#I understand Yoshida and I understand people who don’t like Yoshida

[anzulvr]

What do you think Karma would be like with a calm/chill reader who's easygoing and effortlessly charming personality sometimes turns completely 180 when they feel strong emotions? Like they can go from sweetly comforting Nagisa to yelling oddly detailed threats at Terasaka while chasing him with a metal bottle for eating her food. (Maybe mix in some passive aggressive sarcastic sass when Korosensei's being annoying?)

Karma x Chill(..but actually really passive aggressive) reader 🤗🤗 Ty for the request!! (Sorry took long)

— You don’t argue often and you are also very good at listening to everyones perspective and ideas even if they’re different from you. People view you as very understanding so seeing you actually getting into a heated fight it’s surprising at first.

— Karma is so surprised when he sees you angry for the first time like he didn’t know you had it in you to say the things you did.

— He TRIES to get you pissed off just to see you react, since you know he’s kidding and dating him gives you a soft spot for him it’s basically just him failing to annoy you.

— This one time Karma scribbled over your paper to bother you and all you did was frown for a second and erase / re do anything he messed up. (He felt bad and helped you when he realized you weren’t going to fight 😭)

— then in a group project with Yoshida (also Isogai and Rinka) Yoshida scribbled a little bit on your notes (not nearly as much damage as Karma made) but it pissed you off so badly you grabbed a marker and started scribbling on his face

“I’ve been working on those notes for days you actual dumbass”

“Hey- I’m sorry!! I’ll rewrite them— get off me your using permanent marker it’ll be hard to take off!!”

“GOOD.”

— “Damn [name] that mad?” When you hear Karma mention how you reacted you stop so fast

“I wasn’t actually mad. We we’re just playing right Yoshida?”

Only out of fear he agrees “Right..”

— You’re tolerance for everything is way higher for Karma because you like him too much to get mad, that doesn’t mean you never get mad at him it just takes a little more to.

— Some of the things you respond with are shady in the way people expect Karma and it’s just so confusing cause it feels so out of character for you.

— but it’s definitely one of the things Karma likes the most about you because 1. It’s funny 2. Hes glad to see you stand up for yourself once in a while because he’s usually the one telling people off for you.

— passive aggressiveness would come whenever Korosensei or really E class is too pushy about certain topics.

For example before Karma confessed to you theyd push you to do it first and come up with crazy plans to make things happen.

— they full on locked you in a room together and instead of waiting it out you found a way to break the doorknob (together #romanceisreal)

Angry you and happy Karma is a mix end class fears because he’ll be constantly hyping it up😭

Like you’ll be be hitting Terasaka with a notebook because he said something stupid and Karma will go:

“[Name] wait— Use this one it’s way thicker!!”

(took inspo for ur original request lollol)

Karma will support anything you try and honestly rile you up more to see what you do

Angry you and Angry Karma is definitely the worst mix of all

hell on earth

! but it hardly happens since you usually reel each other in

Just tell him to chill tf out😭

Having strong emotions isn’t all bad, you’re empathetic, kind and care for everyone in class— even Terasaka no matter how much of a pain he can be.

mom friend-ish?? (Awe yeah Mom friend definitely)

They don’t actually mind it and are grateful for the times you stand up for them bc they know you love them

Especially Karma even though you’re prone to getting into arguments like all couples do it’ll work out fine because you both care to much about eachother.

If you’re the type to remind people you love them after arguing it’s another thing he loves about you, since he himself has trouble saying he’s wrong first it’s helped him swallow his pride and apologize faster.

(Literally so cute my fave relationship dynamic)

#ansatsu kyoushitsu #karma akabane #akabane karma x reader #assassination classroom x reader #karma akabane headcannons #karma akabane x reader #karma x reader #assasination classroom #assassination classroom #assclass

[bengiyo]

An Apology to Ossan's Love and The Novelist

I'm writing this post today as a formal apology to both Ossan's Love and The Novelist for avoiding them in 2018-2019 due to general negative fandom takes about them. Both shows are great, and I should have watched them six years ago.

I recently watched the Pornographer series thanks to @lurkingshan burning some of her coupons to make me properly engage with the series. In that series I found one of the most compelling expressions of internalized homophobia I’ve ever seen. Rio was not only cut off from being sexual with other people, but he felt like he couldn’t even be a proper man.

Later, in Mood Indigo, we got to see the messed-up way Rio became an erotic novelist but also finally seemed to connect with an important part of himself. He also found a mentor who, despite his proclivities, became an important paternal figure to Rio.

Finally, in Playback, Rio finally faced his own insecurities and accepted that Haruhiko loves him and reciprocated it. At every stage of this story, they are able to communicate so much of their story through the sex that’s happening. We’re applauding depictions of sex happening in the genre now that this series was doing half a decade ago.

I decided to give Ossan’s Love a second try when I saw @isaksbestpillow getting so excited about the second season and providing context for the original show. With Ossan’s Love, I understand why people might have bounced off this series right away. A lot of folks don’t enjoy the way the Japanese do comedy, Haruta is intentionally unlikeable at the beginning, and I’ve seen concerns about the boss either being a predator or that his feelings would be treated as a joke.

Thankfully, I tend to enjoy Japanese comedy and found the show hilarious! I was laughing out loud almost every single episode because of multiple characters, but most especially Yoshida Kotaro as the boss. This show generated so much of its comedy from the core characterization of each character, so every joke landed so smoothly for me.

Something I really liked about this show was that it never said we were wrong for disliking Haruta for being a mess and a slob. He cannot take care of himself, and he barely gets better at it before the end of the show. I like that Maki breaking up with him didn’t make him suddenly straighten up his ways about this and become a fully-functioning housekeeper, but he did get better about doing some chores even as the chief started taking care of him. Haruta isn’t the easiest character to like on the domestic front, but he is good at his job and he is a kind character. I like that you have to figure out why these guys like the mess that is Haruta, because I like the audience has to think about what in men that gay people find attractive. Is that a rosy-eyed read? Yes. I don’t are.

As for the boss, he never uses his position over Haruta, and they’re also in sales. It’s not as egregious to me as it would feel in other positions. I also like that his attraction to Haruta isn’t a joke, but the fact that he’s older and maybe isn’t speaking the language of the youth is very funny. He’s an extremely endearing character and I love Kurosawa Musashi.

So, this is my apology to both of these shows for letting negative fan opinions stop me from facing these shows properly. Both of them were great. I’m currently working through the Ossan’s Love: In the Sky season to get to the movie and new show.

#Ben writes #ossan's love #the novelist #pornographer #mood indigo #japanese bl #bl series

[sebbyisland]

I need csm fans to understand that the same way part 1 featured Fujimoto spilling dommy mommy kink all over the pages while seriously exploring child grooming, so can part 2 include sexual undertones while exploring how an abused child develops their identity outside of that abuse.

Part 2 has been about exploring different facets of identity. Denji rejects his human self to find value in his “hero” self. Asa rejects the hero Chainsaw Man but finds value in Denji. Yoshida wants Denji to lead a normal life, but as we understand through Asa’s narrative, a “normal” life is an unrealistic and sometimes even detrimental ideal (normal as in defined by social standards, not normal as in a universal human experience. Different from the Makima “you don’t deserve a normal life.”).

Asa tries so desperately to be normal that she hates herself even more for failing to be normal—in order for everyone else to be her definition of what is “right,” she is continuously putting herself down, sometimes literally falling down. This is apparent from the traumatic childhood memory of losing a cat she held affection for because her caretaker wanted her to be alone like the other kids in the orphanage (and the caretaker herself).The reason she hates falling isn’t the fall itself, but that she falls “at the wrong moment,” when she is not like everyone else. It is through the tumultuous but genuine connections with Yuko, War Devil, Denji + Chainsaw man, and notably “falling” FOR someone in a positive way, that Asa can begin to stop being “normal” and slowly value her weirdo self.

In case you can’t already tell, Asa’s character arc strongly parallels Denji’s. Denji and Asa are trying to cater to a basal desire for human love, and base their entire identities in whether or not they can access that. Instead of be normal, Denji wants to be exceptional, a hero who can “get all the ladies.” The part 2 makes a point to emphasize it is affection, not purely sex, that Denji wants by depicting him as uncomfortable even while receiving a sudden kiss from who he believed to be Asa, which contradicts his aforementioned goals. He also shows genuine love and care for Nayuta. Denji truly values forming genuine connections, but still centers his SELF WORTH on being able to “get all the ladies,” or have sex with women. This is actively hindering him, for the more a “hero” chainsaw man becomes, the more desirable chainsaw man is, the more removed chainsaw man is from Denji’s own idenntity. This is coupled by the fact even when trying to so hard to be a hero, Denji fails to act “heroic” by virtue of his true self. (He’s incredibly violent, saves a cat over people, shows preference to save women, etc). To the point that there is an entire separate entity pretending to be Chainsaw Man, and even a whole obsessive fan club.

Through Denji and Asa, it’s apparent that you cannot be your “true” self as a self-proclaimed pariah nor hero. You cannot base your identity on how normal or not-normal you are. This is important, because Yoshida is pushing Denji to be normal while PRETENDING to be comfortable with Denji as himself. He keeps up a stable, friendly tone with Denji while he explains Denji is on constant surveillance, actively follows him, and frequently isolates him. The way Yoshida talks to Denji contrasts a lot with how he intends to use Denji, I wonder why that sounds familiar….

….oh right. Makima did that. Except Makima never wanted Denji to live a normal life, now, did she? She wanted the hero of chaos, Chainsaw Man. Makima and Yoshida’s manipulation of Denji are two sides of the same coin. Where Makima was indirect and cunning, Yoshida uses obvious methods to control Denji. Both are pressuring Denji to pick a polar end of his identity, monster or human, exceptional or normal.

Another similarity between Makima and Yoshida is they each try to cater to Denji’s hunger. While feeding Denji is not the first thing Yoshida does, it is how his method of establishing their power dynamic, which is exactly the role that feeding Denji took on for Makima. However, unlike Part 1 Denji, who eats from Makima’s hand, Denji took the food Yoshida ordered into his own hands, explicitly after Yoshida tried to bar him from using thr “normal” method with food utensils. Yoshida is like Makima, but Denji has learned not to trust his type nor the fake promises of normality. Denji caters to his own hunger. He may not be able to recognize his base hunger for affection, but he does know to listen to himself. Denji’s dynamic with Yoshida kinda serves as a benchmark for his development at this point in the series.

All of this taken into consideration: the narrative’s rejection of society’s normal through Asa, the rise of Chainsaw Man as a hero, and the parallels between Yoshida and Makima, is it really a surprise that Yoshida and Denji’s interactions would be sexually charged? Is Yoshida not trying to echo Makima’s dominance when he proceeds to control Denji from the shadows, so far as to kidnap him, immobilize him, and strip him? Did Makima not do those things on a literal and psychological level?

For Denji, sex continues to be little more than an exchange in power. When Denji desperately tries to barter Yoshida with a sexual favor, he’s calling back to the ways that being subservient gave him a way out of his pain, a way to be loved, but at the same time he’s being outrageously inappropriate without a care, he is rejecting normality. He is both the hurt child and the defiant boy.

Yoshida is a reminder of Denji’s past, but also serves as a motivator for him to keep fighting for his own happiness, his own loved (family), his own self. I’m excited to see how the story handles this first real “confrontation” with Yoshida next chapter.

TL; DR the end of Ch132 does resemble a consent play scene and this is plot relevant information imo

#Anyways. #Csm #Csm 132 #Csm meta #Seb out #ወሬ

[fmet]

I would argue that chainsaw man is an inherently queer piece of media. Even considering the main characters rampant heterosexuality and Fujimoto’s clear love for his female cast (lol), any lgbt person reading csm is sure to notice how reminiscent, even nostalgic, of transsexuality, homosexuality and other unconventional forms of attraction Fujimoto built chainsaw man’s world to be. Not meaning that their is a lack of homo/transphobia in the csm universe or in Fujimoto’s ideological views (quite the opposite actually). But Fujimoto has continually proven to enjoy and put effort into writing lgbt storylines. In Fire Punch there is a trans male MC and two gay male side characters. One of his short stories follows a guy who wakes up suddenly as a girl, and ends with the character deciding to maintain a male identity.

In chainsaw man there are even more instances of “queerness” influencing the world building, which includes the featuring of lgbt characters. The most obvious example is Quanxi and her 4 weed smoking girlfriends (and I do acknowledge that she is partly a result of lesbian fetishism on Fujimoto’s part. It would be ignorant to pretend that she isn’t—but I also don’t think that negates her mentioning here). The mechanics of fiends and devilmen, which deal largely with recreating and reutilizing the body in a way and for what it wasn’t originally intended, is something that really speaks to be as a trans person. Denji being “reborn” after contracting with Pochita, and being sewn into a new person with different bodily experiences, feelings, etc, can be correlated to surgery and body modification, including gender-affirming surgery.

There’s Angel devil and Aki’s deal paralleling Aki’s relationship with Himeno, there’s Beam’s deal, etc etc. I remember reading somewhere that Fujimoto’s read BL. I’m sure there’s more I’m forgetting and that fact alone makes me really happy. Even with real world homophobia and transphobia making itself present in Fujimoto’s stories chainsaw man’s still manages to feature Lgbt characters and themes so casually, as if understanding that negative attitudes towards something does not make that something go away. Idk even with my love for media that centers lgbt issues I also have so much gratitude for media like Chainsaw man where lgbt people can just be there, and it’s not a grab for representation, and the creator isn’t trying to make a ethical point by including them. It’s as much of a theme of chainsaw man as it’s criticism of dehumanizing labor.

That post that was talking about Fujimoto referencing from actual autists and gay people for his stories was so true. What I’m saying is is that Yoshida is fujobait and gay until proven otherwise frrrr fr

#And I support her (Fujimoto) #csm #meta

[relentlesslyexisting]

Sometimes I go on twitter to look at what little discussion there is about California Story, and I wonder if I should have ever translated that thing. 

Reading it for the first time, I was really impressed with it. It has its flaws, I have my gripes with many of it’s writing decisions. But there is such heart to it, and it tries to do so much.

At its core, California Story is about Heath’s journey of self-acceptance. And I think that theme is well-realized. I’d say the plotlines about Heath and Eve’s internalized homophobia is modern and fresh, especially when you look at other proto-BL titles of the time. There’s a real attempt to portray the reality of gay folks in the late 70′s, and although it can get sloppy, to my knowledge no other works tried to accomplish this.

That is to say, a lot of fans of Yoshida, or rather her properties treat her like some kind of villain without realizing that her work, like any other pieces of fiction are a product of their time. I don’t think Yoshida kills off gay characters out of malice, the concept of “bury your gays” didn’t exist within the context her works were conceived. People get mad about the ending of Banana Fish without thinking about what the story was really trying to say. They read it without the context of Kaze to Ki no Uta, without taking into account what made Banana Fish the story that it is. 

Obviously, readers shouldn’t be expected to have a complete understanding of the historical context in which their fiction is written. But I think it should be obvious that comics written by a Japanese lady over 40 years ago were birthed within a fairly different cultural climate than 2022 in any western country. I don’t think these works are immune to criticism, but I do think they are deserving of sympathy. 

On a separate tangent , I think Akimi Yoshida is particularly vilified because Banana Fish had a modern reboot. The story was 80′s to it’s core, and the anime brought in an influx of people who are neither familiar with the original manga nor willing to watch or read anything made before 2010. Even those that do look into the actual manga have likely never read anything that old. So in turn, I am eternally dissatisfied with any discussion about Yoshida’s.

That isn’t even getting into modern day media puritanism.

#akimi yoshida #banana fish #california monogatari #my thoughts don't really matter but maybe somebody agrees

[very-grownup]

Numbered List of Manga

I don't really understand what's meant by the X to know me by thing going around, because I thought it was generally agreed that media consumption is not a substitute for personality, but here are 10 (licensed) manga series that stick with me.

Hikaru no Go (Yumi Hotta and Takeshi Obata)

Tokyo Babylon (CLAMP)

KUROSAGI CORPSE DELIVERY SERVICE (Eiji Otsuka and Housui Yamazaki)

From Eroica With Love (Yasuko Aoike)

X-Day (Setona Mizushiro)

Pluto (Naoki Urasawa)

Goodnight Punpun (Inio Asano)

Otherworld Barbara (Moto Hagio)

Banana Fish (Akimi Yoshida)

Berserk (Kentaro Miura)

Hikaru no Go

The first sports manga I read and the gold standard for Shounen Jump sports manga. The slow maturation of Obata's art with Hikaru's character arc compliment each other so perfectly (when he does his own writing I don't have time for Obata), the triangle of skill/interest/desire in Hikaru's relationship with the game, JUST PUTTING A GHOST IN YOUR SPORT SERIES AS A MENTOR TO THE PROTAGONIST -- the natural end of the series is perfect (and not undone by continuing for several more volumes) and I still think about it twenty years later and get teary. Any subject can be engaging in the right hands.

Tokyo Babylon

My age and gender mean not including a CLAMP title would be a lie. It would be like a dude my age denying having seen any Dragon Ball. Tokyo Babylon is my go-to, with the heavy contrast of the art, chunkier and less streamlined than CLAMP's later titles, and the themes of death, environmentalism, and the disconnect between people and the world around them in post-Bubble Tokyo, are things I keep coming back to in contemporary series, and looking back is both nostalgic while showing me how things have improved in terms of what's accessible and considered marketable in North America. There was a time when the idea of Tokyo Babylon being licensed was laughable! And now it's been licensed, published, and had the license lapse MULTIPLE TIMES.

Kurosagi Corpse Delivery Service

You should read Kurosagi Corpse Delivery Service. Ask me about Kurosagi Corpse Delivery Service. It's a kind, primarily episodic horror manga with strong anthropological roots. It's supernatural and incredibly real, with stories dealing with xenophobia, the criminal justice system, homelessness, environmental destruction, war crimes, aging populations and the lack of support, isolation, idol culture, otaku culture, employability after receiving a liberal arts education, urban legends, aliens, the dangers of technological innovation, parental loss, revenge, abortion, infanticide, juvenile offenders, cloning, blackmarket animal imports, the continued military presence in Japan, cryonics, the postal service, immigration, what if Jack the Ripper was a ghost and he possessed a cool thing you had imported and continued his serial killings as a ghost. You should read Kurosagi Corpse Delivery Service. Ask me about Kurosagi Corpse Delivery Service.

From Eroica With Love

This series started with superpowered teens, including one named LEOPARD SOLID, and Aoike decided that was boring and she made it a series about a British aristocrat with a secret identity as a flamboyant gentleman thief with amazing hair and a sexually charged rivalry with a German intelligence agent who hates him. It's amazing. It needs to be rescued. There's something like 40 volumes. The pope gets stolen. There's a car chase with a tank and a bazooka on the autobahn. It's perfect and outrageous and over-the-top.

X-Day

I love Mizushiro and she's been tragically unrepresented in English licenses (X-Day is an ex-Tokyopop license, for a one-two punch of tragedy). X-Day is about lonely young people connecting on the internet and planning to blow up their school. There was a panel that felt like my depression had been put perfectly, beautifully, heartbreakingly onto the page.

Pluto

Urasawa's one of the greats and Pluto sees him adapting another of the greats into a smart, often sad, science fiction mystery thriller, and I still haven't been able to bring myself to read it a second time, despite it being Urasawa's shortest series.

Goodnight Punpun

Have you ever read something so profoundly raw and honest and recognizable that you had to quit reading it cold turkey? I think about Goodnight Punpun a lot and I stare at it on my shelf and I know I'm still not ready to read the rest of it.

Otherworld Barbara

No one draws the way Hagio does, with lines that look like they will dissolve if you touch them, and she understands that soft, dreamy beauty should be able to encompass things that are hard and violent and bloody because girls love romance and dream realms and clones and question of identity and beautifully androgynous characters with dark starry eyes and cannibalism.

Banana Fish

I have often gone on, at length, about one of the core components of shoujo, especially classic shoujo, being BIG FEELINGS, and the hugeness of the feelings make the events correspondingly BIG AND POWERFUL AND IMPORTANT but Banana Fish ties that with extreme violence and a plot that becomes increasingly Metal Gear Solid, with impossible drugs and mind control and knife fights and snipers and torture hospitals and the American military industrial complex. And then it comes back to feelings. It's another title where you really see the art evolve, which I love, and it's one of those perfect tragedies, where you can feel bad things coming, sometimes see them coming, but there's a rightness in the tragic ending. It hits the catharsis necessary in real, proper tragedies.

Berserk

I resent how superficial readings of Berserk kept me from reading it for so long. Do I love the hyper-violence and the gore and Miura's obsessive attention to the tiniest details in his shitty, blood-soaked world? Yes, of course, it's powerful and visceral and shocking and wild, which makes the hope and the realness of the trauma and how difficult everything is and how exhausting just living is and the cycles the characters are trying to escape from more engaging. Despite everything it isn't constant, grinding misery. It's a series full of sparks of optimism and so much more than BIG MAN BIG SWORD, with hurts more complex than demonic abominations. But the demonic abominations DO look rad as hell.

#manga #lists of things #berserk #banana fish #kurosagi corpse delivery service #x-day #setona mizushiro #kentaro miura #akimi yoshida #otherworld barbara #moto hagio #goodnight punpun #inio asano #pluto #naoki urasawa #from eroica with love #yasuko aoike #tokyo babylon #clamp #hikaru no go

[bellatrixdulac]

I think it's a very unpopular opinion but I don't understand the hype that Gingama the Final got. Sure! The humor is funny as always, the animation is great and the music is just as great as you'd expect from Does and Spyair, but the plot kinda falls flat to me. Obviously it's not a movie only problem, and it's even worse in the manga, but it's like they set aside everything that made Gintama great so far and turned it into a more generic shounen anime.

Gintoki and the yorozuya are such great characters because they are not the usual main characters group with the "destined" main character, the helpless love interest and the rival, but in the last movie they completely discarded Kagura and Shinpachi to only have Shinsuke and have that last fight (it was sad as hell and good but still not quite what I expected from Gintama and not in a good way) with him without showing the kids. At all. They are walking Yoshida around? And we had a relatively large among of screentime for Tae who didn't do much, except acting like a textbook love interest (Tae?? Of all people?? Anyways). While we had so many interesting ways to fit the kids into this. Utsuru even mentioned Gin's life being "void", the obvious parallel between the school and the Odd Jobs, even just the fact that they were right there and there was no stretch to do to take Shinpachi and Kagura to the fight, while having a wall collapsing on the kids & Tae and Gin just moving on felt...weird, at best. To his credit, in the manga they yell back that they're okay iirc, but in the movie Gintoki just watches back once and that's it.

Also Gin, since the previous part of the arc/semi-finals had this massive guilt complex about resurrecting Yoshida because he knew he was betraying everyone! He didn't show his face to Shinpachi on the bridge, despite knowing that he had put his life on hold waiting for Gintoki to be back, he took all that weird harassment from the girls while pretending to be Shinsuke, etc because he felt guilty about it, but knew he had to help his master. And the kids really really were waiting for him, especially Shinpachi and when they were reunited...it didn't really matter anymore. He doesn't apologise for trying to resurrect a person that he knows has little chances to be good, who tried to murder them more than once, who almost destroyed the world and even killed their dog. And he doesn't apologise for not telling them he was back. And at first it was okay because it was the kind of relationship they had, but after a while just seemed like Gintoki couldn't give a fuck about them, and it felt like such a one sided admiration from their side. Especially when Gintoki walked off to fight Shinsuke and left them doing what? Maybe dealing with a collapsed wall, if they weren't crushed.

And of course the worst treatment was given to Zura like usual. The man who, all the way back to the beginning (literally before volume 5) said shit like "you cannot carry everything alone, I'll help you", who promised to kill Shinsuke in the Benizakura arc, in the same arc promised to stop Gin if he was to stray away from the right path (like you know resurrect they guy who almost destroyed Edo twice), that promised in the Farewell Shinsengumi Arc (If memory serves) that he would not let Gintoki kill Yoshida again, this man just fell down the stairs and the plot moved on. He was the only one of Yoshida students to not be involved in the last fight, and barely in the plot. He also made a point to say he was going to stop them from resurrecting Yoshida and then he just...disappeared.

But overall I am just disappointed that the characters I liked and watched Gintama for were completely forgotten. The Odd Jobs are the most blatant example, but the Shinsengumi had maybe 5 lines out of the 3 of them. Tsukuyo, Kyubei, Sarutobi etc were basically a mob. Zura was done extremely dirty. And all of this only to focus on Shinsuke and Utsuro who were marginal at best. Even Shinsuke, who was a big deal since the Benizakura arc, kind of blended into the Harusame and was not a more prominent villain than the pirates as a whole or Kamui (who appeared? Blink and you'll miss him).

And more especially, the main conflict of Gintama was the humans vs bad aliens. From Shinpachi's introduction, Gintoki's backstory (yes, Oboro and the Shogunate were the main focus, but were only just puppets), the whole premise of the show, up to being the reason Kisuke was a villain at all. And the rest of the cast even acknowledges this and makes a collective speech about rising up to the aliens when they head to the terminal. But then it was all Utsuro? Quite literally all Utsuro, since everyone who took his blood was a puppet acting on his will, and Utsuro was ultimately just human. And I think it could have been a could twist, had it not be for the fact that they had forgotten literally everything else about the show, so it was hard to believe this was a planned twist.

My disappointment is great with this movie, but at least I have the second movie and the Silver Soul arc to cheer me up.

#gintama the final #gintama #gintoki sakata #takasugi shinsuke #yoshida shouyou #yorozuya #kagura #shimura shinpachi #shimura tae #katsura kotarou #gintama silver soul arc

[messyhairedhazeleyeddude]

Meet The Author ; JJ

| Info about me.. |

Name’s JJ.

My pronouns are He/Him.

18.

My humor is sarcasm/irony.

I don’t personally post much, just trying to build my writing reputation for now. But, maybe I will get out of my shell at some point.

Interests : Writing, Drawing, Painting, Tattooing, Guitar, Reading, and Skating every once in a while. Holy fuck, that’s a lot of ing’s.

Fandoms I’ll be writing about : Jujutsu Kaisen, Creepypasta, Chainsaw Man, South Park, Homestuck, and whatever else that I forgot to mention. Quite a bit.

| Requests Rules.. |

Currently as of now, I’m not accepting many requests because I’m so busy with my own ideas for my page. So, I’m sorry if I can’t or don’t get to your ideas.

But, I will look at asks through the Tumblr ‘Ask’ option so please go ahead and go for that. I’ll be happy to see some of your suggestions.

I will write things such as SFW and NSFW headcanons, stories, and scenarios on characters with a reader or another character that I feel I can execute correctly.

If you are looking to request, please see below to what I’m willing to do and not do.

✑ The characters I’m open to writing are : Gojo Satoru, Toji Fushiguro, Megumi Fushiguro, Yuuji Itadori, Nobara Kugisaki, Yuuta Okkotsu, Choso, Sukuna, Denji, Power, Aki Hayakawa, Makima, Kobeni Higashiyama, Hirofumi Yoshida, Tobias Rogers (Ticci Toby), Jackson Nyras (Eyeless Jack), Jane Arkansaw (Jane The Killer), Timothy Wright (Masky), Brian Thomas (Hoodie), Stan Marsh (Toolshed), Kyle Broflovski (Human Kite), Kenny McCormick (Mysterion), Craig Tucker (Super Craig), Tweek Tweak (Wonder Tweak), Dave Strider, Rose Lalonde, John Egbert, Jade Harley, Jake English, Dirk Strider, Roxy Lalonde, every troll. (please don’t make me list them all..)

✑ I WILL NOT write anything that has to do with : pedophilia, vore, feet, characters that I have a personal dislike to, and any fetishes I deem uncomfortable or unsuitable.

✑ I am okay with doing : BDSM, non-con, and certain violent topics that include knives, murder, and other extreme narratives. This applies to most of the serial killers and is completely fictional. Please don’t cry to me about doing this. Some people cope with these sorts of kinks and it’s NOT to imply that they truly want something like this to happen. People just like crazy fantasies sometimes and that is OKAY.

✑ I apologize if I don’t get to your requests fast enough. Writing takes days to perfect. I’ve tried to rush it plenty of times, it will still be a long wait. Please be patient and know that I have a life outside of this hobby. Thank you for reading!

I don’t tolerate or condone anybody who is homophobic, transphobic, racist, or sexist. You are not welcome here and I would suggest to leave. This is a safe space and I welcome everyone. You are accepted.

Everyone that I write about is aged up and at the age of eighteen or up. I specify this every time and I’ll continue to do so. There will be nobody underage that I will write about and anyone that wants to do so needs to get the fuck out. Other than that, that’s my introduction to my page and I’ll continue to update this when I make a master list and others. Now that you understand my work and all of that is out of the way, go on and read your asses off.

[mythgirlimagines]

DVHS Reread: Chapter IV.III

"You're correct in that. Especially with the secrets…" Something dark crosses her face. She reaches to her neck, making a face when her fingers don't find the chain of her necklace. She probably forgot to put it on today. 

hahahAHAHA

Which, yeah, is a dangerous line of thought. Adapting to the paranoia is as good as giving up. At the same time, we've already lost so many people. Maybe learning to live here is-

The bells sound, shocking my system. "A body has been discovered! Everyone, please gather in the physics lab!"

-just what we need.

I think this is one of the only times a protag has not been one of the first couple to set off the BDA. One being, technically, Taka in DR1, since Makoto thought that one was for Hifumi, and the BDA going off after Kazuichi first for Mahiru before Hajime got to the beach house. I like that sense of panic!

After all, only one of us is small enough to fit in Yoshida's arms. 

Y’know, before I went back and edited, this was gonna be different-

I’m just kidding. It was always Oshiro. This was fated from the start.

"You can't trust anyone." I blink, taken aback. "I know you're you and you want to trust everyone, but you can't. The secrets provide too much of a motive. We don't know who had Oshiro's secret, and we don't know whose secret she had. Everyone is suspicious if or until we can figure that out."

There's something frantic behind his eyes that was definitely never there before. "Why are you telling me this? Why now?"

He sighs, picking at the sleeves of his jacket. Even now, he looks so put-together. "Because, against my better judgement, I trust you."

This chapter is very interesting for Abe in my eyes, though I’m not entirely sure how to vocalize why that is. Mostly I think it has to do with his fluctuating feelings on trust, and whether he’s trusted back specifically by Camila.

I take the scrap of paper. Whatever's on it was written in ink, but it ran, each letter bleeding into the next so much that I can barely understand what it says. "...Etsu. Those are the only four letters I can make out."

Yasu sits back on his heels, thinking. "Like part of a name? Maybe that's whose secret she had."

I run through everyone's full names, ticking them off on my fingers, but the only one who has "etsu" in it is Yoshida Etsuko. And this can't be her secret; I have her secret.

~FORESHADOWING~

She's wearing leggings, but the area right under her knee is rubbed a little raw, almost like the fabric there is thinned or stretched. Kind of like rope burn, but on clothing? Maybe? 

I mostly modeled this after the fact that my leggings tend to get thinner and worn in the thighs because of the fabric constantly having friction, so I figured a rope would have somewhat of the same effect in this case.

The room is surprisingly clean; I don't see any signs of a struggle. Everything looks just like it did when I looked through here the first time, with the obvious exception of a corpse. 

I stressed before a couple times that Saito was really neat, so I figured this in and of itself would be a bit of a clue. I didn’t really try hard to hide the culprit of this case.

My eyes lift to the observation deck. It's almost a given that this has something to do with the case, given the nature of Oshiro's death. "I'm going to check there," I say to nobody in particular. Almost immediately, Sasaki grabs my arm, stopping me in my tracks. "Look, it's okay. I'll be careful."

I mean, I would want to double check on someone who not only lost the closest person in the game a few days ago but also was recently told they were almost a victim.

"It's lonely," Miyuki confirms, walking next to me. I frown and keep my eyes ahead. I can't respond, right now. If this is a hallucination, I shouldn't respond anyway. "Especially waiting before you found me."

I take in a sharp breath, ignoring the odd looks I get from Aoyama and Sasaki. She'd been helpful until this point; why is she telling me this? I don't want to know. I don't want to know.

She peers into the elevator. "It's a lot more roomy in here." She steps in, standing next to me like she did before the first trial. I try not to look, but I can see her slip her hand into mine. I don't feel it, of course. This isn't real. I keep repeating that in my mind. This isn't real.

Even though I absolutely do not know what I was going for with this hallucination or whatever I’ll probably eventually decide on, I really like this part.

#dvhs #dvhs spoilers #dvhs reread #kagami saito #camila ishikawa #etsuko yoshida #amaya oshiro #fumito abe #yasu kadoshima #hanayo sasaki #nozomu aoyama #miyuki ueda #danganronpa #fangan

[vitos-ordination-song]

Ash as a human being simply isn’t ready for any kind of adult romantic relationship and he never got to the point where he was ready for one before he died and that’s another one of the tragedies of his life. It’s also why I find debating his sexuality to be pointless and insulting.

Ash gets attached to Eiji for many reasons. One of them is that he transfers feelings for other people he loses to Eiji: Griffin, Skip, Shorter. Eiji is the one who survives and is there for Ash to protect. He obviously identifies innocence with Eiji, perhaps even his own younger self (that plays out on a narrative level anyway). He sees in Eiji, “a normal life.” Not for himself, Ash can never quite believe that, but that it’s possible. That it could have been possible for himself. He has to keep Eiji safe at all costs to preserve that.

Eiji is also a refuge for him; the only person he can really truly let his guard down with. Who he can admit his feelings to. Who he can be comforted and soothed by. Relax with. I noticed watching the anime how much Ash broods over a sleeping Eiji—Ash basically never gets a full night’s sleep for the entirety of the story, clearly has a sleep disorder, but he wants Eiji to sleep as deeply and calmly as possible.

He has no desire to inflict his own plight on Eiji, unlike someone like Yut-Lung. Ash does at times feel misunderstood by Eiji or annoyed at his naivety, but he’s often remarkably kind and understanding to Eiji. When he isn’t, they usually work it out quickly, or else Eiji understands without being told.

Understanding and mutual care are the core of the Ash/Eiji relationship. Although this is a strong bond between boys, after having read the entire thing and thought about it, I wouldn’t call it a romantic relationship and I don’t want it to be one. I feel as though this was the best choice for the story. If I want BL I’ll go read one—they’re not hard to find.

The thing is too, and I feel like Yoshida got this, it’s not that Ash/Eiji couldn’t have been more of a romance. It’s that it wasn’t what Ash needed. Eiji was written, in the words of ppl who worked in BF, to be a “healing” character. He is highly empathetic. He feels the feelings that Ash himself is cut off from; I was struck by the scene in volume 2 where Eiji cries and says he couldn’t try to get information out of Ash for the police. Eiji felt Ash’s feelings intensely and expresses them openly. Ash can’t afford to do that. Although Eiji is Ash’s weakness in one way, he’s also exactly what Ash needs to find peace as a person. Eiji provides the unconditional love he never felt in childhood. Ash has been repeatedly dehumanized, misunderstood, mistreated, cast as a villain, victim blamed, you name it, and Eiji doesn’t do any of that, he sees Ash as someone who was wounded and deserves care. He sees the goodness in Ash. All of this is beautiful but it’s not yet the material for a romantic relationship.

It reminds me of Utena/Anthy in the show. Both of them are far away from being able to have an adult partnership. It’s important because really they’re connecting as children. They’re working through their wounds, their tendency to hide from the world. It takes a reboot for them to be ready for the real thing. I don’t know if I want to see an Adolescence style reboot of Banana Fish where Ash/Eiji start making out and end up together. Like Yoshida, maybe that feels wrong to me. Because that kind of relationship is lost to Ash… that’s part of the sadness. Yoshida ended the final volume of BF with a picture of Ash and Eiji in bed together, shirtless, but they never shared a bed in the manga itself. She could have played into more touchy BL tropes. It’s not like she’s afraid to write gays—she’s done it throughout her career. On the one hand, I feel as though Ash/Eiji staying platonic makes it beautiful, a connection of the soul, a desire to heal someone’s deep wounds. It’s where Ash can grieve his inner child. But he never gets to take that step into adulthood. It’s something he could have had, but didn’t.

[randommusingsstuff]

Why Ben and Devi are Endgame (Meta)

At the heart of every rom-com, it always comes down to this: what does the protagonist truly want? 

Why Devi and Paxton Don’t Work

In the season 2 finale, Devi triumphantly says “So, I guess I'm Paxton Hall-Yoshida’s girlfriend now”. She got what she thought she wanted at the start of her journey, only it’s not what she wants anymore. 

Although Devi cares for Paxton, she views him as a status symbol. Paxton, for all his growth, still sees himself as cooler than her. And no, he was not just embarrassed because she cheated on him. Before he knew she was cheating, he invited his friends on their first date and refused to call her his girlfriend. In the finale, it once again takes someone else to point out that he shouldn’t blow her off. As Devi and Paxton walk into the dance, he gives his friends a sheepish look while they judge him. Not only does he still have lingering feelings of embarrassment, his friends’ reactions suggest turbulence ahead for their relationship. 

There is also a lack of communication between Paxton and Devi. They have a magical kiss by the window, and makeout sessions afterwards, but they don't actually talk about their relationship in that elapsed time. Devi makes the assumption that they are together and Paxton doesn’t articulate what he wants until it is forced out of him. 

What can we conclude from this? Paxton is a great character, but he is not the one for Devi. They have differing interests and goals, a lack of communication and they do not see each other for their true worth. 

Can the writers surmount all of these issues to give them an endgame? Yes, but it would require fundamentally changing who Devi and Paxton are. 

Why Devi and Ben Work

In episode 1 of season 2, Devi wants to pick Ben but her friends talk her out of it. This is crucial to understanding why they belong together: her gut instinct has already revealed the truth. She had both guys vying for her and she wanted Ben. Just by this one fact alone, we can infer that Devi’s relationship with Ben was more meaningful to her than her pursuit of Paxton in season 1.

When it’s revealed that Devi is two-timing the boys, Paxton is hurt but Ben is devastated. Paxton likes her, but Ben connected with her on a deeper emotional level. Devi follows Paxton out of the party, which is understandable because he is the one walking away. Again, this is cleverly hinting at their communication styles. Paxton wants to avoid the situation and Ben wants to talk about it. From Ben’s perspective, Paxton is the guy she has wanted for so long and he is the second choice. 

Throughout the season, Ben never considers the fact that Devi could want him over Paxton, which is equal parts sad and infuriating. Her therapist asks what she wants more than anything and she says Ben. In context, it’s a comical line, but it’s also Devi revealing her truth. Like she does at the beginning of the season, she makes a choice and it’s Ben. She pursues Ben romantically before Paxton even though Paxton is the one more willing to forgive her. 

It takes Ben longer to forgive her, and yet he is still there for her when she needs help. The little things he does like give her advice about Aneesa and make her feel better about Paxton’s rejection all show Devi’s ability to be vulnerable with Ben. 

As an aside, they had the opportunity to show Devi being vulnerable with Paxon but didn’t take it. In episode 8 of season 2, Paxton sees Devi crying and she reveals that she got into a really bad fight with Eleanor. I was thinking: here it is, here is the moment that Paxton finally helps Devi with her problems... but no. His response is “seems like you’re in a fight with lots of people” and the conversation quickly shifts to her apologizing and helping him yet again. Devi is able to open up to Ben and be supported by him in a way that she can’t with Paxton.

Before I talk about the finale, which is arguably the biggest point in Ben and Devi’s favour, I want to look at the season overall. The entire story arc is Ben and Devi wanting to be together but constantly running into roadblocks in the form of Eleanor/Fabiola, Paxton and Aneesa. It was so alarmingly obvious they belonged together after season 1, that the writers had to find ways to forcibly separate them for the time being. It’s important for Ben and Devi’s relationship that she dates Paxton first. If she had been allowed to go for Ben, they would have had to explore Devi wondering what she missed out on. When Devi and Ben do get their happy ending, it will be because Devi has realized that Paxton is not the person for her. 

In the finale of season 2, we get 3 crucial scenes from Devi and Ben. The first is the bathroom scene which reaffirms Devi’s ability to be vulnerable with Ben and his ability to support her (something she doesn’t have with Paxton). The second is their tension-filled scene at the dance where they longingly stare at each other. This directly contrasts the scene in episode 8, where Devi tries to reframe her mindset and stop seeing Ben as someone she is attracted to. Here, it becomes apparent that she is unable to stop thinking about him in a romantic way despite actively trying. 

The third scene is basically Eleanor saying “you dummy, she wanted to choose you!”. The writers intentionally reference the pros-cons scene from episode 1, re-affirming that Devi wants Ben. The only reason they are not together is because he is not an option. 

Then we get the line “it wasn’t always him”. Many Devi and Paxton fans believe her choice was Ben, but he took too long and now it’s too late. But when has it ever been too late for a main love interest in a rom-com? Mindy Kaling is a rom-com savant, and she knows as well as I do that it’s only ever “too late” for douchey guys who do not acknowledge the self-worth of the heroine. That’s not Ben though, he has always seen Devi for who she is. 

The heartbreak on Ben’s face is infinitely worse than Paxton’s voicemail at the end of season 1, although these scenes are meant to parallel each other. Devi and Paxton are two people who like each other but do not work as a long-term relationship. Ben and Devi are two people who work as a long-term relationship but never acknowledge their feelings for each other at the right time. It’s a tragedy just waiting to be rectified in season 3.

Season 3 Predictions

Now that I've given my analysis on why Devi and Ben are meant to be, here are some predictions I have on the Devi-Ben-Paxton love triangle for season 3.

Fabiola/Eleanor will be the ones to help Devi act on her true feelings for Ben. This one is a no-brainer for me. After sabotaging their chance to be happy in the first place, Fabiola and Eleanor will decide that they want their friend to be happy and set things right. It will also parallel Ben mending their friendship in season 1.

Paxton and Devi will have some sweet moments in the first half of the season, but not without their issues. The lack of communication and their respective status (the way they view each other) will cause them to fight. They will break-up mid-season, but the ending will leave hope for reconciliation.

On that note, I do not think they will kill the love triangle. Even though we will likely see Devi confessing her feelings for Ben and saying that she wanted to choose him all along, this is still a TV show. Contentious love triangles = buzz and money.

Ben and Aneesa will break up by mid-season, but probably earlier. Ben will find it hard to be in a relationship with Aneesa as he grapples with his feelings for Devi.

Ben will be a pillar of support to Devi as she navigates how to be a girlfriend. It’s the classic trope of the guy helping the girl win over the man of her dreams, only to realize that the person she wants is right in front of her.

 Devi and Ben’s friendship and lingering feelings will culminate in an epic finale confession and kiss. Everything that they were unable to say to each other last season will be spoken aloud in season 3.

Ben and Devi are soulmates, drawn to each other and unable to avoid their feelings. I can’t wait for them to take over my life again next year.

#benvi #ben x devi #ben gross #devi vishwakumar #nhie #nhie season 2 #never have i ever #never have I ever season 2

[dreaming-of-assclass]

Any pet peeves of the characters?

I just decided to do everyone 😙

Karma: People who scuff their feet as they walk. There’s a 10% chance he might just jump you because of that.

Isogai: When people are late. He gets that life can be chaotic, but come on bro.

Okajima: When people treat food as gross or say “ew” before trying it. Like dude, be grateful. Don’t disrespect food, that’s not cool.

Okano: Despises the texture of chalk. Keep it away from her, please and thank you.

Okuda: Blowing gum bubbles, especially the giant ones. They just look really nasty and give her the ick.

Kataoka: Oh a lot of things lmao. Her biggest one is if you constantly point out how tall she is. Haha yeah we get it, now shut up or she’ll step on you.

Kayano: She hates all talk of diets. Had to hear it constantly growing up as an actress. Bonus points of you bring it up while she’s eating something unhealthy 🔪

Kanzaki: loud chewing noises. slurping, crunching, etc. She HATES it

Kimura: When people stop and stand right in front of the door. MOVE.

Kurahashi: If you don’t cover your mouth properly when coughing/sneezing, she will never speak to you. That’s her biggest ick.

Nagisa: People who say “no offense” as if it downplays anything insulting they say.

Sugaya: People who use redundant hashtags on social media, like #girl #me #human #selfie. It just bothers him immensely lmao.

Sugino: Laziness/procrastination. He’s pretty understanding but if you still don’t wash the dishes 10 min after you said you would, he’s gonna be annoyed.

Takebayashi: Taking his food without asking. It’s okay if you’re a close friend, but generally he considers it super rude behavior. It’s like crossing his boundary.

Chiba: When people start “wooing” and going crazy for a mediocre song. Like at least get hype for quality music 😭

Terasaka: When giant groups of people take up the entire sidewalk, and he’s just trying to walk by. Get out of the way or he’ll tackle all of y’all.

Nakamura: Coffee that costs more than 2 dollars. Unless you have magical coffee beans, do not raise that price.

Hazama: Passive aggressive behavior. She doesn’t have the patience or willpower for that, just speak up and be upfront.

Hayami: Slow cashiers who try to make small talk with her. Or worse, flirt. Like please, she’s just trying to buy this cat plushie, not have a whole conversation.

Hara: People who don’t bother to hold doors open for others, especially if they’re like 1 foot away. That’s just plain rude :(

Fuwa: Online stores that charge for shipping. If it costs more than her actual product, hell no. But sadly, she has to do this often for her precious manga.

Maehara: People who say “Let’s make plans!” But act surprised when he tries to follow through and make actual plans with them.

Mimura: When people talk over him while he’s still in the middle of his sentence. It happens way too often for his liking.

Muramatsu: Hearing people bite their nails. He thinks it’s generally disgusting, but the sound makes him 🤢

Yada: Misspelling in texts. She hates it so much, like what is this code they expect her to understand?? Type normally please!

Yoshida: LINE CUTTERS. They drive him absolutely crazy. Like it’s just basic social etiquette...

Ritsu: The classic non-apology: “I’m sorry you feel that way.” It just strikes her as so shallow.

Itona: When you don’t silence your phone or game, and the ringtone is obnoxiously loud. It tempts him to rewire the whole phone himself.

Gakushuu: When people repeatedly hit the elevator button, as if that’ll make the elevator arrive sooner.

Korosensei: When people are all on their phones, instead of conversing and spending time. I mean, he gets it of course. But please don’t go on it while eating together 🥺

Irina: Abbreviations. She hates them. They make no sense to her until someone explains, like they’re just so confusing? Is it that hard to say the whole term???

Karasuma: People who seal ziplock bags without removing all the air first. It makes him so mad lmao.

Gakuhou: People who say “no problem!” or “No worries!” when he thanks them. The appropriate answer is “you’re welcome.”

Which pet peeves can you guys relate to? 😁

#assclass #ansatsu kyoushitsu #assassination classsroom #headcanons #3-e #irina jelavic #tadaomi karasuma #korosensei #gakushuu asano #gakuhou asano

[ctl-yuejie]

How the diverse world of the addictive tv series “Cherry magic” got made

(interview with scriptwriter Yoshida Erika by Yokogawa Yoshiaki)

沼堕ち続出ドラマ“チェリまほ”の多様な世界はどうやって作られたのか【脚本家・吉田 恵里香さん】2020.12.22  横川 良明

for @howdydowdy because we were talking about what a fantastic character Fujisaki is and the notion of consent when it comes to reading someone’s mind

Currently, societal values continue to change rapidly. On one hand the movement of respecting each other’s diverse individualities and making it easier for each and every one to live in society has become more active, one the other hand it is not a rare occasion to be lost for words when suddenly unconscious discriminatory biases – derived from not being able to cut loose old values that are rooted deep in oneself – raise their heads.

How should we exist within this period of polarization? This series is to create the opportunity to think about this topic by having discussions with the toprunners in the entertainment world. The person I am introducing for the first edition is screenwriter Yoshida Erika.

She is behind the script of “Thirty Years of Virginity Can Make You a Wizard?!”, the tv series that has grabbed the first spot on the oricon satisfaction ranking for 4 weeks in a row, and has gained fast popularity despite its late-night spot. The enthusiasm for the show can be attributed to the soft view Ms. Yoshida has on the world.

Yokogawa Yoshiaki (YY): I am happily watching the series. I really liked the original work, however the way it was adapted to a television format has been brilliant. One big thing is the making of the character of Kurosawa played by Machida Keita. By Adachi’s magic (played by Akasouji Eiji), the voice of Kurosawa’s heart spills out, and while the original text had him be quite blatant in his expressions overall, the drama carefully examines them.

Yoshida Erika (YE): That is definitely where there is a difference in depth. The original has the premise of a work in the BL genre, readers are expecting a BL-like development, so they can take such things in stride, but the viewership of the tv series is more varied. Under them there might be people who do not like BL. That is why I was conscious about how different people from different backgrounds might watch this show.

It is not okay to assault someone just because you were invited to their house, kissing or touching without consent is not okay and being of the same or different sex makes no difference in this. Treating such things as okay because it is BL would be rude to the parties concerned. Because we are using the BL genre, we want to specifically protect the “firsts” of the parties concerned. That is something the producer Ms. Honma Kanami and the director agreed about and I therefore paid extra attention to.

YY: Adachi himself, as he is about to step into Kurosawa’s house thinks “Not that I might possibly get assaulted?!”, and is very vigilant, but with some soul-searching realizes that that is rude towards Kurosawa. To say it briefly, you can feel the probity of the creators.

YE: I thought that a main character that thinks that he will get assaulted when he steps into the house of someone will not be loveable. No matter how well received the person is who acts it out, if we cannot love them on a human level, this drama will not work. Adachi’s power to read people’s hearts is also the action of seeing people’s darker sides on his own volition. That’s why a character we cannot love as a person will receive push-back by the viewers.

YY: Just like you said, the act of reading peoples’ hearts includes great violence. That is why I think that when he realizes that Kurosawa has fond feelings for him, unlike the original where he reads Kurosawa’s heart on purpose, the drama treats it as an accidental force. Over the whole series, it is of focal importance that Adachi doesn’t overuse his magic.

YE: That is where we were extremely careful. In the manga easy comprehensiveness is important and that type of suspense is interesting - and we don’t intend to deny that - but if you do it as a drama, I didn’t want to make him into a young man using his powers at ease. That is why, especially in the first half, he decides and tries very hard not to use his powers when possible. The scene where he reads the CEO’s heart appears in the first issue of the original, but in the drama we pushed it back to the 5th episode. We made it a point to illustrate how Adachi is filled with the emotion to help Kurosawa and that is why he uses his powers.

                                                       -

That what I don’t want others to do unto me, I do not want to inflict on characters.

                                                       -

YY: His colleague Fujisaki (Satou Ryo) is a Fujoshi in the original and that premise was cut from the series. If you decided to have a Fujoshi character on a prime time show, did you think that misunderstandings might arise easily?

YE: That was definitely a thought. In BL as a genre it is not an issue that a character exists that takes the same viewpoint as the reader, and I love Fujisaki in the original, but the people who are acting it out in reality are real people. At that point, loudly fawning about someone else’s’ love life is not perceived as good conduct. At the least, I thought that I wouldn’t want to be treated like that.

YY: It is fine to envision fictional characters as romantic partners, but it is different when you make a real acquaintance the target of that.

YE:

A thought we had was that if Adachi and Kurosawa were to really date it would be one thing, but grinning at someone - who might even be heterosexual – because you inflate your own BL adjacent delusion isn’t much different from a man grinning at a woman with big breasts and calling her sexy. I wouldn’t want to get treated that way, so I didn’t want to inflict that on the characters in the story as well.

When it comes to Fujisaki it isn’t like she isn’t a Fujoshi. We do not clearly state it, but I thought there was no reason to show it in the drama. 

YY: You are saying, that it is fine that people might interpret Fujisaki as a Fujoshi when she is smiling at Adachi and Kurosawa.

YE: Yes. That is where you are free to imagine (laughs).

YY: What I thought was very fresh is that instead of proclaiming her to be a Fujoshi, Fujisaki is turned into someone who “is happily living her daily life even without romantic love”. We don’t often get characters like that in Japanese tv series.

Personally, I also like romantic tv series, but while feeling venerated when the main characters have realized their love in the final episode, when trying to build a romantic connection to someone else in real life it might not go well and beyond that, it is not that it never happens that I, who also holds interests in other things than romance, end up feeling empty because of the lonely feeling of having been left behind (when watching a romance on tv unfold).

But with having Fujisaki appear, it felt like I got rescued.

YE: Until now, for several projects I made the suggestion of a character that is not interested in romance, but I wasn’t understood. “Is it necessary to do that?” “Aren’t you overthinking it?” were things I got told often.

But with this production, when I said that I wanted Fujisaki to be asexual or aromantic, no one denied me. From that stage on I thought that this place was a good one, and thanks to the original writer giving her agreement it got turned into reality.

YY: Since this kind of character hasn’t really appeared in a tv series, it felt like people like Fujisaki were assigned to be non-existent in this world. But thanks to you envisioning her like this, seen from a person that like Fujisaki might say “I got used to acting “normal”” and feel a notion of despair when confronted with people not understanding them, it felt like it got emphasized that people like her also exist in our society. Picking such little voices feels like it is one of the purposes of entertainment.

YE: If that could become the case I would be glad about it. 10 to 20 years prior, a “fairytale gay” (describing the flamboyant gay friend, that mentally supports the heroine by giving some harsh but accurate advice) often appeared in tv series from abroad, but this portrayal slowly changed, finally it has reached the point where the view point that being gay isn’t something special has penetrated the public.

So this time, I believe that one of my duties was to tell the story of people that are not interested in romance or people who do not only love one person, not from a standpoint that is convenient for consumption, but to have properly realized characters up to their individual backgrounds.

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I hope the time comes where it isn’t necessary to especially say “This is a BL series”

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YY: Please let me speak on something that has confused me this far. Prior, when you explained Fujisaki in context of the script, it felt like it wasn’t okay to call her asexual or aromantic because she herself doesn’t use any of those labels. I was somewhat afraid that an outsider would just selfishly declare that “you are asexual, aren’t you!?” in regards to someone who hasn’t professed anything.

YE: There is the point of both of the terms asexual and aromantic not being widely known in Japan as much as compared to overseas and I also think there are people who just wouldn’t use these words. Even when you think you are not interested in romance at the moment, it could also be that you just haven’t found the person that makes you feel that way. That’s why I can understand how labelling someone has a violent notion.

YY: My next question is also relating to that: This applies to Cherry Maho, but generally when I write about over works that feature a lovestory between men I try not to use the word BL.

This is my own opinion but to me it feels like the term BL has too much of a sexual image.

In private I casually use the word BL. However, for the content of an article that is read by an unspecified number of people, I remember stumbling over labelling something as BL. Using BL as an easy genre specifier has the effect that there will be a layer that won’t get looked at. I simply want to have more people enjoy a piece of work. I don’t object to the editor using BL in the title but in the content I write, I try not to use the term BL story but simply “love story between two men” and keep it close to how you’d address it in reality.

YE: I understand that. Obviously, I don’t intend to shame the taste of people that like BL. However, I understand that there are people that feel a sense of resistance towards BL as a genre. That is why I also don’t use the word BL when I promote on twitter. I do think that it would be great to have a new word.

Just like women have things they don’t want to be subjected to, men also have things they don’t want to be subjected to. This kind of awareness has become more broadly spread bit by bit. However, in order to have it really penetrate society it needs for the voices of the affected people to be heard. But it is also the reality of today’s society that violence is directed at people that raise their voice. That is why I feel like it is the job of the people that create tv shows to speak up instead.

At the least, that is how I want to straightforwardly create the world, so that in 10 years without directly stating “this is a BL series” we have a society that takes it in as a “new cool romantic drama beginning” with “the leads being actor x and actor z” and as nothing unusual.  Now we really have such a transitional period, and as a writer I want to build the steps towards it.  

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original article: https://mi-mollet.com/articles/-/27045?page=3&per_page=1

#cherry magic #thirty years of virginity can make you a wizard #30歳まで童貞だと魔法使いになれるらしい #30 sai made #a bit rusty with my translations but i really enjoyed how they were talking about the writing and character composition in the series and #decided that I had to share #long post