#considering what a character is like and how that would translate to their Stage Presence | Explore Tumblr Posts and Blogs

valleyof-goldenlilies · 10 months

Text

Se Zaldrizoti’ Prumia - Chapter 4: The Orange Lily Bends Its Head In Grief (Daemon Targaryen x Tyrell!Reader)

Chapter 4: The Orange Lily Bends Its Head In Grief

The time comes for mourning, old memories and harsh truths.

HOTD Masterlist | Main Masterlist |

Warnings: Extreme slow burn, angst, mentions of Aemma’s traumatic birth scene, Y/N kinda being a headass, Daemon being an ass, Viserys hate club

Word Count: 2.8k words

Disclaimer: I do not own any of the House of The Dragon/Fire and Blood characters, save for Y/N Tyrell, although I did expand on their characterisation, which might deviate from canon. All credit for the characters goes to George RR Martin and the showrunners of HOTD. The GIF above is also not mine, original credit to the creator is stated above. Go check them out!

A/N: I’m sorry this chapter was later than expected 😭 i got a bit sick after the concert I attended yesterday (1975 was great but goddamn the crowd was inactive asf) I hope you guys enjoy this chapter!

wonderful dividers courtesy of @firefly-graphics !

The day was beautiful. The sun hung bright and brilliant in the blue sky, and the smell of salt and sand permeated through the air, along with a slight whiff of smoke from the magnificent dragon situated at the top of the hill, its beady eyes cast upon the crowd of mourners clad in black.

You stared numbly at the raised dais where Aemma’s embalmed body laid. Little Baelon was next to her, and you couldn’t help but wonder how Aemma would have reacted, had she known the life that had been taken from her in the hopes of letting her babe live, was now naught but sand scattered in the wind: utterly useless.

Rhaenyra stood next to you: the both of you keeping a fair distance from Viserys. Tears were welled up in her purple eyes, but she did her best not to let them fall, attempting to maintain her calm countenance. She reminded you much of yourself when you had lost your mother, mourning, and unsure on how to express your grief.

Daemon spoke to Rhaenyra hushedly, the both of them conversing in High Valyrian. You did not deign to translate the faint snippets of their conversation that you overheard in your head, despite your decent grasp of the tongue. You barely noticed as Rhaenyra inched forward gingerly.

“Dracarys!” You kept your eyes fixed upon Aemma and Baelon’s funeral pyre as it was set alight.. The hot whoosh of flames fanned across your face, and everyone took a step back unconsciously to avoid the heat, but you didn’t feel anything, not as you watched the body of your dearest friend and her ill-fated son burn away to naught but ashes.

Daemon did not know what to make of today. Grief was a stranger to him: even though he had seen the deaths of his mother, father and grandfather, the depth of the feeling eluded him. Mayhaps there was something wrong with him: given how much death there had been in the later stages of his grandsire’s reign, it was a wonder he was unfeeling at funerals. Still, he found no sense in dwelling over the dead. The dead were the dead, and sorrow would not bring them back.

He was about to depart from the cliffs, and mount a horse back to the Red Keep, when his gaze befell upon a most strange scene. His brother, and…Y/N?

Rhaenyra had already ridden off on Syrax back to the Dragonpit, and most of the royal retinue had already retreated back to the Red Keep, unable to stand the sweltering heat, but his brother was here, talking to Y/N, who by now, was becoming ostensibly more and more like she would rather hurl herself off the cliffs than suffer in his brother’s presence for any longer. Viserys’ expression was earnest, mournful, and any man would have softened at the pitiful state the King was in, but Y/N seemed to have none of that. He wondered just what was going on, considering how Y/N was always close with his brother. ‘At least, she was always much more jovial with my brother than with me,’ Daemon thought darkly.

“Brother,” Viserys turned to face Daemon as you breathed out a sigh of relief, glad to no longer be the centre of Viserys’ attention anymore. Try as you may, you could not shake the lingering sensation of disgust in your gut whenever you laid eyes upon Viserys. Your mind constantly kept flashing back to that horrific scene on Aemma’s deathbed, of the incisions and the realisation of what Viserys had ordered dawning on you when he couldn’t quite meet your gaze. What affection you had for your childhood friend was slowly dispersing into rage and grief, as you struggled to reconcile the jovial and amiable man you once knew with the reality of a man who was callous enough to sacrifice his wife to gain a son.

Startled when you felt a hand placed firmly on your shoulder, steering you away from Viserys’ bewildered form, you glanced up at Daemon, but he said nothing as the both of you walked away from the King. After a while, when you had both reached the ends of the cliffs, he finally let go of your shoulder. The both of you were silent, staring out at the blue sea, as you both awaited for the other to break the silence.

“Why did you pull me away from the conversation?” you murmured. “I could tell how uncomfortable you looked,” Although his gaze was directed towards the bay, Daemon’s voice was soft. “You were practically begging to get out of the conversation.” “And here I thought my many years at court had made me better at veiling my emotions.” “With how long we’ve known each other, byka zaldrizes, it would be an insult to me if I couldn’t see past your facades,” Daemon remarked dryly. He began strolling along the length of the cliffs, and you quietly followed suit.

“...thank you. I…he may be my king, but I am of the opinion that if I had to suffer in his presence any longer, I might punch him.” you admitted, gratitude and exhaustion tainting my voice. Daemon let out a soft snort, “I thought you would have learnt that assaulting a royal never does you any favours.” “You’ve known me for so long, Daemon, in the face of anger, I never did seem to possess the ability to think rationally. What’s more, I think Viserys is deserving of it.” You could feel your heart starting to pound furiously again, the scene of Aemma laying in bed, covered in blood…brutally slit open, her eyes opened wide in death and her expression of agony flashed repeatedly into your mind, making your stomach roll unpleasantly. Tears prickled at the corner of your eyes, and. you bit your lip in an attempt to stave them off, tilting your head away to obscure Daemon from the view. He said nothing, only offering you a handkerchief. You took it, dabbing at your tears lightly, trying to calm yourself by inhaling the salty scent of the sea air.

Daemon watched her with inquisitive eyes. He had heard rumours of how close Y/N was with his sister-in-law, but with the weight of her grief becoming increasingly apparent, he finally understood the extent of their bond. His heart filled with a strange tugging sensation, but he dismissed it as just the oddity of seeing Y/N cry. In his boyhood memories, he always regarded her as this strong-willed, fierce and irritable little girl. To see her cry was…it made him feel strange. The Y/N of his boyhood seemed so contrasting from the Y/N in front of him now. He had seen Y/N’s physical changes since girlhood, and now he was witnessing the emotional changes. Uncomfortable, he fidgeted with his fingers, about to offer his condolences, but he remembered how much she hated it when he professed his grief at her mother’s passing, and stopped himself. The sight of Y/N dabbing at her tears however, became more and more excruciating for him to bear with every passing minute. He longed to do something, anything, to lighten the tension between them, but what could he say? It wasn’t like comforting his niece, with the Queen that she was serving dead, Y/N might as well have been a sailor lost at sea, with no compass. So instead, he had to bite his tongue as he waited for Y/N to snap out of it.

You clasped the handkerchief tightly between your fingers, suddenly feeling the traces of embroidery on it. You glanced at the handkerchief, and saw a familiar pattern of lily flowers across the fabric, in your stitching. “I didn’t know you still kept it,” you turned to Daemon, surprised. “I thought you would have shredded it years ago.” “Well, it would be rude of me to intentionally ruin a gift, especially one made of a gesture of goodwill, my lady.”

Your fingers traced the orange lilies, biting back a smile at the memory behind this handkerchief. Once, in your childhood, you had been most wroth to discover Daemon had stolen your favourite doll and ‘accidentally’ ripped it. In retaliation, you had snuck into his room one night and emptied the contents of his chamberpot on him. Aghast, your mother had ordered you to make a truce with him by sending him a gift. Reluctantly, you sewed him a handkerchief, but to add insult to injury, you didn’t embroider a noble or rare flower on it, such as roses or carnations, but rather, you had chosen lilies. Although it was considered a flower of elegance, the colour of the lilies conveyed otherwise. To put it plainly and unpleasantly, they were one gigantic “fuck you” to Daemon. You couldn’t help but snigger as you recalled his reaction to the handkerchief: his face had twisted most unpleasantly, and he’d looked downright murderous, but since Prince Baelon and your mother were in the room, he could only swallow whatever insults he wanted to churn out and grunt out his thanks, much to your triumph.

The lilies had turned a little yellow with age, regardless, the handkerchief looked well kept. You returned the handkerchief back to him, his fingers brushing against yours in a lingering touch as he took it back. “For what it’s worth…I am truly sorry for your loss, Y/N,” Daemon offered gallantly, “I know how close you are…were…with my sister-in-law, and she was a great woman. She was always kind to me, at least.”. Normally, you would have teased him for his uncharacteristic politeness, but Aemma’s death had drained all the fight left in you. “I thank you, my Prince,” your voice was hollow.

Your next few moments were spent in silence, as awkwardness ensued. Daemon was nigh close to throwing himself off the cliffs. He was thoroughly unaccustomed to dealing with grief. He wonders if he had made the right decision when he chose to spirit you away from Viserys. At least the royal party had departed now, but it made it all the more difficult for him to leave Y/N alone on the cliffs.

“Do you know…what he did?” your voice was tremulous, barely a whisper, but it anchored Daemon back to reality once more. His forehead creased, he said quietly, “I’ve heard. It was…dreadful to say the least.” “Truth be told, I do not know if I could ever…bring myself to forgive his act of cruelty.” “He is your king,” Daemon said, an uncharacteristic gentleness in his voice. “And your friend of many years.” "As was Aemma, Daemon,” you said, your voice tinged with sadness.

Wishing to broach on this topic no more, you turned your conversation to something else. “Now that he killed both his wife and heir, what do you suppose would happen to the succession now?” Daemon notes with intrigue that your tone has taken a sharper tone toward Viserys, and he couldn’t fight the small sliver of smugness he feels at your distaste. Perhaps it was childish…but he always disliked it when you spoke about Viserys with such reverence, like he could do no wrong in your eyes.

“He still has an heir,” Daemon reminds her, “Me.”

You scoffed slightly, “I think you’re forgetting Rhaenyra. She is the King’s only trueborn daughter.” Daemon was annoyed, “A brother’s claim triumphs over a daughter’s.” “You’ve never paid any attention to the laws of Andal succession then.” “We are Targaryens, byka zaldrizes, what regard have we for those fucking laws?” Daemon snorted, “Moreover, Rhaenyra is but a child, besieged with grief. The right choice of heir for the stability of the realm should be me.”

“You’re just using Aemma’s death as a way to further your own ambitions,” your tone was accusatory, and Daemon wanted nothing more than to shove this infernal woman off the cliffs. Why did everyone always think the worst of him? “I can assure you, that contesting the heir to the throne is the least of your worries right now.”

You narrowed your eyes, “And what is that supposed to mean?” Daemon let a smirk play out on his face, “Now that my sweet sister-in-law is dead, what do you suppose will happen to you?” You blinked, confused by his sudden mention of your future. “I’m not sure what you’re referring to, Daemon.”

“You are well aware that since your tenure as lady-in-waiting to the Queen is at an end, you will most likely be sent home to the Reach, do you not?” Your voice grew annoyed, “My focus now is on mourning Aemma, she was my friend, Daemon. As for what the future holds, I do not care about that.” Daemon let out a snort of laughter, “Are you sure about that, Y/N? It might not be the wisest course of action, you know.”

You stopped in your tracks and gave him a frosty glare, “And since when did you care about my wellbeing, Daemon?” Daemon chuckled mirthlessly, “I do not. However, since my late sister-in-law harboured a form of affection for you, however of an annoying little brat you may be, I believe it in my responsibility to give you a warning.” “I have no need for your warnings,” you said brusquely.

Daemon leaned forward, his violet eyes gleaming with savage delight, “Perhaps you should think again then.” He drew back, circling around you as his eyes watched you like a hawk. “With the Queen dead, it would be inevitable before you are summoned back to Highgarden. Tell me, what are you to do when you are ordered to wed by your father, hmm?”

You bit your lip, disconcerted. But it was all the answer Daemon needed to carry on. “You no longer have any reason nor power to retain your status at court,” he mused, looking down at your stiffened form. “And when it comes, your father will summon you back to Highgarden. And you shall be wedded off like a prized pig to some lord, who could be balding, old, or ill-tempered. Or all three. Who knows?” He hears your sharp intake of breath, and he could see it clearly now. Your fear for this sort of fate.

“Whether you like it or not, you must worry for your political standing. Even if you hate to make merry with my brother, you will have to stomach it.” You finally snap, your eyes ablaze, “I will not. Why should I give a damn about my political standing anyway? Should I refuse to go home, my father will not force me. The King will not force me.”

Daemon laughed, the sound bouncing off the cliffs. It was a rough, jagged laugh, more out of dark bemusement than of any joy. “Byka zaldrizes, it seems you’re even more of a fool than I imagined. You might have matured in terms of your visage, but I see your immaturity still shines through.”

Hurt by his words, you could only keep silent. Your mind was racing. You didn’t want to admit it…but you could see some truth in his words. Viserys could heartlessly give the order for his wife to be cut open, he would not defend you from something as simple as marriage. He was after all, a father, and a king to boot. He would sympathise with your father’s claims of duty to your house.

Daemon’s voice was chiding as he spoke. “There is no doubt my brother will take a new wife after this. After that, there will be a new queen in court, a shift in power. And you?” he reached out to tuck a loose strand of your hair behind your ears. “Will be naught but a speck in the past. The new queen might be someone you are not acquainted with, and she will surround herself with an entourage she is familiar with. One which you will not be a part of. Who will protect you from your father’s will then? Certainly not my brother, if I know him.”

You saw the sense in his words, but a certain sort of rebellion still blazed in you. “I would never allow myself to be used by my father this way,” you said, lifting your chin defiantly. “I am a grown woman now, and I can make my choices.”

Daemon looked down at you, something akin to pity on his face. “If that’s what you think,” Daemon’s voice was soft, “Then you are a naive fool, my lady.” Abashed by his words, you could only look down, feeling lost. It was too much for you to deal with: mourning Aemma and Baelon, your newfound disgust and fear for Viserys, and now, terror for your future. You couldn’t deal with this. Not right now, maybe not ever. You weren’t used to this sudden weight of realisation, of burden on your shoulders, and Daemon could tell. He always could.

The two of you stewed in despondent silence, before Daemon sighed, “Come, my lady. I should escort you back to the Red Keep.” You have a great deal to think about, his violet eyes seemed to whisper to you, making you feel even more unsettled. You nodded hesitantly, and he offered you his arm, before the both of you walked back to the remaining wheelhouse in a silence that was much colder and contemplative than before.

Taglist for Se Zaldrizoti’ Prumia: @drwho-ess @graniairish @urmomsgirlfriend1 @thelittleswanao3 @animelover18 @llovinjoonie @gracielikegrapes @salembridger

Daemon General Taglist: @aiyaiy

those who are bolded are the ones that couldn’t be tagged! let me know in the comments or through this form

and that makes chapter 4! chapter 5 should be released in around 2-3 days time! do let me know what you think in the comments! if you liked this chapter, comments and reblogs are highly appreciated 💗 thank you for reading!

150 notes · View notes

sunflowergl · 8 months

Text

The music presentation of Lily Project 2023... What was that? /pos (I know it was some time ago, but I wasn't sure if I wanted to talk about it here).

The characters were the ones dancing, singing and standing there, and not the actress. I loved it so much! It was so satisfatory that we got to see more about some Odaiba's characters, their personalities and their interactions with each other. Ludojo presence was good too and I loved to see some interactions. I'd really love of the next music presentations would be like this — it adds much more to the characters than it first appears. And more than this: a moment of peace, without Huges, possibilite to characters to act as themselves, which adds so much for us to interprete who they are.

In Odaiba's stage plays, we couldn't see much about some characters, like Katsura, Yuki and Amane, because there weren't any time for they to be showed to us, but in this presentation they had their own time and spot to shine without being forced or out of place.

I had already noticed that Katsura had trouble understanding other people's feelings (consequently, what they meant in nuances) and had even more trouble expressing herself. But this presentation made that clear at the beginning, when Katsura asks Azusa if she also did well and how she reacted to being praised by Nakaba, Sunao and Azusa. It was so perfect how she interacted with the three of them, showing a part of Katsura that people aren't used to seeing (since she usually stays in her own comfort zone as much as she can). Also, since she was one of the girls who took the flag in support of Odaiba it was so cute. How excited she was and doing her best to wave the flag was so wonderful. And she shouted "Go, Odaiba", in support of her school, in a somewhat inexpressive way, but you could tell she was doing her best... How can I not love this girl?

About Amane, it was so satisfying to see how chaotic she is and won't pass up the chance to make her juniors trust themselves (like she did with Nakaba). I can't deny that I loved her acting in a more chaotic (but adult) way than Yuzu. This made me think that maybe Yuzu has a thing for the Heorot Saints’ leaders, since she gets along so well with Amane and Momiji.

Yuki was a special case that fascinated me — and I couldn't help but think about her for a long time. Even though we already knew about her relationship with Mirai, Kiito and Ui, the way it was shown in the presentation was awesome and made me want to see more. First the hint of jealousy she had of Mirai being her "battle comrades" (I can’t translate better than this, sorry) and Ludojo's girls. Also, Yuki's actress performance was so wonderful that it was impossible to distract myself in the middle — the way she demonstrated the character's raw feelings was so delicious and human. Furthermore, it is always very satisfying to know that the twins consider her as a real sister (and not a sister in the sense of Sisterhood).

Something I also wanted to say is that I love the small gestures that the characters make. In the presentation I watched, when Karen was taking a photo of the Odaiba girls, Asagao immediately put her hand in front of Yuki's face (while Yuki herself turned her face away) as if to stop her from appearing in the photo. This is something small and almost unnoticeable, but it has such a big and deep meaning. Firstly, we know that Yuki has a problem with appearing in a photo (for whatever reason) and that Asagao cares so much that she takes care to hide Yuki's face. Someone who didn't care much about Yuki and, at least, knew about her difficulties and problems wouldn't take this action, which makes it clear that Asagao cares a lot about Yuki and considers her even more. And I love these small meaningful intentions between the characters — it always makes me soft, especially when this happens with characters whose I headcanon as autistic (in this case with Yuki).

Even though I talked about these three, other characters that have already been presented in a significant way in other stage plays had many scenes that increased their personalities and interactions with other characters. And I won't be able to talk about them all in this post (or else it would be too long and very personal).

Azusa was wonderful at all the moments she had. She trying not to make Chinami and Nazuna "trouble" Haru was so cute, like she was taking care of the 3 of them. How she tried to reassure Katsura in two different situations (that she had done well and that Momiji hadn't criticized her). How she tried to calm Yuzu down by telling her to stop fighting with Kiito. How Azusa went to cry and hug Yuzu when Yuzu started crying because of Sachie... Azusa has wonderful interactions with all the girls at Heorot Saints, and how she constantly has to take care of the first years (especially the ones who I have autistic headcanon) and her queerplatonic autistic friends (my headcanon, not canon) always makes me very happy. But what I liked most was her making fun of Haru because Iishida had received a "confession" from Nazuna. It was wonderful. I wish there had been more interactions between these two in particular, but I was already very soft just from this small interaction. I also can't forget how confused she was by Kurena calling her the "most beautiful woman after herself" or something like that. It was so funny KAKAKAKAK. Azusa really has a lot of trouble dealing with the members of the Heorot Saints (and her still being in the Legion and showing affection for the girls just makes me love her even more).

Yuzu... do I need to talk about her? My favorite character in Odaiba and in this presentation she became even more perfect for me. She finally got revenge on Kiito and Momiji at the same time by pushing Momiji on top of Kiito right at the beginning (I laughed a lot). Plus, her being the one organizing the Legion girls' presentation was so cute. Even though Yuzu is super childish, this little fact made it clear that she can be responsible and mature when she wants to. Her expelling Kurena because Sunao was supposed to introduce her was wonderful and I thought it was wonderful how Yuzu (the super childish one) was responsible for stopping Kurena and putting a minimum amount of order. But what broke me the most was Yuzu wanting to hit Azusa when Azusa said that she starts fights with Kiito — it's incredible how sincere they can be with each other, both because of Azusa shouting at Yuzu to put order and because of Yuzu be close enough to try to hit Azusa. Also, I thought it was amazing when Yuzu started patting Haru's cape when Haru called her childish during the presentation (there was no better way than that to show that she is childish instead of just saying, like, the way she was patting was so childish and how she reacted after being praised was so cute and wonderful... I love her so much).

I can't help but notice the difference Yuzu has when dealing with Azusa, Haru and Momiji. I think it's really cute how she doesn't mind going to violence against Azusa, she does little punches at Haru’s cape and doesn't dare say a single word to Momiji. This little detail fascinated me so much.

Nazuna was also very good. She punching Katsura because Katsura didn't say anything else about her in the presentation. Someone is learning to be violent with Yuzu (I think that the other second years should to take care of that) — and I loved it.

The last one I want to talk about in this post is about Yuria. In this presentation, it became clearer that she has serious problems expressing herself and understanding other people. When she arrived at Haru asking if she would dance or not, completely expressionless, she fascinated me so much that I am unable to explain. The character showed no emotion and, right after Haru answered her, Yuria demonstrated the happiness and anticipation she was feeling through her words and small gestures — but she remained expressionless. Even when they said she wouldn't dance Ballet, her voice and face remained expressionless, but the way she tilted her face in confusion made everything even more perfect. When she said that Sachie had said they were going to dance Ballet in Odaiba, her voice was expressionless and she was pointing, innocently, I couldn't feel anything more than being soft. The way she reacted to being shocked was the best part of the scene for me. This all allowed me to understand Yuria better — even if I already knew she was like this, confirming this as explicit as it was is always welcome.

I also can't forget to mention that I thought it was cute how Mirai talked about Seren to Yuria — I can't stop thinking that the reason Yuria made the sister pact with Seren was partially because she remembered what Mirai said (since she showed an unequal interest between Seren and Raimu in Mirai's speech) and this only made me even more attached to their relationship. I also wanted to say that I love Ichika, Yuria and Sachie's relationship (and everything is better in my mind if I consider them as queerplatonic friends). It was also funny that Ichika and Sachie imitated Yuria's thumbs up — I thought it was so cute. Also, Yuria's little interaction with Haru after Gimme Love surprised me so positively that I would love to see them interacting again (and it just made me think about what it would be like for Queerplatonic friends groups to meet and cause chaos with the 7 of them together. I don't think I could handle so much chaos).

I think the autistic women in Assault Lily should be held back (not even Asagao could pretend to be mature, making fun of Kiito with Hotaru) — a joke, because, in truth, I hope they are even more chaotic, because I love them and the moments when they make it clear who they are and how they act, especially with other characters.

#Assault Lily #Assault Lily Lily Project 2023 #I refuse to use the entire title #AssLily meta #Autistic Headcanon

4 notes · View notes

wordsnstuff · 3 years

Text

Guide to Character Development

Patreon || Ko-Fi || Masterlist || Work In Progress

–

Motivation

Each character, no matter their significance to the story, wants something. Their actions and presentation are in the interest of their end-goal. So, for each character, the most important questions you must be able to answer for every character are 1.) What do they want? 2.) What do they think they need? 3.) What do they actually need?

For minor characters, this information may be less relevant, but their development is more discretionary and very subjective to their role in the story. For all primary and secondary characters, that information should be the foundation on which you build their action and development throughout the story.

Backstory

The truth is, you’re welcome to build a detailed backstory and personal history for each of your characters if that’s your prerogative, but this information should only be included in the final draft if it serves the plot and significantly impacts the character’s evolution in the text. You must be selective when it comes to presenting back story, because it impacts the pace and tone of the story, in addition to slowing any rising action. If you’re going to include prominent backstory, make sure that it adds more to the story than it subtracts from the momentum.

You don’t need to know what they’ve eaten for breakfast for the 7 days prior to the beginning of the story to write the characters well. You need to develop and comprehend their core values, self image, and motivations, and backstory that concerns those three aspects are the most relevant to the story, no matter the genre.

Positive v. Negative Development

You should be able to decide early on in plot development whether your characters are going to experience a positive or negative development throughout the plot. Once you’ve designed the characters and the plot parallel to one another, you can assess how the events and circumstances of the conflict would change or reveal negative or positive traits about the characters. This is more about getting to know your characters as the author and then going down the list of events, interpreting how they would react to them, and then coming to a conclusion by the resolution.

You don’t always have to have a point B for them to arrive at before you start writing. In this respect, it’s easer (and usually more rewarding) to allow the characters to develop organically as you write the first draft, and then either reinforce the outcome if you’re satisfied or make the necessary changes to reverse it in the second draft.

Strengths & Weaknesses

Each significant character will have strengths and weaknesses, and they will often be adjacent to one another. A character’s biggest strength could be their fierce love and commitment to their friends, but could evolve into intense possessiveness. I write about this in more detail in this post.

Relationships

One of the more defining aspects of a character is the presence and nature of relationships in their life. Their relationships with family, friends, authority figures, mentors, and colleagues can reveal a lot about them. The way their mannerisms differ when they’re with their mother versus their father, a friend versus a colleague. The value they place on these relationships and why they value them is also an easy way to reveal priorities, self image, and motivations.

Common Struggles

~ Do I really need to know their favorite color?... To some extent, developing these very minor and insignificant details can help you, as the writer, get to know your character better, which in turn helps you translate the idea of them into the text more effectively. However, time is a factor, not just because of deadlines, but because of self discipline and motivation. If you spend months and months developing characters to this extent, you will likely run out of motivation or passion for this project, and the drafting process is where you want to allocate that energy. By all means, work to your own strengths as a writer. If this helps you and doesn’t inhibit your process, go for it, but be mindful and assess whether or not you’re just procrastinating the action stage of writing.

~ Beside trauma, how can I incite development… All development spawns because of impact. Trauma is an effective way of propelling development, but it’s not the only way. If you want the character to change (positively or negatively) you have to make them feel something strong enough to inspire introspection and action. They have to have a mental shift, and then act accordingly. This could be the introduction of a fantastic opportunity to further their career, the loss of a loved one, the shift in a personal relationship, etc.

~ How do you know when a character deserves a redemption arc?... Nobody is entitled to redemption. It’s earned, and it’s subjective whether that improvement warrants the return or resurgence of opportunity and trust. This is true, no matter who is reading. You as the writer make an executive decision about whether the character’s reformation is accepted by other characters in canon, but outside the text, the reader’s interpretation is outside your control. You can create a redemption arc inside the story and show the evolution of that character, but you can’t force the reader to trust in that character or accept the notion that they’ve completely reformed.

~ How do I develop minor characters without neglecting the main plot?...The thing is, if the minor characters’ development isn’t relevant to the plot or the main character, then you need to assess whether the information needs to be there, and furthermore whether the minor character needs to be tailored more to do so. Minor characters often serve secondary purposes, such as acting as a platform for symbolism and motif, representation, providing diverse perspectives in your world, etc. While you should strive to make every scene with any character serve the main plot, it’s okay if a few scenes are purely to enrich the reader’s experience.

Other Resources...

Resources for Writing Different Character Relationships

Alternative Method of Character Creation

Resources For Creating Characters

How To Fit Character Development Into Your Story

Connecting To Your Own Characters

Interview As Your Characters

Giving Your Protagonists Negative Traits

Writing Good Villains

How To Analyze A Character

Giving Characters Flaws

Keeping Characters Consistent

Flipping Character Traits On Their Head

Introducing Secondary Characters

Tips on Character Motivations

Keeping Characters Realistic

Tips on Character Consistency

Positive Character Development Without Romanticizing Toxic Behavior

–

Masterlist | WIP Blog

If you enjoy my blog and wish for it to continue being updated frequently and for me to continue putting my energy toward answering your questions, please consider Buying Me A Coffee, or pledging your support on Patreon, where I offer early access and exclusive benefits for only $5/month.

Shoutout to my $15+ patrons, Jade Ashley and Douglas S.!

#writing #writeblr #writing advice #writing tips #writing resources #resources for writers #writing reference #writing help #writespo #writing inspiration #writing motivation #inspiration #motivation #character development #character creation

1K notes · View notes

xseaxwitchxkpop · 3 years

Text

NSFW Alphabet: Sub!Seonghwa Edition

A/N: idk anyone in Ateez who pushes the catboy agenda more than hwa and this precious soul just makes me have cute aggression. Lemme just remind everyone that stage presence ≠ bedroom preference, so he might be a demon on stage but I personally think he's very far from dominant in the bedroom. Also this is framed for a femme!presenting reader.

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

A = Aftercare (What they’re like after sex)

A very clingy baby! Even though he's the sub, he would want to hold you instead of the other way around; when you're cleaning up, give him a plushie to snuggle because he just feels very happy holding something. He would also have the most sparkly eyes ever, looking at you with pure love and adoration. He'll also be very hungry, so always have some food on hand and be prepared to be fed by him because "you need it, too, I don't care if you're my domme, lemme feed you and show you my love!"

B = Body part (Their favourite body part of theirs and also their partner’s)

He's fave part on himself is probably his eyes because he knows how expressive they are for him and how transparent they are -- his eyes always betray his true emotions and considering he's a more private person, he likes this. His fave part on you would be your breasts, but not in a sexual way; whether you're part of the itty bitty titty committee or big titty gang, he likes them as a comfort thing, groping them or sucking on your nipples, it's very calming and relaxing for him!

C = Cum (Anything to do with cum basically… I’m a disgusting person)

He loves his face to be covered in either pussy juices/"cum" (since, ya know, pussies don't ejaculate lmao anyway) or use fake cum (or real cum if you have an actual dick) to cover his face and/or inner thighs, it'll get him going like nothing else. He also loves seeing his midsection painted with his own cum and also eating his own cum.

D = Dirty Secret (Pretty self explanatory, a dirty secret of theirs)

Every once in a while, he likes to fuck his plushies. No one would suspect this because he takes much care in cleaning them immediately afterward, so they keep their softness and hugability. He's recorded himself doing it a few times but always either deletes the videos or keeps them in a separate, unsuspecting folder in his phone; he's thought about sending them to you but never could bring himself to do so.

E = Experience (How experienced are they? Do they know what they’re doing?)

He's had a few hook ups but most of them have been pretty vanilla as many hook ups tend to be, he knows what he's doing especially with that tongue of his.

F = Favourite Position (This goes without saying. Will probably include a visual)

Probably missionary, with you on your back and him fucking you. He can easily kiss you, suck on your neck or nipples, and you can easily grab his hair roughly, pull him in closer, scratch his back with your nails, and you two can make intense eye contact. Yeah, that's his favorite position.

G = Goofy (Are they more serious in the moment, or are they humorous, etc)

He's more passionate about it than anything. He likes it rough but not necessarily fast, and he likes it soft but not necessarily gentle. It's a very delicate balance that he prefers most of the time and can be difficult to pin down when the mood has to be forced from either of you -- when that happens, he rather not have sex at all.

H = Hair (How well groomed are they, does the carpet match the drapes, etc.)

Trimmed, doesn't bother to shave and he doesn't care what you do; bush, no bush, trimmed, shaved, waxed, whatever. However, he likes it when you shave for him down there as a sweet bonding experience, nothing kinky or sexual.

I = Intimacy (How are they during the moment, romantic aspect…)

He's very sincere and very intense during sex, especially with someone he's romantically involved with because he's not the most open person and, like Yeosang, takes some prying open emotionally so when he shares that emotional part of himself and trusts that other person, that translates directly to the bedroom. He can be a little goofy if he's particularly happy that day, like giggly kisses n' shit, but otherwise very sincere, very intense.

J = Jack Off (Masturbation headcanon)

If he jacks off, you know about it because he sends you audios of himself getting himself off, complete with moans, whimpers, groans, muffling himself, and him cumming in the end of it. He never sends videos, though, because his ass has a voice kink. He masturbates semi regularly just because he has a high sex drive and you're not always available so he temporarily satisfies himself.

K = Kink (One or more of their kinks)

So, this man, has some kinks that get me thinking. He has an oral fixation for sure, so anything involving his tongue; he definitely has a breeding kink like hard-core "let me breed you, mommy/daddy, I wanna give you babies" breeding kink, more so than San; temperature play; pegging/anal play; cock rings; nail scratching; biting/marking; kitten play; shibari; restraints; voice kink; ASMR kink.

L = Location (Favourite places to do the do)

Hmmmm, maybe the bedroom? He doesn't really have a favorite place to do anything because each place brings a different kind of thrill for him, so anywhere he can look at and easily imagine you commanding him to take you or you taking him is his favorite place. His least favorite place is the shower because the water washes away the lube and is just generally an annoying interruption.

M = Motivation (What turns them on, gets them going)

Doing a sexy, feminine dance for you. Sexy girl group concepts? He learns the choreo and dances it just for you; turns him on because he enjoys you intently watching him while being just out of reach. Rubbing your hand up and down his thigh, no matter how innocent, will also turn him on greatly. Also if you cook for him -- it can be as simple as ramen but as soon as he sees that you cooked for him, he's ready to pounce you and be at your every command.

N = NO (Something they wouldn’t do, turn offs)

I don't think he would be into piss play or scat play (absolutely no hate to people who are into this lol) but I think he wouldn't like them just because he's a bit of a clean freak and all he would see is a mess to clean up and that would definitely ruin the mood for him. Another definite turn off of his is extreme pain; he likes a little bit here and there, like slapping his ass and thighs, nail scratches wherever you scratch him, but flogging and riding crops are a no go for him.

O = Oral (Preference in giving or receiving, skill, etc)

He LIVES for giving oral and that's directly from his oral fixation. It keeps his mouth busy plus he gets to please his partner. Again, he also loves his face covered in cum and/or pussy juices, so oral is definitely such fun for him!

P = Pace (Are they fast and rough? Slow and sensual? etc.)

Moderate. He likes it a little faster than slower, but not exactly fast, if you get what I'm saying. He likes to feel you and you to feel him, so he wants it on the slower side of things but a slightly fast pace will be suitable for the most part. Only every once in a blue moon would he want you to fuck his brains out or to fuck yours out.

Q = Quickie (Their opinions on quickies rather than proper sex, how often, etc.)

Quickies involving penetration? Nah, not a fan. Quickies involving oral? Sign him the fuck up. He wants to see how fast he can get you to orgasm with just his tongue and since you derive such pleasure from it as well, you let him take on this challenge.

R = Risk (Are they game to experiment, do they take risks, etc.)

As long as extreme pain is not involved, he's game for a lot of things. He's always wanted to try semi public sex, voyeurism, and submissive cuckolding, but he would only try this with one of his members since he trusts them quite a lot.

S = Stamina (How many rounds can they go for, how long do they last…)

I think he could probably go two, three rounds, maybe four if he has a crapton of energy for God only knows what reason. He has experience, jacks off sort of regularly, so he can last a good while in bed while being pounded into or pounding into you.

T = Toy (Do they own toys? Do they use them? On a partner or themselves?)

He's got dildos of varying sizes because he, like San, is also a size queen. He has a couple of buttons plugs and some vibrators, along with handcuffs and bondage rope. He has a couple pairs of kitten ears and a matching choker and butt plug.

U = Unfair (how much they like to tease)

He likes to tease, but not in a bratty way. It's a very sweet way, like poking your cheek and rubbing it like a cat as he strokes your inner thigh and ghosts your genitals, teases you with food like "hey if I make this dish, maybe you can fuck my ass tonight" and he'd act all cutesy about it, he'll make suggestive comments while making direct eye contact, and wiggle his butt sometimes.

V = Volume (How loud they are, what sounds they make)

He's a happy medium between San and Yeosang. Hwa makes noise - groans, whimpers, moans, mewling - but he isn't loud with them per say, they're very throaty noises and he uses his chest to make them so they're low in volume but frequent.

W = Wild Card (Get a random headcanon for the character of your choice)

He quite prefers the natural noises of sex between you two rather than having a playlist or any other background noise going. He's sensitive to noise in the first place and the background noise could overwhelm him in a bad way.

X = X-Ray (Let’s see what’s going on in those pants, picture or words)

He's average. Nothing too long, nothing too girthy, but boy does he know how to use his average dick regardless.

Y = Yearning (How high is their sex drive?)

He has a bit of a high sex drive. Think like smack in the middle of average horny and extremely horny and that's Hwa. He can go like three days without sex with no complaints but coming up on a fourth day may be a little bit hard for him.

Z = ZZZ (… how quickly they fall asleep afterwards)

He becomes quite sleepy afterward, wanting to snuggle you to fall asleep while you rub his back up and down and he holds you and squeezes you like his personal plushie. It takes a while for him to actually fall asleep, but that's because it takes him a while to calm down enough to lull into a peaceful state of rest before succumbing to sleep.

#sub!ateez alphabet #sub!ateez #sub!seonghwa #sub!idol #ateez headcannons #my works #ateez #ateez imagine #seonghwa #dom!reader #fem!reader #lemon hours

251 notes · View notes

shihalyfie · 3 years

Text

A meta on Mimi and her character

Today’s spotlight character is Mimi! While the Adventure characters are all written to subvert character stereotypes (no, really), I feel this is particularly enhanced for Mimi, whose surface demeanor and the first impression you get from her suggest an almost opposite character to whom she actually is.

Disclaimer before we continue: While not to the same extent as Daisuke, Mimi’s disposition and personality have some significant differences in the American English dub compared to the original Japanese. As usual, this is not meant to be any particular comment about the dub’s changes, but simply that if you’ve only seen that dub, are reading this post, and are thinking “that doesn’t seem right?” that would probably be why.

Mimi’s family background and attitude prior to Adventure

Like with any of the other Adventure characters, understanding Mimi’s personality and why she acts the way she does is most easily done by starting with her family background.

We first meet Mimi’s family in Adventure episode 35.

There is a lot to unpack with only this scene alone, so let’s get started!

Mimi’s family is quite well-to-do. They’re not filthy rich or anything, but they’re well-to-do enough for Mimi’s father to work freelancer (he works in music). This means that Mimi grew up with a fairly “comfortable” life, probably getting pretty much anything she asked for -- in other words, she’s spoiled. It also explains why she’s actually pretty impeccably polite to everyone -- she adheres very firmly to honorifics when speaking to both elders and younger people, and never, ever speaks roughly or aggressively, because her parents have basically been raising her like a “lady of the house” (ojousama) or princess. (She does use casual-form Japanese, but she never lets up on the honorifics.)

They’re very open-minded. We learn in this episode that Mimi’s bizarre food tastes in liking natto on her eggs with sugar (from Adventure episode 6) most likely come from her mother, Satoe, cooking things like kimchi fried rice with whipped cream and strawberries. In other words, the family is very into the idea of “unconventional and strange” and has no qualms about it.

While Mimi in 02 is portrayed as liking practically any kind of fashion aesthetic imaginable, both her room and the overall decor of the apartment suggest that “in-your-face cute” is the generally favored one.

Mimi’s family is also extremely affectionate. They smother each other in lovey-dovey words, her father actively likes Satoe’s weird cooking ideas, and it’s a household where everyone seems to dote on and mutually love and support each other (Mimi’s parents are almost embarrassingly lovey-dovey) without restraint.

The result is that Mimi ends up “spoiled sweet” -- she’s pampered and used to a comfortable life where everyone dotes on her, but because of the family dynamic being so built on “affection” and “open-mindedness”, she also never develops a streak towards condescension or malice.

What does that mean, you might ask?

Mimi in Adventure

A lot of people remember Mimi by the fact that she was “whining a lot” in the early stages of Adventure, and the fact that she’s a “girly-girl” with some of the associated stereotypes. As a result, one may be surprised to hear that her behavior is actually supposed to be mostly representative of an average child in her situation, and she’s often described in press materials as “someone who can befriend anyone” or “someone who can get along with anyone”. Even her official website profile talks about how pretty much everyone considers her likeable.

This may seem difficult to believe at first, but you might actually notice a pattern when it comes to her “complaining” -- it pretty much always boils down to one of the following, or something along these lines:

I’m scared

I’m tired

I don’t like this/I don’t want that

I want a bath/bed/food/(some other home comfort)

I want to go home

In other words, Mimi is basically reacting like an average child would when thrown into another world out of nowhere! All of her complaints are out of low tolerance and high sensitivity -- all of these scary and uncomfortable things around her are making her feel bad, and she’s not hesitating to make that clear with her words.

However -- and this is very important -- these are all things she’s saying specifically because she’s now in a dangerous, unfamiliar situation in another world. All of these things are things she says defensively, because she’s sensitive to being uncomfortable or hurt, but she is also never aggressive towards others. In completely normal situations -- ones where all she’s doing is socializing at school -- it’s not hard to believe that she would actually be one of the nicest and most considerate people on the planet and that she would be instantly likeable to anyone she meets. Why? Because she lacks condescension or malice. She’s a very nice person who, if not for being under heavy stress, would never step on anyone’s toes. Even during those early episodes of Adventure, whenever there’s “down time” and they’re not in an uncomfortable situation or being chased by something, she goes back to being polite and respectful of others (remember: she’s one of the most adherent to honorifics among the cast), and is perfectly kind and agreeable with them.

As much as she may sometimes get demanding during the early episodes of Adventure, she also doesn’t expect her peers to cater to her nor does she look down on them. One of the biggest examples comes from the Adventure novel:

Mi–chan was pointing at the front of the bus, where a boy wearing a long–sleeved orange shirt was about to get off. Even Mimi knew who he was. They hardly ever talked together, but he was her classmate, Koushiro Izumi. Mi–chan wanted them to look at what Koushiro was carrying on his back – a wireless laptop. “Isn’t he so weird for bringing that all the way to camp?” Mi–chan sneered with mocking laughter, but Mimi didn’t laugh. She simply didn’t find any reason to.

In a situation where people are mocking this weirdo kid for bringing his laptop to camp, Mimi “sees no reason” to look down on him. To her, what’s the point? It’s not fun to be malicious towards others, and she sees no benefit in dunking on him. Hence, because she’s actually very polite and open-minded towards others, and doesn’t see any reason to be mean, she’s not mean, and so you can see why everyone would like her -- after all, she’s not only bright and cheerful, she’s also polite and kind! Who wouldn’t like such a nice person?

Mimi’s first “focus episode” is Adventure episode 6, and we already see a lot of these traits in action. Mimi gets to see the other kids making absolute fools of themselves under Monzaemon’s brainwashing, but the most she has to say is just observing that they seem to not be having fun, and being worried about their well-being. Once she finds out the truth behind what he did to them, she gets extremely angry on her friends’ behalf -- she actually calls them her “friends”, despite them barely knowing each other at this point!

And then when the Numemon step in to fight for her, despite her initially having been turned off by them (mainly because they make her uncomfortable, both by indulging in literal poop around her presence and by invading her personal space by flirting with her), she actually almost breaks down in tears over them!

What this all means is that Mimi’s “high sensitivity” also translates to something else: Mimi has extremely high empathy for others. In terms of being “sensitive”, she’s also sensitive to how other people feel. She worries about others’ welfare constantly, even when they’re poop-throwing slime monsters who had just flirted with her, or near-stranger classmates who just happen to have been thrown onto this adventure with her whom she barely knows. That’s why she’s so nice to other people -- she feels for them, and she constantly empathizes with others’ emotions, so that’s why she’s never rude to others nor does she step on their toes.

It’s also why, even after Koushirou rubs her the wrong way and momentarily causes her to lash out at him for being insensitive about her feelings in Adventure episode 10, she also never seems to hold a grudge against him thereafter (especially since, for as much as he was acting pretty frustrating, she understands he was doing it out of good intentions). In fact, Mimi is pretty much incapable of holding a grudge at all. (More on this later!)

Mimi’s most famous incident of “succumbing to her vices” is Adventure episode 25, when she ends up letting the Geckomon and Otamamon pamper her while stringing along and refusing to do the job they’d needed her for in the first place (singing to wake TonosamaGeckomon). Let’s go over what led to Mimi getting in this situation:

Mimi was basically at her limit. She had been in the Digital World for what had been implied to be months. Going that long without her bath or soft bed or comfort, it’s understandable that she finally let stress overcome her and succumbed to her vices in full. This is basically Mimi at one of her worst possible breaking points, not her most of the time.

Taichi, Jou, and their partners never gave her a very good reason why they should leave (Taichi never explained the problems going on in the real world, nor that he’d even taken a pit stop there) and now, for all she knows, they’re trapped in the Digital World forever, so when she sees an offer to make it all stop hurting, she naturally takes it -- especially when the people telling her to leave aren’t giving her any reason why except that she should.

Even despite all that, Mimi has a complete mental breakdown after her tantrum ends up throwing everyone in jail, dreaming about how everyone must hate her now and how even the Geckomon and Otamamon are tiring of her (the fact this pops up in her dream implies that she’d had a feeling this was coming for a while now). Sora comes to give her a little encouragement, but even she says that Mimi already really knows what she should be doing now. Mimi ends up bringing everyone out to apologize to them and fulfill her duty before the night is even over.

So let’s recap: Mimi is so empathetic and worried about other people’s feelings and what they think of her that, even in arguably one of the worst mental health crashes we’ve ever seen her have on screen, she still breaks down at the prospect of disappointing everyone and making them hate her to the point she immediately recognizes how far she’s fallen and takes it back before the night’s even over. That is how much other people, ranging from Taichi to a crowd of Digimon she’s only vaguely acquainted with, matter to her.

The full “payoff” for this episode in terms of the light of the Crest of Purity glowing and achieving Lilimon evolution does not happen until Adventure episode 35.

It is interesting for a lot of reasons, mainly because it involves all of the events happening in response to things that don’t sound very virtuous on their face (early in the episode, Mimi insensitively comments on Palmon being “bad taste”, and later in the episode she starts considering the Digimon tormenting others unforgivable).

The “Crest of Purity” (sometimes “Innocence”) is something that’s often been difficult to translate, mainly because the easiest words that come to mind often have other unwanted implications, but the real point of it is that, again, Mimi is lacking in malice. The way she talks to Palmon at the beginning of the episode indicates she really didn’t think Palmon would take it seriously (she even urges her to “not think too much into it”), only to find out at the end of the episode that she sort of kind of did. (Trust me, she’s very sorry about it.) The other thing is that, when she starts protesting at the Digimon at the end of the episode, she’s doing this specifically because she’s weeping on behalf of all of the tormented civilians (including her family) that are being caught in the crossfire. She’s so constantly empathetic towards other people that seeing other people hurt, regardless of how well she knows them, just eats her inside. So for her, those who cause that kind of suffering are unforgivable, because they’re inflicting that pain on others.

This is also what leads to her breakdown near the three-quarters mark of the series. Like with how she eventually came to empathize with the Numemon who fought on her behalf, Mimi holds no grudge against Scumon and Chuumon despite them having flirted with her earlier, and Chuumon taking a hit for her hurts her the deepest among all of the other kids. Because Mimi is so empathetic towards others, every death starts tearing away further until she finally can’t take it anymore.

Mimi is fundamentally the kind of person who hates fighting, and even from day one she’d never liked it -- her way of “encouraging” fighting was more like hoping that Palmon (or her evolved forms) could survive. If she wanted to win, it was in the sense of wanting everyone to Not Die; she was never belligerent. But now that the actual body count of people she considers friends is rising, she associates fighting so deeply with that body count that the pain gets to her, and the last straw breaks in Adventure episode 45 in the form of two people she considers friends, Taichi and Yamato, getting in a fight. Everyone around her is hurt. Everyone around her is pain. The naturally empathetic Mimi feels all of this, and she thus decides to pull back from the fighting.

Mimi being such a firm pacifist does have its benefits -- not only does it mean that she holds no grudge against Ogremon in Adventure episode 46 and bid for treating his wounds even though Jou (understandably!) is initially more skeptical because of how he’d initially tried to kill them, she also creates a major dent in Ogremon’s “fated rival” philosophy towards Leomon by forcing him to question: so what if you do defeat your rival? Then what? What’s the point of fighting? Does it actually make you feel better to try and prove your strength this way? (Even Leomon, for all he’s portrayed as noble, is still shown to have a petty investment in his conflict with Ogremon in the following episode.) Ogremon tries not to think too hard about it, but Mimi questioning “what he would do if Leomon were gone” becomes a question he really does have to confront when Leomon dies in the next episode...

...which is also an important learning lesson for Mimi herself as well: fighting may cause collateral damage, but not fighting doesn’t help things either, because when less-than-virtuous forces are at work, casualties will happen either way. In fact, it’s even worse to be a sitting duck, because now you’re just doing nothing when people die right in front of you. Which is a lesson that Jou had wanted to tell her earlier, but didn’t know how to describe to her in words because of his own complicated feelings:

What he wanted to tell her was this: that he didn’t see any likelihood of co-existing with the Dark Masters, and that they had no other choice but to fight them. Even a neutral country like Switzerland had a military. They would be invaded by enemy countries without one. It would be nice and ideal if they used the nonviolent resistance approach as Ghandi did. But that didn’t mean it was okay to just be killed without lifting a finger… But not even he could find a good answer.

However, Mimi is still a pacifist. Even if she finally understands that fighting is necessary, that should not mean that she should now force herself to become someone gung-ho and enthusiastic about it. This is why, in Adventure episode 50, Jou contemplates different ways they can productively contribute to the fight -- because Mimi should not be obligated to personally fight herself when it’s not in her fundamental nature, and Jou personally does not feel that he’s very good at it. But Jou, having put some thought into “one’s own path”, realizes that literal physical violence fighting isn’t the only way to be “part of the fight” -- and so while Jou starts to realize that his unique role is becoming someone who can be a capable healer and doctor for those who are wounded, Mimi has her own talents that she can use to bring Digimon and other allies together. Because Mimi is a kind and charismatic person whom everyone finds likeable and would be willing to come along with, and since she holds no grudges against anyone, nobody would hold any grudges against her, so she’s perfect for the role of “bringing people together for the sake of what they want to protect”.

And she does. Adventure being a series that respects the contributions of those who don’t necessarily participate by direct fighting, Mimi’s rallying together of the Digimon becomes key to saving everyone in Adventure episode 52, and the fact that everyone’s together in the end makes for a great group photo.

Speaking of the final episode, in case the point hadn’t been driven home enough that Mimi’s the most empathetic and emotionally sensitive of the entire cast, the series famously ends on her very emotionally compromised farewell with Palmon. Of course, Palmon’s the one who kind of initiated it (she’s the one who initially refuses to see Mimi because she’s too emotionally compromised), but, after all, the series ends on Mimi being so frazzled about it that she loses her hat.

Mimi in 02 and beyond

As with the other Adventure kids, Mimi’s character arc continues in 02, and we learn a lot about her before she even makes her first personal appearance!

Firstly, we learn that Mimi’s moved to America. The in-universe reason is that it’s for her father’s work...or, at least, ostensibly so, because 02 episode 40 implies that the actual reason was that her parents wanted them to be away from Digimon incidents. (Which, of course, didn’t last very long.) The meta reason for Mimi moving, however, very likely has to do with the fact that 02 involves a subplot of Chosen Children appearing all over the world, and Mimi’s character involves an innate talent for bringing people together.

We learn in Two-and-a-Half Year Break that Mimi moved in 2001, only one year before 02′s events, and eventually got caught in the 9/11 incident -- where she met a number of other American Chosen Children in New York and, now much stronger of heart since the events of Adventure, was able to help them in the recovery efforts, despite there being a language barrier. With this, and the fact she’s shown at a huge party in 02 episode 14: they’re not kidding when they say Mimi can become friends with pretty much anyone. Even going to an entirely different country and dealing with a language and cultural barrier, Mimi is such a naturally kind and compassionate person that she immediately doesn’t have any problem fitting in. (Because, really, someone that level of kind and friendly is hard to dislike.) And in a world where international solidarity between Chosen Children is getting more and more important, that is a very valuable role to have.

The other thing we find out early about Mimi in 02 episode 2 is that Sora catches on that Miyako is a lot like Mimi, based on the fact that Miyako also is empathetic and has an aversion to fighting. And Sora’s completely right, because when Mimi does come into the picture, the similarities -- and differences -- between her and Miyako say a lot about both characters.

When Mimi arrives in Japan in 02 episode 6 (for her cousin’s wedding), she and Miyako immediately get along with each other, and Miyako instantly role-models her, to the point of claiming her as an honorary older sister (despite already having older sisters herself!). It’s not surprising; Mimi and Miyako are both very bright and cheerful people, and Miyako even shares the background of being slightly pampered by her family (although presumably more due to her being the youngest of several siblings). Mimi, for her part, continues her trend of being likeable and fond of pretty much everything (including even her beloved tuna-mayo onigiri that she hadn’t had for so long), and is perfectly happy to be tight with Miyako.

The Digitamamon incident in 02 episode 14, however, adds an extra layer into why Miyako idolizes Mimi so much besides Mimi just being cool in general: Mimi is kind, forgiving, mature, and incapable of holding a grudge -- to the point her pacifistic tendencies kick in even when Digitamamon gets hit by a Evil Spiral and she refuses to fight him, despite him literally starting to beat her up. Again, Mimi came to understand the inevitability of having to fight back in Adventure, but Digitamamon is, to her, a friend who was trying his hardest to turn over a new leaf -- so, naturally, she tries to see if she can appeal to his heart instead. Miyako, on the other hand, is on the opposite extreme -- she’s so judgmental about her poor first impression with Digitamamon that, despite fully knowing well that Evil Spirals cause their victims to lose their ability to have reason, keeps trying to use it as evidence that Digitamamon was a traitor from the get-go.

Considering that the “secondary Digimentals” arc is largely about Daisuke, Miyako, and Iori coming to terms with their deficiencies in their respective traits and aspiring to do better, Miyako unfavorably compares herself to Mimi because Mimi is everything she wants to be and currently isn’t. Unlike Mimi, Miyako is aggressive, in-your-face, occasionally judgmental, belligerent, sometimes insensitive (not by choice), and often shallow, which she fully admits to in this episode. Of course, the reason Miyako gets the Digimental of Purity (Mimi’s trait) is because she hates this about herself -- even in 02 episode 31, she gives herself no shortage of grief for her foot-in-mouth syndrome and the fact she’s not as “kind” of a person she wants to be, and she herself is also fundamentally devoid of malice, just quick to jump to conclusions and a bit sidetracked by first impressions. (After all, Mimi was guilty of being accidentally insensitive when she called Palmon lacking in taste back in Adventure; the point is that when both of them do it, they really don’t mean badly, and end up sorry for it later.)

But that’s a story for another post about Miyako; more importantly, the reason Miyako is harsh on herself about this in this episode is that, in many ways, she’s everything Mimi is not, because Mimi is empathetic and mature and polite and never steps on anyone’s toes.

02 episode 25 gives us more to work with; first of all, she’s depicted in yet another completely different hair and fashion style (which she brings up another of during the winter season), and her drastic shifts in style indicate more of her “open-mindedness”; she’s open to trying out tons of new things and is willing to like just about anything. More importantly, however, she turns out to be completely open-minded about recruiting Ken to help out, even though she’s well aware of what he’d done as the Kaiser (and, again, Miyako sees her ability to be forgiving as something to look up to). Because, again, Mimi doesn’t hold a grudge; she doesn’t send anything accusatory or forceful to Ken, but simply believes that he should be given the chance to know what’s going on and help out if he so chooses, which becomes key to Miyako herself also choosing to accept Ken at the end of the episode.

Given that Mimi is portrayed as so open-minded towards trying all sorts of things, it’s probably no surprise that her “career” in Kizuna is so different from what we eventually know she’ll be doing in the epilogue -- instead of her cooking show, we see her running an online shopping business. After all, with her being so open-minded about wanting to do potentially anything, it’s very like her to "dabble” in a few different experimental things before (or perhaps “without”!) settling for something. What we know about this business is also quite on brand for her; her business specializes in “cute” (her preferred aesthetic, which she also shamelessly dresses in), and she’s established as setting up business all over the world to the point she has to constantly travel. Presumably, her natural charisma made it easy for her to set up connections.

Interestingly, her website profile also omits any discussion of any kind of university or other post-secondary education, implying that, unlike the others, she chose to dive directly into her career after high school. Again, it’s quite like her to find something she wanted to do and pursue it the moment it was in front of her -- no matter what it is, as long as it’s interesting.

Mimi’s largest amount of focus in regards to the movie is in To Sora, where she’s seen checking in on Sora after noticing she hasn’t been in the group chat in a while -- again, as someone constantly empathetic to how her friends are doing, it’s natural that she’s the one who catches on and decides she needs to check in. As someone who loves uplifting and supporting her friends first and foremost, she happens to be fully aware of what everyone’s currently up to (compare how Taichi had to be actively updated on Sora and Takeru’s status from Yamato in the movie proper), and also provides nothing but positive supportiveness to Sora’s troubles during their conversation -- as usual, always respectful and polite, and never condescending.

And, of course, she naturally empathizes with Sora having hesitation about fighting -- both because she’s been busy herself, but also because she, of course, understands exactly how it feels for fighting to be emotionally taxing -- and declares that she’ll support Sora with whatever she does, just like how she found her own path back in Adventure by choosing to contribute by bringing people together instead of fighting. She makes do on this promise as well, considering that she keeps up with supporting Sora during her exhibition.

By the time of the 02 epilogue, Mimi has decided to change tracks entirely and go for cooking, which, while being very different, is also very on-brand. This time, the part about “cooking” is something that comes from her family, since, after all, experimental cooking (...of some kind) was something Satoe got the whole family to embrace. The exact nature of her job is literally “culinary researcher”, which is a Japanese catch-all to refer to the sort of “food critic” who experiments with food and writes extensively (or, in this case, runs a TV show) about different ways you can enjoy and put together food, which also goes in mind with her streak of “open-mindedness”. The common point is, really, that everything Mimi does comes out of positivity, supportiveness, and love.

#digimon #digimon adventure #digimon adventure 02 #digimon adventure last evolution kizuna #tachikawa mimi #mimi tachikawa #kizuna spoilers #shihameta

206 notes · View notes

zosonils-art · 3 years

Note

ohhh can we hear more about sweet woman 🥺

we totally can!! infodump about this gaslighting gatekeeping girlboss is under the cut as always

sweet woman was commissioned by a super classy french dessert restaurant called the orgueilleux pâtisserie [orgueilleux being very poorly google translated french for elitist/snobbish lmao], acting as both a chef and a mascot! the gimmick worked wonders for the restaurant's popularity, with rich people coming in droves to experience the novelty of food prepared with a robot master's help, and she was quickly promoted to social media manager as well as her original duties. despite her cutesy demeanour, she's much smarter than she looks, and is equipped with an in-depth understanding of chemical reactions and inhumanly accurate sense of timing and spatial awareness. she knows hundreds of recipes and most of them cost several hundred dollars to make

her personality is more deliberately engineered than most robot masters, designed to fit her appearance and be marketable. she's unwaveringly cheerful, incredibly extroverted, and just silly enough that it's cute rather than grating. she plays these traits up a lot for the cameras, exaggerating her energy and playing dumb when it'll appeal to the masses, but even when she doesn't have her public image to consider she's a bubbly and energetic goof. she's a stubborn optimist, and if she can't find a bright side to look on she'll take out a flashlight and make one. her optimisim makes for a good workplace morale boost and an even better social media presence, although when combined with her ditziness and being a bit out of touch from almost exclusively interacting with the 1% it often makes her come across as insensitive

since she's in the spotlight a lot, most of sweet's hobbies and interests outside of work are still carefully selected to match her public image and look good on an instagram post. she has a passing interest in shopping and fashion, and enjoys going to parties and gatherings and what have you to meet new people. she also loves to experiment with cooking and come up with new recipes, some of which end up on the orgueilleux menu. she does, however, have a private interest in chemistry! as mentioned earlier she knows a fair bit about it already, since cooking is just chemistry with a restricted set of substances, and in her own time she ended up getting curious and reading into the sort of reactions that arise from chemicals she doesn't work with. she rarely mentions this interest herself, but she gets super excited if someone brings it up or gives her the excuse to talk about it, and it's probably listed as super secret trivia about her on the pâtisserie website

unlike other robot masters, sweet has an acute sense of both smell and taste! [since robots seem to only use e-tanks for fuel, there's not much benefit to smelling or tasting things, so i personally believe that most of them don't have those senses unless it'd directly benefit their job.] being able to actually taste the food she cooks makes it much easier to tell if she's doing it right, especially if she's trying to come up with something new. she's also capable of replenishing her energy by eating - it's less efficient than e-tanks, but she thinks they taste gross so she always opts for actual food. fittingly, she has a massive sweet tooth, but she's accustomed to only the highest-class dining and dislikes cheaper or less 'refined' tastes

her magical girl vibe, brought to you by someone who has watched maybe 4 episodes of anime that weren't sonic x, is entirely an aesthetic and marketing gimmick rather than serving any functional purpose. she'll play it up for promotional videos and photoshoots, twirling her fork-trident thing and striking dramatic poses and calling out thematically appropriate attack names like 'sparkling sugar swirl' and 'cinnamon whirlwind' whenever she does anything, but it's mostly for show. while she genuinely enjoys the shouting and posing and twirling, she massively tones it down when she's not performing, maybe occasionally saying an attack name at a reasonable volume while she works. her fork-trident thing isn't even a real weapon, magical or otherwise. it's just styrofoam with metallic paint on it

sweet's weakness to harpoon shot was decided before i figured out exactly what tide man's weapon would be, going on the idea that getting food wet tends to make it sad and gross. this logic doesn't quite carry over with harpoon shot being, well, a harpoon rather than something specifically water-based, but i imagine shooting a cake with a harpoon would also be a very one-sided battle so this weapon wheel makes sense i promise. i guess you could also make the argument that it's because sweet is only experienced with a fake pronged weapon made of foam and would be completely blindsided by a real one? maybe it's that tide is so staunchly anticapitalist that his weapon inherently vibe checks her? i'm grasping at straws a bit over here but listen, if mega man 5 can insist that water is elementally weak to trains, i can insist that it's elementally strong against the french

i think her stage could be some kind of factory! lots of conveyer belts definitely, maybe some crushing hazards, definitely a few mets. the idea there is that she's seized a major food processing plant and is using that position to wreck the regional supply chain. even when she's evil, she basically keeps the exact same personality she shows to the public with only a noticable capitalism upgrade. she has pretty much no combat abilities on her own, but at her own suggestion she was upgraded to shoot a specially formulated icing that's acidic enough to burn through thin metal, finally putting her interest in chemistry to use. her fork-trident, on the other hand, was not changed in the slightest. still just styrofoam. i think it'd be pretty good if she opened her battle with it but even if it hits mega man it only deals one point of damage and the second it touches something it snaps in half and she never pulls out a new one

designing sweet was pretty fun because she's pretty different from my usual taste in character design! my experience with the magical girl genre is that i read about half of sailor moon when i was 12 and absorbed everything else through pop culture osmosis and tv tropes pages, so it was definitely fun to draw what i think a magical girl might look like. i also don't use oranges and yellows much, so picking out her colours made for an agonising exciting challenge! she didn't change too much from the initial microsoft paint sketch, although she lost a skirt layer along the way because i didn't feel like figuring out how to draw another one, and her weapon was originally just a big fork that probably would have been a ksjfjhkjhfillion times less cumbersome to draw. oh well. live and learn [HANGIN ON THE EDGE OF TOMORROW]

that about wraps it up for sweet woman, i think - thank you so much for asking about her!! here's the transparent art and the version without 15 different filters on it to make it look kinda like an 80s anime screenshot

#this was agonising to draw BUT I REALLY LIKE HOW IT TURNED OUT SO!!!!! WINNING #zos draws #mega man #mega man oc #robot master oc #sweet woman #zos talks #zos answers #zoriginal characters #anon

48 notes · View notes

unpopularwiththepopulace · 3 years

Text

Here Lies Jenny: Bebe Neuwirth’s under-remembered masterpiece?

While Bebe Neuwirth is often remembered foremost for her presence in worlds like Chicago, Cheers or Fosse, there’s another piece in the tapestry of her work that brings many notable threads together and is equally significant to her.

Here Lies Jenny is the somewhat under-discussed piece of theatre that in fact has connections to all three of these aforementioned things, because of the people she worked herself on creating it with, and deserves to be brought up with slightly more comparable frequency.

A moment then to explore some of the history of this elusive but important show.

Here Lies Jenny, recalled as a “surprise off Broadway hit”, opened at the Zipper Theatre in downtown Manhattan in May 2004 and ran there for five months.

The show was an interpretive revue of the music of German composer, Kurt Weill, born out of an idea Bebe had herself. It was shaped by collaboration with close friends – with its initial genesis assisted by Leslie Stifelman (the show’s pianist, who she’d worked with on Chicago), direction by Roger Rees (who she’d long known and worked with since their time on Cheers together), and choreography by Ann Reinking (who was Bebe’s closest dance companion in the Fosse universe).

Set in a dark and shadowy looking barroom, the piece followed Bebe as the central, amorphous female figure named ‘Jenny’, supported by three male cast members and a pianist, through an evening of carefully selected Weill songs. Alongside Bebe and Leslie on stage were Gregory Butler and Shawn Emamjomeh, as two rough denizens of the bar, and Ed Dixon as the general proprietor.

There was no linear storyline to the show and no spoken dialogue, but Bebe described how the evening unfolded “in a very logical and emotional, fulfilling way.” All of the songs presented “[described] the interaction between these five people there, that make it necessary to sing the next song.” Rather than taking a group of songs by a particular composer and imposing a narrative on them, the songs were interwoven together to create an “impressionistic and realistic painting of this person’s life.”

To give a summary of the show’s arc, Jenny initially descends the wire staircase into the bar, with little more than a frightened expression and a small bag of wordly possessions. Accosted by the two forceful patrons, she’s flattened down both physically and emotionally. The men depart and return throughout, and the emotional core of the piece fluctuates from song to song as each number evokes a different picture and interpretation of a circumstance or feeling. As reviewers put it, “she’s sometimes bold, sometimes reticent, until she leaves…with what seems like a modicum of self-possession and hope,” and “climbs that long staircase on her way into the world again.”

The idea for creating Here Lies Jenny came out of Bebe’s own desire to put together a piece of theatre and an evening of performance of her own. It was a notion intensified by growing external interest, or as she recalled, “people have always said to me ‘Do a show, do a show, do a one woman show!’”

But for a while the form the piece would take was unclear. Bebe knew she “didn’t want to do a revue”, and she didn’t want “the usual cabaret thing… [or] ‘Bebe and Her Boys.’”

“I generally hate one women shows,” she would remark, “unless it’s Elaine Stritch or Chita Rivera or, you know, Patti LuPone.”

According to Bebe, she’s “much more comfortable as a character doing something. I'm not comfortable just being myself and singing in front of people.”

On and off for around two and a half years then, Bebe had been considering how to approach this matter while putting together some music, predominantly that of Kurt Weill, with musician, conductor and friend from Chicago, Leslie Stifelman.

Leslie suggested bringing in a director, so Bebe turned to Roger Rees – a person she regards as “not just a great actor,” but also “a fantastic director”, with a “very interesting creative mind.” Showing Roger the songs, he “realised that they all described women, or aspects of women, or different times in women’s lives.”

Roger thought it would be interesting then to combine all of these varied sentiments and have them channelled through one specific woman, in one specific location, to present a complex but diversely applicable tapestry centred around the emotional interiority of one tangible female force.

The show is “fragmented, prismatic…less narrative than poetic,” according to Roger. It’s not prescriptive. Rather, it evokes strong feelings and allows the audience to interpret them into their own individual and personal narrative for this woman. It poses questions and provokes thoughts. Who is this woman? Why is she here? Why is she here now? Is that a child? Or is that just a wish for a child? What did she have in this life before we meet her and what has she now lost?

It is indeed an unusual entity, and atypical from other more standard revues, cabaret acts, or works of theatre. A “self-described Japanophile”, Bebe explained how it played in the “Japanese aesthetic concept known as wabi sabi.” Of this she would elaborate, “There’s no direct translation, but it’s about the beauty of things as they age, embracing what’s painful in life as well as what’s joyful.”

It is certainly a piece that contains beauty as well as pain, which itself is a complexity and dichotomy often ascribed to Kurt Weill’s music.

When initially finding and working on songs for what was to become Here Lies Jenny, Bebe noticed being drawn to the work of one composer most strongly.

Like Bernadette Peters talking about how she gravitates to selecting Stephen Sondheim’s material for her concerts, Bebe would say simply, “all of the music that I loved the most was Kurt Weill music.”

A revue in 1991 called Cabaret Verboten (also with Roger Rees), that sought to recreate a Weimar Republic cabaret and re-conjure some of the decadence of pre-Nazi Germany, increased Bebe’s exposure to Kurt Weill’s music and was where she “first became captivated by the composer”. Building on this strong connection and deep appreciation in the years since then, Bebe would assert of his music, “it resonates for me.”

“Neuwirth knows Weill’s music isn’t for everyone,” one reviewer wrote, “but she won’t apologize for it.” She sees its capacity to be “appreciated on many different levels,” and has described it on varying occasions as “unflinchingly honest”, “very fulfilling to perform”, not just “arch and angular and Germanic…[as] many people think”, but as having “great lyricism and tenderness”.

Bebe feels a strong affinity for Weill’s music in part because of its “ability to convey the truth completely and fearlessly and without artifice”. For example, “If you're talking about heartbreak, [his music] goes to the absolute nth degree of what that really means. The way he shows that is with fearless lyrics and the bravery to make the music as beautiful as it can be.”

“Maybe the way I appreciate it speaks to the kind of person I am,” she would say. “I’m very bright but not an intellectual. I like things in a visceral, passionate and spiritual way.” And to Bebe, Weill’s music certainly provides that – which was why devising this show was of such importance and significance to her.

Bebe said also that “the show offers the broad range of Weill's songwriting talents.” This is indeed a truism, with the work of no fewer than ten different lyrists being showcased across the nearly two dozen songs during the evening, including Berthold Brecht, Ira Gershwin, Alan Jay Lerner, Langston Hughes, and Ogden Nash.

The different styles and languages of Kurt Weill’s music mirror Weill’s own history and geographic progression through the world. Born in Germany, “Weill, a Jew, had to flee the Nazis at the height of his popularity. He fled to France and then to the United States, where he became a citizen in 1943.”

His songs reflect the world in which he was living. For instance, ‘The Bilbao Song’ is a tale of sometimes gleeful, sometimes regretful nostalgia and comes from a collaboration with Berthold Brecht in German. It is performed here only in English through the use of “Michael Feingold's now-accepted translation”. The Brechtian-ism is a feature of this production as a whole that was remarked on at the time, being appraised there was “more than a dash of an alienation effect at play,” with material being sung for example behind grilled windows or facing away from the audience.

His French material is alternately reflective of the musical identity Weill tried to devise while having to reinvent himself from scratch in France. Bebe performs one of these French numbers here, entitled ‘Je ne t'aime pas’, which has its own poetic lyricism, and indeed mournful significance, given the translation of the title as ‘I don’t love you’.

Alternately, jazzy, Broadway glamour is comparatively evident in some songs like ‘The Saga of Jenny’ from musicals that arose in America on the Great White Way out of the era of Golden Age of the American musical in the ‘40s to the 60’s.

This show was ambitious then, in its mission of exploring a wide range of the composer’s musical contributions across multiple decades, countries, styles of music, and lyrical collaborations.

Beyond his own musicals, Kurt Weill’s music has been notably seen elsewhere on Broadway or in the theatre world via interpretations such as songs in concerts with Betty Buckley, Patti LuPone, Ute Lemper; or full stage productions with Donna Murphy as Lotte Lenya in Hal Prince’s 2007 Lovemusik; or Lenya’s recordings herself.

Much of Kurt Weill’s legacy lives on through his wife, Lotte Lenya, who was seen as his “chief interpreter… [and] largely responsible for reviving interest in the composer” after his death.

Like Lotte with her “whisky baritone”, Bebe is able to convey meaningful interpretations of Weill’s music through her vocal richness and skilled acting choices, carefully controlling factors like timing, pronunciation and syllabic stress.

An example. Bebe does the most satisfying version of ‘The Bilbao Song’ I have heard. There’s a line in this song that states: “Four guys from ‘frisco came with sacks of gold dust,” in which the last portion of the phrase is repeated a further two times. Bebe emphasises the third “SACKS, of gold dust?!” in the dramatic manner stylised through my punctuation in attempts at recreating its phonology, which contrasts against the two previous readings. This gives the line a salient narrative purpose. It conveys not just an observation, but a tale of surprise and incredulity – who on earth would walk into a bar carrying entire sacks of gold dust?

It may be seemingly just one small detail, but it has a large impact. Other versions that intonate all three repetitions of this line the same miss this engaging variation and feel flat in comparison.

This song would justly so later become a staple of her concert material – along with others like ‘Surabaya Johnny’ and ‘Susan’s Dream’.

But there is unfamiliar territory traversed in Here Lies Jenny too. The rendition of Ogden Nash’s lyrics with ‘I'm a Stranger Here Myself’ is ‘new’ – and it’s exquisite, in its melodic, lilting and playful but darkly seductive swirling sentiment.

Another notable number in need of individual mention would be ‘The Saga of Jenny’. There are two Kurt Weill songs most strongly associated with the ‘Jenny’ moniker – this, and the also well-known ‘Pirate Jenny’ from The Threepenny Opera, which Bebe had done a production of in 1999. The latter was trialled in early versions of the show but ultimately didn’t “serve the piece as well as other…moments could,” so was taken out. Fortunately, Bebe would later work it into her concerts.

The former made it in, and provides the exciting opportunity to get to hear Bebe’s take on this song as made well-known by a number of respected performers. ‘The Saga of Jenny’ appeared initially in Weill & Gershwin’s collaboration for the musical Lady in the Dark in 1941, starring Gertrude Lawrence. The song has since gone through innumerable reiterations, such as via Ginger Rogers in the 1944 film adaptation of the same name; Julie Andrews’ big-production performance in the Gertrude Lawrence biopic Star! in 1968; and other high-profile concert performances like via Ruthie Henshall, Christine Ebersole, Lynn Redgrave and Ute Lemper; along with Lotte Lenya’s own recordings.

Further extending the song’s life was ‘The Saga of Lenny’ – a version devised with new lyrics by Stephen Sondheim, performed by Lauren Bacall for Leonard Bernstein’s 70th Birthday in 1988. All of these are on YouTube and I would testify are worth a watch.

In this show, Bebe performs the number with the bravado of a war-time songbird. She strides around with an old-school 1940s microphone back and forth across the stage as she progresses through the song’s distinct chronological sections, grounding the show centrally back to its identifying moniker and characterising an eponymous, engaging and multiply varied ‘Jenny’.

When not bound to microphones, Here Lies Jenny also involved the use of Ann Reinking’s “minimal but inventive” choreography to create striking visual images. Though perhaps not resembling the fast-paced, razzle-dazzle of Chicago, these patterns of movement are at times no less impactful. Bebe is dragged fluidly across a countertop, rolled sinuously down pairs of legs, centred in a dark tango (that one review likened as a potential metaphor for a ménage à trois), or spun backwards upside down onto Emamjomeh’s shoulder in the air – to name a few notable moments.

Not a dance show by any strict sense, all of these demands are nonetheless physically taxing. This is a matter of importance given the timing of the show.

What Bebe had long deemed a “peculiar” hip from her early twenties, begun causing notable pain when it “went from peculiar to downright bad in 2001” during Fosse on Broadway. It was recorded the “pain continued during [this] high-concept Kurt Weill revue” in 2004, such that performing this manner of movement in the show can have been no trivial feat. The next three years brought subsequent arthroscopic surgery for cartilage removal, and then total hip replacement.

That being considered, the show was able to run in the highly demanding manner it did for five months straight because of Ann Reinking’s assiduously crafted choreography.

The Zipper Theatre was the “funky downtown Manhattan space” that housed the show for that time. The timing of the production and the nature of the theatre played integral parts in the piece’s characterisation.

Roger took Bebe to see the theatre when they were devising the show, and to Bebe, it felt right. “There is this creative gesture that we are making and the gesture is completed if it’s in this place.” Not in some new, shiny theatre; but here, with a darkness and sense of history that created an evocative mood similar to the tone of the whole show “as soon as you walked into the building.” This was aided by the show beginning at 11pm each night – “absolutely an artistic choice” – given that what “happens between these five people, happens very late at night”, in a shadowy time of day filled by darkness and secrets.

Here Lies Jenny ended its run in New York in October 2004. But this did not mark the end of the piece. Bebe and her troupe took the show to San Francisco in the Spring the following year – after a seven month interim that included filming thirteen episodes of Law and Order: Trial by Jury, the aforementioned hip cartilage removal, and subsequent recovery.

The show was not deemed flawless by everyone who reviewed it. Some thought it too dark or wished for less abstraction and ambiguity. But as one article would conclude, “Faults aside, it’s hard not to recommend a show devoted to Kurt Weill,” ultimately providing a “unique and polished evening at the theatre.”

Roger Rees would reflect on the show, “Weill & Neuwirth work so well together” because Bebe’s “high standard of performance” means she is able to “delve deeply and go on forever” into material he likened to being as complex as Shakespeare.

It “demands a great deal from a performer, and she is equal to it,” Roger said. “She’s very deep in herself. There’s nothing made up about [her], which is a rare and beautiful thing. The match between performer and material is exquisite.”

This would likely mean a lot to Bebe, as the show itself meant a lot to Bebe. And still does several years later. She would cite it in 2012 as the “role she wish[ed] more people had seen”, as to her, it “was a beautiful, unusual piece of theatre”. Altogether, it was something ineffable and “bigger than the sum of its parts”.

“It’s something I've wanted to do, and I did instigate it,” she said, of putting the show together. But that’s not to say it was easy to helm matters. “For me to be in charge, makes me very uncomfortable.”

That the show got made at all then Bebe would recognise as “a testament to how deeply I love the material and how inspired it makes me.” Her trust in people like Leslie, Annie and Roger enabled the creation of such a project from the ground up that wouldn’t have otherwise existed. Thus, to borrow a phrase from Stephen Sondheim, it was the combination of both personal drive, and also the shared collaboration of four people who all “love each other very much” that ultimately ‘made a hat where there never was a hat.’

It was even further an important show to her, because it was “a very private thing.” She’d describe Jenny as a very physical and emotional role – “the most personal of anything I've done.”

It clearly holds a special place in Bebe’s own heart. Undoubtedly, it would be poignant to revisit again. As we look to the near future of theatre with shows that could feasibly be staged as events start coming back, in tandem with the publicly expressed desire of people wanting to see Bebe back on stage again, this pre-existing, modestly-sized, inventive piece would be no bad suggestion.

How about a Here Lies Jenny reprise when theatre returns?

42 notes · View notes

ihappentolikefnafsurprise · 3 years

Text

Personalities: FNaF 1

I’ve been meaning to do this for so long, just never decided to sit down and do it. Probably because I keep getting distracted with other stuff. Feast your eyes (is that how it goes, I might be dumb). I spent a couple of hours on this, and let me tell you I never thought it’d be this difficult. But I’m proud of this, even if it may be cringe.

(oops they ended up being really long I think you can tell who’s my favourite character (hint they’re a robot))

Basically everyone in this group are buds. Sometimes they don’t get a long but they know how to not take it too far. I tried not to repeat cliches (Goldie being either really flirty or really shy, Chica being a cook, etc.). I mostly went off of what they do in the game and took the traits I liked.

Note that these are the personalities of the animatronics themselves, not the dead children. The idea is that they started off as just the kids but then they got their own lives and slowly developed their own personality until they were separate. I might give them some personalities later on, but right now I’m focusing on the robots.

Likes to be the boss

Freddy

Seems grumpy and unapproachable but he’s actually pretty nice

Scary when he scolds you though

He doesn’t even realize he seems grouchy

Can be pretty boring to hang out with

Unless you enjoy cleaning, dealing with Chica and Foxy, and reading in silence

Bonnie is the one he’s the closest to

(sort of because of Fredbear and Springbonnie being friends, they’re not copying they just happen to mirror it)

Loves hugs and uses them to comfort others

He’ll also use his music box

He’s good at comforting others with hugs

Hates the “don’t touch Freddy” rule

Has a really nice singing voice

He hums and sings when he’s bored or when he’s doing something

The cook of the group and he can make a good pizza

He makes thin-crusted pizzas because helth

He can’t eat so he’ll leave them in the fridge for the kids

Everyone’s baffled on how it got there but accept it anyway

He remembers all the children who come and loves them all very much

He likes to keep things tidy

When Chica’s made a mess in the kitchen he goes in to clean it

He used to scold her for it, but he’s given up

He picks up random items that the children forget with the intention of returning them

Straight up eats them

(He steps in the backroom or goes behind the curtain to get the toys out, children don’t need to see that)

He still continues to pick up toys even when he can’t go off the stage anymore, just a habit that stayed

Frustrated that the new employees just throw away the toys instead of putting them in the lost and found

Sometimes he plays the arcade machines on his own time

He likes to read

There’s no books though, so he just ends up reading manuals, newspapers that people leave behind, employee files, etc.

Until he secretly ordered a book series for himself

It took some convincing from the others

But he ultimately decided to because he doesn’t like the owner

Also the owner is really bad at actually managing the restaurant so he never noticed

Because of this Freddy often steps in from behind the scenes when things are really going wrong, like employees misbehaving

He sends an email to them and then he gives them a little fright when they come into work and they usually either quit or straighten up

He likes earthy tones like brown and beige because he’s boring

Bonnie

He comes off as nonchalant and uncaring

People think he’s angsty

It’s basically his whole persona when he’s on stage, he’s supposed to be the party pooper that doesn’t like parties but is eventually convinced by his friends to join and has fun

Off stage he doesn’t have that much of a presence

He can approach people just fine and isn’t really that shy

He’s just a quiet guy

Probably the best one to chill with because he’ll talk if you’re talking but he’s cool with silence and just enjoying each other’s presence

The type to laugh at his own expense

Has some dark humour and likes to joke around with Foxy, who also enjoys that humour

Secretly the mother hen of the group (despite being a bunny and a guy, he just fits mother)

Would laugh if you trip but then subtly watch you for injuries

If it’s an animatronic he can do some basic fixing

Doesn’t know anything about human first aid, but he’ll help where he can and call for help if he needs to

The type of guy to seem calm but there’s internal panic

If something seems kind of dangerous he’ll watch from afar

But if it’s too dangerous he’s the first one to shut it all down

Good at comforting others

Worries a lot and is probably the most cautious of the group

Very protective

It’s why he’s the first one to come to your door, he wants to make sure it’s no one dangerous (even though they’re like 400lb robots but sssh)

Hides most of his worrying, thinks he’d come across as annoying

Weak to puppy-dog eyes

Likes happy alternative music, but he’s open to almost anything

Plays the guitar by ear

Is pretty good, not legendary, but he experiments on his own

Can’t read sheet music

His favourite colour is red

Takes random pieces of paper like articles and anything useless and writes on the back of them like a diary, he keeps it hidden inside of the backroom in one of the Bonnie heads

Chica

Chaos incarnate

She’s a hyperactive kid that has trouble considering other’s feelings

Struggles with responsibility

Her favourite colour is green

Not at all good at comforting people

But she can listen while you rant and chime in or give you a distraction if you need it

“you wouldn’t believe the crap I had to deal with today”

“I wanna know everything!”

She’s actually the physically the strongest in the group

They’re all pretty strong, she’s just at the top

Mostly uses her strength to lift tables in order to make forts and playing around in the kitchen

Has broken many pans and lots of cooking utensils

Terrible cook

Can’t be left in the kitchen unsupervised for too long otherwise you run the risk of her starting a fire

Good at singing

Loves happy-go-lucky tunes

Radiates positivity

Doesn’t like the others being sad, but doesn’t know what to do about it

She’d probably get Freddy or Bonnie to help

Baby of the group (she is an adult though)

Has excellent puppy-dog eyes, only Freddy can stand them

Has trouble dealing with her own emotions

Tends to idolize or idealize people too much

Doesn’t understand what the outside world is like, or any of the problems that people deal with

I think that you gathered by now that she is not the mother hen of the group, even though she’s chicken

More like the kid sister that wants you to play dolls with her

Doesn’t like being alone and will find others to keep her company

Her feelings get hurt pretty easily

She can take a joke, just don’t be mean even if it is funny

Easily made happy by food

Tries to convince Freddy to make her pizza

When he doesn’t she’s like “fine then I’ll make it on my own”

Spends like a half hour trying to decide which pan to use and even more time getting the ingredients together

Freddy stops her before she can actually make anything, otherwise the whole place will burn

She’s easily distracted and tends to be absentminded

But if she finds something she likes she can sit there and do it for hours

Doesn’t like sudden noises, even though she makes them

Impulsive

Doesn’t play the arcade games, they make her mad

Foxy

The other chaos incarnate, he’s Chica’s partner in crime

If they were left in a room together all the tables would be smashed the chairs would be arranged to make a fortress

Tends to cause a lot of trouble so he gets put in time out often by the Freddy’s

Claims they’re being bums but they just want to keep the building intact

He sneaks away when they’re not looking sometimes and gets in even more trouble

Has the same dark humour as Bonnie

But he doesn’t laugh at himself

Actually a little self conscious

He’s a psychopath that enjoys exercise

When I say exercise I mean running and that’s it

He likes to pretend he’s either running away from or being chased by a huge monster

It’s one of the few things that can calm him down, just let him burn off some energy

Makes the others time him, but Chica usually gets distracted

Not a bad person, he just has a very hard time sitting still

He likes to draw

Carves little pictures into the floor of the cove when he’s bored

He’s running out of space though

If you give him a colouring book (they have some children’s colouring books and crayons) he’ll be calm up until he’s finished, then he’ll want to do another one

He also likes storytelling

Don’t ask him to write though, he doesn’t have much patience

Struggles with feelings of sadness

Misses performing for the kids

Most negative emotions translate into anger

Which will result in him trying to smash things and they others having to hold him back

Says things he doesn’t mean and does things that he wouldn’t do otherwise

He just can’t handle the emotion

Luckily he doesn’t get angry often

More often than not he’ll just pretend the negative feelings don’t exist, which also isn’t healthy

Out of everyone in the group he wants to go outside the most

He likes movies

There was a cheap VCR and tv in the boss’s office that’s now in the pirate cove

Somehow, none of the employees realized he took it

Either that or they just weren’t paid enough to care

He has like two movies he watches on repeat, it’s another thing you can give him to calm him down.

His favourite colour is blue, like the ocean

The true angsty one

Golden Freddy/Goldie/Fredbear

Spends a lot of time alone

Kind of a grump

Doesn’t like being bothered

He got the nickname Golden Freddy because that’s what the others called him when they first met him

It didn’t stick at all until the night guards that saw him called him that

Now it’s something the others call him to tease him, but they usually shorten it to Gold or Goldie.

He doesn’t really mind Gold or Goldie, but Golden Freddy kind of bothers him because it makes it sound like he came after when he’s actually the original

Doesn’t say anything though

Hangs out in the safe room, so the others can’t really get to him anyway

But they can yell through the door so there’s that

(I know it’s supposed to be invisible to them but they have life and stuff so they can see, they just can’t go inside)

He’s very sleepy

Spends most of his time sleeping or daydreaming

Doesn’t really miss performing

Says it was fun while it lasted but he’s fine with it being over

Though sometimes he eats his words when it’s daytime and the kids come

The cheering gives him the urge to come out and say hi even though he knows he shouldn’t

Misses being able to hang out with Springbonnie all the time

Springbonnie is there in the backroom with him, it’s kind of why he spends so much time in there

He activates sometimes, but he usually stays shut down to conserve battery

It’s pretty random

Springbonnie doesn’t know much about what’s going on, he never stays up long enough to get a full explaination

But he does try his best to keep his friend in high hopes

(I’ll be writing his personality later on, with FNaF 4)

There’s no way to charge him because the chargers are on the stage and the others can’t come in to help move him and Goldie’s not strong enough

And he can’t get up on his own

He likes being able to talk to him sometimes at least

Every now and then the others have to convince him to come out

He comes out on his own occasionally

But sometimes he shuts himself out completely and doesn’t realize how lonely he is, even if it is self-inflicted

The best way to get him to come out is knock-knock jokes, he loves them and the irony of it being through a door is just perfect

Likes even the cheesy ones

You can tell him puns or some well-constructed jokes too, he likes pretty much everything

He’s the grumpiest but he’s also the best at making others laugh

What can I say, he has a lot of time on his hands

When he does come out he hangs out with Freddy or Bonnie, the other two are too high energy for him

He plays the arcade games

He has the highest score, since he literally lives there and can play them whenever he wants

Likes the repetitiveness of some of the games

Even if he’s kind of a grump and a recluse the others respect him and come to him for advice when they need it

It’s sometimes stupid stuff like “where did my guitar go” and “quick help me hide Bonnie’s guitar”

He likes the colour purple

#fnaf #fnaf headcanon #fnaf headcanons #fnaf personalities #fnaf 1 #freddy fazbear #chica the chicken #foxy the pirate #bonnie the bunny #golden freddy

55 notes · View notes

chunhua-s · 3 years

Note

congrats on your milestone event!!! id like to request for kita soulmate!au with angst to fluff genre 👉👈 yknow sumn rejection shit bcs im hopeless like that wehee once again congrats! and i love your writing style :3

anon you’re gonna make me cry 🥺 seriously i’m happy you enjoy my writing and that you think my style’s okay! most of the time i go off of what kind of feelings i get when i’m writing or the imagery that comes up in my head and i’m never sure that it translates well enough for you guys to feel or see the same thing. hopefully as i keep writing then i’ll be able to show you guys what’s on my mind better when i’m writing! thank you again for requesting — seriously, it means a lot! and like always, you guys, don’t be afraid to come and talk to me on and off anon! your interactions mean a lot, especially for content creators! we love hearing what you all think, what you like/dislike about our work, what you think of certain characters — absolutely anything! come and talk with us more whenever you can 💕

writing for kita feels calming somehow. normally the things that come up in my chest or my mind when i write gets nearly overwhelming if that makes sense? like i’ll have to pause and remind myself to breathe because it takes up so much of my attention that i kinda get lost, but with kita, it feels more flowey to me. it’s not demanding but more like a gentle coaxing kind of thing or like looking at the surface of a calm river. i was initially scared to write for him because i was worried i wouldn’t get him right, but i feel satisfied with how this turned out, i think. i hope you guys will find it as calming as i found it too! it might not be exactly what you wanted, but because i had already written the rejection of a person for atsumu’s soulmate oneshot, i wanted to play around with kita’s character and make it instead the rejection of a concept/idea? which would indirectly lead to him... you know, rejecting his soulmate initially, but— ahhhhhh it might make sense to just read it!! these rambles keep getting longer and longer :v i’m sorry for that!! please go ahead and read and tell me what you think in the end! 💕

NOTNING MORE THAN HUMAN ➽ KITA SHINSUKE x READER

genre: angst to fluff

au: soulmate

warnings: none

shinsuke kita is human.

and of course, that much is obvious. he isn’t a machine that’s incapable of feelings and emotions, whose heart is unfamiliar with melodies of an overwhelming joy, or the quiet hymns of deep rooted sadness. his skin still burns under righteous fury and anger, his tongue still weighs heavy under hesitance and silent worries. at the end of every long day, he’s still human.

it’s because he’s human that the words on his collarbone feel so heavy, as if they might cave into the bone and destroy him under their weight. it’s because he’s human that the sight of black markings in the mirror clouds his mind with a new kind of fear and worry. shinsuke kita is human, but he’s long since taught himself how to abandon anxiety and nervousness. he surrounds himself in familiar routines that calm the turbulent voices of doubt, he builds habits that ground him to the earth lest he should be swept away by the current. shinsuke has taught himself not to be afraid for the things that will happen everyday, but meeting his soulmate isn’t one of those things he can prepare for.

it’s a strange concept, he considers to himself. shinsuke doesn’t believe in words like fate or destiny, doesn’t care for the higher powers that should judge his actions. as far as he’s concerned, his own will is what dictates where his life goes — he’s in control, and that’s how it’s always been for him. let the gods watch, if they must, but he’s already decided that he’ll live by what is right, and he wouldn’t dare falter in the face of it. and yet — and it’s such a strange thing for him to do so — he pauses under the notion of a soulmate, of a destined partner who’s supposedly bound to him for as long as he should live. at first, he hadn’t given the idea much thought; it wouldn’t serve any purpose to worry about something that would happen whether or not he wants it, he decided. the truth of it is inevitable, just as the leaves must fall in autumn and the earth should be buried under clouds of white in winter. shinsuke is human — what more can he do but to accept it?

the black words that spread across his skin like droplets of ink became the bitter seeds of doubt that he hadn’t felt in a long time. it’s raining a lot today, isn’t it? the sentence by itself is so bland, like something maybe aran or anyone else might say to him in passing, and at first, it didn’t shake him too much, until he was caught one day under a sudden summer storm. seventeen year old kita somehow found himself stranded beneath a small shelter, where the wooden covering could protect him more than his umbrella until the rain passed. it was nearly unconscious, but he somehow found himself on edge, his breath faltered with the harsh pitter patter of rainfall that tumbled from green leaves and tore ripples from the surface of the lake. shinsuke kita found himself with a stomach full of butterflies and a thundering heartbeat that stole him away from solace and calm, cast the peace that he would so often carry with him away and left him stranded among chopping waves. every trembling breath he took stung on cold air and left him with a burning feeling on his lungs. it’s unfamiliar in its presence and shakes him to his core, but shinsuke kita is reminded of his own humanity when he realizes that what he feels, is anticipation and nervousness.

and it’s an odd thing. as he becomes aware of it, he finds himself twisting his fingers together during spring time; he worries his bottom lip between his teeth during unexpected showers. he feels like a child who stands in line to ride a roller coaster for the first time in his life — wide-eyed and drowning in the millions of feelings that race throughout his body. the feeling itself is nothing new, though it’s unfamiliar and intense in its ferocity and demand, seizes his heart and squeezes so tightly that whenever it rains, he’s left breathless.

it’s almost enough to drive him mad.

his very foundation seems to fall apart with the thunder that rolls across grey skies. for every drop of rain that hits the pavement, he finds himself a jittery mess as his heartbeat tears through his chest. the man who taught himself to abandon his fears reverts into the young boy who watched out for god, for the higher beings who watched his every move. and the thought that comes with every brilliant bolt of lightning burns him just as hotly, invasive and demanding when it flashes through his mind on a single, low whisper:

will you be happy?

shinsuke kita is human. he learns as he sees and lives as he’s learned, and what he saw growing up was that soulmates were bounded together till death do them part. a connection that’s set deep in stone, never to be erased by unforgiving weather and to persevere during the cruelest of storms. it’s an inevitable reality that the gods designed, so that mortals like himself should dance on stage and tell them a story. but shinsuke knows that not all these stories have a happy ending.

there are plays that end in tragedy and loss, those that only knew memories of pain and sang with death’s violin. man becomes the actor to a play that he has no choice in and dances on the puppet master’s strings, he surrenders control and gives himself up to the music, and he has no way of knowing the end of it until the curtains should fall. shinsuke has never been one to lay down his will, and yet, as winter melts once more into gray rain clouds and scattered showers, he’s reminded of his mortality, of the fate that’s been sealed away in the falling of rain. shinsuke kita is human, and so he must, like all men do, bend to fate’s will and never utter a word against her.

and for a long time, the sentiment caused him to completely reject the idea of a soulmate.

that feeling of helplessness that would wash over him with the rain turned into a bitterness that crushed his lungs between tightened fist. the acceptance of an inevitable waltz — whether it be to eternal happiness or to a cruel melody — turned into rebellious loathing that spat in the face of destiny. it’s entirely childish in its tale, like a toddler throwing a tantrum because he doesn’t want to give up his precious toy. that toy is his control, the power he had to live his life by his truth, not by that of a higher being. he’s human, after all, and humans are selfish and resentful by nature.

he finds himself with a heavy chest today, as well, as he waits for the pouring rain to subside. the small shelter in the middle of the garden park is familiar, and carries with it the memories of his epiphany, the one that created thunder storms in his once tranquil heart, and for that, he hates this place. the sound of the rain hitting the roof is like nails scratching against the chalkboard; the sound of droplets hitting the lake like an annoying whining that he can’t get out of his head. shinsuke curses this little pocket away from the world with all the childish anger in the world — let it be damned that doing so wouldn’t change anything. for once, he let himself go on a petty grudge against the universe, and against that looming stage and its heavy curtains.

it’s nearly faint, but he picks up on the patter-patter of footfalls that quickly approach him, and he turns bronze coloured eyes to find your rain-drenched figure running for shelter under the little gazebo. you’re out of breath by the time you make it underneath, letting out an exhausted and frustrated sigh as you press your hands to your knees, and shinsuke finds himself sympathizing with the way you bitterly push your hair from your face. you’re an ordinary office worker, from what he can see; you’ve hidden what looks to be a messenger back beneath your coat, leaving you to tremble in a thin button-up. this day’s downpour had been sudden, unexpected as spring would soon surrender to the approaching summer, and he imagines that he would have been in a similar position as yourself had he not packed his umbrella beforehand.

a silence settles over the both of you that’s only broken by the heavy rain, but the presence of it is so soothing that shinsuke finds himself breathing on a lighter air. suddenly the smell of petrichor turns sweeter, the melody of raindrops melting into a distant lullaby, and for the first time, shinsuke feels his heart melt under an indescribable sense of warmth despite the weather. and when your eyes turn to find his, a helpless grin on your lips, he feels that warmth explode under summer fireworks and coarse throhgh his veins like liquid lightning.

“it’s raining a lot today, isn’t it?”

for the second time in his life, shinsuke has an epiphany under the shelter in the garden.

he feels every bit of resentment vanish on a sudden gust of wind, one that sends raindrops splashing against his skin, but he doesn’t seem to notice. not when grey clouds suddenly reveal to him pillars of sunlight that embrace your figure and makes you glow against a background of green leaves. the rain turns into something sweet and enticing, and it suddenly gives shinsuke this unexplainable urge to grab your hand and dance with you underneath the pouring showers, where he can hear your voice ring out on chimes of laughter and innocent bliss. in mere seconds, he manages to let go of the dark clouds that he’d unintentionally harboured on his chest, he let them burst with the weight of anger and childish fury so that they would hit the earth on giant droplets of rain.

shinsuke kita is human — he’s imperfect, mortal. he feels and he thinks and he speaks what’s on his mind. he can hate, and he can love: he can make that decision on whether or not to hold useless grudges and to curse a destiny he can’t change, or to welcome that inevitability with the willingness to learn and grow.

today, as he stands beneath a wooden shelter, hiding from the heavy rains, he decides to stretch his hand out and let the water hit his skin.

davi hits 200 followers — haikyuu!! au writing event! 💕

taglist: @aiiishiiiteru @bootylikepeachy @tsumue

send an ask to be added!

#kita shinsuke x reader #kita x reader #kita x reader scenario #kita x reader imagine #kita x y/n #kita x reader angst #kita x reader fluff #haikyuu!! x reader #haikyuu x reader #haikyuu!!#haikyuu x reader imagine #haikyuu x reader angst #haikyuu x reader fluff #davi hits 200! ✨#haikyuu!! au event 💫

139 notes · View notes

felassan · 4 years

Note

the stuff we learned in trespasser and in tevinter nights really makes the elven cave found in the dalish elf origin make a lot more sense. especially the strange statue that reads "A strange statue commemorating the emergence of--and short-lived trading with--dwarves who dug too high and too frugal and struck elves".

Hi Nonnie! This answer is cut for length.

Ahh, the first Brecilian Forest ruins.. in a way it’s kind of where it all began. Who knew that the Dalish Origin, which arguably of the 6 seemed the most unrelated/disconnected from the main narrative of DAO, would not only come to have the ‘default’ BioWare Warden and its clan prominently featured in DA2, but turn out in the end to be so plot relevant? It’s the staging ground for everything to do with eluvians and the Taint that would come later in the series and play a key role, and it’s there that we get the first esoteric hints about these aspects of the Thedosian past and of the major overarching plot that they’ve been building towards since before DAO was launched.

[What Tamlen Saw]

Tamlen perceives the ruins to be human architecture, and notes the presence of a statue of the People (the one he and Mahariel look at in a cutscene is of Falon’Din, and Marethari later wonders if the ruins were a temple to an old god), and a stone with carvings on it which he suspects are written elvish. “Can these ruins date back to the time of Arlathan? We must have lived in other places, too. Even if elves didn’t live here, its architects knew of our gods.” “This looks like a very old human place. Why would they build this? And why would elven artifacts be here? Maybe some of our ancestors lived here, in caves, like the dwarves. Maybe whoever lived here still wrote and spoke elven.” “I'd never have guessed ancient elves might have lived here - with humans!” When Merrill arrives she also feels that the ruins are of human origin, yet with elven artifacts scattered throughout. The in-game map for the area labels it “Elven Ruins”, and game item category-wise the ruins contain Tevinter-type treasure. Duncan later says the eluvian is Tevinter in origin and used for communication, and of course we know he’s mistaken in his knowledge here, both in terms of origin and use. Were Tamlen and Merrill also incorrect in their assessment of the architecture as human?

Then as you say, if you explore a little, the Strange Statue reads “A strange statue commemorating the emergence of--and short-lived trading with--dwarves who dug too high and too frugal and struck elves". The statue visually looks dwarven to me, short and broad and blocky and with the suggestion of helmet-like lines looking like a stylized and simplified version of the head and shoulders of one of the iconic repeating dwarf statue assets. The statue’s legend itself is a meta allusion to the Dug Too Deep trope. It’s a humorous reference to and reversal of one of the archetypal instances of this trope, which is the dwarves of Lord of the Rings: “Moria. You fear to go into those mines. The Dwarves dug too greedily and too deep. You know what they awoke in the darkness of Khazad-dûm... shadow and flame.” (The Balrog)

[The Balrog Theory: old post from before I named it, more recent posts one and two]

So we have “Elven Ruins”, containing elven artifacts and writing and statues, but which are read by two characters as having human architecture, and which have Tevinter items and assets, and which also contain a dwarven statue commemorating a trading relationship with the elves who lived there. Apparent evidence of three different races.. what are we to make of all that? The mystery continues in the main game with the Brecilian Ruins. Given the location in the same forest and the visual resemblance to the Origin ruins, I think it’s safe to assume they’re of a kind. These other ruins contain Elven Tombs and the imprisoned soul of an Arcane Warrior who remembers them as a place “where the Eldest [elves] come to slumber and [were] visited by those who offer tribute to the gods on their behalf”. Yet our companions notice both elven and Tevinter elements: "The ruins certainly look Tevinter, but are filled with elven trappings. How very odd,” “Is this an elven place? Did the elves live underground just like the dwarves?", “It seems that elves once lived with the Tevinter humans? Or the Tevinter built this place for them? I never heard of such thing”, "I wonder what this ruin used to be. Is it Tevinter, or elven?". The trapped soul recalls that it was humans who built this place, and that both humans and elves were there.

The ruins stuff, despite the dwarf reference or perhaps except for it, leans away from elves and dwarves and towards elves and humans. (Saying that, we don’t have all the pieces yet, especially considering what the trapped soul remembers, which isn’t clear but is some kind of ancient war: “Something else, something that killed both the humans and elves that were here. You see images of a great battle, elves and humans both screaming and attempting to flee from some terrible presence. What that presence was is blurry and lost to time.” What was that? Other humans? The First Blight? But at the time of the First Blight elves were slaves in Tevinter, not people who they cohabited with and apparently built elaborate Burial Chambers for, for their elders? Unless it’s one of those Tevinter-built-on-Arlathan-bones situations, and the trapped soul is remembering humans who lived there who had elven slaves among them. But if they were slaves, would they even permit one of them to become an Arcane Warrior? Do you guys’ heads hurt or is it just me?)

The elves and dwarves stuff is another, different strand. I conceptualize this stuff like:

interactions between ancient elves and humans/Tevinter long ago

interactions between Mythal/the Evanuris/ancient elves and dwarves/the Titans long ago

In TN we find a Ghilan’nain lab-pool beneath a dwarven thaig. The Wardens in that story descend into areas of dwarven make then come across the ancient elven bas-reliefs and iconography and everything in deeper areas that are exclusively elven. The narrative mentions that Grey Wardens have previously found a mix of elven architecture deep down in the Roads. In Trespasser and Descent are the flags for what Mythal/Evanuris/ancient elves might have once done to the dwarves/Titans.

The Torn Notebooks in the Deep Roads are telling -

These statues are old. Better shape than anything I've seen on the surface. Many of them are for Mythal, though. And Fen'Harel. Not in a spot of honor, but guarding, attending.

Protector and All-Mother, why are you honored here, so far from the light of the sun? And why was the Dread Wolf at your side?

These statues are older than anything I saw in my days with the clan. The area's dwarven, though. What were the ancient elves doing down here? Mining? Where were the dwarves? Easier to have them mine it. Not a trading post. You don't go into a friend's home, knock over their gods, and put up your own.

War? I don't remember any legends about our people fighting the dwarves. Though I remember my Keeper telling a story about how the dwarves fear the sun because of Elgar'nan's fire. A metaphor for the elves of Arlathan driving the dwarves underground?

Written beside each elven line is a corresponding phrase, likely a translation:

I am empty, filled with nothing(?), Mythal gives you dreams. It fills you, within you(?), Making our leaders proud. My little stones, Never yours the sun. Forever, forever.

Hahren said we had lost some of the old words. What if they have changed? Durgen'lin from durgen'len? Little dwarves, never yours the sun? What did Mythal do here?

What did Mythal do here indeed.. Well, something caused the Titans to fall, and the fate of the dwarves with them. The Evanuris/ancient elves hunted the Titans, and saw the dwarves as “witless” and “soulless”. Their mining of the Titans’ bodies for their blood and hearts (powerful resources) is covered in the prior Balrog links. Eventually Mythal was hailed as an adjudicator and savior for striking down the Titans and giving their ‘land’ to the People. Suspect this is what sundered the dwarves’ original connection to their Titan parents. Generations later the dwarves of Kal-Repartha still feared the urtok (dragon) and had folktales of a dragon scourge that they were still worried about even then.

Skipping back to the dwarven trading relationship with that group of elves, it wouldn’t be the first time dwarves and elves struck up an amicable relationship in times past. After the destruction of Arlathan, some elves who fled formed an alliance with dwarves of the ancient settlement Cad'halash, and they took refuge and hid there to escape the Imperium, ostensibly. “The Lights of Arlathan will illuminate the scryer’s path. The Archons possessed them, but they were misused, befouled and lost, like so much the Imperium touched. Some were saved, carried by fugitives from the elven city. Their sorrow awoke the Stone and her children sheltered them. They found a sanctuary in the deep halls of Cad’halash, now known as Cadash.” It’s revealed that Kal-Sharok destroyed Cad’halash after discovering they were hiding elves there, in order to cover that up so it wouldn’t risk their alliance with the Imperium.

Not sure how to tl;dr this ramble. Maybe, I don’t know if the Elven Ruins and the Brecilian Ruins themselves are connected to the ancient elf-dwarf conflict, they seem primarily elf-human in makeup. There’s definitely a Lord of the Rings Easter egg. But definitely oh man, yeah, what we can infer about those Mythal/Evanuris/ancient elf interactions with the dwarves from Descent, Trespasser, and Tevinter Nights is.. arresting, to say the least (Titans/dwarf stuff on this front for DA4 pls 🙏). Maybe, assuming it’s even temporally relevant, the trading dwarves’ relationship with the elves they met there was short-lived and the statue legend is phrased in such a way (as to imply that them meeting the elves was a bad thing that they would have been better without) because of what would eventually happen between elves and dwarves? That legend (and potentially the Evanuris statues in the Elven Ruins) remind me a lot of “Not a trading post. You don't go into a friend's home, knock over their gods, and put up your own.”

Was the “terrible presence” killing humans and elves in that place that the Arcane Warrior’s soul remembered, an angry Titan?

69 notes · View notes

saejinws · 3 years

Text

let’s get it! it’s chey ( she/her ), bringing you wishbone’s act #2, paksae. he’s an indie artist with heavy influence from the bedroom pop & chillwave micro-genres, as you can gather from his three official singles at the moment: cassette, karma & late night movie. if discord is more convenient for you, you can add me there ( stream do or not#1490 ), but otherwise, i’m usually reachable in ims! here are saejin’s links : career / stats / plots / pinterest, and hopefully all the other information you need will be found below.

the story.

saejin was lucky enough to be born into a relatively happy family, albeit a small one. both parents are only children, so he didn’t have aunts, uncles or cousins, and only his maternal grandparents were heavily involved with the family, but it was alright! lower middle class, mom who made him watch bird documentaries, dad who had a face made out of stone, but there was still a lot of love. it was nice.

the first big change happened when his little sister ( saebyeol ) was born. her existence put a tragic end to his legacy as the park family’s number one baby, considering she’s a whole eight years younger than him.

in the next year, his mom was diagnosed with a chronic illness; one that would see her rapidly going in and out of hospitals for years to come, so the days of naïve happiness were over for saejin. from that point on, it was about “cherishing every moment” and “living life to the fullest” and “not wasting breath on things that can’t be changed”.

aka his mom’s circumstances meant that he was constantly getting scolded by doctors, rns, family friends, his dad, whoever for displaying negative emotions. was shut down a lot, told that he was being a hassle and that he needed to make things easier for his mom. learned to suppress his emotions unless they were positive.

but while most adults in his life were trying to teach him how to be realistic and approach life with an understanding that nothing is easy, his mom worked hard to do the exact opposite. constantly pushed him to chase his dreams because life is so short, and when he decided that he was going to pursue music, she was the first person to tell him to go for it and give it his all.

got his first guitar at age 14, which is when he started writing his own songs and messing around with editing software, but it wasn’t until 2015 that he started playing his music for people. started in coffee shops ( at this point, his songs were entirely acoustic ), then started playing in clubs in hongdae, which is when he started experimenting with his sound. struggled to gain attention. can’t think of what it’s called rn, but there’s a set amount of tickets that opening acts have to sell to earn their spot in a lineup; saejin’s parents and close friends usually bought a tonnn to help him out because strangers wouldn’t give him the time of day. a nobody. hung out after his sets to meet people, but nobody wanted to meet him. pain.

popularity steadily grew over time, and by late 2019, he was in talks with wishbone records. by the new year, he was a signed artist.

assumed that having a record deal guaranteed International Stardom, so you can imagine his surprise when his first music video hardly gained 5k views in the entire debut week... it was an eye-opening experience for him. realized that the grind was, in fact, not over yet.

his popularity is on a steady incline, but he still isn’t anywhere close to being a household name. very lowkey. he pretends that he doesn’t care, but it eats away at him. spends most of his time in his studio nowadays, trying to create a song that will pull him into the charts. becoming more distant from his parents because he’s so caught up in work, so that’ll probably come back around to bite him in the ass eventually but yk... oh well.

saebyeol is the only family member whom he couldn’t distance himself from if she tried because she’s a parasite. always at his apartment or blowing up his phone, which drives him absolutely crazy because her favorite pastime is ruthlessly bullying him. she’s a little demon.

the character.

park saejin, aka PAKSAE. ‘97. seoulite. soloist.

social introvert. he prefers to spend time alone and usually doesn’t seek company, but if he’s approached first, he’s a relatively open book. forms bonds quickly.

gets unreasonably attached to his friends in short periods of time, so he tries to keep his circle small. he can only deal with wondering why three people aren’t texting him back in a single day: any more than that and he spirals.

pretty optimistic view of life, i think. could’ve become jaded due to his mom’s situation, but she’s made huge efforts to keep his worries minimal and be the best role model she can be in her circumstances. has tried to instill a “life is short, so embrace every moment with open arms” mentality in both of her kids, which saejin picked up on a whole lot more than his little sister has. you probably wouldn’t assume this by listening to his Pity Party Songs ( as saebyeol puts it ), but he’s a happy guy!

on the topic of his pity party songs, all three of his singles so far are a bit sad/melancholic, detailing looking back on the ending of something. he rarely expresses sadness or regret in his day-to-day life, but he considers music to be an outlet. the one place he can be as real as he wants without being criticized. ( that’s what he thought before, anyway. nowadays, he’s constantly getting comments about how nobody wants to listen to him cry about his breakups. fair enough. )

his appearance contradicts his personality. on the outside, he seems like a very loud, expressive person: vibrant colors, unusual materials ( silk chiffon, organza, velvet, etc ), lots of accessories such as gaudy rings, y2k-style beaded necklaces & polymer clay earrings that he probably buys from etsy. but he’s really, really chill & soft-spoken, tries to blend in even though it’s... impossible when he looks the way that he does.

gets most of his social interaction through the sporadic gigs that he plays. on stage, he’s highly expressive and interactive with his fans. when i think of his stage presence, i think of artists like lauv & troye sivan: he utilizes all of his stage space, even when performing more mellow songs. doesn’t want to just stand around and bore his audience. but nowadays, he rarely waits around to meet people because he’s become even more introverted than he was before. in his day-to-day life, there are only about three people whom he contacts frequently and always shows up for. otherwise, his connections are situational: associates the people in his life with certain places, things or activities and rarely meets up with them outside those situations. prefers to communicate through texts or social media messages if he can, but even then, if you aren’t one of his three closest friends, it’s difficult to reach him unless he needs or wants something.

but even tho he’s SUCH a loner... he’s what i like to call a serial romantic. not on a dating ban and also not that popular anyway, so he goes on a lot of dates. blind dates, tinder dates, whatever. texting his friends like “i think i’m in love” twice a month but he’s never talking about the same person. wears a heart-shaped rose quartz pendant to try to manifest meeting his soulmate but he doesn’t want to be clowned for believing in the power of crystals/stones ( or for being so obsessed with love even though it’s OBVIOUS if you listen to his music ) so he says he just wears it ‘cause it’s nice to look at.

his stage name, 박새, is a type of bird. it’s usually stylized as paksae, so most people don’t question it much, but eventually his intl fanbase got curious about what it means and popped the hangul into a translator: lo and behold, he’s now “affectionately” referred to by fans in english-speaking regions as tit. it isn’t saebyeol’s fault but he’s definitely found a way to blame her for it.

if you go to any of his music videos, you will find numerous comments from paksaeanti05. that’s saebyeol. usually she’s hating on him, but if anyone ELSE tries to hate on him, she turns into a keyboard warrior. she’s his biggest critic and his most loyal supporter.

#ws:intro

10 notes · View notes

queerchoicesblog · 3 years

Text

The Understudy

Hiya, folks! So, as previously announced, the wlw writing project continues after a break with a miniseries set back in Vienna, one of the iconic capitals of opera at the time of Mozart. An emerging singer gets the chance to be an understudy in the latest Mozart’s discussed opera Le Nozze di Figaro (The Marriage of Figaro), that premiered at the Burgtheater in Vienna on 1 May 1786, w and play the pants role of the page Cherubino. Preparing for the role doesn’t quite go as planned… .

I took the liberty to add a few Italian words every now and there so here are all the useful translations that might come in handy as you read: cara (dear, female adjective), una meraviglia (a true wonder).

Tagging: @scottishqueer

Previous wlw miniseries: Ancient Greece, Italian Renaissence, Belle Epoque Paris, Sixties.

Hope you enjoy it: if you do, please consider spreading the word!

____________________________

"So...will you do it?" The voice is calm just like the honeyed smile on her lips, but the look in the primadonna's eyes is unmistakable: the great Adriana Ferrarese can't wait to see me out of the door. She's a seasoned professional, she knows how to conceal her displease but I'm not dumb: a jewelled hand rested over Da Ponte's tight and eyes following every single move I make, every single breath I take, she's clearly conveying that my presence is no longer welcome here. It never was, I think: it surely wasn't her idea to invite me here today! Has she tried to dissuade the Maestro from summoning me, I wonder? I'm surprised she failed: you know what they say, feminine wiles can work miracles on men, make them change their minds like a vain girl changes clothes yet...here I am. And she's fuming underneath her well practiced poise. Poor Ferrarese, my blonde curls, my youth must be a threat to her especially in front of him. Ah, I knew that the rumours were true: she's the Italian operatic librettist's mistress! Cunning little devil...of course she gets all the best roles now. Before everyone else.

I join her game and pretend not to notice the subliminal messages she keeps throwing me. I fan myself nonchalantly, pondering the offer I've just received. I am a bit confused: I really don't know what to think of it or how to take it. "Let me get this straight, Maestro" I say, ignoring her and addressing Da Ponte. "You beg me to come here with great haste and ask me to be a last minute understudy for a...page role?" I may not be as famous as his mistress but it's an insult! True, my career hasn't reached its peak yet but I'm not the new girl desperate to get a role: I have adoring admirers throwing flowers and screaming my name whenever I walk into the stage after the grand finale. Who does he think he's talking to? He must understand my disappointment because he's quick to reassure me. "Miss Constanze, Cherubino is not a simple page" he smiles apologetically. "The whole opera revolves around the world of counts and servants, you know Herr Mozart is an innovator, an unconventional spirit...if I remember correctly, you have already worked with him" "Correct" I concede. I'm curious to see where this is going, how he will convince me to accept this. "Well, this new opera has already been a success and trust me: the people of Vienna won't tire of it anytime soon! And the role we kindly asked you to be an understudy for is the most loved by our audience, I assure you. Ask around if you don't believe me: those who attended the opera are head over heels for the Count's page, they recall his scenes, sing his arias underneath their breath...the audience is crazy for him! That's why we couldn't ask just anyone to replace the original singer, but only a refined, talented woman like you, Miss Konstanze" There's a note of pride in his voice. I must give him, it's not surprising that there servant or unconventional roles in Mozart's operas - in The Abduction from the Seraglio I played one of the harem girls - but by the brief description he gave me of the plot I cannot bring myself to understand how the audience can fall in love with a page who doesn't even have an aria for the whole third act and is constantly sidelined. It doesn't make sense: it's a recipe for oblivion to my ears. But he's right: the Wedding is the talk of the town so I should probably say yes anyway, even if no, I don't enjoy the idea of being sidelined. I mean, we all want to glow on stage and bask in the light and audience's adoration. We want their applauses meant for us alone, ringing in our ears when the curtains raise for one last blessed time, we want flowers thrown at us, we want glory. And I am not sure this Cherubino will be my ally on that front if there are two major romances in the main plot already. And even if the audience showed a liking for the page, well I must remember I am not the first singer so my performance will not avoid comparisons. The Maestro speaks again, derailing my line of thoughts. "You see, dear Miss Constanze, Cherubino is not a main character yet he is essential to the plot: without him the whole story wouldn't make sense! One could say that he bears the comedic side of the opera over his young shoulders and even if he doesn't get as many arias as other characters, oh, his are as sweet as cherries, una meraviglia! No wonder the audience loves him...and the restricted number of arias to study might help you prepare properly within such a short notice if you kindly offer your help-" "I would have prepared properly even if I had the double amount of arias within such a short notice, caro Maestro" I interrupt him, just in case he forgot who he is talking to, again. He bows his head, dramatically placing a hand on his heart in display of apology. "But of course, your outstanding professionalism is not questioned here, Miss. To prove it, let me tell you that Herr Mozart was particularly happy when I suggested your name for poor Dorotea's understudy". His mistress' smile is now so tight I have to summon every ounce of professionalism to refrain myself from bursting into a loud insolent laughter. "That's incredibly kind of you, Maestro: I really don't know how to thank you" I purr instead, unable to resist: how could I miss a chance to tease - and piss off! - the primadonna? La Ferrarese throws me a side look I will never forget: I wonder if she has a dagger hidden underneath her skirt and will chase me in the streets in the heat of jealousy when I turn my back at her. Sounds like a scene out of one of those Italian operas, I consider, amused. Do Italians do that offstage too? She only has to dare though: I am younger than her and I have claws too. "Say yes then, Miss" he proposes, radiant. "If you ask me, Herr Mozart thinks you are the best choice and the perfect Cherubino. Say yes, cara Constanze". His face is an expectant plea and I have a feeling that if his mistress wasn't here, he would be begging me on his knees to accept this role. Honestly, I don't know what to make of Herr Mozart's comment about me being just "perfect" to pass for a boy...am I not feminine enough for him in my skirts, tight corset and jewellery a wealthy admirer keeps giving? Whatever. That man is a genius maybe but he's certainly a weirdo. But I think I should accept: it's not the most flattering offer but no one reached the top without taking an understudy role at least once. And so here I am, a week later, in the room of one of Da Ponte's personal friends and composer to help me prepare for the new performance. I don't have much time, not even a month, but his flattery won me. I can do this. I must admit that I'm secretly happy to know that Herr Mozart won't direct the new revivals: he's a brilliant composer and musician but I still remember his wandering hands. I don't think any woman who worked with him - or simply has been around him for more than a bunch of minutes, I wager - got away without a pinch or a breast squeeze. I fail to understand why so many girls fall madly in love with him or at least confess they can't resist his charm. Even his wife still giggle like a child and melt in front of his "Wolfie", despite his endless and well known - and rather squalid, if you ask me - affairs! I mean, not that this Melchiorri is any different: by the so very discreet looks he keeps throwing at my décolleté or by the way his hands linger a bit too much on my hips when he insists to fix my posture, I bet he wouldn't mind me as his mistress. Another lecherous wop, excellent. I've been around so many by now that I know them by heart: honeyed words, usually blabs a lot in a dreamy voice of how they miss Venice or whatever dear hometown they come from and how much you remind them of this or that flower or woman of their childhood. Too many compliments, strong accent hoping you would fall for their exoticism, fine clothing. Just like Mr. Melchiorri. He's from Milan and is a close friend of Salieri. Sometimes I cannot help but wonder if we let too many Italians here in Vienna: sadly, so far they rule the world of the opera and our Emperor is head over heels for them. Ah, better not tell the Empress> she might throw ond hell of a jealousy tantrum! Melchiorri is very gallant, almost regal even if he loses his composure when he speaks of music. He often asks to excuse his passionate temperament with an apologetic smile but I can't shake my mind that this is just a subtle hint to another passionate temperament he would die to show me if the lingering stares he gives me, mesmerised, as I bite the Italian delights he has ready for me - "delivered directly for you, mia cara, from Italy" - every time I visit him for our private sessions are any indication. They're chestnut chocolate truffles with a pinch of brandy, I wager, covered in withe chocolate with a ruby cherry on top. They're called "capezzoli di Venere", that is nipples of Venus, he revealed one day, a mischievous smile on his face: he was probably hoping to shock me or see me blush profusely. Instead, I barked out a laughter and took a generous bite. I regretted it when he bit his lip clearly refraining himself for making another move. But at least he's a good teacher, I make progresses fast. I've been around too many Melchiorris and Herr Mozarts to be bothered. I mean, obviously I'm bothered that most men thinks we opera singers are just harlots in fancier dresses when we broke our backs studying languages, music and singing hard since a very early age. We didn't sacrifice the best years of our lives only to be mistaken for mannequins with a melodious voice when we sing the arias they wrote. But that's what it is and I must focus now. And it's so difficult at times with men like these. Just like when one day the door of his studio slams open out of the blue while I'm rehearsing an aria and a little boy of three, four years maybe runs inside laughing. He's visibly proud of evading whoever was asked to look after him. True to his "passionate temperament", Melchiorri is suddenly furious. He barely looks at the child and shouts out the name of the unfortunate servant before profusely apologise to me. A terrified young maid comes running and soon chaos takes hold of the room: Melchiorri alternates between tight apologetic smiles in my direction and not so gallant curses he thinks I do not understand to the the poor maid who chases the cheeky little boy with great effort but little success. I must admit it's rather amusing even if I'm wasting my time. Suddenly I have an idea. When finally the maestro shuts up to catch breath, I sing an impromptu elaborate thrill at full voice. The little boy freezes and turns towards in awe while the maid wraps her arms around him: caught! Melchiorri needs a moment to process what happened while the girl flashes me a quick, grateful smile. "There, emergency solved" I announce, beaming. "Can we proceed now, Maestro?"

#wlw writing project #wlw writing #wlw miniseries #original work #lgbtqa+#vienna #opera

11 notes · View notes

straykidsupdate · 4 years

Text

Stray Kids Members on GO LIVE and Making the Music They Want to Make

There's bedlam in the kitchen, as K-pop disruptors Stray Kids wreak delicious havoc on a sterile commercial space. They dance around wildly, waving stainless steel pots and pans in the air and tossing freshly pressed napkins and imaginary ingredients with relish and abandon. In the forefront, fiery rapper Changbin serves up his own potent sauce with a pummeling verse, while dancer Lee Know attempts to stir fry a handful of what appear to be rose petals behind him. A marching band, their plumes high and faces unbothered, carries on amidst the mess — a visual manifestation of the heavy bass ostinato that immediately invades the senses. It sounds disorienting, maybe even slightly dangerous. It looks like chaos.

Welcome to "God's Menu" ("神메뉴").

The Korean boy group's latest single boasts a big, brassy hook laced with trap beats and an addicting refrain ("this is our tang, tang, tang, tang," they shout), a recipe that has become their signature dish. A sonic successor to last fall's explosive "Double Knot," the track teems with a tireless energy and their hallmark bravado. The video imagines the eight members as chefs who confidently concoct their own art from scratch. "Taste so good, everyone loves it," Han raps, in a mix of Korean and English. "All our dishes taste so strong."

The culinary metaphor is laid on thick, bolstered by a charismatic performance that includes Korean formalities like "네, 손님" (which translates to "yes, sir and ma'am" in English) and TikTok-certified choreography that incorporates mixing, frying, seasoning, and, most notably, chopping. But for a group that's been cooking up homemade beats and flavorful lyrics in their bedrooms long before their 2018 debut, it's a savory declaration that feels more than earned. "We just keep on making new things," leader Bang Chan sings, cleansing the palate with a sweet melody. "Because we're one of a kind."

They bring that same level of confidence and clarity to their first full-length album Go生, a title that combines the English word "go" with the Chinese character for "life" and showcases the group's penchant for clever wordplay. Pronounced go-saeng in Korean, it translates to "hardship." The English title, GO LIVE, reflects their desire to move forward without any lingering inhibition. Consider the 14-track LP a reintroduction to Stray Kids.

"We tried to not think too much," Bang Chan tells Teen Vogue from Seoul, South Korea, where he's currently huddled in a room with members Lee Know, Changbin, Hyunjin, Han, Felix, Seungmin, and I.N. It's late June, and they're in the middle of their first week of promotions for the album, which means early mornings, long nights, and a whirlwind of music show performances, interviews, radio shows, and virtual fan engagements. And yet, even as it nears midnight, the members, ranging in ages from 19 to 22, are still easily excitable. Australia-raised Bang Chan acts as the group's tireless translator, and despite recent concerns, his accent sounds as prominent as ever as he explains how Stray Kids adopted a fresh mindset in preparation for Go生. "Of course, we thought a lot about what to put in the album and how we wanted to make it, but we went with the flow," he says. "We wanted everything to feel a bit more raw."

Stray Kids made their official debut under JYP Entertainment with the riotous and self-produced "District 9," an angsty blend of hip-hop and EDM that would ultimately define the group's characteristic intensity, both musically and lyrically. It laid the foundation for 2018's I Am… trilogy of EPs, which focused heavily on the theme of identity as they charged away from systems that sought to control them. The Clé series followed in 2019, which threw Stray Kids head-first into the thorny, often exhausting labyrinth of adulthood. Bang Chan, Changbin, and Han, who comprise the group's in-house production trio, known as 3RACHA, write about their own experiences, etching their personal dreams and worries into a diverse discography that spans six EPs, multiple mixtape singles, and special releases. But with Go生, they've emerged with newfound perspective.

For years, their music was fixated on the idea of bulldozing through obstacles that stood in their way. They wanted to outrun their problems. Now, it's clear: Growing up isn't about overcoming anxieties and struggles. Instead, it's learning to live in spite of them — to run freely alongside them.

As a result, Go生 is a release bursting with color and vitality, a celebration of life's mercurial nature. There's a song for every craving, and a tracklist that demonstrates the members' prismatic talents as rappers and vocalists. "Easy" delivers boundless swagger over a trap beat (and it's already been immortalized on stan Twitter); "Airplane" is Stray Kids at their most relaxed, a chill summertime vibe that's also a tremendous showcase for singer Seungmin; main rapper and all-rounder Han lets his voice soar on "Phobia," an electronic-synth track that examines the paranoia of losing someone (it was also the final song added to the album); "TA" is all high energy and thunderous chaos, perfect for a future encore set; and "Blueprint" shines with its funky bass line, bright verses, and fierce optimism ("I'll proudly achieve my dream," Felix sings in Korean, as translated to English).

"We wanted to show what Stray Kids is really about," Bang Chan says. And in doing so, Felix adds, they "experimented with a variety of genres." The fellow Aussie, who Bang Chan affectionately calls his little brother and who fans (known as Stay) refer to as their "sunshine," speaks with a warm timbre. His flow is even deeper and more distinct, and it's been a solid entry point for Stay and locals alike. Felix is a commanding presence on "God's Menu," a testament to his growth as a rapper and performer. When asked about his five-star performance, he gets shy. "I think everyone put their all into this song and into the album," he says. "Sit down, be humble," Bang Chan jokingly sings beside him, a reference to Kendrick Lamar's 2017 manifesto "Humble" and a demonstration of the leader's persistent playfulness.

"We've all improved a lot in terms of our performance," dance captain Lee Know says, much to the surprise of his members. It's not that they don't agree, it's just that his eager contribution to the conversation catches them off guard. He's not always so talkative during press interviews. And there's an audible cheer among the group as he continues. "Our dancing has gotten stronger. Our vocals have gotten stronger as well. But we're still honing those skills. And we'll continue to grow."

Hyunjin, whose own development as a rapper, dancer, and vocalist with a mellifluous falsetto is well-documented on the internet, agrees. "As we get older, we want to show Stay more sides to us," he says. The lithe performer's strength is his versatility. He's highly adaptable, so it's not surprising that he's been working on writing and composing his own music under Bang Chan's watchful guidance. "I want to show [Stay] something different," he adds. (And that's a promise he intends to keep.)

Youngest member I.N thinks they're maturing in other ways too. "We've all gotten a lot more good-looking," the lively vocalist says, very matter-of-factly. Laughter erupts in the room, and Changbin's cackle is unmistakable. Undeterred, I.N carries on. "When it comes to performance, I've personally gotten a lot faster at recording and memorizing choreography," he says. Lee Know is quick to jump in. "I.N's performance in 'TOP' really surprised me," the elder says. "He's in the center position for the hook, and watching him I saw just how much he's improved. He's more confident now."

I.N is happy he gave off such an aura. "When we were preparing for this album there were times when I didn't feel so confident," he says. So he turned to his members, who listened to his concerns and offered him feedback. He feels much lighter now. "One thing I realized after watching our 'God's Menu' stages is that we all look like we're enjoying ourselves more. We feel more free on stage. And it just feels easier."

The album's most surprising and reflective moment comes at the halfway point, courtesy of Han. Written by the teen multihyphenate, "Another Day" is soft and simple, but no less introspective than his previous cuts ("19" and "Sunshine"). It depicts a feeling of restlessness caused by burnout and the inability to "rest without worrying."

Han's inspiration for the song was largely himself. "It's been a tough year, and I knew it wasn't just me who felt that way," he says. "So I wanted to put those emotions into the song."

In front of the camera, Han exudes relentless charisma. He's quick-witted and wickedly funny. Off stage, he's one of the group's two MBTI-approved introverts (the other being Hyunjin), and he prefers to relax in a controlled environment: his room. In fact, if he doesn't have a schedule or a song to work on, he'd prefer not to leave his bed at all, choosing instead to watch YouTube and anime on his phone. As someone who's deeply inspired by visual mediums, it's in these calmer moments where creativity often strikes.

"Everyone goes through times where things don't work out the way you want them to," he says. "But I think it's important to remember that while you're going through a difficult time, you need to take a breath. Go do something for yourself … Break out of that negative mindset and open yourself up to new possibilities."

Each of the members has their own way of dealing with feelings of stress and anxiety. Changbin works on music. "It's my healing," he says. And he hopes it can be healing for Stay too; he teaches fans the basics of rap during semi-regular streams on V Live. Lee Know prefers to do nothing at all. This is why the members often say the self-assured performer is like water — whatever is bothering him just washes away by morning. But I.N needs time away from the older members. ("Leave me alone!" oldest member Bang Chan whines, mimicking the moody teen.) Hyunjin finds comfort in sentimental music and Korean dramas, and he's especially adept at communicating with fans on Instagram and V Live, where he addresses their worries and offers support in both Korean and English. "That heals my heart," he adds softly. Felix has taken up cooking and baking, even going so far as to buy an oven for their shared apartment's kitchen. His brownies are already beloved by the members and JYP staff. "Making something for someone and getting to share what I make… even a small compliment will make me feel relaxed and good about myself," he says.

Meanwhile, Bang Chan has a bad habit of "brainwashing myself into thinking that I'm not restless when I actually am." So he relies on the members, or "the kids" as he calls them, to help keep him in check. "Our first week of promotions was really tiring, but when I look on stage and see them — see Hyunjin, Changbin, Lee Know, see them all — it gives me a lot of strength. They make me feel at home." (The kids coo in jest beside him. "That's right!" Han shouts.)

Seungmin doesn't often feel anxious, but when he does there's nothing that a long walk and a good playlist can't fix. Lately, he's been listening to "Another Day." "Han surprised me [with this song]," the dynamic vocalist says. "I listen to it often, and it has inspired me a lot." Han, never one to pass up a compliment, replies, "Thanks, man."

While 3RACHA are largely responsible for crafting Stray Kids' music, the members are all integral to the process. "It's not 3RACHA's music, it's Stray Kids' music," Changbin says in English. "So the members' feedback is very important. I feel the best when they like it."

Case in point: "God's Menu." The group had originally recorded a different lead single, and they were in the throes of comeback preparations when Changbin played a demo of "God's Menu" for some of the members. According to Bang Chan, this happens a lot: "We go home, we play a demo, and we party to it." It's as simple as that. But then something unusual happened: Upon hearing "God's Menu," Hyunjin immediately knew he wanted to perform it. This was Stray Kids. The other members felt it too. "The lyrics expressed our music and confidence best," Changbin says in English, as his members cheer him on. ("Go, Changbin!" Bang Chan encourages.) "It's a song only Stray Kids could perform.”

And it was a theme that personally resonated with Bang Chan. "Back in the day, when we were releasing songs as 3RACHA, I always liked to relate my producing process with cooking and science," he adds. "It's just a really fun concept." (Astute fans might recall the 2017 3RACHA deep cut "Alchemistry," in which the industrious leader declares himself a "mad scientist.")

So 3RACHA went straight to the top — to the company's founder J. Y. Park — and asked if they could change the single to "God's Menu." They didn't expect much; the single had already been locked. To their surprise, however, JYP agreed with their judgement. And so have Stay: "God's Menu" is the group's fastest music video to reach 60 million views, and Go生 broke their previous first-week sales record.

"It's a really funny and very warm feeling knowing that he believes in what we do," Bang Chan says of JYP's support. "And it makes us want to try out even more of our various ideas."

Producer Mike Daley (Baekhyun's "Candy") experienced 3RACHA's creative process and various ideas first-hand in Los Angeles last May when Bang Chan, Changbin, and Han spent a day with him in the studio following the U.S. leg of the group's Unveil tour. They worked on two tracks, one of which would eventually become "Easy." Daley played an unfinished demo for the trio, and the reaction was immediate. "A few of the guys just started rapping," he tells Teen Vogue. Bang Chan workshopped the hook and melodies with a few of Daley's friends and collaborators, while Changbin and Han wrote the verses. "Spear [Changbin] and Han were in their own zone on their phones, writing," he recalls. According to Daley, Spear — a reference to Changbin's 3RACHA moniker SpearB — laid down the first verse, and the atmosphere was electric. "He was going crazy in the booth," he says. "It had a ton of energy. And that got everyone amped up to make the hook have as much energy as the verses were bringing."

Daley, a veteran of K-pop songwriting camps, was surprised by just how involved 3RACHA were in the studio. "They knew how to produce really well, so we were all arranging it together," he says. He also observed their teamwork. "It seemed like they each had their role and worked together well," he adds. "Spear and Han were focused on the verses, but when they heard a melody they liked, they'd look at Chris [Bang Chan]. They knew how to get the song done."

And that sense of creative autonomy isn't just exclusive to 3RACHA. Through self-produced digital projects like "SKZ-PLAYER," all of the members are encouraged to express themselves through their art. "It's a really good platform for us to showcase what we want to show Stay, something that they haven't seen before," Bang Chan says. In May, he surprised fans with "인정하기 싫어," which translates to "Don't Want To Admit," a vulnerable piano ballad that laid bare his heartache. Last year, Lee Know released "Dawn," a slinky dance performance he choreographed himself. Seungmin covered his favorite band, and fellow JYP artists, DAY6. "I am very grateful that we are able to sincerely connect with Stay through music," the floppy-haired vocalist notes. As for Changbin, he recently dropped "Streetlight," a solo track in which he wrestles with feelings of loneliness. And Hyunjin released his own video — a contemporary dance he produced and choreographed to Billie Eilish's "When The Party's Over." He titled it "Empty."

"I wanted to express a different feeling, one that I couldn't show through our own performances," the perceptive dancer says. He choreographed the piece to convey his longing to perform. That loneliness that comes at the end of a party, he says, is the same emptiness he feels when he leaves the stage. "That void I feel sometimes, I wanted to express that through choreography."

Han's "Close" was inspired by the 2004 film Closer, specifically its opening scene, in which a young woman locks eyes with a handsome stranger across the street. The idea of human connection, of seeing someone and wanting to know everything about that person, struck Han, especially at a time when people feel farther apart than ever. But it was too raw to share. "I didn't originally want to release 'Close.' I wanted to keep it to myself," he says. "But after showing it to the members, they encouraged me, and that motivated me to share it."

And they continue to share their artistry with Stay. Fans are getting an intimate look at the members' songwriting and melody-making prowess in "Two Kids Song," a web series that splits them into pairs and challenges each team to write, produce, and record an original song. For Stray Kids, the desire to keep learning and pushing themselves — as songwriters, as performers, and as young adults navigating the world around them — both inside and outside of the practice room, comes naturally. "We're artists," Bang Chan says. "It's right for us to express whatever we want through our creative process."

However, with unfiltered access also comes moments of real humility, a reminder that the relationship between idols and the community they foster isn't defined in scenes of uncritical loyalty and fan service, but rather in instances where they hold one another accountable. In a June livestream, Bang Chan reminded fans, "I don't want you guys to spread negative energy around. Stays, you guys are better than that." That sentiment was recently reciprocated when the group participated in a July variety show segment that many Black fans deemed racially insensitive. Stray Kids apologized in a personal statement posted to the members' shared Instagram account, in which they rejected all types of discrimination with a promise to do better by their fans everywhere around the world. "We are still lacking in many things and we are trying our hardest to become better," they wrote in Korean and English. "We would like to apologize to anyone if we have stepped on a rake. It was never our intention but due to our lack of understanding."

It's this honesty that resonates most with their fans. It's woven into heartfelt lyrics, tearful ending ments, social media posts, virtual hugs, home-cooked meals, and earnest reminders to deal with — not run away from — things that are difficult. It is the lens through which Stray Kids see themselves: never perfect, but always sincere. Mainly, it's how they expel their innermost thoughts and feelings, the joy and the agony of everyday life. Whether that's by working on music, or choreography, or refining a new dish, or bettering themselves, that's ultimately up for them to decide. It always has been. Their appetites are insatiable, after all. "The fact that we have the chance to make the music we want to make and talk about the things we want to talk about is really special," Changbin says. "It makes me more excited for what's next."

A day after talking to Teen Vogue, Bang Chan, Changbin, and Han set the KCON:TACT stage ablaze with an opening performance that showed the world just how hungry they are. “They always say the same excuses, while they’re complaining we’re producing," Bang Chan sings, the Auto-Tune heavy. "The passion I give it, nobody can kill." It's a bold statement for any group to make, especially one as young as Stray Kids. And yet, it's that measure of determination that's defined their careers since they were teens trapped on a hellevator with nowhere to go but up. One day they'll reach the penthouse. For now, they're learning to savor the ride and embrace the mess.

"We're going to enjoy this freedom," Bang Chan says, "and eventually we'll fly high."

#stray kids #200710 #ot8 #era: GO生 #t: article #t: interview #teen vogue

59 notes · View notes

fgodestinyawakenings · 3 years

Text

FGO Destiny Awakenings: Fujimaru Ritsuka and Fujimaru Ritsuko bio

My procrastination on life, writing my story, anything I needed to do is bad enough I’m surfing web day by day so.... Might as well get my ass to work on this

This is pretty long since it’s two people bio, so everything is under the cut!

Note: In regards to their Magic Circuit quantity, neither FGO wiki or material gives any information about them. I’ve estimated them to be around Emiya Shirou’s level of circuit, but can be lower or higher... But more likely lower as they are only receiving magecraft training in the story

Note 2: Foreign languages in here are courtesy of google translate, if you’re able to improvise its grammar, please drop me an ask so I can edit

Note 3: Some of the info are quite spoilerly but not that much spoiler since it’s a base information for me on their personality, background, magecraft

Note 4: After reading the bio, I know some will be enrage with me at the sensitive topics I’m about to touch for this story. Some are imagination, some are based on what I experience, and I won’t revealed which of what is imagination or experiences in reality. The bio will contain sensitive potential topics such as Depression & Family abuse, you’re entering this at your own risk to read.

Reminder: Yes this is fiction, but you need to separate in from reality. I’m not your babysitter to cater your needs, I have put up 4 notes to remind you of the content you’re entering. And yes, I’ve pacing back and forth on their backstory knowing the backlash I received since this is Fate lore we’re going in out of consideration.

Fujimaru Ritsuka

Character Type: Human, Master, Magus

Affliliation: Chaldea Security Organization

Gender: Male

*Lineage: TBA

Birthday: December 6th

Height: 1.72m

Place of Origin: Japan

Alignment: Lawful Good

Likes: Meeting and getting to know historical figures, Magi*Mari, Reading and Researching about history

Dislikes: Needles

Talents: Stage Magic

Circuit Quality: D

Circuit Quantity: D

Magic: Projection (Illusion), Hypnosis

Elemental Affinity: Air, particularly closest to Mist

Profile

Background

Ritsuka’s father divorced with his birth mother for unspoken circumstances and remarried to Ritsuko’s mother at the age of 11. At their first meeting, Ritsuka’s body was completely frail with his bones visible in plain view, wearing a dead emotionless face that shocked Ritsuko completely. His family situation was only described to young Ritsuko that Ritsuka’s father is doing everything it takes to ensure his mother will never come near him again.

But after spending more time with his new sister, Ritsuka gained back not only his weight, but his ability to speak, where first happened to yell at her for being reckless in fighting against their bullies. Though, he immediately regretted doing so and apologized afterwards when he knew all she did was to protect him.

Whenever someone brought up about his mom, Ritsuka immediately pushed the subject away to another topic. However when prodded further a little, he’s often described to be showing his real self by a broken look with a heartbreaking smile whenever he mentions about her

Personality

Intelligent, compassionate, self-conscious and rational with a reserved personality holding a snarky mouth, Ritsuka is considered the “brains” and leader to his sister and contracted Servants in their goal to restore humanity

By many Servants and Chaldea Staff who are Mages, he’s often described as someone “born with a heart that’s unfitting to be a magus”. Ritsuka would often bring his tablet along in each Singularity to inquire and take photos of the historical in each singularity. His scrupulous attention to detail comes in handy when he is off creating strategies to win against the enemies in the Singularity. And his ability to learn magic quickly helps in fasten his pace to be a better Master, but sometimes his answers in avoiding his friends to find out his meeting with Merlin within his dreams leaves others questioning his credibility for his talent.

Because of his strategic mindset, Ritsuka is highly perceptive to the others' feelings, and can figure out the source of most people's inner turmoil in a matter of a few important conversations.

“The last time someone falls in love with somebody, they had either--created a stepping stone to an illegitimate son to bring his father’s kingdom fall into ruins, trapped themselves forever in a land of utopia or even knocked up with his Master’s sister because why the hell not. No offense to you, Caster.”

-- Ritsuka to his sister while mentioning about Arthur’s, Merlin’s and Cu Chulainn’s love life

However his lack of experience in love and holding low regards about it from reading tons of historical and mythology books, had made him completely oblivious to his own and other people who had fallen in love with him. Though this is mainly of his own low self-esteem of his own worth as a person may have stemmed from his childhood, despite being considered an ace in everything he does by his sister. Ritsuka usually hide this but immediately quickly putting back up the façade of “a reliable and dependable but also ridiculously goofy person” when someone notice.

Understanding how critical their situation is, Ritsuka often refuse to sit still when there’s a given chance to do anything to help Chaldea. He also seems to get a little annoyed sometimes when people think he's cute or adorable, as he wants to be taken seriously like a grown-up from people around him as at most times Ritsuka is more mature and wiser than others.

When Ritsuka and Ritsuko are on their adventures in the Singularity, Ritsuka is the one to act as the leader because he is shown to be very brave and smart. He can be very protective of his sister, whenever she is in danger he is always there to help and will do anything to get her free.

It is also well mentioned that unlike his sister whom is open about her problems and sociable, Ritsuka is much more reserved and emotionally distant often avoiding talking about his past and himself. Even though he admired Heroic Spirits greatly and wished to understand them more, some would notice he often forced himself to draw a line from getting too close for some reason. But as the journey goes, Ritsuka has become greatly attached to everyone in Chaldea amd considered them strongly as his secondary family.

With his strong knowledge in history and novels, Ritsuka thinks much like an actual detective.

Despite his serious personality, living with Ritsuko his whole life (who is famous for her silly attitude) has caused him to indulge in childish activities with her. As such often either jokingly teased he’s forced to join with the shenanigans with the Child Servants, or mostly being the butt monkey teasing by them.

He also holds a huge soft spot towards children in particular to Jack and Mordred. When asked why in particular, Ritsuka easily gives his true smile that children like them deserve the love and acknowledgement they needed. But, he does a huge comedic soft spot to Alexandar and Ko-Gil, making his heart thumping when both used their charm while calling him “Onii-chan”.

He also seems to not mind breaking the rules in order to have some fun, which often having him to be scolded by Emiya when he does so. In particular habit is often staying up late or staying over at Romani’s room to watch Magi*Mari.

Abilities

“Merlin: After all, you and I are very similar, Ritsuka-kun. There shouldn’t be a problem for you to learn my tricks. Ritsuka: By similar, if you’re talking about having the same sexual reproductive organs... That’s captain obvious, Merlin.”

-- Ritsuka to Merlin on his first lesson with him

Illusion Magecraft

With his experience in entertainment magic, Merlin had taught him in magecraft of deception and proficiency in Projection. A magecraft that relies on fooling a being’s psyche to win, a magic which Ritsuka concluded only a mage like Merlin befits this magic for his notorious mischievous behavior.

Misdirection

Under the incantation chant “maintenant tu me vois maintenant tu ne”, Ritsuka will fool his enemy thinking that he had disappeared by their five senses. Rather than concealing his presence, Merlin described this spell as “Putting one’s attention focused strongly onto another. Like falling in love at first sight, where your world focus on that person alone!”

This spell Ritsuka commonly mostly to hide himself from enemy, and also additionally do a surprise attack from the back

However due to his quantity and quality of his magic circuits, Servants and enemies with strong sense and Clairvoyance are able to notice his whereabouts.

Projection (Illusion)

Unlike Emiya’s projection, Ritsuka’s projection creates objects based on his memories and imagination. A skill he’s able to do easily as though it’s strangely natural from his muscle memories, he currently lacks the learning to reinforce his projected works to a reality

Under Merlin’s teachings, Ritsuka is able to create an illusion of manipulating to fool his enemies five senses during battle. But, it may not work if one is able to see through eventually

To perform this magecraft, he need to act/pretend of an action in order to project the desired item from his mind into reality. However because it’s like an illusion, not only it lasted for seconds to minutes, that item may not even appeared in his enemy vision if the latter noticed the truth.

Combat

Even if magic circuits is weak, Ritsuka makes it up by physical combat via kendo. In combat, Ritsuka will give commands to his Servants while fighting against the lower mobs summoned by enemy Servants. Lacking any fear towards death, Ritsuka won’t hesitate to step forward to deal against enemy Servants if needed to buy some time for his allies Servant to summon their Noble Phantasm

As such even facing against a professional magus, Ritsuka treats it as an experiment test nearly at the cost of his own life to find a weakness within them.

Role

Ritsuka acts both support and fights with their Servants in Chaldea. He has no specific Servant in mind as being dragged into the World of Magus. Ritsuka admired all Heroic Spirits, often near instantly switched into his fanboy mode when meeting those he admired.

While he enjoys their company and wishes to personally know each of them better, he does get exasperated by some of the extremely colorful and chaotic Servants summoned in Chaldea.

But, Ritsuka instantly draws a line between him and the Servants from getting to close by often avoiding talking about himself and his own true feelings. Despite making himself distant from them, he cares a great deal about them and strongly hated the idea of treating them and anyone as tools or weapons to use.

Unlike his sister, he’s the one who supplies mana generally to most of the Servants via a technique Merlin taught him when he requested earnestly for his help.

Fujimaru Ritsuko

Character Type: Human, Master, Magus

Affliliation: Chaldea Security Organization

Gender: Female

Lineage: TBA

Birthday: May 29th

Height: 1.58m

Alignment: Lawful Good

Likes: Sports (mainly excel in softball and basketball), Morning workout as early as 4am, Sweets

Dislikes: Studying through reading of books, Anyone who hurts her brother and even attempting to bring up his family problems, House chores

Talents: Accuracy in throwing and quick learning speed taught via hands-on

Circuit Quality: D+

Circuit Quantity: D+

Magic: Nine Hand Seal Magecraft

Elemental Affinity: Fire

Profile

Background

Ritsuko mentions to Mash in Fuyuki Singulary Section 9 Part 1 that her real father disappeared on both her mother and her when she was a baby for reasons unknown. As such, it’s noted her mother has been raising her single-handedly by herself before remarrying Ritsuka’s father when she was 10.

At their first meeting, Ritsuko was completely horrified at Ritsuka’s body was completely frail with his bones visible in plain view, wearing a dead emotionless face that barely even respond to her when she first greeting him warmly. His family situation was only described to young Ritsuko when she asked was that Ritsuka’s father is doing everything it takes to ensure his mother will never come near him again, and will only explain to her when she grew older.

She mentioned though he was quiet, he was still receptive if not hesitant in answering to her. But after spending more time with his new sister, Ritsuka gained back not only his weight, but his ability to speak mainly to yell at her for being reckless in fighting against her bullies. Though at that time, Ritsuko chuckled she was unsure why she was crying while he apologized; whether it was the bullies, her brother scolded her, or the happiness she felt when she saw life in her brother’s eyes after months of wondering if the effort was futile to get closer to her new older brother.

Personality

On the surface, Ritsuko is fierce, independent, and pugnacious, but beneath her tough exterior, she possesses a strong loyalty toward her friends and duty as the Humanity’s last Master with her brother. She also has an admirable compassion and devotion, demonstrated when she expresses love toward things such as her family and friends. Unlike the calmer and reserved Ritsuka, Ritsuko is similarly quick witted and impulsive, especially in heated situations. And, she lacked perception towards her rash decisions often resulted in her accidentally insulting others.

Ritsuko is tough, impatient, headstrong, sarcastic, and assertive. Due to her crush on Mash, she tends to pull her away and shield her from others who showed interest in her. Like her brother, Ritsuko fully embraced her position as the Humanity’s Last Master, but lamenting her weakness how she isn’t calm and level-headed as her brother. A trait of Ritsuka she admires greatly when they were kids, as she’ll always be grateful during the times she was in near trouble. Mainly Ritsuka’s willingness and accepting of her secret towards her interest in woman, as she didn’t want her mother to know out of fear of disappointing her.

Because of this, Ritsuko also tends to be protective and even more so than her brother when it comes to his own well-being. Her mother never told anything about Ritsuka’s parents, except as she quoted:

“Mom said I was too young understand. Telling me Ritsuka’s mom did something really bad to him so Dad ensured his mom will never come close to meet Ritsuka again.”

As such, Ritsuko often keeps an eye on Ritsuka’s reaction whenever someone asks about his mom; ready to deflect or even pull him away at the uncomfortable situation.

Initially frightened and frozen with fear at Fuyuki Singularity, Ritsuko lamented with regret greatly how if her strength to save Mash from Artoria Alter’s Noble Phantasm could do the same for Olga Marie. But, she knew better she can’t wallow in grief, vowing to grow stronger and requested Emiya’s and Sadakuni’s aid to train her in combat and magecraft respectively.

Abilities

"Boomer-Dagger”

A pair of dagger crafted specially by Emiya after considering her skillset. It can be used for both physical combat and her magecraft. When thrown to her enemies, it returns to her via an invisible string connecting to her magic circuit. Also, it’s used as a placeholder on her talisman before conjuring her Nine Hand Seal Mudra Magecraft

Talisman

Her catalyst to invoke with her magecraft. Taught by Sadakuni, she needs to place it on her target before doing her Mudras to attack her opponent. Ritsuko often brings her mat of magic circle drawn by her blood to imbued powers into the talisman daily through meditation.

Onmyoudo Kuji-in aka Nine Hand Seals Magecraft

Taught by Section Chief Agano Sadakuni, Ritsuko mainly uses this magecraft for combat. This magecraft relies specifically on specific hand gesture and pattern to conjure her spells. From reinforcing her weapon and physical strength, to summoning fire magic for combat

Rin-Pyo-Toh, ready for battle: Enhancing her physical strength

Kai-Jin-Retsu, release: Conjure an explosion burst of flames

Jin-Pyo-Zai, bind: With ranged of 10 talisman connected by a burning magical rope to bind the target

Zai-Sha-Kai, heal: Transfer her mana for healing or empowering her Servant

Combat

Like her brother despite having slighter better circuits than him, Ritsuko sides along with her brother via physical combat. She often pairs with her brother, acting as a bait to go against the enemy, while Ritsuka pulls off a surprise ambush via his illusion magecraft.

In the face of an enemy Servant, Ritsuko steps back to give orders to the Servant she contracted with.

Role

While she treats Servants who are Kings or Queen with respect by their title, Ritsuko treats everyone equally with respect and as a friend. She’s shown to be more than willing to teach them about the modern technology and slang, also joining them in their crazy plans often resulted in chaotic humor, much to Ritsuka’s chagrin.

Like her brother, Ritsuko detested the idea of anyone treating Servants as tools or weapons as she view those who contracted her as their friend. This feeling also extend to her enemy Servant, believing they are living beings with their own free will and emotions.

While her brother generally supplies mana to their Servants, Ritsuko acts second-in-charge right after he finish mana transferring to their Servant which resulted him immobile and carried around by Emiya or Caster Cu Chulainn.

#fgo destiny awakenings #fujimaru ritsuka #fujimaru ritsuko

15 notes · View notes

katyatalks · 4 years

Text

MP100 “Characters & Such Official Guidebook” - Interviews ENG Translation

The Characters & Such Official Guidebook was released mid-April 2019 as a guide for all things related to MP100 season 1 & 2. The guidebook also includes interviews with the voice actors of the main five characters (Mob, Reigen, Dimple, Ritsu, Teru), followed by interviews with Director Tachikawa, Series Coordinator Seko, Character Designer Kameda & finally with ONE himself.

Contains a bunch of interesting trivia and conversations (eg. Tachikawa and Kameda looked at fan art before they began the anime, an alternative past for Reigen was once considered, plenty of references to S3 & broccoli arc.) This is a pretty long read, so please enjoy!

Original thread on Twitter here. TN = Translator’s Note "Bold denotes a direct quote of a question,” & “italics denotes a direct quote of an answer.” I’m a little bit inconsistent with where I decide to give full question and answers rather than summaries here...

ITOU SETSUO [Mob]

On being asked how he approached voicing Mob during the audition, he says that he went for something flat as Mob doesn’t really inspire “main character” vibes in him.

He takes it as a compliment when he is told that he’s like Mob as a person.

Initially he didn’t think too much of himself in the role as Mob but after being told by co-stars just how well his voice and performance suit the character, he began to believe it too.

On being asked what’s so charming about Mob, Itou says his honesty, and that he doesn’t take a negative viewpoint. Brings up that when Mob is against a foe, rather than “are you my enemy?” he’ll ask “what are you doing here?”.

Itou’s favourite character is Teru, as he thinks the way Teru behaves with his powers originally is the most realistic in terms of standard human nature.

He says the same thing applies to Shou & Touichirou.

The fact that Mob is different is his strength; the fact that he doesn’t think of his powers as anything special. He gives credit to Reigen for Mob thinking this way about his powers.

“At first, Mob-kun suffered because of his powers. But then he meets shishou, who tells him that his powers are just one part of him - this is linked to why Mob-kun is so charming now.”

Mob considers “you shouldn’t use your powers against people” a given fact.

Itou originally found it difficult to know how far he should go adding emotion to Mob’s voice.

Since MP100 is the first show Itou has been a regular & leading part for, he wanted to be the first person in the recording booth for episode 1, and as a result ended up arriving 45 minutes early.

Asked about his favourite scenes from S1 & S2, he mentions the scene that’s stayed with him is when Mob first appears in S1E1.

Has a few scenes he mentions as favourites; he loves the whole Teru vs Mob fight, but especially when Teru is shouting while using his powers as he recalls the passion Matsuoka [Teru] had when recording it.

He mentions when Mob saves Ritsu in S1E8, also mentions that’s something they covered in the stage play, and that it makes him emotional thinking about it.

Says he loves the scene when Mob shouts “Shishou!” as Reigen is ‘killed’ by Sakurai in S1E11.

Mentions S2E1 as well. “Mob-kun doesn’t express his emotions much, but he does then. Showing his powers to another while crying. I remember being glad when I first read the script for episode 1 as it’s a scene I wanted to do. I think of it as the moment Mob-kun starts to change.”

When asked about the stage play, says he thinks the Mob he portrays in the stage play is slightly different to the one he portrays in the anime.

Asks the fans to please continue to watch over MP100 and Mob’s growth, and it would be good if we could all continue to support MP100 as much as we can, from a stage play angle as well.

SAKURAI TAKAHIRO [Reigen]

Sakurai says if he were to have powers he’d probably use them to commit wrongdoings with.

Asked on his impressions of Reigen, says he sees Reigen as an “unbalanced person”, but thought he was mysterious in season 1.

Thought of Reigen as a fraud and not a good person in S1, but with S2 we see his uchizura (private, more ‘real’ self) and real emotions, so his feelings re: Reigen changed from S1 to S2. “It was hard to know who he was, back in season 1.”

“So you felt pretty strongly that he was simply a fraud?” Sakurai; “Well, he lies to people, but at the same time he does actually put some work in (laughs). Clients go home feeling refreshed, so he definitely gives a good massage.”

Calls Reigen eloquent, and that the things that he says are sound. Calls him a good speaker. Brings up his speech to the “claw guys” (likely referencing S1E12). “He can be irresponsible, but he’s got a mysterious intelligence.”

Says that from the middle to the end of S2 there would be as many as 20-30 people in the studio.

Asked about his favourite episodes S1+S2 inclusive, says S2E1 and that the transition from the end of S1 to S2 is smooth with it. “A really fantastic episode”, “you can also see signs of Mob’s growth.”

“On that note, when Reigen hears that Mob got a girlfriend...” Sakurai; “It’s a shock (laughs). His mind goes blank. ‘There’s no way Mob managed to get a girlfriend,’ is what’s running through his mind. He doesn’t celebrate it. Actually, it’s an upsetting thing for him - since Mob would be all over her, Reigen’s business would end up in trouble (laughs).”

Sakurai describes the “Shishou and Deshi” relationship that Mob & Reigen originally have as something that’s quite fabricated and disregards a lot of truths.

“Reigen was an adult floating in limbo for some time, and starts a business in a calculating move. And it starts going well once he meets Mob in their chance encounter.”

“The nickname ‘Mob’ signifies him as a boy without a presence, and yet it’s from that point that Mob starts to grow, and something like a desire for recognition sprouts within him.” [TN: This appears to be implying that Reigen began the ‘Mob’ nickname.]

Sakurai considers Reigen arc 1) a story in which Mob's popularity skyrockets 2) a story in which we see a more raw side of Reigen and start to like him more.

On being asked if there’s any part of Reigen that he sees in himself, starts off with saying that he tends to give out advice to those younger than him (he’s in his 40s and implies he can’t compare himself to someone who’s young in their 20s). Then after knowing what’s running through Reigen’s head in S2; “I suppose we do overlap in one way or another.”

Sakurai says he was very much one of the “mob” (a nobody) in his 10s.

Finally, asked to give a message to fans; “I’d like to do a Season 3, so please continue to love Mob Psycho 100.”

OOTSUKA AKIO [Dimple]

Asked about his thoughts on MP100, Ootsuka says that the art style of the manga caught his eye - he thought it was fun that the anime doesn’t lose the style of the manga while making it more stylish.

Finds in modern manga, the trend is an ordinary kid will get powers by some chance & the adventure starts from there, but found it interesting that in MP100 Mob has had powers since he was tiny & the adventure begins after he comes crying to Reigen with “I don’t know what to do”.

Also enjoys how Mob isn’t exactly the “main character” type. Thinks that it’s a breath of fresh air in the shounen manga genre.

On being asked about Dimple’s charm, Ootsuka; “He’s bad, but you can’t hate him.”

Says that Dimple is ugly but that’s fun, since most of the time mascot characters are cute.

When asked what was running through his mind when preparing for the role of Dimple, he says “dishonesty, slyness.” Acting as if he’s smarter than people but he actually isn’t.

“Speaking of dishonest/sly adults, I feel Reigen is a different type.” Ootsuka; “I’d say Reigen is more dishonest/sly than Dimple... nah, actually they’re about the same. (Laughs)”

When asked if there was anything he finds difficult about playing Dimple, he says that with other acting jobs he finds it hard to play a character where he can’t connect, but “there’s a similar kind of guy to Dimple that lives inside me. So I just go, ‘oi, come out’ (laughs)”.

Says he thinks we all have a bit of Dimple in us.

Ootsuka is also the narrator in MP100. Said that originally he felt there was a difference in the way he played Dimple & the narrator, but that difference kind of became smaller.

He was told to no longer put on a voice that sounds similar to the person Dimple is possessing for season 2, which disappointed him as he wanted to put on a Mob-like voice for when Dimple possesses Mob in S2E4.

Discussion of how director didn’t like Hoshino’s [Serizawa] original takes as they were too silly. [TN: this is mentioned again by Inoue [Suzuki] and Hoshino [Serizawa] in this interview.]

He recalls bursting into laughter over Iwasaki Hiroshi’s performance as Ishiguro in S1E12.

“Reigen becomes able to see Dimple as well in the last bit of Season 1, so he gains another conversation partner.” Ootsuka; “Reigen and Dimple, they both view the other as unnecessary (laughs). So the back-and-forth they have with that in mind is pretty fun.”

Asked about his favourite scenes or episodes, he says the end of S1E3. Dimple’s “Great morning, isn’t it, partner?” line really stuck with him.

Compares Dimple to a dog by Mob’s side.

“Dimple has the kind of face that you just might want to slap (laughs).” Ootsuka; “Well, that’s why I was careful to not give him a too audacious manner of speaking.” Says the interesting thing about his line of work is really having to think about how to say lines.

Also voiced Dimple for the live action adaptation [TN: AKA Netflix ver]. Says it was fun but found it a massive shame that he wasn’t able to bounce lines off of anyone.

“I really didn’t do much in middle school. I was just a chuunibyou (laughs).”

When asked to give a message to MP100 fans, “You guys wanna see more, right? There’s still more to adapt, isn’t there ;) (laughs). So, we can make a sequel to S2 a reality if everyone works together. A ‘if you speak up, then your dreams might come true!’ vibe (laughs).”

He makes a sneaky reference to Broccoli Arc and wanting to see it animated.

IRINO MIYU [Ritsu]

On being asked his initial thoughts on MP100, Irino states he originally thought it was a lighthearted jokey manga based on the art style and the way the story was introduced, so he was surprised as the story progressed.

States that Ritsu is a relatable character with the issues that he faces (eg wanting something that’s out of reach so hiding your want).

Asked about anything that was difficult to perform as Ritsu, he states his two-sided nature; his general honour-student self and the other side of him.

Says that when Ritsu enters into his darker side, rather than playing some kind of bad guy Ritsu is simply more frank with how he expresses himself. “He lets the emotions in his heart be heard one by one.”

Irino is asked if he personally admires Mob, to which he replies that he’s jealous of the fact that Mob is so unbeatable.

He says Ritsu must also have the experience of looking at Mob and thinking something like, “Compared to him, I’m just...”

States he himself, Ritsu, and just about anyone has likely yearned to become something overwhelming, but we don’t believe in our ability to achieve that.

Following this, interviewer comments that Mob carries feelings of unease in his heart even though he’s so unbeatable. Irino comments that something fun for him with MP100 is that Mob doesn’t really realise how unbeatable he is.

Something that Ritsu admires about his brother is that he doesn’t show off the fact that he’s unbeatable.

“Even with powers, there’s plenty of things you can’t do.” Irino; “Such as not being able to confess to the girl you like (laughs).”

“Seems like even if he abused his powers he’d still be able to turn heads.” Irino; “Because he’s charming - that’s something good about him. That’s why everyone loves him, and why he gives off main-character-of-a-shounen-manga vibes.”

Asked about his favourite scenes/episodes from seasons 1 & 2, Irino says around when Ritsu's powers are awakened in season 1. He found it interesting to watch how his heart becomes disturbed.

"He finally obtained the thing he'd been longing for, but everything around him that was once so calm gets thrown into disarray."

He also liked it when Ritsu stands atop the telephone pole in S1E7.

Speaking in terms of Power Rangers & character colour association, ever since he was a kid Irino has admired characters that are more blue or black rather than red.

Interviewer comments that Ritsu holds the ‘blue’ role in MP100.

After Mob & Ritsu reconcile, Irino states that he feels Ritsu has come to understand his brother more.

“How should I put it; Ritsu is overprotective, or there’s a side to him that’s too fussy over his big brother...” Irino; “but that kind of brotherly love is pleasant to see.”

“In Season 2, Ritsu and Shou go through a joint struggle.” Irino; “Shou’s father has tremendous powers, and he has one fear with that; he doesn’t know when his father will go on a rampage. Their circumstances are similar, in that sense.”

“Truth is, in parts MP100 is quite like your typical shounen manga.” Irino replies that there’s a bunch of great lines in the manga, and importance hidden within casual words.

Following this response he’s asked if there’s certain line(s) from MP100 that have stuck with him, to which Irino replies quite a few of Reigen’s. “During the last part of season 1 when he marches into Claw’s hideout, you get to hear a lot of his thoughts. It’s hard to tell if he’s being truthful with the things he says or if he’s lying, and on top of that he says quite a few important things. That unbalance is interesting.”

“The broadcast of season 2 has already come to an end...” Irino replies that he’d like the MP100 anime to continue and adapt the manga to the very end.

“I’m sure all the fans feel the same way.” Irino; “Everyone worked together as one to create the MP100 anime. For it to continue, we need your support; so please continue to give that to us.”

MATSUOKA YOSHITSUGU [Teru]

Asked his initial thoughts on MP100, Matsuoka says it was that it’s a piece that you can easily empathise with; regardless of if you’re in primary school, middle school, high school, an adult, an old man or woman...

Matsuoka thinks of the anime as something you watch and go, “I’ll try my best tomorrow, too.”

Matsuoka voices both Teru and Tokugawa in MP100. He was first offered the voice of Teru, and then it was decided he’d also voice Tokugawa.

It’s brought up that Tokugawa appears earlier in the show than Teru. “They’re two very different people, so in that sense performing both roles was easy. If they’d been similar characters I think there would be some confusion.”

Regarding Tokugawa, Matsuoka describes him as being quite firmly in the “student council” role with how strict and resolute his character is, in a way that Matsuoka himself very much isn’t.

Describes him as a cool-headed person, but given the way he interacts with Kamuro and is able to persuade him, says he has a hot-headed element to him as well. Matsuoka uses this as an example of how MP100 shows us the multifacetedness of human nature.

Regarding his other character, Teru; describes him as the personification of ‘chuunibyou’. “I think of him as the embodiment of the answer to the question, ‘if you had powers, what would you do?’”

One line he still remembers from S1 is Teru’s “Muscle training? Studying? That’s for ordinary people!” Matsuoka says that there’s a part of him that agreed with that line, and he says that if he were to get powers he’d likely be as conceited as Teru was.

States that Mob’s “From my perspective you’re just ordinary” line also stuck with him.

“From S1E5?” Matsuoka; “Yes - and then Teru replies, 'shut up!', and strangles Mob.” He says that he was really able to project his own emotions during this part and mix them with Teru’s own.

“People can’t change so easily” - Matsuoka says the things that Teru was saying to Mob, he was also saying to himself, like looking in a mirror. Uses this as an example of Teru’s own multifaceted nature.

Matsuoka says that the original Teru we see (who the interviewer describes as having a "poisonous nature" & putting on airs) is simply playing the role of what he considers to be an 'ideal' person, but then that comes away and we're left with the real Teru.

Interviewer makes a joke that Teru gets his personality trimmed along with his hair.

Is asked about Mob & Teru's rivalry, and says "No way, no way - there's no way they're /actually/ rivals." Says the power difference between Mob and Teru is way too big for that to actually be the case - "compared to Mob, Teru is ordinary."

Calls MP100 a work from which you realise "Everyone is a hero, and everyone is ordinary".

Asked on his opinion on MP100 season 2; says that there's more moments that get to you emotionally than season 1. Brings up S2E8 as an example (when Mob's house burns). "Say if that was actually Mob's family who burned in there... I think he'd destroy the world."

Asked about his favourite scenes from season 1 & 2, he says (as previously mentioned) the part where Mob says “From my perspective you’re just ordinary”. He also likes when Teru says to Onigawara, "it must be sad to be ordinary."

He likes the whole of S1E4, and calls Dimple a "famous-saying-production-machine".

Continuing on the topic of Dimple, interviewer says that Dimple is an ally, but teeters between good and evil. Matsuoka; “Setting aside his actions for a moment - the things that he says are essentially evil (laughs). He tries to tempt Mob and the other characters.”

He is asked if he has anything to say to fans of MP100. Matsuoka; “Season 2 is over, and now you’re holding this Character Guidebook in your hands. The fact that we’ve reached this point is thanks to the support of you all, the fans.” [...] “Season 2 brings an end to the grand fight between Shou and his father, but as those of you who’ve read the manga know, Mob Psycho 100 doesn’t end there. The giant broccoli is yet to come (laughs). I personally would like to do the whole of Broccoli Arc. As for when we can do that, I don’t know - I don’t even know if it’ll be possible to do it - but I’d like to believe that we’ll do it. I think that if you all believe in it too, then it’ll become reality.”

TACHIKAWA YUZURU [Director]

On being asked why he decided to work on MP100, Tachikawa; “Naturally, it was because of how charming the characters are.” There’s a lot of main characters who hold immense power, but Mob doesn’t want those powers, which is rare - this is why he finds Mob charming.

He compares and contrasts to Reigen - “[He] has no powers, but puts on a bold front and deceives people… well, that’s a misleading way to put it (laughs).” He thinks Mob and Reigen’s combo is amusing as a result.

He’s asked about MP100s character design, to which he describes Kameda drawing up a whole bunch of ideas. There’d be designs that were similar to ONE’s, and designs that made Mob a bit more handsome, “since at the time, if you looked at Mob Psycho 100 fan art on the internet, there were plenty of depictions of Mob being all sparkly and good-looking.”

“But looking at that, Kameda-kun and I decided we both wanted to go for something more akin to ONE-san’s art. When we showed ONE-san the rough sketches of the more handsome designs, he said ‘they’re attractive - I'm good with that’, but Kameda-kun and I replied ‘no, no - ONE-san, your art leaves more of an impression than this, so let’s go for something more like what you draw.’”

Tachikawa wanted to include the more ‘catchy’ kinds of stories in the anime. He brings up that Mob and Reigen dressing in women’s clothing and infiltrating the school happens in Volume 7 of the manga, but they decided to bring that to S1E2.

Asked about convos that happened with ONE regarding scenarios in the anime - Tachikawa mentions how in S1E11, there’s a segment where a younger Mob and Ritsu are lost in a forest. “I expressed to ONE-san that I’d like to witness why Mob respects Ritsu, to which he gave this idea.”

“In the manga, what Reigen did before he began S&S isn’t shown to us, but we get an implication of his past based on a line he says to do with businesses. I said the following to ONE-san; ‘An insurance salesman, or water marketing?’, to which ONE-san replied ‘water marketing.’”

Also mentions that Tsubomi coming to S&S in S2E8 wasn't something they adapted from the manga, but something ONE specifically created for the anime because Tachikawa expressed he wanted to see that kind of scenario, and then ONE added it as an omake to the manga. [TN: This is mentioned again here.]

He thinks he would have had the choice to handle both the screenplay and the series coordination but decided to ask Seko to handle Series Co-ordination instead.

He is in charge of the screenplay for S2E6-7 (Reigen arc). It was decided that Tachikawa would be in charge of storyboards for S2E7 before it was decided he’d handle the screenplay.

“Do you feel you have an emotional attachment to Reigen?” Tachikawa; “Yes, I do (laughs).” Calls him a character surrounded by mystery back in S1, and other than his courage and the occasional line that would resonate with Mob there’s a lot about him that’s unclear. “But with S2E6-7, we step into his uchizura (more private, “real” self). It’s interesting to see who a character appears to be on the outside, and their uchizura.”

Tachikawa finds stories in which someone falls to their lowest point and then recovers charming - thus, Tachikawa was charmed by S2E6-7 which depict Reigen’s fall and his subsequent recovery. Says that Ritsu and Teru also go through something similar (fall and recovery).

He loves when you can feel the humanity of characters. Says that when you show character development the charm of that character increases, and so does the popularity of the whole work. “I suppose it’s not just me who likes that, it’s all the fans, too”.

Makes a point of mentioning that all the characters have reached a turning point by the end of season 2, apart from Dimple.

Asked on his opinion of Mob, he says he relates to him and he was the type of kid in school to be in a position removed from everyone else. “He’s a character I really like, though I’m told by others that I’m ‘Reigen-ish’ (laughs).”

“I think there’s a few ways you could take ‘Reigen-ish’...” Tachikawa; “To put it another way, ‘shady’. Kameda-kun made that clear to me (laughs). As if I’m feigning friendliness.”

Tachikawa handled the rough layout of the illustration cover (Kameda finalised it). “It’s something I could imagine happening that wasn’t shown to us during S2E8. I thought to myself, it would be nice to show Dimple, Reigen and Ritsu working together for Mob’s sake. A theme of season 1 and 2 is Mob’s growth, so I thought the marathon episode would fit as a cover for this guidebook. As a result of his growth, he’s got people gathered around him…”

“I think Reigen would’ve run with them on the first day they trained together, but then he’d start using the bike instead. Since his muscles hurt (laughs).”

Asked to give a message to fans, he says that all the support from fans gave them a lot of energy throughout the production of seasons 1 & 2. Tells the fans to enjoy the OVA.

SEKO HIROSHI [Series Co-ordinator]

Asked on his thoughts of the MP100 manga, Seko; “it’s a work in which the characters are all charming. This is a misleading way to phrase it, but they’re a hopeless bunch; yet, the way ONE-san deals with them is very warm.”

“They’re not just characters, they’re much like us - nothing but human.”

Asked about how he wanted to deal with coordinating the series; “At the time of season 1 discussions, the most recent volume was around 9. I’d read up to that point and thought that if the anime is covering 12 episodes, then we should reach up to the fight with Claw’s seventh division in volume 6. My thought process from there was, ‘in what way can we make it so season 1 ends there?’, and with that I began.”

Asked if there was anything he fussed over, “making sure to not tar what makes the manga so charming. For example, when Mob reaches 100% for the first time in S1E3, that’s a highlight of the story, and I wanted to keep it that way.”

Reason for the movement of the high school infiltration from Vol 7 of the manga to S1E2 was to help build up to Mob’s 100% in S1E3.

The “student council” part of the manga spans S1E6-7 of the anime. The decision to condense it was due to the anime having only 12 episodes.

Reigen & Mob’s initial meeting being portrayed in S1 is brought up; “In a screenplay meeting with Tachikawa-san, we discussed depicting their initial meeting from Mob’s point of view, whereas in the manga it’s from Reigen’s. It comes up a little later in the manga but we thought it would be good to show their meeting in S1. And, if we ever got the chance to make a S2, we’d have the scene again much like it appears in the manga from Reigen’s perspective. So they wouldn’t be entirely the same scene.”

To being asked if there were any requests from ONE regarding the screenplay of the anime, Seko; “We had a discussion in which he said that while the final part of S1 has a serious atmosphere due to the fight, he didn’t want it to end that way. For that reason I proposed that we could end S1 with the tsuchinoko segment. I think ONE-san is uncomfortable when there’s nothing but seriousness.”

Seko says he had a feeling that they’d get a season 2. Much like season 1, he finished off season 2 in such that way as to give off the impression that there’s more to come.

“Did you struggle figuring out how to start S2E1?” Seko; “Regarding that, I’d already decided that if we were to make a S2 we’d start it off with Wriggle Wriggle.”

A deliberate choice was made to start off S2, and finish S2, with the broccoli (Mob receives the broccoli seeds at the start; broccoli becomes the giant broccoli at the end).

The interviewer describes an important part of S2 as being “hold your emotions dear to you”.

Seko; “Wriggle Wriggle is a pretty silly story, so I thought having a pleasant story after that would keep the balance. I think that balance between silly and serious is representative of what Mob Psycho 100 is.”

“Season 2 has one more episode than season 1, making it a total of 13 episodes. Could you tell us why?” Seko; “The original plan was 12 episodes. Had we kept to that, the scene in which Mob’s house burns would come at the end of part A of episode 8. But Warner Bros. producer Matsuda-san said, ‘I’d like that to come at the end of the episode.’ However, doing that would mean we’d have to give the battle with Claw that follows that a squeeze... so Matsuda-san said, ‘let’s go for 13 episodes then.’” [TN: This is mentioned again here.]

“Are there any scenes from S1 & S2 that you feel an emotional attachment to?” Seko says when Reigen is invincible in S1E12. “The scene in which he scolds the 7th division embodies what Mob Psycho 100 is all about.”

Says that in typical shounen manga the situation would be resolved with a fight but MP100 isn’t like that. “The things that Reigen says are completely justified, realistically. The things an evil organisation does are a crime; the clothes that they wear are weird... (Laughs)”

“Speaking of Reigen, a phrase of his that leaves an impression in S1E11 is, ‘When things get tough, it’s okay to run away!’” Seko; “In conventional shounen manga, there’s the belief that the protagonist shouldn’t run away, but with ‘it’s okay’, ONE-san’s personality shines through. Reigen is truly an intelligent person. The things he does are questionable, yet he has common sense that comes out at strange times.”

“You can’t sum up his character in a single word.” Seko; “I think he’s a respectable person, but he also cons people (laughs).” He enjoys the back and forth Reigen has with clients, and his stinginess and the way he edits ghost photos. “He’s both eloquent and skilled, which is unbearable (laughs). Despite that, he doesn’t rip people off with what he charges. You get the idea that he’s got some sense of ethics, which is calming.”

“He’s simply a difficult character to understand.” Seko; “Honestly, at first I couldn’t understand him at all. It was difficult to think of things that he might say when creating scenes that weren’t in the original manga. But when it became clear to me that he has morals, it all fell into place. I’ve forgotten when exactly this happened - it was at some point near the start or middle of season 1 - but I came to understand the kind of person Reigen is.”

Speaking about Mob, “He’s introverted, quiet and bad at socialising, but he has this immense power inside him... when you hear that, some other works will probably spring to mind, but when you read MP100 you realise this is different. Mob is Mob[.]”

“It’s interesting to see a character as powerful as he is work very hard at training his muscles.” Seko; “And his incentive for that is that he wants to be popular (laughs).”

Seko was in charge of the next episode previews (which Reigen would announce in a meta-ish way). He says that he ran out of ideas of what to end them with by season 2 so they start repeating a little.

Asked to give a message to fans, he says thank you for watching S2 and look forward to the OVA.

KAMEDA YOSHIMICHI [Character Designer]

Asked his thoughts on the MP100 manga, Kameda says he didn’t have much of a clue what direction the story would take upon finishing the second volume. “After Claw gets introduced the story takes on an action-like atmosphere so I thought it would carry on that way, but then the story starts digging deep into uchizuras. I was surprised at that. That’s a true-to-life middle school boy being depicted.”

Kameda says that he took on working on the MP100 anime after reaching the part of mob psycho that explores uchizuras. “The way I felt was, ‘I want us to make a season 2, so we can definitely animate this part. I’m doing season 1 for this purpose.’ (Laughs)”

“What were your first thoughts with the character design?” Kameda; “In the manga there aren’t really any illustrations that are coloured. Even the front covers of the volumes aren’t too expressive with how they use colour. The way lines are drawn is dependent on colour, so the first decision to be made was on that subject, while checking my choices with ONE-san. In the manga, Reigen’s tie is black. But in the anime Mob is painted all black, so I thought it’d be a bit too heavy to leave his tie that way. Reigen was the only one with a coloured illustration in which his hair is painted yellow, so based on that I tried creating a whole bunch of tie patterns - purple, green, blue, pink, etc. ONE-san wanted to go for a blue tie, but I thought that was too salary man-ish, and didn’t give off fraud vibes. The final decision was made based on a colour necktie that the average person wouldn’t buy - it would be pink, wouldn’t it.”

Asked if there was anything difficult after colours, he describes having difficulty trying to figure out how to convert ONE’s style to the screen. “It would’ve been interesting to leave his art as it was for the anime, but it seemed like it would’ve been very difficult to do so.”

Describes ONE’s talent as being the way he applies shadow, calling it very real.

Interviewer follows on this by asking anything else that marks ONE’s art as ONE’s, to which Kameda replies the shape of ears, and describes his struggle trying to replicate the way ONE draws them.

Kameda would correct the ears drawn by the other animators to try and match ONE’s style. Leading on from this the interviewer mentions hearing that Kameda would touch up any cuts that caught his eye. Kameda; “Around 10 cuts an episode.”

Calls Mezato a favourite character of his, to the extent that he volunteered to do the part that she appears in S2E13 (and did so).

Says that S1E5 was the only episode in S1 he didn’t touch, which Fujisawa Kenichi was animation director of. “The character design in that episode is a little different but I thought that episode would be better off with Fujisawa-san’s style.”

Kameda proposed the scene that happens at the start of S1S1 (Mob fighting the “evil apparitions”) by saying he wanted a depiction of a middle school boy fighting with his powers as our start, but he actually proposed it in anticipation of the kind of action we’d see in S2E5. [TN: I think it’s been a rumour for a while that the start scene is from Mogami arc and this sorta confirms that the line of thought there is correct]

The first episode in S2 that they started drawing production work for was S2E5.

When Kameda watched S2E5 what he was most surprised by was Part A of the episode (ie. Mob’s day to day life), rather than the action scenes. “The layout is good, as are the use of bugs as an expression device[.]”

Kameda speaks of S2E7 as a part of Mob Psycho 100 so important to him that if it didn’t exist he wouldn’t have chosen to work on MP100.

He fussed over the press conference and Reigen’s expression(s) when he talks to Mob by the river at the end of the episode.

Interviewer mentions that we don’t see Reigen’s face in the manga when Mob calls him a good person, so seeing it in the anime leaves an impression. Kameda; “we struggled with that cut, but we struggled with Reigen’s expression when he’s walking alongside the river more so. Originally his expression was hidden as he approached, but when the camera pulled in close you could see his face.”

We end up seeing his face the whole way through. Kameda calls Aoyama Hiroyuki (who animated the whole end segment) a “super(hero) animator”.

Kameda makes an edit to Reigen’s expression upon being told by Mob that he’s a good person, with respect to the expression Reigen pulls in the final volume, “when [he] lays bare his real emotions to Mob.” [TN: This appears to be implying Reigen was originally drawn with tears in his eyes that were removed to make sure that the scene in which Reigen finally cries maintains its impact.]

“The performance by Reigen’s VA, Sakurai-san, was amazing... and I loved Mob’s ‘By the way, Shishou. Happy birthday.’ Itou-kun’s way of speaking is so gentle... I can’t quite express the feeling properly, but hearing him say those words, I was brought close to tears.”

Kameda is asked if there’s anything that proved a lot of work, to which he says, “Hmm... there’s a lot of characters in MP100, aren’t there. (Laughs)”.

Describes that he designed ~90 characters for S1. “I thought I’d get to relax a little for S2, but in the end I ended up having to design around 90 more. (Laughs)”

“Some of the main character designs that were established in S1 changed a little for S2, didn’t they.” Kameda; “Ritsu changed a little with S2. In S1 he had a bit of antagonism toward Mob, so I had the hair that frames his face be a little longer to try and hide those emotions.”

“A character’s state of mind is something that can be expressed through their hair.” Says that Ritsu’s hair gets a refresh in the final part of S1 when he’s talking to Kamuro in the park, to represent that the “demon plaguing him is gone”.

He’s asked if there are any characters in the huge cast of MP100 that are memorable for him. He mentions Tarou and Hanako as two characters that were fun to draw as they set the trend for the other “guest characters” in the show.

Also says he likes Mitsuura as a character with high energy who was fun to pose, though he’s unpopular with the animators due to the patterns on his clothes being a pain.

“I’ve mentioned this here and there before, but I really love Shinra Banshoumaru. The reason why I was the animation director for S2E2 is because it’s his entry episode (laughs).”

“Why did you want to draw Shinra Banshoumaru so much?” Kameda; “Because he’s chubby!! The swell of his cheeks, his tummy, his large butt... I’m obsessed (laughs). I was so charmed, thinking, ‘I want to make him even bigger and move him around!’”

He’d do things like add extra belly sways to the storyboards. “I didn’t intend to go as far as I did, but I think I went overboard in a lot of ways (laughs).”

Asked to give a message to fans, Kameda; “I’m happy that you all continue to involve yourselves with Mob Psycho 100. Since we’ve come this far, I want to finish off animating what remains of the MP100 manga. A television season 3 - no, wait, perhaps even a film...? Please be sure to continue to support Mob Psycho 100.”

[TN: this marks the fourth mention of a MP100 film I’ve seen from Kameda, and also marks him as the only member of production staff interviewed in this book to explicitly state anything to do with season 3.]

ONE [Original Author]

He is asked how Mob Psycho 100 came to be. ONE; “I love psychic powers as a theme, so I thought to myself, in what way can I make the most of that theme? How can I add colour to it? Through that thought process, I incorporated puberty, stress, ‘being used’, complexes, unrequited love, ‘shishou’, lies, the dual nature that exists in many things, and so on… then, the protagonist; a passive, introverted person, but someone who is able to become the eye of a hurricane, someone who through the influence of their relationships changes, grows… it was with that foundation that I began developing the plot, and through that process I solidified the setting; this protagonist would have their heart burdened by a buildup of stress and the shift of their feelings, and after passing a certain boundary they’d explode, and their powers would run wild… I thought it would be nice if the manga was a little strange, with the buildup until the boundary crossover being shown to the reader via a numerical percentage value. Ideas for titles included things like, ‘Mob Psycho’, ‘Psycho Helmet’, and ‘Mob Psycho 100%’.”

He is asked to recall how he felt when the MP100 anime was confirmed. ONE; “I was delighted. A lot has happened in relation to Mob Psycho 100, but for me the anime has been the thing to make me the most happy.”

He is asked what he hoped for with the anime, to which he replies the happiness of the fans, and for MP100 to bring a smile to the faces of the staff working on the anime.

What he looked forward to was the way the voice actors and animators would approach the characters, and how they’d flesh out the MP100 world as a result.

“What kinds of conversations did you have with director Tachikawa?” ONE says he doesn’t really remember their initial conversation(s) but he knows that he told Tachikawa that he has the freedom to be as creative as he wants. “I didn’t want to be a nuisance.”

He recalls being told by series coordinator Seko that he may need to shift around a few of the chapters to make the story in the anime flow a little easier.

Asked his thoughts on Kameda’s character designs, ONE; “Amazing. I’d resigned myself to the fact that the characters would get an overhaul for the anime and become more handsome, but Mob has remained Mob, Reigen has remained Reigen. Their anime designs are charming. I was moved.”

He says he holds several pages of character designs drafts that Kameda drew up dear to him, and mentions that the Body Improvement Clubs designs were perfect from the get go.

ONE says that he feels blessed with the amazing voice actors giving depth to the characters, describing how when they’re given voices it feels like they’re alive, and regrets that he didn’t go to recording sessions more.

“How did you feel when season 2 was announced?” ONE: “Season 1 was amazing, so I expected there’d be a season 2.” Describes Tachikawa and Kameda’s hard work, to which he responded with his own. “It was around the time that I was ending the manga, so I buckled down to finish it.”

He looked forward to seeing how the anime would deal with adapting the more “drama” feel of season 2, with human emotions being explored.

He describes his process with writing problems and their solutions in MP100. “Mob & Reigen each have their own way of dealing with a problem, so I’d say, ‘this is how this problem would generally be dealt with’, and from there I’d explore different ways of solving that problem.”

“I let the characters start thinking for themselves - that kind of delusion awoke within me. Like, ‘Hey, Reigen, I’m going to sleep, so think it over for me.’ With that, it became easier to plan.”

He is asked his thoughts and feelings on the anime; he states he doesn’t really watch anime but was reminded of how interesting it can be, and the power of anime as simple entertainment. “I was able to recognise anew just how amazing the production team is. [...] I felt so grateful that they chose to work on Mob Psycho 100, devoting their precious time to really putting their all into the production work. It’s how I’ve felt with every episode. Right now I’ve watched up until the end of S2E5, but I’m already running out of tissues.”

He is asked anything that’s left an impression on him during the broadcast of MP100; “The amount of correspondence I’d receive from overseas Mob Psycho fans increased with the anime broadcast.” Says that it’s amazing that even with a translation foreign fans are able to laugh at the same things, be moved by the same things, etc.

Finally, he is asked to give a message to the fans who purchased the guidebook. ONE; “Thank you for always supporting Mob Psycho 100. The way I see the situation regarding Mob Psycho 100 as a work is as something that overlaps with Mob’s own development. Mob Psycho’s value as a piece of entertainment greatly increased with the powerful aid of the anime, and with everyone who offered a hand, gave their opinions and support, and reached out. I’d always thought to myself, ‘I want to create a manga that’s able to influence those who read it in some way, if only even a little,’ but as it turns out it’s Mob Psycho 100 that has become what it is now thanks to all of you. I’ve still got my eye on what Mob Psycho 100 will become in the future. Nothing would make me more happy than for all of you to continue enjoying Mob Psycho 100.“

Thank you for reading!

Posted on twitter here.

ONE & Director Tachikawa’s comments on the main five are here.

#mp100 #mob psycho 100 #kageyama shigeo #reigen arataka #dimple #kageyama ritsu #hanazawa teruki #tachikawa yuzuru #seko hiroshi #kameda yoshimichi #one #ekubo #my stuff #this is a long one!

372 notes · View notes