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#e-ki
starlit-sunsets · 10 months
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"The liar boy is stuck in a nightmare, but for him it's a happy dream."
My bois! E-ki and D-suke are very dear to me, so of course I must immediately put them in Situations. And with flowers too because NO ONE died at ALL. RIGHT??
Tried out a slightly different coloring style where I keep the lineart. It's a bit messy but it was fun! Also, I started the sketch of this back in 2020 and only just now came back to color it. Apparently it was supposed to be a happy piece...what happened.....
(Alts + Closeups below!)
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mildfevermystery · 4 months
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E-ki [Transparent]
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tezerenotameiki · 1 year
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the thing is to me is that. a-ya e-ki and e-noru all represent very different facets of being trapped by the narrative. in book 2 a-ya struggles with his entire soul to break out and escape and save everyone, and for a minute it almost seems like it’s worked! they confront the reader and name them as the traitor! —but ultimately this is a fakeout, yet another scene planned by the film club. they fail to break the loop. e-ki represents ignorance, even though—or perhaps because—he is the creator and perpetuator of the narrative. even in the rare moment that he’s lucid in room #1713, he doesn’t care, and simply wishes to keep dreaming and ignore his grief. e-noru is unique in that he aggressively inserts himself into the story—he wasn’t part of the cast or the characters they created. he’s modeled nearly identically after his uncle. his single-minded goal is searching for the truth of the 1999 murder case. he’s the narrator of the later albums and the voice drama and the crossfades, speaking not only to e-ki but to us. he shares details for our benefit (stopping the flow of a voice drama track entirely to reveal that e-ki is his uncle—including silencing the BGM and interrupting a-ya). he’s interwoven in the meta presentation, but he’s still no closer to finding the answer than anyone else.
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snakes-and-fluff · 11 months
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Dunno if anyone would be interested in my niche reinterpretation of Shuuen no Shiori (the end of the film club/mostly about E-ki), but here goes:
E-ki is a ghost who doesn't realise it, befriending people at the school because he's lonely. However, because he is a ghost, this means he inevitably drags those he does befriend into supernatural danger, often killing them. His song (Therese's Sigh) one of my favs of the whole project it's just so good features a supernatural being of some sort (it seems like a ghost, but unclear) taking people away to be with her (read: killing them) because she's lonely - so I think E-ki is doing the same, but unknowingly.
Another thing that led to this idea was the fact that in A-no's song (Fighting Girl), the lyrics reference having a crush on a ghost, and A-no and E-ki appear to have crushes on each other, so it just follows.
Eventually, the other members of the film club die for simply being near him, and E-ki, shocked by their deaths and not wanting to accept it, vanishes for ten years. Perhaps he wipes or alters his memories of the event as well - perhaps it is not even the first time this has happened.
E-noru doesn't exist; it's just E-ki again, having re-manifested this time trying to befriend the Occult Club. Whether this ends well for them or not, I cannot say for sure, but I think the best end is if E-ki realises that he is the one putting them in danger and watches from a distance, as bittersweet of an end that may be.
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cuantumq · 1 year
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Conclusion Dreamelody and Repeatragedy.
These two songs are clearly some of the most important songs in the series yet are some of the more mysterious songs. It's generally agreed that Conclusion Dreamelody is an E-ki song, but recently that has been called into question with the idea that it's actually from the FC Killer's POV. And at the same time, Repeatragedy has always been up in the air and continues to be mysterious.
So.. What are they?
I think looking at Re:write's album layout gives us a big hint. Ignoring the two tracks that are limited to the collector's/limited/whatever edition of Re:write, the songs Shuuen no Shiori and Common Heroes are the fourth track from the beginning/end of the album respectively. These songs are also very much so two songs that are meant to be tied together in some way, touching very similar themes to one another and having similar but not the same PVs. I believe these two songs are meant to be sort of 'question and answer' songs. Shuuen no Shiori sets up the themes to focus on for most of the album and Common Heroes is meant to be the conclusion to those thoughts.
The same thing seems to be the case with Re:mind. Conclusion Dreamelody and Repeatragedy are both the four tracks from the start/end of Re:mind and Conclusion Dreamelody sets up the questions we should focus on for the album while Repeatragedy is meant to conclude those questions. It matches how Conclusion Dreamelody is written, going back and forth on one's feelings of if things should continue for forever or come to an end, the feeling of being close with the film club while also feeling isolated. These are themes brought up in the individual character songs a lot.
And Repeatragedy is partially a response to those themes that haunt the Film Club, things are bad. They are isolating, blaming eachother, and allowing the tragedy to repeat. But as the song goes on it slowly becomes apparent that this song isn't just a song about the film club. It's a song that transitions from the film to the occult, a song meaning to show that the Occult Club is in the same space. This is why Repeatragedy is used in the way it is in the series, it is simply about the Tragedy Repeating. Why is it in A-ya's POV? He realized the truth about the Demise Game and how they are in Schrodinger's box until everything finally gets decided. Why is it in Re:mind? It's E-ki, and to a lesser extent maybe the rest of the film club, is aware of the loops occurring, he allows the loops to continue, and as such he must continually be met with tragedy and will always be left with the thought of "It was you" when he dreams. Why does Re:act imply that E-noru has Repeatragedy? Because it further parallels him with E-ki to be related to the Dream's Conclusion and it matches how the traitor at the end of Novel 2 seems aware of the loops, gets frustrated with them and gets blamed for the Demise Game, implying that E-noru has some form of The Dream's Conclusion.
But what about Conclusion Dreamelody again? I think it's meant to be a general Film Club song with an emphasis on it being E-ki's. It is a constant question of whether they want to stop the dream or let it continue, whether they wish to find the killer or hide in the loops. One more recent interpretation is that the song is from the killer's perspective but like. I don't see it? It seems pretty explicitly outside of the killer's POV. The killer isn't confirmed to know anything about the loops, which is an important focus of the song. The song is also about trying to figure out who the killer is and pinning blame in a way that doesn't make it sound like it's the Killer watching others. It sound like the singer is the one pinning blame on others, wanting to figure out who the killer is. Which doesn't make sense with the singer being the killer.
And, lastly. The song is named after The Dream's Conclusion, E-ki's urban legend. Which like. Doesn't mean it has to be E-ki's song. But it strongly implies it should line up with him somehow. It feels like it's meant to be E-ki's perspective when he's close to waking up but decides not to, to let the repetition comfort him instead of trying to figure out who killed his friends. It has themes that apply to the entire film club, but if it's meant to be a specific thing, that seems like what the specific thing should be.
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expandingsky · 2 years
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『E-ki』
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252 icons of E-ki from Shuuen no Shiori. Credit is not necessary; like or reblog if using.
『Dropbox link』
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ryuichirou · 7 months
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brats
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ozgur-ce · 5 days
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Cuma gecesi etkinliğimize oşşş geldiniz 😁😂
Sizce bir partnerde olması gereken en önemli 3 özellik nedir? Fiziksel özelliklerin detayını lütfen vermeyin çocuk çoluk var burda 😜🤣🤣🤣
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iiyarada · 2 months
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Artbook scans and photos miscellaneous
Part 1 / Part 2
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greetings vintage shoujo manga fans!
something I have wanted to do for a while now is create a database / wiki which documents as close to every single pre-1990s shoujo as possible, as every english-language manga database is severely lacking in this regard... and I have started it! however, because this is a giant project, I need to inform as many people who may be interested in contributing as possible. I have created a Miraheze wiki to host the content, and am very slowly adding the information I have accrued to the pages. (Its completely bare bones right now, I'm basically just testing things)
Please comment or message me if you have any interest in helping out with this as I want to spread the word as much as I can! If it's just me editing I'll literally never add everything at this rate lol.
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(obligatory keiko takemiya illustration to catch your eyes sorry)
I mainly need help with adding the basic information to the articles, biographical information, plot summaries, etc, but once again, absolutely anything helps and I would really appreciate it if anyone would be interested in contributing to this wiki.
manga and mangaka tags added for visibility :)
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heartsblooming · 1 year
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finally sharing my classic shoujo memes with the public (cheers erupt from my crowd of adoring fans)
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dramastream · 5 hours
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JANG KI YOUNG & CHUN WOO HEE for ELLE Korea, May 2024
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tezerenotameiki · 1 year
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wait but speaking of e-noru resenting e-ki his narration in the smiling summit instrumental in re:mind goes like “Aren’t movies nice? Little worlds that people create. Aren’t they nice? (pause) A dingy world befitting a good for nothing god.”
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ME READING THIS LIFE-CHANGING INFORMATION. ok but ive been obsessed with smiling summit since re:mind first came out simply for the vocal delivery and how the music drops but now im just. puts my hand over my mouth.
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kazetokinouta-a · 1 year
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Kaze to ki no uta(1987) & Natsu e no Tobira(1981)
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cuantumq · 1 year
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Therese's Sigh
After listening through Re:mind I realized that there is a big parallel between Therese's Sigh and another song in the album.
Nostalgia Junk Food is a song all about C-na and how she traps herself in the media she consumes, liking it to junk food. She has been shutting herself away from everyone else and seems to dread the coming of the next day up until someone appears at the end and pulls her out of her depressive rhythm.
Therese's Sigh is a song all about E-ki and how he kept reaching out to a girl in a depressive loop. Therese is a girl that didn't have anyone to listen to her and shuts everything from herself. But, throughout the song E-ki reaches out to Therese several times until he manages to break Therese's depressive rhythm.
Therese and C-na are described very similarly to one another. They aren't described in the exact same way, but the differences between C-na and Therese mostly could be the difference between C-na's internal perspective and E-ki's external perspective of C-na.
The main thing that feels off with this explanation/parallel of Therese's Sigh is that Therese isn't described as someone who focuses on media heavily which would be odd for E-ki to leave out given how important media is to C-na. However that could be an act of The Narrator to prevent us from connecting the dots that E-ki's talking about C-na too easily. And while we don't see much heavy emphasis on E-ki and C-na... we also don't see too much emphasis between A-no and C-na and D-suke and E-ki either and they have confirmed relationship songs. When a single character song references another character it's usually some sort of plot point and it could be that later on we would see E-ki and C-na have this bigger interaction if the series wasn't cut short.
(also i don't necessarily think Therese is literally C-na, just that Therese fills C-na's role to E-ki. but who knows, it could be literal, and C-na's actual name is Therese.)
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kazekiedits · 24 days
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Serge Battour and Gilbert Cocteau from the manga "Kaze to Ki no Uta" or "The Song of the Wind and the Trees" (1976-1984) by Keiko Takemiya
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