, Shoujo Friend was also eager to capitalize on the boom. Editors commissioned a title about the sport from illustrator Akira Mochizuki and novelist Shiro Jimbo. The final project, "Sign wa V," became a multimedia success, being quickly adapted into a live-action TV drama that achieved very high ratings.

While "Viva! Volleyball" and "Sign wa V" enjoyed success in their time, they did not etch themselves into the collective memory. The true shoujo sports manga blockbuster, a cross-generational classic universally known in Japan, is Chikako Urano's "Attack No. 1," serialized from 1968 to 1970 in Weekly Margaret.

It became the first shoujo manga title to surpass ten tankobon volumes (it had a total of 12 volumes), and it was forever immortalized thanks to its 1970 anime adaptation, which achieved high ratings on Japanese TV. Everything about "Attack No. 1"—from the original manga to the cartoon adaptation to the anime's theme song, which sold over 700k copies as a single—was a success.

The story of a high school girl trying to become the best player in her school, Japan, and eventually, the world became a phenomenon, setting the stage for the '70s "golden era of shoujo."

The Shoujo Lost Years

Until the '70s, manga carried the stigma of being a guilty pleasure, often viewed as a "poison" meant to dumb down young readers. Despite a few discerning individuals recognizing the medium's potential, manga critics, enthusiasts, and tastemakers — predominantly men — largely disregarded female-centric comics. Shoujo manga, despite its immense popularity, faced the harshest criticism.

Because society and critics downplayed shoujo, influential shoujo manga-kas from the '50s and '60s, such as Hideko Mizuno, do not enjoy the same level of recognition as their shonen counterparts from that era.

Hideko Mizuno and a page of one of her most celebrated works, "Fire."

Mizuno was one of the first women to create manga, worked as an assistant to Osamu Tezuka, and was behind several massive hits that had a significant impact on women in the '50s, '60s, and '70s. In fact, the most iconic shoujo manga-kas from the '70s golden period directly mention her as an influence. She fought to include romance -- now the essential element in girls' manga -- in her works back when such topics were deemed inappropriate by male editors.

Mizuno's repertoire was vast: she wrote mangas about little girls and their poneys, magic adventures, and romcoms based on Audrey Hepburn's movies, and she drew the first sex scene in a shoujo manga. The manga in question was "Fire," a teen-targeted manga featuring a rebellious American rocker, which broke new ground by having a male character as its focal point. Alongside other notable female artists from the '60s, Mizuno laid the groundwork for the '70s shoujo explosion, during which girls' comics took center stage.

In 1960's "Hoshi no Tategoto" (left,) Hideko Mizuno created the first shoujo love story. Serialized in Weekly Margaret between 1964 and 65, "Shiroi Troika," set during the Russian Revolution, was the first historical shoujo manga.

A contributing factor to this "golden period" was the emergence of several shoujo mangas as unstoppable hits, selling millions of copies and becoming cultural phenomena. These titles, considered masterpieces, continue to be read and known by multiple generations.

The BeruBara Boom

"Attack No. 1"'s success spread far and wide, forcing Japanese society to take note of the potential of the shoujo segment. Right after this historic success, Shueisha's Weekly Margaret hit the jackpot once again with another epoch-defining manga hit, Ryoko Ikeda's "The Rose of Versailles," which debuted in 1972. Set in the years preceding and during the French Revolution, it weaved together historical figures like Marie Antoinette and fictional ones, like the iconic Lady Oscar, a handsome noblewoman raised as a boy to succeed her father as the commander of the Royal Guard at the Palace of Versailles.

The first volume of the original comic had Marie Antoinette on the cover as Margaret's editors believed she'd be the favorite character. However, the androgynous Lady Oscar turned into a fan fave and the absolute star of the series, which is reflected on the cover of most rereleases since then, including the 2013 bunko version seen above.

When talking about shoujo manga classics from the '70s that are familiar to everyone in Japan, "Rose of Versailles" is probably the first name that comes to mind. It was a hit that really defined the era and impacted the country as a whole. While Marie Antoinette is seen around the world as a tragic, out-of-touch figure, in Japan, many women and girls see her as an aspirational historical fashion icon. While Sofia Coppola's 2006 film "Marie Antoinette" solidified this among younger generations, it was Ikeda's gentle portrait that made her a character loved by so many across all age groups.

When conceptualizing the story, Ikeda was heavily inspired by Stefan Zweig's "Marie Antoinette: The Portrait of an Average Woman," which she read while in high school. Once in college, in the late '60s, she, like millions of others, was heavily involved with the Marxist student movements. These references led to a historical romance that touched on heavy and revolutionary themes, which was atypical for a shoujo manga, a segment that, back then, was primarily catered to elementary school-aged girls.

Because of its unorthodox concept, Margaret's editors were unsure about the series. But right from the start, "BeruBara" (derived from the original Japanese title, "Berusaiyu no Bara"), serialized between 1972 and 1973, was an explosive hit, quickly turning into Weekly Margaret's most popular series. It was compiled in 10 tankobon volumes published, which sold tens of millions of copies. In fact, according to some stats, it is the best-selling '70s manga across all genres in total sales.

In 1974, after the original manga had finished its serialization, Takarazuka Revue, an all-female theatrical troupe, announced a stage adaptation of the story.

Posters of the first three Takarazuka adaptations, from between 1974 and 1975. Since then, the Revue has adapted the manga 11 times, with a new run scheduled for 2024.

The Revue was established in 1913 by the owner of Kansai's leading railway company, Hankyu, to boost tourism to the city of Takarazuka, his line's last stop. It was a huge success, and soon, the group had its own luxurious theater as well as its very exclusive academy where young ladies underwent an arduous audition process to become Takaraziennes. In 1934, a second Takarazuka theater opened in Tokyo.

However, in the early 1970s, Takarazuka faced stagnation, with declining ticket sales attributed to the growing popularity of alternative entertainment forms such as cinema and television.

In 1973, Shinji Ueda, who had risen through the Takarazuka ranks as a director, made his debut as a playwriter in the company with a musical based on ancient Japanese history. While thinking about his next project, he decided to check out a manga popular with some Takarazuka fans, "Rose of Versailles," and he quickly realized it was the perfect theme for an adaptation. Lady Oscar, who had lady-like features but was also as handsome as a man, was the embodiment of the male role-playing Takaraziennes. Ueda reached out to Ryoko Ikeda, who, as an admirer of the troupe, quickly granted the rights.

But Ikeda and Ueda's excitement wasn't shared by many. Most of the Takarazuka team were skeptical about a play inspired by something as vulgar as a manga. Fans of the original were also highly protective of its characters and entirely against a live adaptation.

Amid this climate of distrust, the play opened at the end of August 1974 at the Takarazuka Grand Theater. The reaction after the first night was extremely positive. Soon, Takarazuka's "Rose of Versailles" was the hottest ticket in all of Japan, with the press breathlessly covering the "BeruBara boom" that led thousands of people to stand hours in line to get tickets to the coveted performances in Kansai and Tokyo. Ikeda herself was shocked by the media phenomenon when she returned from an overseas trip and had hundreds of reporters awaiting her at the airport.

A statue of Lady Oscar and Andre surrounded by rose bushes sits outside the Takarazuka Grand Theater in Hyogo, Japan.

The "BeruBara" media sensation single-handedly reversed Takarazuka's fortunes, leading to record-shattering ticket sales for the company. The Takarazuka Academy, which had seen declining applicants, suddenly became highly sought-after again, originating the saying "Todai in the East, Takarazuka in the West," comparing it to Tokyo University, the most prestigious university in Japan. The phrase underscored the desirability and prestige associated with a position at the troupe.

Ultimately, the success of "The Rose of Versailles" propelled Takarazuka back to the pinnacle of the entertainment industry, a position it maintains to this day. The brand continues to hold great esteem among women of all ages in Japan, with Takarazuka's stage adaptations, derived from Broadway musicals, movies, novels, and shoujo manga, consistently selling out. Notably, various adaptations of "BeruBara" have collectively sold over 5 million tickets since 1974.

Following the manga and Takarazuka adaptation's explosive success, the anime debuted in 1979. While the anime received acclaim, Ikeda herself was not entirely satisfied, mainly due to the treatment of her favorite character, Andre, who played a significant role in the manga but had a minor presence in the animated version, which focused almost entirely on the manga's most popular character, Lady Oscar.

In 2013, celebrating Margaret's 50th anniversary, new special chapters of "BeruBara" were published. The first new story in 40 years resulted in Margaret magazine selling out across the country.

"BeruBara" remains a prominent franchise in Japan, spawning numerous licensed products, sequels, and spin-offs. Ryoko Ikeda, known for other successful series, continues to garner widespread respect and media attention. However, while almost everything related to "The Rose of Versailles" turned into a hit, there was an exception.

In March 1979, a few months before the anime premiere, a live-action film adaptation debuted with great fanfare. Fittingly for such a hot property, the movie was one of the most ambitious productions in Japanese cinema, with a substantial 1 billion yen budget.

The Palace of Versailles granted permission to shoot in its interior. The filming was in English, with a European cast. The project was helmed by France's hottest movie director, Jacques Demy. Demy wasn't respected only in the West but also in Japan, where his two most important films, "The Umbrellas of Cherbourg" (1964) and "The Young Girls of Rochefort (1967)," were also hits. In fact, to this day, both flicks remain popular among trend-conscious Japanese as examples of stylish oshare movies that fully capture aspirational girls' culture (alongside, among others, Sofia Coppola's "Marie Antoinette"). Demy, the mind behind dreamy, girly movies, seemed like the perfect choice to turn this blockbuster shoujo classic into a live-action film.

The movie had the backing of three gigantic domestic corporations: Toho, the leading Japanese movie distributor; Nihon Terebi (NTV), one of the main TV stations; and cosmetic giant Shiseido. NTV and Shiseido made sure the movie had one of the most extensive marketing campaigns Japan had ever witnessed. The TV station aired specials and segments on this grand production. Meanwhile, Shiseido made the star of the movie -- British actress Catriona McCall, who played Oscar -- the face of its spring campaign, promoting its new Red Rose lipstick. Catriona was plastered on billboards across the country, made media and department store appearances, and starred in luxurious TV spots.

On the left, Lady Oscar and Marie Antoinette adorn the cover of Margaret in 2016, over 40 years after the end of the original serialization. On the right, Oscar models Dolce & Gabanna new collection for high-end fashion magazine Spur in 2014, celebrating 40 years of the conclusion of the original manga.

Back then, Kanebo, the second biggest local cosmetic company, was in fierce competition with Shiseido. TV ads from both companies had a tremendous impact, propelling singles to the top of the charts, and there was a battle on which commercial would feature the biggest hit. But, in the spring of 79, the focus of the fight changed. As a response to the Catriona "Rose of Versailles" campaign, Kanebo also hired a British beauty, actress Olivia Hussey, and launched a "Super Rose lipstick" with the tagline "You are more beautiful than a rose." The cosmetics war was another proof of the chokehold "The Rose of Versailles" had in the decade.

But when the movie finally premiered, it was a flop. Critics hated it, and Japanese fans thought the adaptation was weak and lacked impact. Catriona, in particular, was criticized for not conveying Oscar's androgynous charm, which perfectly balanced masculinity and femininity. With the well-received anime premiering just a few months later, the expensive movie adaptation ended up being outshone and forgotten. It became only a costly footnote in the manga's history.

An exhibition in Tokyo celebrates 50 years of BeruBara in 2022.

(It's worth noting that Kanebo clearly won the CM war. While the Shiseido co-produced "Rose of Versaille" feature film flopped, the "You Are More Beautiful than a Rose" song Kanebo commissioned from singer Akira Fuse became a considerable hit).

Movie aside, "The Rose of Versailles" is one of Japan's most beloved comics. From its debut in 1971 to its film and anime adaptation in 1979, it remained front and center in the country's mind throughout the whole decade. Its impact was felt in different fields, from the cosmetic business to the publishing business, from live theater to TV. It also forever changed how shoujo manga was perceived and remains one of the country's most beloved properties.

Ace-Scoring Manga

The 1970s marked a turning point for shoujo manga, as it began to gain recognition beyond its traditional audience, propelled not just by critical acclaim but by commercial success. The era witnessed the emergence of several blockbusters that captured the public's imagination. Notable among them were Yoko Shoji's "Seito Shokun," a tale centered on the daily exploits of a mischievous high-schooler, and Waki Yamato's "Haikara-san ga Tooru," a love story set in the Meiji period featuring a tomboy with a lady-like demeanor. These manga were significant hits during their publication in Kodansha's Shoujo Friends, becoming best-selling titles with tens of millions of copies sold.

Some shoujo classics from the '70s are still in publication today, appealing to a diverse readership spanning multiple generations. Suzue Michi's "Glass Mask," serialized in Hana to Yume since 1976, remains a cultural phenomenon with 49 tankobon volumes, over 55 million copies sold, an anime adaptation, a live-action drama, and a stage play. Similarly, Chieko Hosokawa's "Crest of the Royal Family," chronicling the adventures of a young American girl transported to ancient Egypt, has been a consistent presence in Princess magazine since 1976, boasting 69 volumes and over 45 million copies sold to date.

But, when talking about definitive shoujo classics from the '70s, titles that were historical successes, influenced everything going forward, and are known by everyone, three titles come to mind. We already explored one of these, "The Rose of Versailles." One of the other three is "Ace wo Nerae."

Following the monumental success of "Attack No. 1," the prospects of another shoujo sports manga achieving similar heights of popularity seemed improbable. However, Weekly Margaret defied expectations once more in 1973 with the release of Suzumika Yamamoto's "Ace wo Nerae" ("Aim for the Ace"), a compelling narrative focused on tennis that swiftly captured the nation's attention.

Japan and tennis already had some prior history. The first Japanese Olympic medalist was a tennis player, Ichy Kumagae, in 1920. Emperor Akihito met his commoner wife, Michiko, at a tennis match, and they initially bonded over their love for the sport. But, in the 70s, the country was taken over by an unprecedented tennis boom. At high schools across the nation, tennis became the most popular after-school activity. Fashion magazines like JJ and Popeye dedicated pages and pages to "tennis fashion." At the same time, trendy young adults decked in clothes from sports brands populated Shibuya and other stylish districts in Tokyo.

There were several contributors to the tennis boom. But the remarkable success of "Ace wo Nerae," which first conquered girls before dominating the nation, played a part in it.

The manga follows the journey of Hiromi Oka, a high school student initially plagued by insecurities but propelled into the world of tennis through the encouragement of her coach. "Ace wo Nerae" portrays her growth from a hesitant newcomer to a world-class tennis player, navigating challenges and discovering hidden potential along the way.

From left to right: Madame Butterfly, lead character Hiromi Oka and coach Jin Murakata as depicted in the anime. Madame Butterfly, a wealthy teen girl who is gentle and a world-class tennis player, is a fan favorite character.

In 1973, "Ace wo Nerae" was adapted into an anime. Despite initial modest ratings, the anime gained popularity through reruns. Encouraged by this, NTV decided to remake the cartoon. The second adaptation, which debuted in 1978, was an immediate hit. Concurrently, Weekly Margaret revived the manga series, which, after being first finalized in 1975, ran again from 1978 to 1980, spanning a total of 18 volumes.

Since "Ace wo Nerae," several hit mangas focused on tennis -- both shoujo and shonen -- were published. But, thanks to the success of its anime and the intragenerational support for the manga, the original work by Suzumika Yamamoto is still considered one of the defining and most beloved works about the sport. Its role in propelling tennis culture as part of the oshare youth culture of the '70s also defines its impact.

Japan Wants Candy

Following the monumental multimedia success of "The Rose of Versailles" and "Ace wo Nerae," the third shoujo sensation of the '70s is "Candy Candy."

Initially published in Nakayoshi, the story started taking shape when editors at the magazine sought a work of literary excellence akin to beloved classics popular among girls, like "Heidi" and "Anne of Green Gables." They enlisted Keiko Nagita, writing under the pen name Kyoko Mizuki, and paired her with one of the magazine's most famous artists, Yumiko Igarashi. The collaborative effort resulted in the creation of "Candy Candy," centered around an American, blond, blue-eyed orphan named Candice "Candy" White Ardlay.

"Candy Candy" epitomized various shoujo directions prevalent in the '70s. The protagonist, a white girl with lustrous blonde hair, embodied the fascination with Western culture during a time when Japanese youth held a keen interest in Europe and the United States. The manga's narrative style, characterized by its dramatic tone and plot twists, also aligned with the prevalent storytelling preferences of the era.

Candy Candy was such a resounding success that it became the first manga to achieve an initial print run of over 1 million copies of one of its paperback compilations.

Debuting in 1975, "Candy Candy" swiftly captured the hearts of Nakayoshi's readers, leading to unprecedented success. The subsequent anime adaptation by Toei in the following year propelled the franchise into the realm of a cultural phenomenon, sending manga tankobon sales skyrocketing. The seventh volume of the "Candy Candy" compiled paperback reportedly became the first Japanese manga to achieve an initial print run of over 1 million copies. Additionally, Nakayoshi's sales surged, surpassing those of its historical rival, Shueisha's Ribon, for the first (and only) time.

The adventures of young Candy were also licensing gold. With over 100 licensed products, the "Candy Candy" doll alone sold 2 million units, solidifying Bandai's position as Japan's premier toymaker, a status it continues to uphold to this day. The resounding success of "Candy Candy" forged a lasting alliance between Kodansha's Nakayoshi, Toei Animation, and toymaker Bandai, which led to the iconic "Sailor Moon" franchise in the 1990s.

While "Candy Candy" concluded its run in 1979, its appeal extended far beyond its original target demographic of very young girls, captivating kids, teenagers, and adults alike, thus contributing significantly to the manga and anime's widespread acclaim and enduring popularity.

However, a protracted legal dispute between Igarashi and Nagita has prevented the commercialization of any "Candy Candy" related products since the late 1990s, including reprints of the manga and re-broadcasting of the anime. The lawsuit arose from Igarashi's unauthorized licensing of merchandise based on the franchise, falsely asserting sole ownership of the copyright. Although Igarashi was initially credited as the lead artist in Nakayoshi during the manga's publication, the court ultimately ruled in Nagita's favor, emphasizing that Igarashi's artistic foundation was built upon Nagita's written work.

A collection of "Candy Candy" freebies offered by Nakayoshi magazine in the '70s. During the publication of the series, Nakayoshi would eclipse Ribon's sales for the one and only time in its history, (image credit)

Consequently, any commercial exploitation of Yumiko Igarashi's "Candy Candy" artwork necessitates the approval of both Igarashi and Nagita, a challenging prospect given the existing feud. Nagita, on the other hand, can profit from "Candy Candy" as long as she doesn't include any illustrations, which allowed her to release a book sequel in 2010. However, due to the dispute, one of the most beloved works in Japanese manga history is currently out of print. The lawsuit also blocks the anime from being aired or distributed. But, despite the almost two-decades-long media ban, "Candy Candy" remains widely known and beloved across Japan, a testament to its staying power.

While smash hits like "Candy Candy," "Ace wo Nerae," "Rose of Versailles," "Seito Shokun," "Hikara-san ga Tooru," and "Glass Mask," among others were key pieces into shoujo finally earning the respect it deserved, the rise of a revolutionary group of artists during the '70s was another critical element in shoujo's rise: the Year of 24 Group.

Part 2

#1970s japan #1970s #vintage shoujo #shoujo manga #lady oscar #rose of versailles #ace wo nerae #candy candy

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sorakazeno · 7 months ago

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Azabu Juban Hikawa Shrine

Depending on which version of the anime you watch, the Hikawa Shrine is based off a different one and in different sections of Tokyo.

Below is the version featured in Sailor Moon Crystal.

The Hiwaka Shrine in Azabu Juban taken on December 3, 2022. Lots of leaves still on the trees but past peak season. The entrance way is a little different from the Crystal series.

Close up of the stone with the shrine name.

These stairs do not exist at the real life shrine location. I feel like these were added as a nod to the 90s version of Rei's shrine. Also the bus stop is at the end of the block and across the street.

Choozuya in use.

Choozuya were not in use in December 2022 due to COVID.

Choozuya are traditionally used to wash your left hand, right hand, mouth, and then the water ladle. This is used to purify oneself before worship.

Ema used for prayers. A person writes a prayer on the back of it and the priestesses will pray throughout the year for them. They are removed at the start of the new year and burned in a ritual.

Found the Sailor Moon ones! Unfortunately the Sailor Moon ema were not sold at the shrine.

Below is a link for the one I did purchase from the miko.

Mini Inari shrine to worship the goddess Inari associated with prosperity, rice, agriculture, industry, craftsmanship, smiths, agriculture, and tea.

Crystal version with the main shrine building the background.

Forgot about this scene!

Some more Galaxia

We met a really sweet lady at the shrine and offered to take our picture. She was also practicing her English with us. We were told today was a lucky day and it meant big money.

Maybe the big money was related to all the money spent at the Sailor Moon Museum in the morning? 😂😂

Full view of the shrine. It is smaller than I thought it would be.

The building to side is where I bought a charm from the miko. I didn't want to take a picture when I was there since she was standing right there.

Side view of a building, I believe is used for storage.

Next time I should try to stand in this exact spot.

Definitely need to stand there next time.

Building where the mikoshi is stored when not in use for festivals.

Picture of the mikoshi at the shrine that houses the deity of the shrine.

Notice asking for donations to help restore the shrine.

Close up of pictures.

#sailor moon #bishoujo senshi sailor moon #bssm #real juuban #real life sailor moon #azabu juban #japan #japan 2022 #japan trip #japan travel #japan photos #rei hino #hikawa shrine #sailor mars #sailor moon crystal

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fanaticsnail · 3 months ago

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Hello, greetings from CQ again! Thank you again for meeting the North Stars so positively, I can't express how ecstatic it made me to see how receptive one could be. This time around, I come bearing one of the aforementioned minor, (but still just as important), members! (Featuring a small sneak peak at the leader's Devil Fruit-) I hope you'll allow me to introduce.... …˚.⋆ ⋆₊⁺⋆☾⋆₊⁺⋆ ☾ ℕ𝕒𝕟𝕒 ℍ𝕒𝕟𝕠𝕟, 𝕥𝕙𝕖 𝕊𝕚𝕝𝕖𝕟𝕥 𝕊𝕚𝕣𝕖𝕟 ☾ ⋆⁺₊⋆ ☾⋆⁺₊⋆ ⋆.˚…

"Silence speaks a thousand words."

For the deaf-born Nana Hanon, no words rang more true. But having been born a siren, his inability to vocalize left him as significant as a bubble in the waves that were his namesake. That special breed of merfolk blessed with the gift of spellbinding song, had been slaughtered to near extinction for the perceived threat they posed to sailors, and other merfolk didn't take kindly to their mere existence besmirching their already tainted reputation in the eyes of the World Nobles. Thus, to his vindictive family, spiteful towards the world for the hand they were dealt, a siren without a song was of no more worth than chum.

They were quick to cast away the Moon Jellyfish merman, and he had resigned himself to drifting through the seas. In his travels, he taught himself to navigate the world's vast waters, to communicate by means of the written, and to read the scripted words of others. He found solace in them—fantastical tales by imaginative authors birthing entire universes bound to a spine, scripts belonging to playwrights of the past bringing life to false identities, and profound lines from passionate poets who invited readers to enter their mind. He discovered a particular fondness for the last of which, and often he would find himself expressing his thoughts and feelings to only the paper that would lend its ear.

But even paper couldn't perceive the silent echoes of his desperate cries for help.

A merman was a merman, deaf or not, siren or otherwise, so when Hanon had the misfortune of drawing too close to Sabaody Archipelago and being spotted, it came as no surprise that someone would take advantage of valuable property that couldn't even protest being sold. And sold, he was, to the highest bidder. He couldn't even hear what his worth was to his buyer.

Carted out in a fish bowl far too small to comfortably contain his bell, he let his tears fade into the water he was submerged in. In his sorrow, however, he almost didn't notice the way his new owner's body seemed to move against its will. How his owner was outwardly resisting a dance they were being forced to partake in. How his owner was removing the lid on his bowl and freeing him from his chains before prancing off, defiant as ever. How now, in their place, stood a woman, returning to him his previously discarded notebook and pen and lending him an ear for his unspoken words to fall on.

Where song failed to allure, Hanon's heartfelt prose succeeded. The woman, entranced by every word he put to paper as he regaled her with his personal story and the overwhelming sentiment in every stanza he scribbled, offered to him a place beside her, in his own sea to call home—a sea of stars to swim in and shine along with.

So came to be the Silent Siren, assistant songwriter and navigator of the North Stars. Though he'd be taking a backseat to let the idols sparkle even brighter on their stage of midnight, he was content to glow with borrowed light and finally let his soundless voice be heard once and for all. Likewise, they were grateful to have a moon to guide their way.

After all, what are the stars without a moon to share the night sky with?

----- I know I didn't give much insight on his personality, but I was thinking he might get along with your character, at least from what I know of her, if that's not too presumptuous. ^^; I might be dropping in again with another member soon! Might be a little while so I won't be spamming or flooding your inbox too much, aha- Much love as always, dear! ♡♡♡

THE WAY I AM IN LOVE WITH NANA HANON. AAAAAAAAAAAAA.

Oh my gosh, a silent siren merman? AAAAAAAAAAAAA

Tobiuo would love to meet him. Her canon sister, Masami, is a mermaid based on an angler fish who calls sailors to their doom in the Deep Blue. She would also love to meet him. Does he sign? If so, he would be welcomed in their homesea with open arms.

Your poetry has had me enchanted by him, and I am just mourning on his behalf. He is so beautiful, I can see him in my head and I'm in love. I want to draw him 😭

#one piece #x oc #others ocs #i am in love with him #nana hanon oc #oc nana hanon

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theghostparty · 11 months ago

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Roméo et Juliette: de la Haine à l'Amour - Redesign - 2024

To understand my completely unnecessary desire to redesign a musical that is over twenty years old, you have to understand that Romeo et Juliette is my Roman Empire. Long explanation under the break.

I wanted this design to be an homage in the silliest way possible.

I really leant into the sensibilities of original costume designer Dominique Borg, who used contemporary colour and technique and applied it to historical (or pseudo-historical) silhouettes.

Broadly, I wanted the Montagues to feel English in their shapes--Elizabethan doublets, high necklines, and ruffs, in homage to Shakespeare and the source text. They're all leather, denim, silver hardware--a little bit punk with status.

The Capulets would be deeply Italian Renaissance in their silhouettes, in reference to the setting of the play. They're all velvets, lace, chiffon, satins, and gold hardware--giving them an airiness of the Mediterranean while still allowing some drape here and there.

I wanted each family to have a slightly more broad palette than most versions afford them--which is why the Montagues have a smattering of green and magenta while the Capulets play with some soft yellows and lavenders.

The ball scene is largely Arthurian in inspiration--just because I took the idea of "what would the 1500s consider vintage and costume-y in the same way we think of the Victorian era" and ran away with it. There's also some silly Y2K nonsense because I rewatched the "On dit dans la rue" music video and thought "What if the Capulets threw this big Arthurian affair with full elegance and the Montagues cobbled together some gay club outfits circa 1998 fits out of a suit of armour."

FINALLY, I wanted Roméo and Juliette to take on elements of each other's family's style and colours for the end of the play--because to be loved is to be changed.

So here is a breakdown of my choices for each of the looks.

Un Jour: Here we see Roméo in his base look. It's a two-tone patent leather double with multiple zipper details. The peplum is criss-crossed zippers. The wings over the shoulder seams are edged with zipper teeth. The ruff detail at the neckline is also edged with zipper teeth. He has along zipper across the front of his boot like he's trying to be the next Sailor Moon. I don't know y'all. I went a little feral with trying to figure out all the places I could put zippers in.

Juliette is the most juvenile looking in Un Jour. I imagine that in this scene, she's being dressed by her family instead of her own volition.

She's in an asymmetrical, empire-waisted gown that is likely a brocaded or printed silk. Her chemise is a sheer lavender georgette or chiffon that peaks through the lacing at the shoulders and along the upper arms. She has a velvet choker and velvet belt and a heavily stoned velvet headband. Her hairstyling (it would have to be a wig, it would be NUTS to not make this a wig) is an homage to the open-weave Juliet caps that were similar to nets worn in the period on hair. Italy was, fun fact, one of the few countries where women didn't cover their hair during the renaissance.

L'amour heureux: As I explained above, Roméo's outfit is so silly. The wrap around glasses. The one arm of armour. The sheer, stoned period shirt. The gold brocade on the trousers. The pearl earring. The many, unnecessary belts. Bless this mess. It's also a cheeky little nod to Baz Lurhmann's Romeo + Juliet.

Juliette is, ostensibly, cosplaying as Guinevere or Lady Macbeth or Ophelia or any number of Middle Ages women. The ball is the Capulet's opportunity to really sell their daughter as marriage material so I wanted the look to feel bridal, hence the veil. I wanted to give reference to exaggerated surcote sleeves without actually doing them, hence the sleeve-into-glove and bow detailing with trails down to the floor. There is also a hint of yellow chemise underneath, which is actually just her Le balcon look underdressed for ease of the quick change (yes, I did think about this.) The dress is velvet with one panel of lace in-set into the underskirt. The bows are satin-face organza.

Le balcon: Romeo would change into his base again (during Le Poète). Juliette is in a simple yet totally impractical sheer chemise + slip combo. I wanted this soft yellow for this sequence because I always think about the lines "O she doth teach the torches to burn bright!" and "But soft! What light through yonder window breaks?/It is the east and Juliet is the sun" when it comes to describing her. The chemise would likely be a chiffon, while the slip would be silk.

Aimer: I say this with my whole chest--I hate how they changed the palette for Aimer in the 2010 production. I want my lovers soft and angelic and matching in this moment of union. Here we see a bit more of Romeo's lace shirt--his sleeves are laced like Juliette's in the first look. His doublet, trouser, boot combo are off-white leather in homage to the original production. Juliette's dress has a similar train length to her ball look (again, bridal) and we see the neckline creep up into a ruff (Elizabethan, rather than Italian). Lots of sheer net and lace with cream bridal satin as a skirt. Tiered sleeves. A little circlet on her head.

Le poison: Honestly? Just wanted her to have another outfit change before her death dress as a transitional choice. There's so much more of the purple in this look because it's going to take us into the blue elements of the final dress.

La mort de Roméo/Juliette: Again. To be loved is to be changed. Juliette has a dropped waistline, a high neckline and ruff, and a heart shaped cut-out detail (see: boob window). She's straight up in blue, and all the sweet and soft pinks of her youth are gone. Romeo has lost his high neckline, ruff, wins, and peplum in favour of a shorter Italian silhouette. He's asymmetrical (a call-back to Juliette's asymmetry) and all the edging detail is done in red. Mantua as a setting is patchworked, torn, and dirty, so I imagine the doublet is pieced together from scraps of jersey (so it's drippy and sad and hangs off him in a lovely manner).

#romeo et juliette #damien sargue #cecilia cara #joyce draws #retj redesign 2024 #retj #this is the most unhinged thing I have ever dreamed up #anyways more to come soon #will probably do mercutio and the prince and benvolio and tybalt together as one post #did little 14 year old joyce think this is what she would STILL be talking about? nO #also if you've ever wondered what my costume design process looks like it's this

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wingsofbadass · 5 months ago

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fic author self-rec

When you get this, reply with your favorite five fics that you've written, then pass on to at least five other writers.

Thank you for tagging me, @sassybluee and @wrecklwj, and thus forcing me to let myself be perceived, lol.

1. Keep Me (MDZS, wlw Wangxian, E)

My pride and joy, tbh. My first ever Wangxian, my first ever NaNo win, something I never thought I could accomplish. It falls into one of my favorite tropes in this fandom which is straight boy/girl/whatever wei ying, which is just always such a joy. I really poured myself into his and I feel like I'll never be able to top this one. But also, Lan-er-jiejie made me lose my mind and write 50k of [confused horny noises] so.

2. Like a Knife to the Heart (MDZS, Wangxian, E)

Plot? I don't know her, normally. But I tried my hand at such a thing for last year's Bottomji Big Bang and it was such a fun experience. It was also unexpectedly fun to really lean into the unapologetic romance of historical settings for once and then mix my Wuxia love into it.

3. you bring it out of me (MDZS, wlw Wangxian, E)

Somehow, every Wangxian fic I write is some kind of new experiment for me. This one, written for a Subji event, had me writing the probably niche-iest thing I've ever written, wlw subji with jealousy and exes to lovers and a flavor of bdsm I wouldn't even know how to categorize?? But this was really peak freedom, peak "I do what I want!" to write and I'm so happy with how it turned out.

4. trostlos (SNK, JeanMarco, T)

I wrote this for one of the many JeanMarco Gift Exchanges I was a part of and I think it's my favorite bit of worldbuilding I've done. It's not a very long fic and by now I wonder how I managed to squeeze so much post-apocalypitic angst into 8k, but it's a powerful one, I think. I'm still really proud of it.

5. Only You Build Me, Only You Break Me (VLD, Shallura, E)

I may no longer fuck with this show or fandom, but I do still love some of the nsfw propmt fills I did here, especially the Superhero AU and the Sailor Moon AU. Just looking at it now makes me want to do something similar again for more current obsessions.

I now curse @flecksofpoppy @materassassino @avoidingavoidance @reservoirmonks and @ilip13 with having to expose themselves like this <3

#rie writes #it seems like a mistake to not include any cr fics but it turns out those fics are not among my favorite or the ones that feel important?#honorable mention: fjorester fic steady #okay now i feel better

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captainnait · 9 months ago

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Well, I'm in my peak of Headrush fixation, so. . . Yeah, first two references of characters from it, the main ones, of course - Bob and Baby Diva 💥

Below are headcanons for the two of them (and also a silly meme ig) woooo:

• They're cousins! Not too close, but know each other pretty well. Bob used to babysit Diva quite a lot before he moved to other state.

• They are almost the exact same height (Baby Diva is a few centimeters taller than Bob. She teases him about it sometimes)

• Share a lot of jewelry and accessories with each other. (bracelets, hair pins, glasses - all that stuff)

• Baby Diva made herself and Bob named/friendship bracelets back when she was very little. She still wears hers sometimes. (Bob too, he just doesn't wear much jewelry outside of home,,)

• Watched and rewatched Sailor Moon lots of times together. (Bob forced Baby Diva to 💥)

• Both are very talented musically - Diva is a great singer and Bob plays drums in his band.

• Baby Diva doesn't have license and Bob has to pick her up sometimes, which is pretty embarrassing to her,,

Aaaand that's it. For now. 💥

#guys. guys im just so normal about headrush i swear.#ydkj #jackbox #you don't know jack #bob headrush #baby diva #ydkj fanart #ydkj headrush

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themattress · 5 months ago

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The Black Moon Saga

It really do be like:

The Black Moon Saga is peak Sailor Moon, no matter the medium.

The original manga and Crystal's are virtually identical, and the quality of Naoka Takeuchi's writing compared to the Dark Kingdom arc is such an upgrade it's not even funny. Not only is the plot more compelling, the heroes more developed, and the villains more interesting, but my most major complaint from how the final third of the previous arc went down is fixed: Usagi's feelings toward Mamoru becoming obsessive and unhealthy while the narrative doesn't acknowledge it. This time, it's a huge point of the narrative: Usagi and Mamoru may be pre-destined True Love, but that doesn't mean they are True Love so long as Usagi puts all her self-worth on being validated by Mamoru and is threatened by Mamoru attaching himself to anything else, even their own future daughter. So Usagi must learn to have self-love and belief in herself, as that's the only way she can truly love and believe in Mamoru the way he does for her. When she ends up facing Black Lady who boasts of Mamoru belonging to her and her alone, the fact that she is essentially facing her past self is directly pointed out.

The 90s anime diverges more heavily from the source material than the previous Dark Kingdom arc did, which sets a precedent that lasts the remainder of the 90s anime's whole run that gets increasingly bad. However, in this case, it still manages to work equally well to its manga counterpart. Yes, there are some weak points (Chibiusa's character exaggeration, the mind-bogglingly stupid Usagi/Mamoru break-up plot, the infamous dinosaur filler episode where the Sailor Senshi battle a volcano, a totally wasted set of episodes with Esmeraude operating on Earth, and an unconvincing last-minute redemption for Prince Demande), but not only are the strongest points from the manga arc still retained but there are even some improvements (the Four Spectre Sisters being fleshed out as characters, Rubeus being axed off first instead of Esmeraude, Sailor Mars, Mercury and Jupiter staying around instead of being locked in a dungeon for half the arc, Chibiusa's character development and resolution being more sensible, and the final battle occuring in the present day rather than the future).

And in every version of the arc, the Black Moon Clan are such excellent villains. Their position as a cult selling out their humanity to overthrow a system based purely on petty personal grievances while manipulated by a monster who doesn't actually give a crap about them and sees them only as pawns to help him satiate his lust for power is more relevant today than it was back then. They're dark and terrifying, but also pathetic and tragic. While I like all of the Sailor Moon villain groups, this one was never topped. It was the perfect foe.

#Sailor Moon #Black Moon Clan #Opinion #Analysis #Comparison #This has been a PSA

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neonmetro · 3 months ago

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OMG MERMAID MELODY ?????? OMG IM GOING TO FUCKING EXPLODE I LOVE THAT SHOW SO FUCKING MUCH. AND SHUGO CHARA......OH BROTHER... THOSE TWO I LOVE SOOOO MUCH AS A KID BUT COULD NEVERR FIND THE TITLES FOR THEM BECAUSE I COULD ONLY FIND EPISODES ON YOUTUBE RIGHT ?? BUT HOLY SHIT MY NEW SCHOOL ACTUALLY HAS LIKE 10 FUCKING BOOKS OF SHUGO CHARA IM THEIR LIBRARY AND I LOST MY SHIT OVER IT ( I'm literally such a die hard for Shugo chara I'm so glad someone shares the love for it like I do )

IM PRECURE WAS LITERALLY MY LIFE I FEAR.........I've watched every single one and ohhh boy 😭😭😭😭 AND IVE WANTED THE TOYS SINCE I WAS LITTLE.....BUT THEIR SO EXPENSIVE ONLINE !!!!!!! *shakes fist in the sky* BUT GLITTER FORCE WAS DEFINITELY INTERESTING ? SO SAY THE LEAST LMAO *cries*

I remember when I first watched madoka magica......God bless I cried so much ( I still loved it though ) I tried to watch it a second time and completely forgot my little sister was in the room LMAO and had to turn it off because she got scared 😞😞😞😞

But another mahou shojo I LOVE TO DEATH is Ojamajo doremi. THAT TOOK UP ALOT OF MY CHILDHOOD......I JUST LOVE THE WAY THEY TRANSFORMMMMM THE MUSIC AND EVERYTHING IS SO AWESOME AND JUST SO...RAHHHHHH

I also have the card captor sakura Clow cards sitting in my room rn.....( and up to book 6 of sailor moon ) I stare at it everyday THEIR SO PRETTY. I also have sailor moon figures and I sailor moon.... GUYS, I THINK PARIS ANON LIKE MAGICAL GIRL....!!!!!

while I'm on this may, I recommend some precure you might like based on other magical girl shows you seem interested in.......

Star twinkle precure - I LOVE THIS ONE SOOOO MUCH.....it's about a girl who meets an alien girl, and it's so sweet *wipes tear in yuri* the way they transform is to DIEEE FOR. they draw out their transformations while singing, and it's AWESOME they also collect zodiac pins and can transform into said Zodiac :3

Go ! Princess Precure - this one kinda reminded me of pitchi pitchi mermaid melody for some reason.....probably because theirs a mermaid cure but ANYWAYS it's about a girl who goes to an elite school and it's so awesome, especially with the princess theme

Kira Kira al a mode - this one is about food.....which is so awesome it's about how food provides happiness and if you don't put love into the food you make then the world becomes sad....( they also run a cafe similar to Tokyo mew mew ) they are also based on animals :3

Heart catch - that one is always everyone's favorite, and I swear anyone who has watched precure has recommended this one first. It's honestly just peak

I COULD RECOMMEND THE WHOLE FRANCHISE BUT.......THANK YOU NEON I LOVE RANTING ABOUT MAGICAL GIRLS.....

-paris anon

SHUGO CHARA LEGIT CHANGED MY BRAIN CHEMISTRY. THE SHEER STYLE AND TOPICS THAT THEY DELVE INTO (that aren't about that fuck ass emo cat) ARE DONE SO WELL....

PRECURE LOOKS SO FUCKING GOOD 😢😭😭😭 i really need to watch it but idk if it has a dub and my little goldfish needs it to be dub otherwise i get bored.... (so um. that's why i watched glitter force .)

THE TOYS ARE GENUINELY SO COOL LIKE i got 4 big ones but these are the ones i can immediately find)

YEAH THAT'S THE UNFORTUNATE PART OF PMMM YOU WILL IN FACT GET TRAUMATIZED IF YOU'RE TOO YOUNG AND BE SCARED OF PEAK...

OHHH I SAW DOREMI BEFORE .... tbh taiwan has so much gacha of it ??? didn't know it was so popular there but their designs are sooo cutes

SAILOR MOON COVERS IS GENUINELY SO PEAK. i got a random assortment...?? idk i also got 2 vols of the japanese ver but their covers are of my fav characters so its so awesome

OHHH MY GOD SAILOR MOON FIGURES...... THAT SOUNDS SO AWESOMEEE SAKURA MERCH IS SOOO PRETTYYYY like how do they do it. what crack cocaine do they feed those merch artists

been thinking about getting some bc i just rewatched crystal but also I Don't Think I Have The Room for more figures lol...

I'LL DEF HAVE TO CHECK THESE SHOWS OUTTTTT TY PARIS ANON FOR THE RECOMMENDATIONS!!!! houghhgg you got me at mermaid and zodiac i am a SUCKER for that stuff I NEED MORE FRILLY MAGICAL GIRLS I'VE BEEN DEPRIVED OF IT FOR TOO LONG (RIPS OFF MY SHIRT

(QUICK EDIT I JUST READ THE 2ND ASK)

OFCCC I LOVE HEARING OTHER PEOPLE RANT ABOUT MAHOU SHOUJO ITS SO NICE TO TALK TO OTHERS ABOUT THIS AWESOME GENRE.......

#ask #neon tedtalks #long post

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bluebird-in-a-cagedrawing · 2 years ago

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Sneak peak for parts 29, 30 and 31 of the Nightmare comic:

Part 29:👀

Part 30:👀

Part 31:👀

Donut belongs to @caprin-mallow, and she can use my any part of the comic that has her persona if she wants to Without credit me... I love drawing her persona in the comic plus she is very important and special for me... 🙂

I wanted to give Donut a Sailor Moon vibe transformation and to explain the use of the both design... 😊 which I adore very much.

After part 32 there will be 4 fillers that will have nothing to do with the action of the comic... And after that the comic will be put on hold...

#my ocs #nightmare au #donut #not my oc #sneak peak

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birdiethorne · 8 months ago

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Working on Galiens Anatomy book, so here's a little peak.

Inspired by some of the naughty Sailor Moon illustrations Naoko Takeuchi did in her infinity collection, I bring you a very slightly naughty Kai. I've shied away from it in the past but I kinda want to do more sexy illustrations...so I'm going to do that, especially for the reproduction portion of the anatomy book. I don't know if I've ever said it here, but the Galiens are a plant-based species of Aliens and are mostly intersexed like a lot of plants are. So they also do not possess any post-secondary sex chrematistics like breast.

The underwear was inspired by 50's support wear, which is surprisingly futuristic looking.

#naoko takeuchi #galiens #aliens #artist on tumblr #retro futurism

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eleanorose123 · 2 years ago

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brother and i finished rewatching zexal- time for the second half thoughts lol

there is a LOT more this time around, so it's under a readmore

right off the bat, Zexal II gives off major sailor moon energy in terms of "haha you FOOLS! the power you used to defeat last season's antag is USELESS now!"

ah yes.......gilag's design.............

brother and i have a long running joke that the barian emperors as a whole are just doing a group project and constantly struggling with the basic shit that people face when DOING group projects (infighting in particular)

also fun fact, my brother DESPISES the sound effect they use for the barian door opening during the chaos xyz summons

i want to say that 85% of shingetsu's shenanigans were planned. he wanted to put yuma through so much hell

furry coach duelist, never forget

TAKASHI TODOROKI MY SWEET BOY

ah rio "i will not be used as a shield to my brother" kamishiro.....we were so hopeful back then

alit remains to be a raging bisexual, we love that for him

though it does raise the question- since gilag couldn't recognize alit initially due to them not seeing human forms until then, could vector tell who they were or did he just hear their names be mentioned and go "wait wtf"

the friendship tournament ep remains to be one of the best one off eps of season 4 i swear to god

remember when the barians were supposed to come and collect haruto? yeah me neither

mizael is peak theater kid. i love that he and kaito fight on equal grounds and then by the end of the series you're hit with "btw mizael is like 15 and kaito's still 18"

rio may have unexplained (at the time) prophecy powers, but shark's got "i can tell yuma is in danger" senses

WE LOVE SHARK BEING A LONGING DUMBASS IN THE HOSPITAL

god i know that like- yuma's already gone through 3 seasons of shark-related emotions, but i wouldn't be surprised at all if it was alit who made yuma first go "wait, do i like guys?"

shingetsu also did a number on yuma with the same emotions, but for much different reasons

"im here to help astral" "yay!" "but don't tell him about me" "ok!" yuma we gotta teach you what a red flag is. though you are 13 and have already gone through a lot of red flags (ex. giving haruto to a stranger)

you think vector had like, a bazillion questions for yuma after seeing no96 for the first time, or did he zip his lip

we establish that kaito has global surveillance and satellites that can just- fire lasers anywhere. tenjos man

takashi and tokunosuke are canonly some of the biggest shippers in the series which is peak hilarity to me, i love that for them

im surprised anna even bothered with the uniform considering she just barged into the tournament regardless. then again, zexal rly loves putting characters in these middle school uniforms

also season 4 is filled way too much with underaged fanservice ugh

SARGASSO DUEL MY BELOVED

mizael refusing to use the lighthouse card cause it was cowardly is hilarious cause durbe is just right there like "hey"

yuma and his very bad no good day

RUIN ARC TIME

my brother was analyzing every second of each ruin tbh

he has.............a lot of thoughts on alit's backstory in particular

why is durbe's ruin in columbia of all places tho

yuma and co skipped so many days of school, you think the rest of the numbers club were just there like "where'd they GO"

we love kazuma desecrating ruins by adding markers and leaving behind coins that future teams will assume to be part of the ruin's treasures (like it did for gilag's)

also they really REALLY never fucking explain WHY kazuma knows all this shit fjdkhdfjkhfd

vector cannot sit still at all

they rly did no96 so dirty in the series. i love that he's a character fandom decided to flesh out beyond what canon gave us, he deserved that much

i rly thought there was more mutinyship moments than there really were jfdkhfdhjdfkhk ah well. they're full of potential

HEHEHEHEHEHEHE YUMA DEPRESSION ARC i know that sounds fucked up to get excited over, but it's also FEARSOME FOUR TIME

ill never understand why they bothered to go be like "heartland took a picture with esper robin" unless they just didnt want us to forget that's a character

"how'd you get your barian crests back?" "with the power of science!" is still SO funny

numbers club trying to be helpful only to get punished is foreshadowing for their fates the rest of the show

you know, you'd think kurage would've realized ryoga was one of the people he killed considering like- he knew his and rio's names. and their faces. but ah well

tokunosuke building a grave for astral is not talked about enough imo, that's like, one of the strongest scenes of the numbers club characters

kaninja you continue to bring me pain, you wouldve won your duel if you didnt say you poisoned kaito

ngl chris, you abusing kaito for a week straight for the sake of "training" was pretty fucked up

i hate the eliphas duel, i hate the eliphas duel, i hate-

"time to be with your REAL allies" durbe plz stfu

they never really do explain how nasch died. we just assumed he did himself in after seeing vector go down which is uh. hm

ahhh toku......the first casualty of the war.........

i wouldve liked more heartland backstory but THATS JUST ME-

jkfkfdhjdkf i love that it rly was just kaninja who was the reason kaito was becoming blind. messed him up even in the afterlife

astral/yuma remains to be so tender

i feel like if you ever want to make vector peak uncomfortable, just stare at him in silence until he breaks

i know that's the point, but once ryoga unlocks "nasch", his drama levels go through the fucking roof

also fun fact, between eps 122 to 143, something like 23 prominent characters die (tokunosuke, heartland, tetsuo, anna, fuuya, droite, gauche, roku, yamikawa, iv, iii, v, alit, gilag, durbe, rio, orbital 7, kaito, vector, mizael, eliphas, don thousand, shark)

"ryoga, my best friend" iv, i rly feel like that's a onesided sort of situation

alit/gilag deserves more attention ffs

GILAG DESERVES BETTER IN GENERAL TBH

i remember being numb by the point of durbe/merag's deaths. that hasnt changed

KAITO'S death tho, that still hits. mainly cause of the music

i love that obomi's affection for orbital only kicked in cause akari....kicked her

akari who was still trying to be in the plot, bless her for trying

haruto is going to need so much therapy tbh

numeron dragon's story is still so sad, love that dragon

it took mizael like 5 eps to get to the moon and another 3 eps to get off it

shark watching vector's performance and just going "........." the whole time is still hilarious. you know that'll always just be their dynamic even post canon

don thousand...........your design is so good but you are still so lackluster......

nasch vs yuma tho- THAT'S a real satisfying boss battle djfkhdfkj love that finale to pieces

aaaaaand now it's just pain and smiles all the way until the end :'3

the growing up storyline of zexal just really, really hits you by those last episodes ugh

there's so much to work with with the finale, and i love it to this day

still the best ygo series, i will not take notes on that fact

if you read all this, thank you

kattobingu <3

#zexal #WOO FEELS

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