Of course Crosshair agreed to help with Omega’s plan to find Tantiss by surrendering herself: He’s seen her escape the empire when the odds are stacked so heavily against her before. Of course Hunter couldn’t be there when her plan failed: he’d never be willing to let Omega put herself in danger when he’s lost her that way once already.
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to whoever suggested me to play Ex Libris: someone brought a copy to game night today and YES YES YES YES
ABCDEFGHI KLMNOPQRSTUVWXY
24/26
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Something I've been trying to articulate is why a lot of criticisms of Takarazuka productions (esp. adaptations) from outside the Takarazuka fandom don't often WORK for me, so here are some angles that I wish that people would go into more, instead of treating Takarazuka Musicals™ as a conservative, sparkly monolith:
Comparing different adapted musicals together -- Elisabeth, RetJ, and 1789 were both adapted by the same director, Koike Shuuichirou, so you can spot solid similarities there, but what about Le Roi Soleil, La Legende du Roi Arthur, Mozart l'Opera Rock, Anastasia, Don Juan, The Scarlet Pimpernel, I Am From Austria, etc.? It isn't even to say that they're all wildly DIFFERENT (there are certain changes that I'd argue are common among multiple adaptations), but it's to say that you can do better work when you have a broad pool to compare these things with.
Relating to that, comparing the work of different directors, or even the same director's work in different productions. (Koike's work in Elisabeth in the various Elisabeth Takarazuka productions over time VS the various Toho, or his work on 1789 between the 2015 Zuka to the Toho productions to the 2023 production.)
On the reverse side, instead of or in addition to questioning why changes were made, questioning why Japanese audiences are DRAWN to these foreign musicals in the first place. La Legende du Roi Arthur alone deals with themes of rape, incest, deals with the devil, adultery, etc. Is it the fact that it's foreign and therefore exotic enough that it can get away with things that other musicals can't, or does it show that there might be an interest in darker material alongside the stereotypical Takarazuka material (whatever that means)? (I have my own opinions, but this is an angle I almost never see in these critiques.)
What Takarazuka material looked like 20-30 years ago VS the present. How has the tone changed? How has it varied?
Like, Takarazuka is easy to take cheap shots at, and, a couple of years ago, I wouldn't have been far off from these criticisms myself (and I've made my own), but I feel like a lot of the criticisms are grounded in only using one or two adapted musicals from one director, pointing to them, and going "that's Takarazuka™"
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i don't think it's one of the official symptoms or anything, but I'm pretty sure that I've heard of "difficulties making friends" as a possible indicator of autism (and some other conditions)
it's always seemed really silly to me? like what on earth does that mean exactly? friendship is a two way street, what if they are perfectly nice but the people around them just happen to be disinterested for benign reasons (or are assholes) that's just not something you control no matter how good your friendship skills are.
does it mean they have a disinterest in making friends? do we account for the reasons they're not making friends? it's such a vague thing to say and I really don't get it
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my partner 6 minutes into otgw: this wirt guy reminds me of hiccup i think that’s why you like him so much
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