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bulkyphrase · 19 days

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2012 Avengers Tower: a fic rec list

I think we all sometimes yearn for the days when we thought Marvel would let the Avengers be friends who all lived together and fought supervillains in between movie nights.

Though these stories weren't all written or set in 2012 post-Avengers 1 era, but they all feature that team hanging out, having fun, and supporting each other through difficulties.

The list is in chronological order, with fic published from 2012 to 2024.

Amateur Theatrics by galaxysoup (@galaxystew-zombie) (Gen | Teen And Up Audiences | 26,586 words | Published April 01, 2012)

Summary: In which Thor’s primary problem-solving method (a mighty blow from Mjolnir) fails to have the desired effect on a magical artifact, and his secondary method (a mightier blow from Mjolnir) proves to be actively disastrous.

Big in Japan by gunboots (@gunboots) (Loki/Thor, Stucky | Teen And Up Audiences | 6,203 words | Published May 01, 2012)

Summary: Steve hesitantly reaches out and takes the object in Tony’s arms to survey it. 'It' being a pillow upon which was an almost frighteningly accurate illustration of Loki, their on-and-off again nemesis. "I don't--how did you even get this? Who would MAKE this?" Clearly Steve doesn't find the attention-to-detail on Loki's costume as hilarious as Tony does, which whatever. Like he said. Killjoy. A.K.A The one time Tony buys Thor the world's worst souvenir and it somehow worked out in the end anyway.

The rest are below the cut!

Soft Skills by Lady_Ganesh (Gen | Teen And Up Audiences | 4,154 words | Published May 31, 2012)

Summary: "So," Bruce said carefully. "You're saying that your tower became a big target for an alien army, so you're going to rebuild it as an even bigger target?" "Well, when you put it like that, it sounds stupid," Tony said. The team tries to bring Steve Rogers into the 21st Century. It mostly works. As my beta CaptainBlue said: Also I love how you did a fic about Avengers team building and still managed to make it 100% about Cap. You have a gift. This is why I love her. Any remaining mistakes are mine.

Without the Usual Cost of Labor by vain_glorious (Gen | Teen And Up Audiences | 6,387 words | Published June 15, 2012)

Summary: "Someone just reported to SHIELD that whatever was stolen produced “viable offspring,” and we’re hoping that doesn’t mean what we think it does,” Bruce says, evidently deciding to take over for Tony after only one masturbation joke. Also available as a podfic read by blackglass

The Great Avengers Body Swap by vain_glorious (Gen | Teen And Up Audiences | 3,712 words | Published July 23, 2012)

Summary: Loki and the Avengers spend a month in SHIELD's detention cells, because Loki cast a bodyswapping spell against them and got himself with it, too. Also available as a podfic read by blackglass

The Ice in Windless Cold by Isagel (@isagelc) (OT6 | Explicit | 11,883 words | Published August 19, 2012)

Summary: "I dream about the ice," Steve says. "About being in the ice." Also available as a podfic read by susan_voight

Private Bookmark? by storiesfortravellers (Gen | Mature | 2,638 words | Published August 24, 2012)

Summary: The Avengers discover that there are fans who write explicit RPF fic about them. Some of them are very confused. Some are proud. Some don't understand why everyone writes the pairings who aren't together but hardly anyone writes the couple who actually is together. Much silliness ensues. Also available as a podfic read by analise010, AshesandGhost, dapatty, fire_juggler, lorcalon (uniquepov), Opalsong, Weebs813

The Goat's Back by arsenicarcher (Arsenic) (Gen | Mature | 10,155 words | Published November 30, 2012)

Summary: An AU where Steve's essentially a failed experiment, corporal punishment is the predominant form of discipline and team leaders take the punishments for those under them.

Dear Clint Barton (circa age 7) by pollyrepeat (@pollyrepeat) (Gen | Teen And Up Audiences | 4,221 words | Published March 31, 2013)

Summary: The most annoying parts of being de-aged (and then re-aged) are your friends. Also available as a podfic read by RsCreighton (@rosecreighton)

What We Pretend To Be by ifitwasribald (Gen, Bruce Banner/Tony Stark | Explicit | 100,697 words | Published July 14, 2013)

Summary: Good becomes great, bad becomes worse. But people are a hell of a lot more complicated than good and bad. When half of the team is dosed with the super soldier serum, they all have to grapple with their own pasts and futures. But for better or for worse, they’re all in it together.

Speak So We Can Hear Your Heart Beat by Jaune_Chat (@jaune-chat) (Gen, Clint Barton/Natasha Romanov, Pepper Potts/Tony Stark, Jane Foster/Thor | Mature | 15,402 words | Published November 10, 2014)

Summary: The Avengers are rendered mute by Amora the Enchantress. As a search for a cure grows more and more dim every day, the Avengers have to deal with the reality of learning to communicate with each other in a whole different way. Uncertain if they'll be able to fight again, they enlist the help of their friends, and learn some surprising things about each other as they struggle to hold onto their identities as the World's Greatest Heroes.

The Health Benefits of Knitting by Niobium (@niobiumao3) (Gen | General Audiences | 1,179 words | Published January 15, 2015)

Summary: Clint isn't sure what's really relieving Natasha's stress—the knitting, or the part where she foists the horrible results off on other people. Also available as a podfic read by reena_jenkins (@reena-jenkins)

Clint Barton's Guide to Friends and Ceiling Vents by NoliteTimereEos (Gen | Teen And Up Audiences | 6,488 words | Published July 11, 2015)

Summary: In which Clint Barton meets a missing assassin in the vents and somehow becomes friends with him. Things don't go as bad as they could have. Also available as a podfic read by babbling_bedlamite

How to Train Your Superheroes by StuckySituation (Gen | Teen And Up Audiences | 3,150 words | Published March 05, 2019)

Summary: “But of course, no matter how much we practice on schedule, we will need to learn constant vigilance and manage to get our reaction times down to the minimum,” Steve continues and takes the last burger beef from the grill and puts it onto the table next to him. Natasha has a brief millisecond to frown and think “Constant vigilance?”, before Steve kicks the grill so hard that the coals rain on top of the flammable carpet feet away. “What the hell-!?” “STEVE!?” Steve is already sprinting towards the ledge. “First training session started! Wanda, Sam, Tony - someone CATCH ME!” Then he jumps off the Tower. Also available as a podfic read by vassalady (@vassalady)

Do You Remember Being Happy? ('Cause I Sure Don't) by GalaxyThreads (@galaxythreads) (Gen | Teen And Up Audiences | 11,022 words | Published April 25, 2020)

Summary: "Dragr," Thor called them. "Demons" Clint had said. "Thieves" is what Steve labels them as. AKA, the one where Steve is captured by creatures that feed off of happy memories, and the team is left to pick up the pieces. Post-Avengers.

5 Times Steve Dealt with His Team's Sleeping Habits... by The67ImpalaDragonChild (@dragonimpal67) (Gen | Teen And Up Audiences | 29,606 words | Published November 08, 2020)

Summary: ...and one time they dealt with his. Steve didn't think anything of it when he moved into the Avengers tower. He didn't think about how much the people he's living with would affect him. He's thinking about it NOW! Who knew a bunch of super heroes could be so weird about something as basic as the need to sleep?

on the mend by meidui (@meidui) (Gen | General Audiences | 1,438 words | Published February 03, 2024)

Summary: Steve rarely feels this awful after a fight, but then again, he hasn’t been on a solo mission in months.

#marvel fic rec #avengers fic recs

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the-conversation-pod · 29 days

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Spring 2024 Teaser

And we're back!

This has probably been our longest recording season ever thanks to the scope of projects we wanted to feature here. Some of the projects started in 2023 while others only finished at the end of March.

This season is packed with guests! Beyond the usual appearances from @ginnymoonbeam and @lurkingshan, you'll get to hear from our friends @so-much-yet-to-learn, @wen-kexing-apologist, and @twig-tea as we talk about the continued presence of OffGun and TayNew, our first dedicated GL episode, a discussion of what may be the longest running BL project, a breakdown of shows that started strong but finished weak, and a massive two-part Grab Bag episode to cover a wide gamut of projects.

You're going to be with us for many weeks, so stay tuned for our releases.

Enjoy teaser for the season.

The Conversation Transcripts!

Thanks to the continued efforts of @ginnymoonbeam as transcriber, and @lurkingshan as an editor and proofreader, we are able to bring you transcripts of the episodes.

We will endeavor to make the transcripts available when the episodes launch, and it is our goal to make them available for past episodes (thanks to ongoing efforts from @wen-kexing-apologist). When transcripts are available, we will attach them to the episode post (like this one) and put the transcript behind a Read More cut to cut down on scrolling.

Please send our volunteers your thanks!

Ben

And we're back. We have missed you all. We are finally done with all the VIIB Awards. We're finally done with watching way too much shit this season. and we have so much to talk about. I'm very excited about this season because, finally, I won. We talked about way too much Japanese stuff this season.

NiNi

[laughs] Ben, at the end of last season in the year in review, he said definitely Japanese is where it's at going into this year. And so far looking back in the winter, some of the stuff that I have probably mostly enjoyed, to be fair, has been some of the Japanese work. So, I am on the ride, I'm on the train with you all. There will be a lot of JBL being talked about in here. A little bit of some other stuff, but yeah, a big chunk of it's going to be J-BL and J-BL-adjacent? So that's what you'll be looking forward to.

Ben

The season is one where we're talking about the history and evolution of the genre a lot. We're going to have an episode focusing on GMMTV continuing to work the OffGun and TayNew angle, and how we responded fairly positively to that.

We're going to talk about the ongoing experience from Japan via Ossan’s Love.

We're going to finally get to talk about GL in its own episode on the show, and it's not just going to be one project that we're losing our minds over here.

We decided to properly reflect on some shows that were trying to do something and did not really deliver the way that we hoped, or maybe even the show hoped, they would.

And then we're going to do two back-to-back grab bag episodes because, while there was a ton of stuff that happened in this season, we weren't able to organize them into a cute setting. So we're going to unpack some genre stuff in one episode and all of the extra Japanese stuff in its own episode because there is just that much of it.

As always, some of you sent us some questions. Thank you. And we have a new segment with one of our friends that we're really excited for you to see in the back half of the season.

I’m Ben.

NiNiI'm NiNii. Welcome to the Brown Liquor Podcast, AKA The Conversation about BL.

#ben and nini's conversations #the conversation #podcast #on art #lgbtq #thai bl #bl series #spring series #spring 2024

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olderthannetfic · 3 months

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https://olderthannetfic.tumblr.com/post/740412128006225920/my-fave-backwards-ass-thing-that-constantly#notes

There's this one joke I see often mentioned, this one is specific to white people, and honestly it was a bit funny the first time. "White people colonised the word to get spices, only to not do anything with them." Like I said, it was a bit funny the first time. But it kinda became more eyebrow raising when I noticed how many people unironically said it, and apparently have genuinely no clue why "white people" suddenly stopped focusing on spices. I mean, we better not look at any part of southern Europe, but moving on.

You know. Why did white people colonised the world for spices, but then people stopped using them? It's almost like there's a reason for it. A very specific reason. A very important HISTORICAL reason. An important reason why spices became less used, especially by the peasantry. A reason that could explain why food would suddenly be less about indulging in flavor, and more about just being able to eat at all. Something like a food scarcity suddenly reaching an all time high and trade becoming a lot more dangerous. A VERY significant thing that happened in WORLD history. Something that became even deadlier with the industrial revolution. Something that made it so that most modes of transportation which previously had been used to get food from one place to the other became a lot less accessible and also a lot more dangerous. Anyone? Got some answers? And honestly, I find that anyone who judges food in such a way to be incredibly obnoxious. Different countries, cultures, and people have different flavor profiles. Some rely on spices, some on herbs, some on fats, some on vegetables, or even just on bringing out each ingredients own flavor, some are even just more focused on survival. Food is dependent on geography and what's available, and some palates prefer certain tastes. The closer you get to the arctic circle the less you will be able to add to the food because the most available food is literary animal protein, with import prices being absolutely insane.

Making a bit of light fun of different foods isn't the issue, it's the stupid maliciousness about it that's obnoxious. Putting your culinary culture above others boorish and just insanely childish in a globalized world. I honestly have a huge dislike for anyone who needs to mock and act all snooty about other cultural foods. Just because you are too afraid to widen your culinary horizons, doesn't mean you have to show everyone what a little baby you are.

Signed -A foodie.

Frankly, people are also stupid af about the basic principles of aesthetics and showing off. The pendulum swings between "I can get bling and you can't" and "Everyone can get everything, but no one can buy taste"/"Quality of the materials is what matters, not fanciness of preparation".

On one end, we have Medieval European food and gem-encrusted things, on the other, the French culinary revolution and all beige homes.

Ancient Rome has aesthetics treatises on this. China has experienced this back and forth. Heian Japan was into modern tacky bling, while zen shit is firmly Team Greige.

It's a basic feature of how aesthetic trends work.

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mayalaen · 4 months

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VPNs aren't just for pirates and company data anymore

A friend complained to me that they couldn't access pr0n anymore because the government is now requiring ID to verify age where they are, and due to data leaks and privacy issues, didn't want to share their ID even though they're of legal age.

Shit like this doesn't work on the intended target. It only frustrates people who are aren't tech savvy while a lot of kids have already found their way around it because that's what kids do ¯\_(ツ)_/¯

When I talk about VPNs (virtual private networks), non-tech savvy people's eyes glaze over 😂

It sounds like complicated, unknowable magic. It's not! And you don't even have to understand it to use it!

With the government and ISPs (internet service providers) invading privacy more and more and hackers breaking in and stealing user data from companies, VPNs are becoming necessary.

Some Things a VPN Does for You:

hides your data from others

can make your internet speeds faster if your ISP does speed throttling (purposely making your speed slower)

hides what you're doing from your ISP

keeps you safer from some malware, viruses, hackers, and trackers

allows you to access things that are either restricted in your area or not available in your area (such as content in other countries)

keeps you safer when you're out in public connected to wifi

Below is a basic infographic on how VPNs work. When you access the internet, a VPN encrypts your data - making it into a secret code that can't be read by anyone else including your ISP.

Tech companies, ISPs, etc. want you to think VPNs are complicated so that you won't use them.

When searching for a free VPN, please be aware that a lot of the free VPN services out there are malware or full of viruses and trackers.

Either do some research into which one to choose or use a paid VPN service. You can either pay monthly or yearly - the yearly is always cheaper in the long run.

Some of the Top Rated VPN Services:

ExpressVPN $7 - $13/month

NordVPN $3 - $13/month

Surfshark $2 - $14/month

PrivateInternetAccess $2 - $12/month

ProtonVPN (some sites block this one) $4 - $10/month

CyberGhost $2 - $13/month

I use ExpressVPN, so for the purposes of this post, I'm going to use screenshots from ExpressVPN.

Once you have an account, download the program from the website to your desktop/laptop or find the app on Android or iOS app stores.

Signing in requires a code that the VPN will email to you that unlocks all the features. Pay attention when the program installs because it'll ask you about preferences, and you can easily check yes on blocking pr0n when that's the reason you wanted a VPN in the first place 😂

When the program is open, you'll see this:

As you can see in the screenshot, not only do I have the program, but I have an ExpressVPN icon on my browser. The program installs this automatically, and when the program is running, the icon will have a green checkmark on it so you know it's working in your browser.

You'll notice I've recently connected using Japan. I did this so I could watch a series that isn't available outside of Japan.

The program automatically chooses a location near you, but if you want to access things that are restricted to you, make sure you click on the three dots to the right of the selected location (see screenshot below) and search for a state/country/place that your content will be available in.

Once your location is selected, click on the start/power button, and you'll get a popup notification from your computer that ExpressVPN is connected.

Go to the site you want to use and use it like you normally would.

Here's what it should look like when it's running correctly:

Keep in mind that if you leave a VPN running all the time (which is perfectly fine to do), search engines like Google will assume you live wherever ExpressVPN tells it you live, so searching for "stores near me" will give you results that aren't close to you.

When you're done using the VPN, just hit the power button again and it shuts off.

I use this on all my handheld devices, my desktop, and my laptop for business and personal reasons. I'm a pirate, and I've been using VPNs for a long time, yet none of the ISPs I've used have ever given me a warning about torrenting.

Good luck, and enjoy all the new things you can access!

BTW for anybody wondering, my desktop wallpaper is a map of the world's time zones. So pretty!! 😍

#vpn #virtual private network #vpns #privacy #technology #info #advice #how to #long post

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eyeodyssey · 1 year

Photo

Photos from the elusive early-80s Tokyo Grand Guignol play Mercury, also known as Mercuro and Merbro. While the Tokyo Grand Guignol are more well known for their subsequent work in the original 1985 version of Lychee Light Club, Mercury was an ambitious debut effort that was as much Tetsuo: The Iron Man and Alien as it was Ranpo. In the two-act narrative, an unstable school teacher runs a health program where students volunteer to have their blood replaced with the outdated medicinal substance Merbromin. The Merbromin substance turns the students into sentient machines, with their organs being made “valuable” in how the doses of mercury turns their innards metallic. In the midst of all this, a mysterious transfer student infiltrates the school grounds to uncover the whereabouts of his missing sister. Plots ultimately intertwine, resulting in a nightmarish Oedipal bloodbath in a macabre science lab that’s riddled with many taboo secrets. The play contains several infamous special effects standouts. One of the centerpieces was an extended sequence at the beginning of the second act where the schoolmaster (performed by the now mainstream actor Kyusaku Shimada, originally working under the pseudonym Lovecraft Shimada) carries out a live vivisection on a student to surgically extract his pubescent urges, which had manifested as a chestburster. The screenplay is decorated with intricate surrealist details with characters speaking direct quotations from dadaist poets of the early Showa period, resulting in an experience that is as much nocturnal poetry as it is taboo horror. The play only had one run in 1984, with a heavily truncated TV performance being done a year later on the “Youth Performance Special” morning Nippon TV program where the set pieces from the openings of the first act and second act are strung side-by-side. While a full video recording is known to exist of the play on both DVD and VHS, the recording has never surfaced. It’s a damn shame.

The only available bits of media in relation to the play to this day are the screenplay, a handful of grayscale photos and some parts of the soundtrack. The known songs that were featured in Mercury include: 1. Four Enclosed Walls - Public Image LTD 2. Sons Of Pioneers - Japan 3. The title theme of the 1956 film “Des gens sans importance” 4. Brilliant Trees - David Sylvian Bits of media relating to Mercury’s short 1984 run are steadily being resurfaced every day. Two of the images in this post were digitized by yours truly. The source was the 28th volume of Yaso magazine, a volume that concerned underground theater which included and interview with Norimizu Ameya, the lead director of the Tokyo Grand Guignol.

#Suehiro Maruo #lychee light club #litchi hikari club #tokyo grand guignol #grand guignol

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su-itca-se · 8 months

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Dear Brother (Oniisama e…) LaserDisc scans and machine translations

These past few years I have fallen in love with the work of director Osamu Dezaki. Alongside Tomorrow’s Joe (Ashita no Joe), I hold Dear Brother in the highest regard.

It was a 1991 anime based on Riyoko Ikeda’s 1974 manga. You should watch the anime. It’s on Tubi for free. But really, just trust me. Buy the Blu-Ray from Discotek.

This anime came and went. There isn’t any merchandise besides some phone cards. Decaying fan sites and discourse is out there, but it’s a bit of a hunt.

Some time ago I saw a fan letter written by Hideaki Anno, apparently from the LaserDisc releases. From what I could tell, the LaserDisc packaging featured a treasure trove of notes from the staff that I just had to read. But I couldn’t find them!

If you’re not aware, LaserDiscs are one step above burnable trash in Japan — often on sale for 200 yen or less in heavy boxes shoved into the corner of second-hand anime stores. So I bought all five volumes of the 1993 Dear Brother LaserDisc release, was thrilled to notice unique letters from staff and industry luminaries in the interiors, and I scanned everything! And machine translated them.

I hope this (long, comprehensive) post brings fans of Dear Brother the same pleasure it brought me to compose it!

Note: I cannot read Japanese. I’ve used Google Lens for OCR, and GPT-4 for translation. My scans are good (and you can get them on Archive.org in high res) but these translations are not archive-quality and should not be depended on without verification. I’ve done my best to make corrections and have attempted to wrangle the correct tone and meaning out of the AI, but they’re essentially just for fun. Corrections of the most egregious stuff would be welcomed, email me: [email protected].

Volume One

Each disc is themed after a character and colour. The back is peppered with screencaps and notable quotes (“Anata wa dare?” says little Nanako) as well as series credits. The two notable parts to translate are the disc synopsis, and the subheading (seen here in pink on the far left.) Maybe it’s a pull quote? Not really. So I called it a subheading.

Volume One Subheading

A forbidden cult anime masterpiece born of satellite broadcasting is finally available on LD.

Volume One Synopsis

Private Seiran Academy. A story of beautiful love and deep hatred unfolds at this prestigious all-girls high school steeped in tradition. The protagonist, Nanako Misonoo, who is thrilled to enroll in the high school division of her dream academy, encounters three stunning individuals: Miya-sama, Sanjust-sama, and Sho no Kimi. She also gets introduced to the glamorous world of Seiran Sorority, a society that only the chosen few are allowed to join. As a freshman granted unexpected membership in the Sorority, Nanako begins to take a deep look at love, friendship, and the essence of being human, all while being surrounded by envy and jealousy. She confides her various experiences at the academy, along with unspeakable worries and hardships, in letters to her elder “brother” and a young man named Takehiko Henmi�� A masterpiece anime born of satellite broadcasting. It is a work by Riyoko Ikeda that the Dezaki-Sugino duo took on for the first time in 11 years since “The Rose of Versailles.” It is considered a unique work that brings a fresh, unprecedented shock by transcending the framework of TV anime with its aesthetic world.

The disc looks like this:

An “obi” (sash that covers the spine) is included. Of course, it says “My tears won’t stop!” in huge text, sells it as the latest Dezaki/Sugino collaboration, and describes it as tanibi na sekai — a poetic concept of a romantic, sublime world of aesthetic beauty.

There are two paper inserts in each volume. The first one looks like this, and is an index of LaserDisc chapter markers based not on plot developments, but notable character quotes.

There’s also a form you can fill out to get a telephone card. Simply cut out a coupon from each volume to prove you bought the full set. Be quick, entries are due end of March 1994.

The interior is the best part. Here’s the spread for Volume One.

I haven’t translated episode synopses, but I’ve attempted to translate both the staff letter and the “letter to dear brother” from someone external to the production. There’s a bio for each author.

Volume One’s “From the staff to all the fans”

Bio:

Osamu Dezaki Joined Mushi Production in 1963. After directing series like “Astro Boy” and “Goku’s Great Adventure,” he was selected as the general director for “Tomorrow’s Joe” in 1970 at the young age of 26. Born on November 18, 1943, and hailing from Tokyo, he has received high praise as a director. Subsequently, he has brought numerous masterpieces into the world, including “Aim for the Ace!”, “The Adventures of Ganba,” “Nobody’s Boy,” “Treasure Island,” “The Rose of Versailles,” “Space Adventure Cobra,” “BB,” and more. He is also referred to as “Sakimakura” and “Mataba Sakimakura.”

The letter:

This is my second time working on Ikeda-san’s work since “The Rose of Versailles.” Her works have a unique aroma, whether you call it a theme or a world. They seem to pursue the literary aspect of the story. When I read the original work of “Dear Brother,” I was very drawn to these aspects, and at the same time, I felt a sense of anticipation that it would be difficult, but perhaps various images could be created. It’s not just about being cool or intense; it’s about creating images that resonate more and more with people’s hearts. Fundamentally, there is an original story, but when the characters start to move, and each begins to live, the story could go anywhere. I always had that sense of tension. So, rather than sticking to the original work, I placed more emphasis on the directorial focus of the reality of the characters who had started to move. As for the techniques, it was not something I was particularly conscious of, but I used a lot of completely black shots simply because I honestly felt they needed to be black. Whether or not it was successful, I wanted to effectively overlap the visuals with the characters’ psychology by delivering such physiological shocks. The psychological fluctuations of the people are indeed the overall aroma of this work. How the audience perceives that aroma is something I want to leave up to each individual’s free sensitivity. - July 8, 1993, at Tezuka Pro

Volume One’s “Letter to Dear Brother”

Bio:

Mutsumi Inomata Born on December 23 in Kanagawa Prefecture. After working with Ashi Production and Kaname Production, she is currently freelance. After going through Ashi Production and Kaname Production, she is now a freelance artist. Mutsumi Inomata is her real name. She was born on December 23 in Kanagawa Prefecture. She is active in both the fields of anime character design and illustration. In the realm of animation, she served as the character designer and chief animation director for works such as “Plawres Sanshiro” and “Genmu Senki Leda,” and as the character designer for “Future GPX Cyber Formula.” As an illustrator, she has also provided numerous illustrations for novels, including titles like “Prince of the Universe,” “Dragon Quest,” and “Continent of the Wind.”

The letter:

Comics are way hard to translate without actually knowing Japanese. Here’s my best effort to uncover some meaning.

For several years, I had stopped watching anime and stuff… Living a hectic life, it’s been like this for a while now. Having a set day and a set time to watch a specific program (not just limited to anime), had become impossible for me. Recording videos is also a hassle, and first and foremost, I just don’t feel that “I must watch the next episode!” kind of emotion anymore. Ah well, I was thinking maybe I’ve just become an adult. Heh heh heh. I’m such an idiot. No, that’s not it.

The blonde guy in the bottom-right is labeled as her friend, and she’s saying something about “Poupee-chan”. I think in the second panel he’s yelling saying “But that doll is supposed to be a girl!”

The final monologue starts with:

By the way, I have a container for “dangerous items” at the corner of my work desk. I keep things like cutter blades in it, so that I don’t accidentally drop them on the floor and cut myself or something. The “dangerous items” container I’m using now has a sticker with Saint-Just-sama’s “Nanako’s Eyes,” heh heh heh ♡

That’s about all there is to note about Volume One, besides the fact it comes with an enormous poster (it’s the same art used on the cover of the Discotek Blu-Ray.)

Volume Two

Volume Two Subheading

Those eyes of that person, mysteriously and beautifully shining. Why these feelings? Why...? The increasing heartbeat, the endless tears of adolescence. A masterpiece of forbidden cult anime born from satellite broadcasting! The second installment on LaserDisc!

Volume Two Synopsis

Nanako’s life at school, after being chosen as a sorority member, was not all glitz and glamour. There were misunderstandings with her best friend Tomiko, and jealousy and slander from other students, including Misaki Aya. And then there was the obsessive love from her fellow sorority member, Nobuo Mariko. “What is a sorority? Is it really that important?” Nanako began to question the very existence of sororities. Yet, she tries to look straight into herself, even while confused. Always before her were the mysteriously beautiful and shining eyes of Saint-Just. Drawn to those eyes that seemed to peer into a distant past, Nanako attempts to uncover their secret. Then, by chance, she finds out about the special relationship between Fukiko and Saint-Just. Could it be that Miya-sama and Saint-Just-sama are…? The complicated interplay of relationships and the previously enigmatic characters start to become a little clearer in “Volume 2: The Chapter of Freezing Rain.” The subtle breaths of the people surrounding Nanako can be heard.

Volume Two’s “From the staff, Dear Nanako”

Bio:

Hideo Takayashiki Born in 1947, native of Iwate Prefecture. After passing through Osamu Tezuka’s Mushi Production, became a scenario writer. Known for scripts of theatrical anime films such as “Hang in There, Tabuchi-kun!”, “Barefoot Gen”, and the “Phoenix” series. Also worked on numerous TV anime scripts like “Gutsy Frog”, “Gamba’s Adventure”, and “Tomorrow’s Joe”. Additionally, wrote scripts for original videos and TV dramas like “The Laughing Target”, “One-Pound Gospel”, and has written many novels, actively contributing as a versatile scriptwriter. Member of the Japan Broadcast Writers Association.

The letter:

Dear Nanako Misonoo, How are you? How is university life? It’s hard to believe that three years have passed since then. I was involved with you and those around you for just one year, but in retrospect, it was a very intense year. In any case, I did something terrible to you. It may have been the extreme form of “bullying” in some sense. My work as a scriptwriter involved probing and expanding the uncharted worlds between the frames of original works, constructing new narratives. In a sense, it was a painful job. And for you, it was excruciating. But now it’s a wonderful memory. I am filled with the feeling that I did some real work after a long time. How is your best friend, Tomoko? What about Mariko? I assume Fuki is becoming more and more beautiful? Do you occasionally receive letters from Kaoru? This summer marked the third anniversary of Saint-Just-sama’s passing. Thinking back, it was an unusually hot day. Your anguished form, waiting alone at the platform while listening to the chirping cicadas and the sound of the sea, is still etched in my memory. I hear that there has not been a single day without flowers at the electric pole where Saint-Just-sama fell. I am grateful for the chance to have met you and the people around you. Autumn, 1993

Volume Two’s “Letter to Dear Brother”

Bio:

Kazuhiko Shimamoto Born April 26, 1961 From the hinterland of Hokkaido After being selected as an honorable mention in the 9th Shogakukan Newcomer Comics Award Debuted with “Hissatsu no Transfer Student”. His masterpieces include Gyakkyo Nine’ and Moeyo Pen. Examples include Flame Transfer Student’ and Kamen Rider ZO.”

The letter:

Another piece directed by Osamu Dezaki and supervised by Akio Sugino has become a permanent edition (converted to LaserDisc)! (Hooray!) From the anime “Ashita no Joe” (1), the unique and beautiful way of life portrayed in anime is so intense that it has consistently given us dreams, hopes, despair, loneliness, friendship, love, perseverance, and revival! These works have even surpassed the original works in the emotional impact of their final episodes. I continue to be captivated by the atmosphere conveyed by these works. The reason I enjoy drawing the final episodes of my own works is entirely due to Director Dezaki’s influence! Currently, Osamu Tezuka and Ikki Kajiwara, the two individuals whom I revered as gods in the manga world, are no longer with us. Even now, these works, which possess added charm, continue to provide us (even those who have become professionals) with anticipation for the next episode, life lessons, and motivation for creating works. Seagulls, dance! Liquids, shine!! Wind, blow and then, “Why go to such lengths?” Charafo! Go as far as you can go! Mariko, somehow you’re really scary, Mariko.

Then the words scribbled next to the drawing of Mariko:

You are the protagonist of this work! I’m paying the most attention to you. You’re not alone! That’s right! Make me Mariko’s ‘older brother’… ‘older brother’…

Mariko is saying (OCR mangling here, sadly):

Thank you… I just feel… that’s special… Why not? If I had to say, maybe it’s a ‘woman’s world’…

(Clearly a reference to Rikiishi Toru of Dezaki’s earlier anime Ashita no Joe, who intensely speaks of a “man’s world”. He and Mariko love a good starvation diet!)

The little chibi version of Shimamoto(?) in the bottom left is saying:

But everyone, don’t easily become someone’s ‘older brother.’ It’ll be troublesome later!

GPT-4 noticed a cute reference it couldn’t include in its translation. Its note:

The text seems to be OCR scanned partially, and hence some meanings might be missing or distorted, such as “マンガ界のジョン・シルバーだ!!”, which appears to compare Dezaki and Sugino to a ‘John Silver’ of the manga world.

Volume Three

Volume Three Subheading

It’s not too late; our beautiful time can still be preserved, forever unspoiled, just like this white snow… A forbidden masterpiece of a cult anime born from satellite broadcasting! The fourth release on LD!

Volume Three Synopsis

Suddenly summoned to the sorority house, Nanako is pressured by Fukiko to end her relationship with Hemimi. Upon hearing this, Saint-Just confesses her complicated relationship with Fukiko. The shocking truth behind why “Miya-sama” wanted Nanako in the sorority unfolds, leaving her deeply shaken. Meanwhile, Saint-Just is tormented by the realization that the stronger her feelings for Fukiko, the more she ends up hurting her. The complex relationship between Saint-Just and Fukiko has a tragic past involving a near-suicidal event. On another front, Mariko causes an incident by attacking Misaki, motivated by slander about her parents’ divorce, which leads to a movement spearheaded by Kaoru to abolish the sorority. Amid the crumbling sorority, Fukiko remains composed. The fourth volume, “Chapter of Snow Dance,” captures her frightening yet noble confidence and deep sorrow. In the snow that never melts, remains the sad yet beautiful promise of Saint-Just.

Volume Three’s “From the staff to all the fans”

Bio:

Tomoko Konparu Born on March 13, 1956, in Nara Prefecture. Pisces. Blood type AB. A fan of both manga and anime, she became a screenplay writer and debuted during her university days with “Ikkyu-san.” Anime works include “Urusei Yatsura: Only You,” “Urusei Yatsura: Remember My Love,” “Touch 2: Farewell Gift,” “Phoenix,” “Cat’s Eye,” “Hime-chan’s Ribbon,” and more. Novel works include “Mystery at the Tower of London,” “Mystery at Nara’s Great Buddha” (published by Kobunsha Bunko), among others.

The letter:

When I heard that this work was going to be turned into an anime, I was shocked. I’d known about the series since its serialization, so my reaction was something like, “What!? Are they really going to do it!? And on NHK of all places!?” Expanding on the original work and filling in the parts that hadn’t been depicted was incredibly challenging, but also enjoyable. What surprised me was that, around the midpoint, the characters started to assert themselves, taking actions that were entirely different from what I had planned. The princess would say, “My pride isn’t so easily swayed,” San Just would insist, “I’m not going to commit suicide,” and even the older sisters of the sorority were like, “We can’t back down now.” Every time this happened, I had to rework the composition. This phenomenon of “characters moving on their own accord” was a first for me in an anime series, and it was an incredibly fresh and pleasant experience. That being said, it’s rare to be so emotionally invested in characters while working, to the point of even role-playing their lines. To be honest, this was a work that got my inner anime fan excited. Ah, I want to do work like this again!

Volume Three’s “Letter to Dear Brother”

Bio:

Keiko Fukuyama Born on September 7. From Tokyo. Currently, she is working as a manga artist, authoring works like “Ruru-chan of Star Island” and “The Tale of Appfelrant.” She also illustrates for children’s stories, including the “Mama Ghost Series.”

The letter:

It appears to be titled “To the Unforgettable Older Sister”. Much of it is too hard to OCR. It opens with this caption:

“To My Older Brother…” is so melancholic and sentimental that it instantly takes us back to our student days where we felt we were tossed around by fate for no fault of our own…

Here’s some of the text beside the character drawings:

Fukiko/Saint-Just: Reputed as the most beautiful sisters in school Mariko: The most popular Mariko-san who lured our tears. There’s a lot to think about! Tomoko: A straightforward, kind friend Nanako: So there I was, fully embracing my Nanako persona, reaping all the sorority perks you could imagine. (I mean, they even say they’ll hook me up with a dreamy guy!) 💧 And just when I’m soaking up that sorority vibe, guess who’s set to make a surprise appearance right after the teaser for the next issue!

Text coming out of the TV:

It was “Oniisama e”!!!! Poor Mariko-san, right~ Misaki-san also, there was no need to say that much, you know.

Volume Four

Volume Four Subheading

It’s not too late yet, our beautiful time can still last forever, unspoiled by anyone, just like this white snow… A forbidden cult anime masterpiece born from satellite broadcasting! The fourth installment on LD!

Volume Four Synopsis

Suddenly summoned to the sorority house, Nanako is pressured by Fukiko to end her relationship with Hemmi. Hearing this, Sanjust is compelled to confess his relationship with Fukiko. The shocking truth makes Nanako reel in disbelief. He deeply ponders that the stronger his feelings for Fukiko, the more he ends up hurting her. The unusual relationship between Sanjust and Fukiko reveals a tragic past of a failed double suicide. Meanwhile, in the school, an incident occurs where Mariko, slandered for her parents’ divorce, attacks Misaki, leading to an anti-sorority movement centered around Kaoru. Fukiko still acts nonchalantly in front of the crumbling sorority. The volume unfolds displaying Fukiko’s terrifying yet noble confidence and deep sorrow. A beautiful yet sad promise lingers in the snow that never melts.

Volume Four’s “From the staff to all the fans”

Bio:

Kenichiro Haneda Born on January 12, 1949. Graduated from Toho Gakuen College of Music in the Piano Department. An accomplished concert pianist, Kenichiro Haneda has a broad range of experience, including composing and performing music for movies and TV themes, as well as acting as a musical director for musicals and commercials. He has worked on numerous soundtracks such as NHK’s morning drama “Youth Family,” TBS’s “Women Work Hard” and “Life Is Full of Demons.” With his genre-defying approach to music and his bright, humorous personality, he is a sought-after multi-artist in various fields.

The letter:

I’ve worked quite a bit with Music Director Seiji Suzuki in the past. Suzuki gives me the music menu, and I’m the one who creates it. We’ve had some pretty detailed discussions about it. Of course, I’ve read the original work as well. When I read it at home, my daughter gives me a puzzled look, as if to say my interests have changed quite a bit (laughs). I think I wrote around 40 songs in total. The music is meant to have a Baroque sound while also feeling contemporary. The order was for something classical yet with a pop atmosphere. The image that immediately came to my mind was a rhythm section, with a harpsichord playing the melody. String instruments intricately marking the rhythm, much like Vivaldi’s Four Seasons. And on top of that, a flugelhorn playing the melody… Regarding the scenes where the piano is played, I played all of it myself. I often compose and perform my own pieces. It’s less about talent and more like playing two roles; maybe I contribute quite a bit to cost-saving (laughs). In any case, this work has a unique atmosphere. If the music I created successfully captures that, then I must again express my gratitude to Suzuki for coordinating everything. October 28, 1993, aired on NHK

Volume Four’s “Letter to Dear Brother”

Bio:

Hideaki Anno Born on May 22, 1960. Originally from Ube, Yamaguchi Prefecture. Height is 180 cm; weight is a secret. Debuted as an animator during his time at Osaka University of Arts, working on the TV version of “Macross.” Later worked on “Nausicaä of the Valley of the Wind,” the film version of “Macross,” “Royal Space Force,” and others, before directing “Gunbuster” and “Nadia: The Secret of Blue Water.” Currently planning new projects.

The letter:

Way to go!! Oniisama e… Wow!! The long-awaited, tumultuous Volume 4!! This volume shows us the peak of the series, from Mariko-san’s stabbing incident to the dissolution of the sorority. Amazing, this is really amazing!! Yes. Especially the heartbreaking breakdown of Nobuo’s family, and the portrayal of the sorority’s downfall reminiscent of the French Revolution, are things that are indescribable with words. Yes. The highlights this time are– Brilliant! Highly sophisticated direction and high-quality animation in Episode 27! Tear-jerking! In Episode 28, Mr. Nobuo Hikawa’s soul-stirring outcry!! Upon hearing those lines, my tears really wouldn’t stop. Seriously. Amazing!! Oh, so moving! The heartfelt words of Miya-sama at the end of Episode 32. The sight of Miya-sama waiting alone in the Sorority House and those lines really hit me hard. Moreover, as always– Incredible!! The world that reminds me of ‘Aim for the Ace!’ and ‘The Rose of Versailles’!! Impressive!! The drama unfolds only in limited settings, like homes, trains, buses, crossings, schools, and other familiar places!! Very Sophisticated!! The direction, composed of stillness and motion, light and black, feels so mature. As expected, Dezaki-san! And, Powerful!! Nanako-san is turning into an adult right before our eyes. Moreover, the music is also great!! I wish the BGM CD would come out soon. The use of chimes and telephones remains clever as ever!! Ah, the only thing missing is a bit more on the background elements… by H. ANO ‘93 10/27

The tiger is saying “It’s awesome, isn’t it!”

Written above the drawings of Mariko and Saint-Just: “These two are definitely the ones. Yes.”

Volume Five

Volume Five Subheading

The summer full of light ends, the eventful summer ends… And then the cherry blossoms bloom again… Brother, I am now… A satellite broadcast-born forbidden cult anime masterpiece! The final chapter on LD!

Volume Five Synopsis

Finally, the petition to abolish the sorority has garnered signatures from over two-thirds of all students. As the campus is in a state of upheaval, Saint-Just is lost in thought alone. One day, he calls Nanako out and promises to take her to the beach where he used to go often with his mother when he was younger. However, on the promised day, Saint-Just never shows up. His sudden death plunges many people, including Nanako, into the depths of sorrow. Among them, Kaoru, who is battling cancer and fearful of its recurrence, takes the news of Saint-Just’s death most seriously. She finds comfort in the warmth of Takahiko Henmi, but continues to stubbornly refuse his love, thinking about his future. Love, friendship, bonds… The fifth volume, titled “Chapter of the Fireflies,” explores the dignity, beauty, and value of human life. Seasons turn, and the cherry blossoms bloom again, bringing back familiar scents to Nanako. All of this is accompanied by the most beautiful “love.”

Volume Five’s “From the staff to all the fans”

Bio:

Riyoko Ikeda Born December 18, Showa 22 (1947). Native of Osaka City. Blood type AB. Graduated from Tokyo Metropolitan Hakutsuru High School and went on to the Philosophy department at Tokyo University of Education (now Tsukuba University). Began drawing manga during her time in school and debuted with “The Girl in the Rose Mansion.” In 1972, she achieved great success with “The Rose of Versailles,” acquiring a broad fan base that transcended the realm of girls’ manga. Known for her keen historical perspective and deep insight into human nature. Active as a writer and essayist as well. Her hobbies include Nihon buyo (Japanese traditional dance), oil painting, movie appreciation, vocal music, piano, cooking, and knitting. Her work has been selected for the 76th Nika Exhibition. Major works: “The Rose of Versailles,” “Window of Orpheus,” “Empress Catherine,” “To My Brother,” “At the Ends of the Sky,” “The Blue Pomegranate,” “My Manga” Books: “If Only Life Could Be Lived Once,” “Women of the French Revolution,” “Women Who Wrote Masterpieces” Currently writing “Eroica” and “Prince Shotoku.”

The letter:

As one who has journeyed far from that radiant chapter called youth, a time that shone with an almost awkward brilliance, I find myself in a peculiar blend of bewilderment and nostalgia. Seeing my old ideas of high school life come to life as animation almost 20 years later is surreal, to say the least. Still, it’s exciting: hearing voices given to these characters, seeing them talk, laugh, and get angry. Watching them come alive is truly a thrilling and satisfying experience. Ah, adolescence — everyone’s inescapable stairway to adulthood. Some people take each step slowly and carefully, while others rush ahead, ending up out of breath or even lost. And then, there are those who may lose their direction, standing still, contemplating each step. Wrapped in the love of family, meeting various people, nurturing friendships, experiencing love, and going through the ups and downs of hurt and forgiveness — it would be wonderful to climb those steps in such a way.

Volume Five’s “Letter to Dear Brother”

Bio:

Rumiko Takahashi Born in Niigata Prefecture. Debuted in 1978 with “Katte na Yatsura,” submitted while still in college, in Shonen Sunday. Famous works include “Urusei Yatsura,” “Maison Ikkoku,” and others. Currently serializing “Ranma 1/2” in Shonen Sunday.

The letter:

A masterpiece infused with the creator’s soul. When I heard from the staff that “Oniisama e…” was getting the anime treatment on satellite TV, I was surprised. I’d delved into the original comic before and it’s quite an eccentric story. “How are they going to pull this off?” I thought. But learning that the script was in the capable hands of my acquaintance Tomoko Konparu, I was very excited. In fact, the anime that aired was genuinely captivating. The characters are so larger-than-life that they electrify the screen the moment they step into frame. It’s been a long time since an anime had that kind of presence. I believe the animation is done by the same people who worked on “Tomorrow’s Joe 2.” The scenes are so visceral that you can almost feel the punches land and see the fighters hit the mat. I kept asking myself, “Why isn”t a mouthpiece flying out?” (laughs) My favorite character in the work is Nobuo Mariko. The scenes where she bites her lip until it turns a flushed red, I find it really cute. But what blew me away was the show’s emotional intelligence. Just when the heroine seems on the brink of breaking, a lifeline is thrown her way. This nuanced touch prevents the darker, more harrowing elements from overwhelming the viewer. It’s as if you can feel the sincerity of the creator throughout the piece.

And that’s it. Again, check out the full scans on Archive.org, and remember to encourage all your friends to experience this beautiful anime!

#oniisama e #dear brother #osamu dezaki #riyoko ikeda #laserdisc #anime #おにいさまへ…#出﨑統 #池田理代子

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tamapalace · 7 months

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Bandai Japan Announces Digimon Pendulum Color V-Pet V1, V2, & V3

Following the recent teaser of an upcoming Digimon, Bandai has officially announced the Digimon Pendulum Color in version 1, 2, and 3! To commemorate the 25th anniversary of the Digimon Pendulum, Bandai is breathing new life into the popular v-pet with color releases.

There are nature spirits, deep savers, and nightmare soldiers on each respective version. The new color Pendulum’s feature color LCD screens, USB-C connectivity with rechargeable battery, background images can be changed, and it can even change on their own based on time. There are more un-lockable backgrounds, including connecting to the original Digimon Color.

The character lineup is actually inclusive of not only the original version 1, 2, and 3, but also the .5 releases. The Pendulum also features the icon shake to activate feature with acceleration detection, and single player battling as well.

Preorders are now available on Bandai Premium Japan with a release date of February 2024 in three shell colors.

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Bandai also released a promotional video that brings back the two swimmers 25 years later. It’s an updated version of the original Pendulum commercial, and even features an updated song.

#tamapalace #tamagotchi #tmgc #tamatag #virtualpet #bandai #digimon #digimonpendulum #digimon pendulum #pendulum #pendulumcolor #pendulum color #color #Youtube

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astoundingbeyondbelief · 8 months

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Kaiju Week in Review (September 3-9, 2023)

I was a bit nervous about GAMERA -Rebirth-; the animation looked dodgy and Netflix has a shaky track record with kaiju shows. I'm pleased to report this is the best entry in the genre that they've put their name on. Good characters, great action (brutal as always), and actual episodic storytelling that effortlessly weaves in elements from the Showa films beyond all the returning kaiju. Watch it immediately.

Tie-ins abound for GAMERA -Rebirth-: a two-part novelization, a manga adaptation, and a prequel manga that sheds some light on [UNBELIEVABLY MASSIVE SPOILERS]. That prequel manga (GAMERA -Rebirth- code thyrsos) is being published online for free in both Japanese and English. You can read the first chapter here.

In unofficial translation news, English subtitles for GAMERA.1999 (1999) and yokaipedia (2022) are now available. The former is Hideaki Anno's making-of documentary for Gamera 3: Revenge of Iris; the latter is a fun, child-friendly fantasy from Godzilla Minus One director Takashi Yamazaki with a big ol' centipede-dragon at the end. (It's also maybe the first Japanese kaiju film I've ever seen with a major Black character.) I haven't gotten to GAMERA.1999 yet, though from scrubbing through it, it seems like a lot of dialogue was just ignored by the translator. Shame, as that's one I've wanted for a long time.

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We have a teaser for Monarch: Legacy of Monsters, as well as a premiere date for the first two (out of ten) episodes: November 17. (I am being showered with Media for my 30th birthday.) The big news from this trailer is that John Goodman is reprising his role as Bill Randa from Kong: Skull Island. I assume that's going to be through flashbacks and old recordings only, since he was eaten by a Skullcrawler in that one. We also catch glimpses of two new creatures, a dragon and a crab from what I can tell. The latter looks to be fighting a Mother Longlegs.

Fandango and AMC have added mostly-empty listings for Godzilla 2000 on November 1. Fathom Events screened Godzilla Against Mechagodzilla on November 3 last year; despite randomly showing Tokyo SOS back in March, I gather they're making a tradition out of Godzilla Day. Note that the listed runtime is longer than the film itself. Predictions for the program: another message from Keiji Ota, the 2022 Godzilla vs. Gigan short, and the Japanese version of G2K. Interesting that they're running the last Toho Godzilla film to receive a wide release in the U.S. exactly a month before Godzilla Minus One has a wide release of its own here.

Gamera isn't a meta-defining Godzilla Battle Line unit... but he's Gamera in a Godzilla game, so I've been using him in every match since I unlocked him. He's gearing towards demolishing flying units, with fireballs that deal more damage against them and knock them back. A pity that he's arriving well after those units were at their most dominant.

Godzilla: Here There Be Dragons #3 still isn't giving me much to write home about, but the kaiju cult creeping to the forefront intrigues. Also cool to see Ebirah in a starring role.

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Marubeni, one of Japan's biggest general trading companies, put out a bizarre commercial featuring samurai, zombies, a meteor, and a refurbished GMK King Ghidorah. The ad now has English subtitles, and you can watch a Ghidorah-centric behind-the-scenes video here.

I cannot believe I have more Cleopatra Entertainment fuckery to report on with regards to their Shin Ultraman releases, but they're truly trying to take the "Worst Film Company of 2023" title from the members of the AMPTP. Their third attempt at a barebones disc is starting to reach customers... but the ones who already received the initial replacement disc are being told no more will be sent. @starestream is trying to figure out if they'll be selling the third edition on their site, since it seems buying it anywhere else is a gamble. (Physically, the third edition looks almost the same as the first two, set apart only by the "SUBTITLED" text on the disc.) Either way, it's another blow to a movie that truly doesn't deserve this.

#kaiju week in review #gamera #gamera rebirth #godzilla #kaiju #yokaipedia #Youtube

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osharenippon · 5 months

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Shoujo Manga’s Golden Decade (Part 1)

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

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

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

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

The Volleyball Craze

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

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

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

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

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

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

The Shoujo Lost Years

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

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

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

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

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

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

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

The BeruBara Boom

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

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

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

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

Because of its unorthodox concept, Margaret's editors were unsure about the series. But right from the start, "BeruBara" (derived from the original Japanese title, "Berusaiyu no Bara"), serialized between 1972 and 1973, was an explosive hit, quickly turning into Weekly Margaret's most popular series. It was compiled in 10 tankobon volumes published, which sold tens of millions of copies.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(It's worth noting that Kanebo clearly won the CM war. The "You Are More Beautiful than a Rose" song they commissioned from singer Akira Fuse became a considerable hit).

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

Ace-Scoring Manga

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

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

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

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

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

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

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

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

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

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

Japan Wants Candy

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

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

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

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

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

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

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

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

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

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

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

Part 2

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

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