#those actions are what create value for me. and sometimes that value is translated into $ and into labor hours and i reflect

[beanbagbuddies4life]

okay wait I just wanna say. Like. Spending $40 on one small toy (especially a dog toy) is not a normal thing to do. I am posting about it because I am entrenched in the hobby but that's A LOT of money.

If you want to invest that money into collectables you enjoy that's an absolutely valid thing to do!

I just want to say. If you are going about your day and thinking "well there's not a $40 dog toy that *I* want, do I need to find one?" you don't. Maybe you have a hobby that you want to invest similar money into, maybe you don't... but objectively $40 is a lot for a dog toy.

[nataliaphantomhivesblog]

Newsflash: Dazai cares for Chuuya

Before reading any further, I will be talking about stormbringer, so spoilers ahead!! Translation credits go out to: @popopretty on tumblr, make sure to give this kind human some love and appreciation<3

Also if you want to read the first few chapters of stormbringer: @buraihatranslations is currently translating it, give them much love and appreciation as well, they deserve it!!

Honestly, I have been so obsessed with Soukoku lately and I think the reason behind this is because when it comes to Soukoku, their feelings for each other are not as easy to grasp as love or hate, it is much more profound than that. There is care, hurt, trust, resentment, companionship, bitterness, and consideration...And ironically enough, thats just the tip of the iceberg.

If we break down their individual feelings towards each other, it will be easier to understand their bond.

On Chuuya's end, his feelings are much more clear due to his expressive personality. He wears his emotions on his sleeves, he can try and hide what he feels towards Dazai but his true feelings tend to unravel easily.

He sometimes tries to mask his feelings towards Dazai by throwing insults, but his facial expressions are enough to contradict what he is saying.

Chuuya's feelings towards Dazai can be easier to comprehend. He obviously feels this certain betrayal due to the fact Dazai left the Port Mafia. Not to mention, he and Dazai have always had a rivalry relationship.

In the Soukoku wiki page, it is stated that Chuuya is aware of Dazai not experiencing a proper childhood, therefore allows him to act as childish as he can and lets him tease him relentlessly. I don't know how reliable this source is, but either way I think its worthy enough to add.

In the Dragon head conflict when Dazai was out of sight, Chuuya told Mori to forget about Dazai. That was until Hirotsu mentioned a microscope, Chuuya quickly realizes it was code language because he remembered a previous conversation where Dazai says he needs a microscope to be able to see Chuuya properly.

The moment he figured out it was a tracker, Chuuya did not hesitate to jump in and rescue Dazai. But here is the catch: No one but Chuuya knew about the microscope, if Chuuya really didn't care for Dazai he wouldn't have mentioned the microscope and kept all this under wraps, leaving Dazai in a mess.

Chuuya trusts Dazai with his life. He never hesitates to leave his life on Dazai's hands when it has to come to it. Chuuya and Dazai have known each other for years, for Chuuya to be able to trust Dazai that much is because Dazai also cares for him too, right?

The answer here is yes, Dazai cares for Chuuya. In a superficial level, it doesn't seem like Dazai truly cares, but I can assure you that he does care for him. Weather you like to think of his care in a platonic or romantic manner, the care Dazai has for Chuuya is undeniable and extremely significant for Dazai's character.

I think that stormbringer establishes this idea even further. There is one specific moment in this light novel that shows his genuine concern towards Chuuya's well being:

"There is one problem." Dazai cut off his sentence hesitantly. "It has nothing to do with the sucess rate of the plan. It is a matter we have to overcome in the end but... It may require some time to decide."

"What's with you?" Chuuya raised his eyebrows at Dazai. "Stop dramatizing it. Just hurry up and say it."

"I said earlier about this control spell to open the 'gate' that is used to reset the command inside Chuuya, right?" Dazai spoke with a strangely restrained voice. "If we use that, the logs of the command formula that were written in the past will be erased. That means...even if the memory erasure was used on Chuuya in the past, the traces of that will be erased as well."

"What?"

"I told you before right, the memory erasure command. The only way we can confirm if Chuuya is human or not is to check the history to see if the memory erasure command was ever used. It means..." Dazai looked at Chuuya with eyes that he had never looked at him before. Those eyes were serious. "If we use that control spell, the method to confirm if Chuuya is an artificial personality created by a string of code, or just a normal human being, will be lost. For good."

The time had stopped.

Chuuya opened his eyes and looked towards Dazai but his eyes were not seeing anything. The wind blew between the two of them. Even so, Chuuya did not blink.

"Verlaine became like that because he was tormented by the curse that he was not human. That only is enough of a big problem. The matter of being human or not." Dazai looked at his pocket watch, gave it a glance and continued. "I can delay the time until the plan starts for about two minutes. I will send an order for my men to wait... You can think about it alone for a while. Cuz I guess its hard for you to collect your thoughts with me around."

Having said so, Dazai turned away and walked down the stairs, leaving Chuuya alone.

Dazai fixated in his pocket watch. Two more minutes. Too short for a life decision. But he couldn't afford more than that.

Inside Dazai's head, he was planning a procedure to swith to an alternative plan in case Chuuya refused, at a tremendous speed.

This section in stormbringer is personally one of my favorites, this is a very rare moment between both of them, but especially for Dazai. Like I stated earlier Chuuya wears his emotions on his sleeves, therefore even if he tries to mask his care with insults, its still painfully noticable that he genuienly looks after Dazai. Chuuya also sometimes show a vulnerable side of himself to Dazai, especially after using corruption.

Dazai on the other hand is extremely unreadable. Its hard to understand his true intentions and if he really cares for people or only sees them as a pawn. In this moment though, Dazai was being painfully genuine. Dazai literally prioritized Chuuya over the mission. He was already thinking of coming up with an alternative plan just in case Chuuya refused, obviously the sucess rate of the alternative plan would be lesser than the actual plan Dazai had in mind, he choose Chuuya's wellbeing over a mission.

In this section, Dazai wasn't throwing jokes or witty remarks, he was being serious. Because Dazai knows how desperately Chuuya wants to be human. He knows how important being human is to Chuuya.

Dazai wasn't manipulating Chuuya by giving him the chance to decide, we can see that Dazai was literally showing a lot of hesitation when mentioning this to him, we also get to see what Dazai was thinking, and we can tell he wasn't thinking about manipulative his movements in any way. All of this wasn't coming out of manipulation, it was coming out of pure care.

After six steps, Dazai reached the stair. He stepped on the stair and started walking down. Three steps down the stair, he heard a *clang*, a cool sound of metal echoing behind him. It sounded like the metal was kicked by the sole of someones shoes. The moment Dazai realized what the sound was, Dazai turned around in surprise.

There was already no one at the top.

Dazai was dazed for a moment, then he loosened his lips and laughed.

"Trying to act cool, huh?" Dazai smiled, both annoyed and relieved. Then he turned on his radio and sent out his order. "Chuuya has sallied, everyone get ready for battle."

I personally love this part so much, relief washed over Dazai the moment he noticed that Chuuya was going to go through with the first plan, which proves my point that he wasn't manipulating him and how Dazai was under a lot of stress because he wasn't sure if the alternative plan would be as effective as his original one.

Yet he still was willing to go through the alternative plan if Chuuya refused, because Dazai values him and regards his wellbeing.

Dazai was being surprisingly gentle in this section, he was being honest. There was no ulterior motive behind his actions here, just a boy looking after his partner.

"So i'm going to send an order to my men to prepare for action... Is that okay?"

"Of course it's okay." Chuuya turned to Dazai. "Why are you asking me such a thing?"

Dazai didn't answer right away.

That was an unusual expression. It's like he was trying to say something, but he had to arrange the words in his head to decide where he should start. An expression he rarely shows.

This was right before Dazai drops the bomb to Chuuya about the memory erasure command. He was even asking for Chuuya's opinion on sending his men to get ready, this was the first time Dazai ever showed actual concern without masking it with witty remarks. You can tell that Chuuya isn't used to this.

And when you think about it, when Dazai and Chuuya have missions together, Dazai always uses corruption as a last resort and he always allows Chuuya to make the decision if they will be using it or not.

I personally belive that the main reason Chuuya trusts Dazai with using corruption is because The Sheep used to exploit his powers too much, but Dazai leaves the decision to use corruption up to Chuuya. Dazai understands the physical and mental toll corruption takes on Chuuya and therefore leaves the choice up to him.

Theres another section in stormbringer that I really enjoy, it doesn't necessairly show solicitude but I still think this should still be taken into consideration:

"You seem pretty confident that Chuuya is human, don't you?"

"I am," Dazai laughed with a sigh. "There is no way a man-made code could create such a personality that I detest so much."

Throughout the whole story, Dazai is more than determined that Chuuya is human. The main reason Dazai finds Chuuya so intresting is because of how frighteningly human Chuuya can be, because of the fact that he always wears his emotions on his sleeves, something Dazai rarely does himself. Thats personally a nice sentiment from Dazai's end, even when Chuuya struggles completely when it comes to believing in his own humanity, Dazai still can't help but see him as a human being.

Also I am aware that Dazai literally said he detests Chuuya here but he also sighed and laughed while stating this, showing us that he isn't being serious about hating him.

And its not only in stormbringer were he shows his concern towards Chuuya. In fact, in this following manga pannel Dazai is telling Chuuya that if he is willing to listen him, he will stage his own escape so that Chuuya doesn't get punnished.

Honestly, if Dazai didn't care enough for Chuuya, he wouldn't have mentioned this to him. Chuuya didn't care enough to realize that he literally unwillingly freed Dazai which would get the pm mad at him, so the fact that Dazai is literally helping him out is no doubt out of care for him. If Dazai didn't have any regard for Chuuya he would've not staged his escape or mentioned anything to Chuuya, eventually incriminating him.

There are many misconceptions when it comes to Dazai's feelings towards Chuuya, people think that he doesn't care for him due to the fact that he left the Port Mafia, leaving Chuuya behind. But heres the thing: Dazai's intentions had nothing to do with Chuuya. He left the organization for his own good, he left it to fullfill Oda's wish.

"If Dazai cared for Chuuya then why didn't he take Chuuya with him?" the reason is simple, he knows how much the PM means to Chuuya. In stormbringer it is shown that Chuuya feels as if his humanity is attached to the people he is loyal to, in this case its the port mafia. Verlaine wanted to get rid of the pm because he believed that the pm is what kept Chuuya's humanity, eventually making Chuuya believe that he is only human if he stays loyal to the pm. Dazai knows this. Thats exactly why he didn't take Chuuya with him or even explains to Chuuya why he left, he knows it would be selfish to basically rip Chuuya's sense of humanity apart.

I have a feeling that if Dazai told Chuuya about the real reason he left the Port Mafia, Chuuya will not only feel conflicted about being in the pm, but he would also have an inner conflict with himself as a human.

People also think Dazai may not really care for him because of the fact that after the fight against Lovecraft he actualy deserted him, maybe that part was truly just supposed to be seen as simple humor, but either way I want to talk about it. Chuuya's only request to Dazai was to take him back to base safe, so why did Dazai leave Chuuya behind?

I mean he has carried Chuuya back to saftey before with no problem, for example in stormbringer when Chuuya uses corruption for the first time Dazai carries him back to the billiards bar and not to the mafia’s base so that he could say goodbye to his passing friends.

The reson behind this is because Mori needs to know that unlike Dazai, Chuuya is absolutely loyal to him. Leaving Chuuya the way he did will make Mori believe that these two really are at each others throats and that Dazai is insignificant to Chuuya. Making it seem that for Chuuya, the mafia comes first before anything else.

Therefore Dazai established Chuuya's saftey within the mafia since not only does Mori want these two to be hostile with each other, he doesn't want Chuuya to eventually turn against him if he truly found out more about Dazai's true reason of departure. Then again, this isn't canon but it is a logical assumption.

Not to mention that although Dazai did leave him behind, he folded Chuuya's coat and hat before taking his leave. There is also an an extra chapter where Ozaki Kouyou was talking with Chuuya but when he left he forgot his coat, which made Kouyou came across the coat; where she noticed a badge sewed inside saying "Name: Hatrack", she smiled fondly thinking to herself that some things just never change, in this case, Dazai and Chuuya's bond.

Dazai literally took his time to sew this into his coat just to tease him, it was a simple gesture but it shows us how their dynamic will never change. No matter what these two go through, they will always share a bond that consists on teasing, trust and underlying care.

All of this actually makes that theory of Dazai planting a bomb under Chuuya's car for the sole reason that the PM doesn't find Chuuya as an acomplice who aided Dazai on his escape much more feasable.

For Dazai to just plant a bomb under Chuuya's car with no motive makes no sense because if Dazai's true intentions were to simply mess with Chuuya, he would've most likely made it clear at that time. Dazai always has an underlying motive behind his actions, and in this case it is very likely that he did that for Chuuya's sake.

Don't get me wrong, I am aware that the bomb incident could've just been a comedic moment and I shouldn't look too much into it, but there is still a posibility, right?

These two hold so much trust and care for one another, yet they also hold a lot of bitterness and resentment. In the end the good aspects of their dynamic outweighs the bad.

Either you see these two in a platonic or romantic way, you can't tell me that their bond isn't significant.

Thank you so much for reading!! I wanted to talk about this for a while because I feel like people misinterpret Dazai's feelings towards Chuuya a lot so I hope this clears up things a bit<3

[sciderman]

hi sci! i hope you don't mind me asking, but what was your education route like? and if you have any tips for work experience to support illustration?

hello anon! i really wish i had a wealth of advice on this - but i'll talk a little bit about my experiences!

i was kind of the unofficial artist of my high school, actually - not that i ever explicitly volunteered but absolutely any time the school needed posters or graphic design or illustrations of any kind... "this looks like a job for sci." designed all the christmas cards, all the posters for all the school plays - even now, almost a decade later, they're still using my illustrations for like, education principles and for the student journals and everything. it's really cute.

i think doing all those illustrations for my school was a real boost of confidence - i felt like i was practically a professional already, because my illustrations were already so widespread and seen, in people's day-to-day.

i studied art, media studies, english literature and drama at A-level - and went straight into university after to study animation (i've kind of always known i wanted to be an animator since i was a wee baby, it's always been my path)

while i was in uni i had a freelance gig at a daily newspaper - so i did these daily little illustrations that were kind of like little visual poems.

i was kind of lucky that a lot of little publication opportunities would arise for me because of my interest in translated literature and being kind of part of the british-iraqi community - so i got to do a lot of small publications - little translated books - even a magazine cover or two. i think, if you're part of communities it's always worth it to volunteer up your talents - even for free - create art to promote events, etc - it's so, so important as an illustrator to have eyes on your work. i know exposure doesn't pay the rent - but it does wonders for your confidence, and looks so, so good on the portfolio. posters - promotional material - publications - all of that stuff is so, so great. art for function, that's what will push illustrators forward, i think.

straight after graduating (well - with a year devoted to the job hunt) i entered the world of corporate animation! i mostly do after effects motion graphics - here's my groovy (and in need of updating) showreel!

i currently work as lead animator in a small corporate film studio! i storyboard, i animate, i direct (sometimes live-action projects too!) - i love what i do. and because i'm quite active on social media, i've also landed a few pretty high-profile freelance gigs on top of it! for a time i posted lots of commute drawings and it caught the eye of someone at the bbc and f1 - which lead to a lot of really exciting jobs. so you really never know what's going to catch someone's eye and lead to opportunities. something small you did just to unwind might actually be just the spark someone was looking for. the number of times i've had someone point to some silly, small idea i threw out into the void for a giggle and they've said "that. i want that. and i'll pay you for it." everything you create has value. even if you can't quantify it just yet.

a lot of the time when i gain a bit of success or i land a job i always say "huh. i'm lucky." but actually - i work insanely hard. i'm almost constantly creating. i've been that way since i decided i was going to be an animator, and that was - well, i was like, 11 years old. i decided i was going to pick up the pencil and never put it down. (not saying that's a healthy way to be! but it's just the way i've been.)

i think the most valuable thing for an illustrator is to be seen. create a lot. share a lot. join art collectives - do art challenges - submit to publications and zines - pushing your art out there in front of eyeballs is the best place to start!

[angel-is-not-creative]

Shin Sekai Yori (ending)

Maria says something really beautiful in her goodbye letter to Saki that I just wanted to highlight for anyone who did not watch the beginning of episode 16.

"I'm sure it was all because the adults are terrified of the children. Sometimes I wonder if perhaps, throughout history, it has always been like this. I can't imagine what it feels like knowing that all you've worked for and created during your life will be toppled by the next generation. Maybe it stings more when your ideals and values are rejected by your own flesh and blood"

I talked last time about the indoctrination I felt was happening, but this is really the core of it all. These adults are far too scared of the new generation toppling the system and breaking down everything they have worked towards as a society. They can't accept the idea of change because this is the only thing that seems right.

Beyond that in episode 21, we see the Queerats trying to build up their own new generation in order to overthrow the human population, understanding how important the new generation can be for change. (Though this is just another form of indoctrination, convincing a human child that they are really a rat so that they have the ability to kill humans is not any better than the human adult's actions).

Something that I feel may have been hinted at after watching episodes 15 and 21 back to back, is the fate of Maria. We know now that she is dead, killed by Squealer and the other Queerrats. We also know that her child is a fiend (or ogre depending on the translation) and that the Queerrats are essentially forming an army of human children.

What disturbs me is the idea that Maria suffered a similar fate to that of the queen. While there is so harsh evidence supporting this, Saki asks in episode 15 "what if they did that to humans." A line that is quickly dismissed, but I really feel like it would not have been included without reason. If Maria and Momaru were both living in the colony and Squealer had the power to kill them and take their child, I don't doubt this is a possibility.

Saki seems to be the only person who can see the Queerats as human. She goes out of her way to save as many as possible in any situation, she only sees them as below her because she has been conditioned to her whole life.

The irony of the Queerat situation is that they turned these humans without powers into Queerats because they believed that they would overthrow those with power because of their death feedback. Now humans recognize them as a separate species and are able to kill them. They also enslaved them, to make sure they understood the power these "gods" had over them.

Yet, this is exactly what makes Squealer attempt to overthrow the humans in the first place, if he has just been given equal rights/opportunities, he never would have had a need to go to such drastic measures.

Overall, I still didn't like this anime all that much, it felt kind of all over the place. Like there were too many messages and I could hardly understand any of them. I'm not a fan of how it is more theme/plot as opposed to character-driven as I love a good character study but I understand why people enjoy it.

Also here is an interesting video I found:

[missingn000]

I really love the dynamic between Maki and Yuuta in TPG 🥺 can you explain how you decided upon the details of their relationship?

HI THANK YOU FOR ASKING THIS. i LOVE LOVE LOVE talking about themes & narrative choices in tpg. thank you wonderful anon. now, to answer your question--

maki, yuuta, and the fate of the world: sekai-kei themes in the phantom guardian

mild spoilers for chapter 26 below cut

OH BOY. we're about to get philosophical here folks. let's begin!

sekai-kei (literally translates to "world-type") is a genre of japanese fiction that has many (sometimes contrasting) definitions, but the definition i use is that it's a story about a boy and a girl where personal feelings and conflicts are tied directly with conflicts that affect the entire world. think neon genesis evangelion -- shinji's dynamics with asuka (and rei) directly affect his world view and his decision to fight, or more often, not fight. his interpersonal relationships and their shortcomings cause the third impact and doom humanity to instrumentality.

while there's much more to be developed between maki and yuuta -- we'll see more of this in the next chapter, actually -- there's a similar dynamic between these two. maki's goal is to get close to yuuta and reach his broken heart, such that through those actions, she can save him from himself, and by extension save getou from himself. and look what getou's doing! he's trying to burn the world to the ground and kill virtually everyone. how can he possibly be stopped?

though toji's ability to use the strength of kindness is unparalleled, he will never alone be able to reach getou's heart because of what he did to riko. maki, as toji's adoptive daughter, faces a similar predicament. though getou knows what he's doing is breaking gojo's heart, he also views it as the only way his beloved will ever be able to rest and live a "normal" life. nanako and mimiko, due to the nature of how they were raised and the way he met them, fully support his ideals. with all these people unable to make the necessary impact, is there any hope that anyone can?

there is. it's yuuta!

yuuta is the only one with enough constancy and presence in getou's life to have the true power to pull him in the other direction. despite his own mental state, the depths of his compassion are unmatched. as we've seen, yuuta feels too indebted to getou at the moment to go against him. he believes that if he doesn't support getou, he'll be all alone, which is worse than death to him. he loves his adoptive papa dearly -- he literally has a binding vow of unconditional devotion to always protect him and stay by his side.

however! if maki is able to make the necessary connections to yuuta such that their bond becomes precious to him, she can give him the confidence to create his own ideals and convictions, and to live for himself rather than live to please others. if she can get him to see his own intrinsic value, independent of just protecting getou, she can, with the help of the rest of the found fam, change his mind, and getou's by extension. maki and yuuta's relationship is directly tied with getou destroying or not destroying the world.

you got this girl i believe in you

i...don't know when tpg became something i put this much thought into, or when it stopped being just a fanfic to me. maybe it never was. there's so much i'm trying to say about my own convictions in this story -- such as family isn't always just blood, kindness is the most important type of strength, and that bonds with others make an imperfect world worth living in -- and i hope the message is coming through.

thanks for asking!! <3

[writingquestionsanswered]

Hi! So, an advice that I usually get is that every scene in a story should have a conflict, but I really struggle with it, like, i don't know if you get what I mean, but I don't know how to find conflict for EVERY scene or I don't know what it should be... I don't know if you can help me with that, but thank you anyway <3

Conflict in Every Scene?

Sometimes good writing advice gets lost in translation, losing its context and meaning as reverberates through space and time. This is one of those bits of advice, because when you take it at face value, "conflict in every scene" sounds ridiculous... like you need to have an epic, high stakes confrontation in every scene, and that's just not true.

Part of the reason this happens is because we tend to interpret words like "conflict" and "action" as meaning that 200-foot tall stomping robots descend on the city, or hungry grizzly bears charge into your character's beautiful wedding ceremony, but the reality is that "action" just means that something needs to be happening (it can't just be dialogue and description), and "conflict" just means something needs to happen that drives the story forward, either by advancing the character's internal journey (internal conflict/change arc) or the external conflict via your character's pursuit of the goal.

If you know the following about your story:

external conflict

character's resulting goal

internal conflict

motivation (why pursuing the goal matters to them)

stakes (what they have to lose if they fail)

antagonist (creates obstacle/s between character & goal)

obstacles

Then you can figure out how to address one of those things in each scene. For example, part of one scene could be your character learning something devastating about the external conflict. That creates tension and moves the story forward. Part of another scene could be your character doubting their ability to reach their goal. Some other scene could be the stakes being raised in some way... like, maybe they learn one of the hostages they're trying to save is about to go into premature labor, and that gives them even less time to rescue them. And, some other scene could have your character attempting to overcome an obstacle but failing in some way.

In other words, you don't want to have a scene where your character drives to the grocery store, bumps into a random friend, buys some ramen on sale, and goes home to answer e-mail. That's boring. Nothing is happening there. It doesn't advance the story in any way. But if the friend they run into says they ran into your character's high school ex at a restaurant the previous night, and then your character goes home and finds an e-mail from said ex asking if they're free to meet for dinner and catch up, and then right after that, the neighbor they have been mutually flirting with shows up and invites them to go on a walk, that creates tension and it moves the story forward. That's conflict. :)

I hope that makes sense! ♥

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[alchemabotana]

Horoscopes for the Full Moon in Capricorn June 24th 2021

Antonina “Little Thunder” Whaples

@whaplesantonina

If you enjoy these horoscopes, please consider supporting by voting for me as Ms. Health and Fitness 2021 for Muscle & Fitness Hers Magazine. You can vote once every 24 hours for free. If I win, I am donating the proceeds to herbal medicine school scholarships. To vote: https://mshealthandfitness.com/2021/antonina

Strawberry Moon - Pen & Ink Sketch by Antonina Whaples 

Horoscopes for the Full Moon in Capricorn June 24th 2021

Strawberry Moon

This lunar Opening in Capricorn June 24th 2021 is a cry of righteousness on the hilly planes of our spiritual landscapes. With this meregoat’s lunation, we will experience the inherent benefits of the systematic work we’ve done since 2018, with a special emphasis on decisions made to change personal system errors. The Gods of karma are smiling at our intentions and efforts, and rewards will be reaped by those who invest in self discovery. Our ritual work has been seen and blessed in the Summer Solstice shifts by the spirits of the Land. If you listen closely on this strawberry moon, you may just hear the call of the Cosmic tricksters as they work their mojo on the psychopomp of Earthly frustrations. When you’re feeling the pull of your natal oppositions this moon, tune into the tendons of your actions and see where the motion stems from. You may be relieved to find that the strings that once pulled your puppet are made of finer ancestral threads and your permission to be free was always there. When you check into the Cosmic Chess Board you may find something of a rubix cube has emerged in your new dimensional awarenesses. Instead of throwing yourself into the equations necessary to unlock this next level, revel in the achievements that brought you to this very moment. In a cosmic landscape where the processes of life and death have been hyper focused in our collective consciousness it feels rebellious to change the font and type settings of the ancestral notepads in our minds. Representing the waters that run deeply within the Earth, Capricorn’s fullness in the night sky will illuminate various Spirits whose presence have been well established, but not necessarily recognized. A sign of the power of mental affirmation, your thoughts and words will hold a special magic in this moment. Remember that your Guides, Spirit Animals, Power Totems, Good Medicine Ancestors, and the Spirits of the Land are excellent translators, and with Mercury about to pop out of retrograde (watch out for its shadow til June 30th), its final lesson is one of the personal spiritual variety. When what we seek is Truth & Justice, we allow our souls to attune to protective forces that help us autocorrect, fold into origami, and transcend with temperance.

Aries:

It’s no surprise that an old tune holds the secret code from that earlier recording of the master tape your memory has been searching for in the old filing system. In these moments you realize just how deep and densely tracked the highways and byways of your mental system are. You’re the original wayfinder of your own uncharted territory of the mind. This state of curiosity opens you up to spiritual healing that aligns your personal ideals and values with the actions a person desires to embody. When your actions meet your words, you tend to feel the most at home in the grander machinations of Spaceship Earth.

I’m not sure if I’m feeling funky or groovy, jazzy or bluesy? Does it jive with you? Is it feeling all right? What songs have got you buzzed on this full moon night? I’m enjoying the humour of the human experience, and I find ways to incorporate positive sources of enjoyment into my daily routine. I recognize that I can be sensitive to the frequencies I consume mentally, and I’m manifesting sources of comedic gold into my awareness. I can be my own clown, and enjoy an inside-inside joke anytime my mind decides that laughter is the best medicine. I love to laugh, and allow myself this simple pleasure in life. 

Taurus: 

Saturn in Aquarius square Uranus in Taurus has been creating a nuanced ping-pong table in your mind. This influence has been upon your daily life for sometime, and shall continue on through the rest of the year, with another exact square in December 2021. Accept the exactness of this T-squared engineer level measurement on the corners of your ascension blueprints. It’s ok to look at the world from your own angles, and you may be happily surprised by the moments that unfold joyously when you use your sharpness to hone the hedges of your self doubt. There’s a special magic in this moon for you, as the meregoat lights a part of the puzzle we wanted to get done anyway. This refocused energy gives you the internal resources to wait to make your next move, even though the ones you’ve planned are quite clever already, when mercury rx clears you’ll have fine tuned your intel.

I give in to the epic bonestructure of my cosmic face in the universe. I know that on these edges are where the hedgerows grow. In these sanctuaries of my boundaries, I give spaces for things I truly want to cultivate to be engendered. I find which spaceships are allowed to dock at my intergalactic port of plenty, and make sure that my shields are up when psychic frequencies intend to disrupt my qi. When I breathe, I give space to the energy around myself, and I feel permission to let go. When I let go, I allow myself to accept instructions in the forms of feelings and intuitions. I do not allow the opinions or voices of others to upset my internal compass. I feel centered and grounded and know I will continue to make positive choices and believe in myself. I choose to honor myself, and that makes me feel good. 

Gemini: 

You’ve been carefully funneling resources into a variety of investments. Financial and interpersonal projects and alliances deepen, although it is not a time to throw caution to the wind. Caution and planning is what has allowed you to learn to trust the ebb and flow of the cosmic money winds, and you’re trying to siphon your own renewable sources, not steal from the Gods. When you place yourself in alignment with your internal resources, you can learn to embody compassion to provide yourself when feelings of self worth or insecurities prod you to feel guilty about the ways you regenerate. Let your conscience be your guide, and allow others to do the same. The path of self acceptance is most rich for you at this juncture, and it would be wise to use the Full moon to clear the psychic debris of your aura through ritual bathing, sound healing, and aromatics. 

I can sometimes turn my mirrors askance to the equations I cannot seem to readily solve. But, in doing so I lose reflections that empower me. I accept that it's time to look at some of those patterns again and see if they even deserve a place on the chalkboard of my mind. When I make space to use my memory card to run programs that make me have feelings I actually enjoy, I look into my secret box of fantasies and realize I may have already realized many of those experiences. In these moments of clarity, I hold a space for myself to enjoy what I may not have allowed myself to in the past. In this way, I take back my energy and transform myself in the present. 

Cancer:

In this moon you are finally able to feel that rebound-snap! Ka-bow! sh-zing! of Mars’ exit from your cozy airbnb. You’re reminded that you should be charging premiums for your ability to stay level-headed when the Gods and Goddesses war in the Heavens, and on Earth. You enjoy a good ritual bath, but to stay out of hot waters, this crab needs a cool-down. This Capricorn Moon is just what the doctor ordered, and something about the good medicine flowing through you can’t help but seep into certain streams where the mojo is most needed. This is an excellent time for you to pause in your personal space and take a moment to feel the beauty of your domain.

My soundtrack of life is a high luxury five star bathhouse of the Spirits. I’ve been Spirited Away to lands of emotional remembrance. The roots of my ancestors have spoken to me, and I have heard their instructions. I need not fear the judgments of others, because I am a sacred part of creation. I will not allow negative voices to infiltrate my consciousness, but instead, I will choose to believe that my work has been blessed by the Cosmic Super Computer and shall continue to have its content prioritized. In this space of trust, I allow myself to turn my consciousness to what I’ve relegated as “frivolous artistic pursuits”. I find the time and space to make something just because. When I experience this energy releasing through the act of creation, I realize why it mattered in the first place. 

Leo: 

The grass is pretty green in your patch. Both career aspirations and spiritual wealth appear to be presenting itself to you in all new fashions. You may literally be feeling called to new ways to express yourself externally, and this exploration of your presentation to the world helps you heal. You’ve been feeling called to healing in general, feeling like it may be a good time to start a new way of moving, or to add a healing ritual to your daily experience. If you happen to use stone medicine, Turquoise will be especially healing in nature during the transit of Mars through Leo, and can be just the cooling mechanism you need to keep your Roar without the bite.

Sometimes I’m just feeling high octane. When I find the right stomping grounds to release my charge I am able to do so safely through friendly communication strategies, good topics of conversation, interesting objects within my spacial periphery, and calming colors. It’s ok to turn the volume all the way up, but when the outside world adjusts its tone to match, I can switch to a different groove. I’m in awe of my co-creative power to engage my environment and use my influence therein to bring forth collective healing experiences.

Virgo: 

Something about this moon in Capricorn feels familiar to you, and perhaps it's the quiet watch you’ve held & the prayers of your heart being answered. Your physical being is finding ways to heal through your insights to your movements in daily life. As your mind/body/spirit awareness grows, you find new ways of expressing yourself. This ability to shift and transform might seem like deja vu, but it's your memories finding their way to the surface. When our minds give us abstract feelings and visions, we can move mountainous emotions safely within our systems, without harming ourselves or others. Breathe deeply and find a place to scream loudly if you need that release.

I have crossed some barren deserts, but I have not died of thirst. I am blessed with the life I have co-created in the spiritual planes of my intelligent manifestations. My awareness of the barren corners of life have given me compassionate reflective capacity and a recognition of my gifts by those whose opinions matter to me. I am enjoying the small moments of joy and call them precious to me. I forgive myself for any moments where I’ve expected too much of myself while I was grieving a loss. My heart is tender, and my spirit gentle. I wish to live in harmony with myself and others. 

Libra:

This Capricorn moon you are more annoyed than usual at laundry, other people’s messes, and scapegoating. Your sensitivity to physical objects is heightened under this Full Moon and it may feel overwhelming to be in the midst of the messes others leave for you to clean up. It’s more than frustrating when you acknowledge how your time/energy has been appropriated. Instead of letting loose the fire brigade when the bridge seems to be burning, walk away from the moments today that feel like a temptation. Make sure to find objects that reflect healthy energy back to you, and sit amidst a tiny oasis of your creation, and pay no attention to chaos of the Gods. You deserve a Full Battery, and the spirits are conspiring to recharge your battery banks this lunation.

I gather strength from my service to my community. When I have been unbalanced in the past, I allow my weight to ground in all directions through the sacred communions of my own secret tabernacles of the human experience. I make new covenants with myself and the way I speak and treat myself, so that I no longer need to suffer under the weight of the past. I don’t need to feel any guilt in laying down my load, and don’t need any permission to do so. When I feel safe, I will allow those who I trust to provide the respite necessary for me to heal my visions of my life and expand into an abundant awareness of how truly loved I am for being myself, and how needed my cosmic ray of intellect is to this world. 

Scorpio:

Known for your secrets and depth, you’ve been hiding like the Cosmic Sphinx between the pillars of the temple gates. You’ve been allowed to watch the clashes of the Giants unscathed, and your insight will outlast this passing phase of planetary tensions. You’ve been sending alien text messages to Neptune’s work phone, and the intel has been legit. Your attraction to Art, Color, Shape, Form, Music, and Theatre are encouraging you to make insightful investments in your own dreams. This Full Moon beckons you to create with abandon and let the waves of inspiration quench your desire for pleasure. 

I feel like the whole choir singing in one unison. I weave through the soundwaves, key changes, and rhythm switch-ups as I keep time with the sacred union of celestial sounds. I am aware that the tunes of the planet herself offer me a sacred respite from the cacophony of the cosmic movements. When I ground myself into the soothing waters of my spiritual essence I define for myself how my energy is used for the goodness of my own healing. 

Sagittarius: 

It feels like you’ve been getting along pretty well with the planetary forces, and everyone secretly enjoys the protection that your bow provides for the tribe. You may be feeling a bit cramped in the yellow submarine of the pandemic, dare we say you could have cabin fever? The Trines, Sextiles, and satellite signals of the skies indicate that you can find a special type of relief from the feelings of squished with mandalas, botanical drawings, and spirographs. When you take the time to let your mind journey in these ways, it lets your hunter’s mind relax for the next best chance. And no worries, you’ve got plenty of chances ahead, Sagittarius. 

Life is good. I do my hair toss, check my nails - baby how you doing? Hey, life is good. He’s got his eye on the sparrow and I guess that’s me? I’m playing with the chemistry... cause that’s how I be? When I look into the mirror I see a babe, a real dude of the neighborhood - my sister, mothers, daddy, and the community. I guess when I see you, I see me. And when I’m in that light in me, and you are in that light in you. There is only one of us: namaste my bissssssch 

Capricorn: 

This Full Moon in Capricorn you endeavour to ask outloud: “What Giant’s Bones Have We Built Ourselves Upon?” Your Full Lunation is opposing the Sun in Cancer, shining a shadow on our collective exoskeleton. This Full Moon feels like an archeological discovery when proverbial bones rattle out of the closet to give us a hoodoo prayer’s chance for self liberation. You’ve been waiting for a moment like this, and it's OK if you’re not ready to take that leap of faith. But should you choose, the moon lights up an emotional healing around the concept of “home”. You really want to know if you’re believing the right thing from one moment to the next, but keeping your head out of the secret sauce is key to giving your subconscious the space it needs right now to send out signals to the future. Soon enough you’ll be receiving confirmations of cosmic flavors right into your spiritual inbox.

I called Stephen Hawking and he called me back. My voicemail said: “Hey friend. I know this is a hard time on planet earth. I think people are doing better than they believe they are. It’s hard to be a human. I remember the constraints of the body, and I understand when you want to just fly away somewhere. I believe in you. Capricorns get a bad rap sometimes. I can see your progress, and I hope you take the time to see it too. By the way, we always have the time to say how much we matter to each other. Thanks for being, and enjoy this life, you deserve it”. 

Aquarius: 

There have been a lot of light bulbs going off in your spiritual laboratory. This Full Moon when the light shifts, your awareness of the dimensionality of the objects and purpose of your life is heightened. You may be experiencing some grief and loss around feelings of closeness with others. Recently you’ve been asked to hold a deep stability for the collective’s growth. Your actions haven’t gone unnoticed, and you’ve been receiving opportunities for advancement in your career. However, you are feeling uncomfortable with commitment while under a deep pressure to perform. These archetypal struggles are up for healing on the altar of the Full Moon. Your magic fairy dust works the best when you sprinkle it on yourself. You are learning the ways of Illuminated Prosperity.

My voice is a symphony of grace within a cacophony of sound. I breathe in the knowledge that my very existence is a miracle of my own embracing. I find myself at home in my surroundings and know I belong. Whoever “They” are, I know I can be myself around “Them”. I trust that my instincts are perfected beyond doubt. I’ve taken all the tests and quizzes and my insights are showing precision on whichever experiments have survived my tests of time and spirit. When I tune into my highest self it's because I’m recognizing my ability to be in that place no matter what surrounds me. Even when my circumstances deny me, I do not deny myself. I believe that I am worthy of the life I am living, and anticipate my surroundings shifting to match the unique vibrational fingerprint that I offer planet Earth. 

Pisces: 

You’ve been holding down some major spiritual territory during the recent seasonal shifts. The light of the meregoat acts as a lighthouse beacon for the whales and whistleblowers of your waters. You’re not particularly interested in that island, and prefer to spend this Lunation in Capricorn Gardening, Cleaning Out the Car, Writing about your art, Feeding the fairies, Calling in positivity, Releasing the Past, Testing New Grounds, and let’s just say it: looking pretty guuuuuuud while doing it. So good. You might want to tune into some whale call noises, or turn on a beachy video. The seas are definitely calling your name, and your inner explorer could watch Moana a few times through the eyes of the grandmother, the eyes of Moana, and the eyes of Te Fiti. 

I am a sound rising on the waves of creation. I turn my eyes to the heavens and I’m in the medicine nation. I forgive myself for all my wavering, I know my power lies in my cravings. I can wish upon the starry skies, and watch the birds where e’er they fly. I’m curious to know the names of all the fairies, and their games. I want to know what games I’ll win when I’m laughing with a cheshire grin. I know what gods have sent me here, I know which path I’m meant to clear. And when the waters run to quickly, or the bushes get too prickly - I can lay my spirit down. My minds’a palace, my head a crown. You could call me king or queen, but my magics’still unseen. I’m so much bigger than my titles, or whichever ones I didn’t get. I’ve given all at my recitals, and I’m my own best bet. 

[styleiswild]

Interview with Beastie Boys for Machina magazine, 07/1998

By: Rafał Bryndal

Translation: Anna Bak ( @styleiswild )

 -------------

Introduction: The party called Beastie Boys in Lisbon went on for two days. On the first day we (the journalists) were invited to the magical “Kremlin” club to listen to the new album [Hello Nasty]. I don’t think I have to explain how I felt knowing that I was possibly one of the first Polish people to listen to that phenomenal record. On the second day each of us got to meet the band in Hotel Ritz during the so-called “round-table.” It’s like a private conversation with the artists. It looks a bit like a coffee party at your aunt’s. (…) The whole meeting was just as absurd, in a positive way. The answers they gave us were often ironic, as one could expect.

R.B.: Don’t you think that being Beastie Boys is way cooler than being any other band in the world?

MCA: Unfortunately, we haven’t tried being a different band yet. So I can’t really answer your question.

Mike D: To be honest, there’s something to it. Maybe because we have so much fun working together. It’s not always fun, of course. We do work from time to time, but only sometimes.

R.B.: It seems like you work on your albums for fun and pleasure exclusively?

Mike D: I think it’s because we don’t release them that often.

Ad-Rock: Yes… Yes, you must be right, man.

Ad-Rock: Yes… Yes, you must be right, man.

MCA: Hey, we’d released Ill Communication after a two year break.

R.B.: Yeah, but this one took you four years.

MCA: Yeah, we had to level it out. It takes us three years most of the time.

R.B.: You grew up together. Are you always on such good terms with one another?

MCA: Sometimes there’ll be tripartite fights. Not sure you’ve ever seen what it looks like when three people fight each other. Each of them against the other two. That happens sometimes. Rarely, though. To be honest, we don’t really argue much.

R.B.: Your new album seems a bit like a departure from The In Sound from Way Out!

Mike D: Hello Nasty is a collection of a dozen or so songs, each of them stylistically different. That’s why you can’t really compare it to our previous releases. I guess, though, that at least two of the songs would’ve worked well as instrumentals on the previous album.

R.B.: How do you deal with the new technologies in music?

Mike D: Technology is present in all genres today and you can’t run from that. Music evolves largely thanks to the new technology. Especially hip hop music. We do it like the true rappers do, which means we start with a drum machine, then we put it on a loop, and then we use digital delay system. That’s one of the newest inventions. Technology is unpredictable, because people – who are its creators – have no clue about what the artists can do with it.

R.B.: Is it true what they say on the internet? That this album is the first one of the three that you’ve recorded lately?

MCA: You’ve really heard about that?

Mike D: Gosh, you can’t keep anything secret today.

Ad-Rock: Three? To be honest, we’ve got many more albums recorded.

Mike D: The last one of the three is a country album. The genre is so popular that you can’t really keep such a record a secret anymore. Especially when you’re in Manhattan and you walk around in a cowboy fit, it’s suspicious as hell. Because there aren’t many cowboys in Manhattan. People see a guy in a cowboy fit and assume that he has to be working on a country album.

R.B.: Is it really so important for your clothes to fit the style of your music?

MCA: You identify with your music more when you dress up. People often cheat, they wear clothes that don’t fit the music they play.

R.B.: So what kind of clothes did you guys wear when working on Hello Nasty?

MCA: I wore a bat girl costume.

Ad-Rock: I dressed up as a scared woman.

Mike D: I’d wear a bathing suit, because I wanted to go swimming all the time.

Ad-Rock: We couldn’t really find what we were looking for at first. We tried on a range of fits and finally found those that went well with our music.

R.B.: You’ve been popular with skateboarders. It’s a group of people who wear unique clothes and listen to a lot of your music, as it seems. Do you identify with this subculture?

MCA: I don’t think it’s just that one subculture. There are a few more we’d like to identify with.

Mike D: For me it’s long gone. Skateboarding isn’t much of an extreme or exclusive kind of sports discipline anymore. It’s become very popular.

R.B.: You’ve worked with Lee “Scratch” Perry on the new album. Can you tell me what kind of benefits did that bring you?

Mike D: It’s hard to say, but we’ve always been pretty impressed with his work on dub music. He’s also inspired Mario Caldato, our studio engineer. For me, Lee is an artist of science, a living fucking legend.

R.B.: Do you think that you can inspire young musicians?

MCA: Sure, but that’s a normal thing, right? If music is evolving as a part of culture, then everything and everyone inspires that process. We’re happy that we can be a part of that culture to some degree.

R.B.: A lot of white kids have gotten into rap music thanks to “Rhymin’ & Stealin’.” At least that’s what happened to me…

MCA: As a white kid… Right, it’s hard to be a black kid in Finland.

Mike D: We discovered hip hop when we were thirteen or fourteen. We’d go and see Public Enemy and bands like that. We were totally enchanted. It’s not that weird that kids who listen to us want to do the same thing.

R.B.: Some people say that you don’t like it when other artists sample your music. Some say that you’re more liberal, though.

MCA: It all depends on how the sample is used. If it’s creative, then we’re here for it. But if they go and copy our own ideas, and the whole track revolves around that idea, then we’re obviously pissed off.

R.B.: Are you as satisfied with making music as you’re with your magazine and your record label?

MCA: It’s all really about creating something new, publishing the mag, recording albums or playing gigs… We’re really into humanitarian work, too. Sure, the music is the most important thing of all. Nobody knows where it comes from, it’s hard to define the process of making music. It comes from subconsciousness.

R.B.: I’ve heard that you were to make a movie based on your “Sabotage” video?

Mike D: Unfortunately, that’s not true.

MCA: It doesn’t change the fact that we’re planning to make a movie…

R.B.: About what?

MCA: You can actually watch it in the cinema already, because Spice Girls had stolen our screenplay and made it their own.

R.B.: In the 80s there were a lot of humanitarian aids, like benefit concerts during which quite a lot of money got lost for a very simple reason. Those actions were organized on such a grand scale that it was nearly impossible to control the funds. Aren’t you scared that the same thing can happen to your organization?

MCA: Free Tibet is there to help people find out about the issue and educate them on it. The money that we get helps us organize the Tibetan Freedom Concerts. It’s not like those other actions from the past that were strictly about collecting funds.

R.B.: Do you believe that the bands you invite to play consider the gigs something more than simply another type of self-promotion?

MCA: I feel that most of those artists are really moved by the issue we’re trying to bring to people’s attention.

R.B.: You’re fighting for free Tibet, while recently it’s been 50 years since the State of Israel was formed. And Palestinians are fighting for their rights to be respected. Why have you taken on Tibet and not Palestine?

MCA: Tibetans’ fight is based on the idea of non-violence. It’s a peaceful fight. The contrast between the brutality of the Chinese government and that quiet fight of Tibetans does make an impression, and that’s why we’re popularizing the ideas behind the Tibetan struggle. We believe that the non-violent, peaceful act is the only logical way of dealing with the issue.

R.B.: Even if the peaceful fight ends up leading to the extinction of Tibetan culture?

MCA: The same thing will happen if Tibetans decide to use violence as a means to gain their freedom.

R.B.: Is it true that your music is banned in Hong Kong?

MCA: That’s right. We can’t play there. Our albums can’t be sold on their market. All of the bands playing for Milarepa are banned from performing in China.

R.B.: You’ve met Dalai Lama on several occasions. Does he like your music?

MCA: Dalai Lama doesn’t listen to pop music at all. Lots of bands give him their CDs. He takes them because he doesn’t want them to feel bad, but he won’t give them a listen.

Ad-Rock: That’s why he stores so many demos at home.

R.B. What is Dalai Lama like?

MCA: He’s fantastic. He’s a great role model, representing all of the values people associate with Tibetan culture, with Buddhism. He’s got great charisma. He oozes calmness that comes from the respect he has for everyone.

R.B. What’s his opinion on Tibetan Freedom Concert?

MCA: He thinks it’s an excellent way of spreading his word. For him, the concert is a kind of holiday.

R.B.: As far as I know, you have a slightly different view on the future of Tibet. He wants to negotiate with the Chinese government about Tibet’s legal right to autonomy in China, while you fight for total freedom for Tibet as a sovereign country. Is that true?

MCA: It’s related to his view on the type of fight. He’s so scared of any form of violence that he’s ready to negotiate with the Chinese government. He’s choosing the lesser of two evils, that’s what he’s doing. We’re in a completely different situation, though. As American citizens, we want to speak with our government about freedom for Tibet. We believe that Tibetans should be free and we want to encourage the government to take action to help Tibetans gain autonomy.

R.B.: The “Sabotage” music video was unique and quite shocking. Are your new clips going to be equally as original?

Ad-Rock: It’s gonna be some good shit.

MCA: We had lots of fun working on it. The “Sabotage” video had a lot to do with the song, though. Our new clips won’t have anything to do with the songs. They can be treated as independent short features. We plan to make a couple more totally different clips.

R.B.: You’ve been a band for so long that you must be best friends and not only, let’s say, collaborators. Can you please describe one another?

Mike D: Adam Horovitz is, to use basketball terminology, the play maker. He shows us how we’re supposed to play because he’s the one in charge of the balls. Sometimes he can’t score from a distance, though. Adam Yauch, on the other hand, is a very unusual power forward. His style is completely devoid of aggression, unlike Karl Malone’s. Or Charles Barkley’s. He can dull his opponent’s vigilance with his slow moves and get all the points.

Ad-Rock: Mike is an idiot and a thief. Yauch is a liar. I’m as cool as James Bond.

Mike D: Some people might say that we’re CSC. Crazy Sexy Cool. And that’s what we wanna be.

R.B.: Can you explain your record cover? You’re in a tin and you look like sardines.

Mike D: Doesn’t it sound pretty? “Sardine tin”? It’s almost like a big surprise. You open the tin and it turns out that people’s lives are similar to the life of sardines.

MCA: Maybe this album was recorded by sardines and you’re now talking to them? Who does know?  

[slugtranslation-hypmic]

What taboos in english texts where you talking about in the ask about light novels ? It sounds interesting

Ah, I mean that what Japanese considers to be good writing vs what English considers to be good writing is different even on the low-level end (sentence structure, word choice, and grammar. Not story structure and content, which is largely out of my scope as a translator). While there are different schools of thought on this, my approach generally boils down to, “The audience won’t, in 99% of cases, ever see the source text. Therefore it’s imperative to make the target text as strong and well-written as possible.”

For example, Japanese is more forgiving of repetition than English. A Japanese text may say something like “I ran down the block and almost ran past the mouth of the alley before I realized I had ran too far. I skidded to a halt, doubled back, and ran inside.” English readers will recognize the use of the word “ran” as excessive, even though this may not stick out as much to Japanese readers.

English places greater value on active voice (a subject performing an action on an object) than passive voice (an object having an action done to them by a subject), while Japanese encourages the latter far more. Japanese also practices what I call “object favoritism”, where in what English speakers usually consider the object of the sentence becomes the subject of the sentence. For example, a rap I was working on yesterday features a line that says “What was taught was worthless.” Here the “lesson” is the subject, although a native English speaker framing the same thought for themselves would be more likely to think of the subject first: “I taught you something worthless” or “You taught me something worthless.” I consider it a good practice to convert at least some passive voice and object favoritism to active voice. English readers subconsciously view passive voice as less authoritative and will not consider a text riddled with it to be particularly good writing. This is why your high school teachers stress the importance of active voice in essay writing.

Japanese also favors the use of adverbs far more than English does. In many cases, a translator can get around this by using stronger verbs, but it does mean that they will need to make minute assumptions and change the source text slightly. Some translators are not comfortable doing that. A common example would be something like

“This line of dialogue isn’t important to the point I’m making,” said Character, seemingly happily.

which can become

“This line of dialogue isn’t important to the point I’m making,” cheered Character.

Notice also that “seemingly”. While it is generally good practice even in English for the narrator and characters to not comment on things beyond their scope (a first-person narrator or a third-person limited narrator currently in the bedroom should not be commenting on what another character is doing in the kitchen), Japanese doesn’t like putting words in other people’s mouths. It gets around this by saying that this “appears” to be that or this is “seemingly” like that. This usually sounds awkward in English, as you can see in the above example. There are a couple ways to get rid of this. You can do what I did above, which is acknowledge that this is something the narrator can reasonably know and simply write it as fact. Most emotions can fall under this category, because those are easily communicable enough with facial expressions, tone of voice, and the like. You can also hold the narrator a bit more personally accountable for the idea, as in:

It looked as if this was Character’s doing.

can become

Oh, she thought, this has Character’s name written all over it.

Presumably, that sort of jocular/exasperated tone fits the source text as well. You can also load up on similes or metaphors to deal away with a lot of these. An actual example this time:

He walked towards the gunman appearing as if he was strolling through his own garden.

became

He walked towards the gunman as nonchalantly as a man strolling through his own garden.

and

I dodged the gas lamps appearing to bob like ghosts

became

I dodged the bobbing ghosts of the gas lamps

Japanese also uses double negatives far more frequently than English does. Double negatives in English are great for emphasis, such as in, “There’s no way I could go a day and not think about how much I miss you,” but they need to be used sparingly. Japanese sentences like “It wasn’t that he didn’t know how to talk to girls at parties” can just as easily become “He knew how to talk to girls at parties.”

Sometimes story structures that don’t sound too bad in Japanese can cause issues in English as well. For example, one of the authors I translate uses an excessive amount of flashback in order to tell his story. He does this in order to start scenes right in the middle of the action and then explain the scenario later. This is actually a pretty good writing practice as it immediately hooks the reader, but if you’re doing this, you need to be careful to avoid flashbacks within flashbacks. The English past perfect tense is used to indicate a past that happened before the “past” currently being discussed. (”I went to work on Monday morning, but the day before, I had stopped in at my mother’s house to say hello.”) In situations where you have a long flashback, you can use past perfect tense in the first two or three instances and then switch to past because the reader understands that it is still in that “previous past” time frame. (”But it hadn’t started there. Character had gone in to work on Tuesday and found her coworker eating her lunch. ‘What are you doing?’ she said.”) If you start doing flashback within flashback, though, the translator can’t ever switch to past tense but must keep using past perfect. Past perfect creates that repetitive “had” which is noticeable and unsightly to readers. It is not good practice to use a lot of past perfect tense right in a row for that reason. In this situation, though, I feel that there is little I can reasonably do without potentially overstepping my “rights” as an unlicensed translator.

There are more examples, but I’ve already written too long of a post as it is. This kind of stuff is super fun for me to grapple with, and I love talking about it, so feel free to ask about more things if this interests you.

[thespoonisvictory]

Alright- this has been bugging me for a while. Sometimes, the way this fandom talks about “government” and “anarchy” drives me up a wall.

Stop Portraying The Way Techno uses Anarchy on the Dream SMP as Inherently Pro-Freedom or Individual Autonomy

*A quick note: this post does not reflect anarchy or my politics irl. I am not taking from anarchist source material outside of what Techno himself has said and acted on, because this is about a minecraft server and anarchist theory obviously won’t perfectly translate. I’ll use a few terms to help clarify but that’s not meant to be a perfect comparison.*

Techno’s an anarchist; the syndicate is not a government. This is a well established fact, and I’m not gonna try and contest that. However, people have used the fact that he’s an anarchist to say “oh, that must mean he’s against all hierarchies and supports free will and autonomy for everyone.” But what’s reflected by Techno’s actions that his anarchism is more based in something like Social Darwinism/”survival of the fittest”: he doesn’t believe in lack of hierarchies in general, he wants a lack of hierarchies as created by government bodies.

But what makes me say this?

Well, Techno siding with Dream and not appearing to have a moral quandary about it is a starter. Dream has made it very clear that he wants complete control over the Dream SMP and it’s inhabitants, since the first L’manburg war where he didn’t want an independent nation forming. He’s the one very obviously pulling the strings behind Tommy’s exile, not Tubbo (you could make the argument that Techno doesn’t actually Know any of this, but it’s relatively common knowledge and the idea that Techno “I grinded 200 wither skulls as a safe guard” Blade didn’t do any research on his allies is a healthy stretch). If Techno’s anarchism was actually based in autonomy and free choice for citizens, Dream should be his number one enemy.

“But Dream isn’t a government!”

I never said he was. Techno isn’t against anarchism for siding with him. What he is denouncing is the idea that his anarchism is about anything more than trying to remove literal government structures. It doesn’t matter whether Dream is a government, he still exercised physical power over dsmp citizens and inhibited their personal autonomy and freedom with his actions far more than the likes of Tubbo ever has.

Furthermore, Techno’s determination to destroy any government (not just corrupt ones, he clearly stated he was gonna destroy Snowchester if he thought it was a government, regardless of whether it was oppressive or not), is not an act of disassembling all hierarchies or promoting free choice, because here’s the thing:

People who participate in a government on the dsmp are doing so of their own free will and autonomy.

No one, at any point, was forced to be part of L’manburg, or any government on the SMP. They joined because they believed it was better than going solo. They willingly gave up a certain amount of authority for the protection of a government, and that was Their Choice. This is known as the social contract, and it’s kind of crucial to the dsmp’s lore. The fact that Fundy could just leave and start Drywaters or Jack could just start Manifoldland when they didn’t want to be part of L’manburg is proof of this. The social contract essentially proves that any government on the smp can only be as powerful as people allow it to be. Manburg was easily taken because of this very idea: Schlatt’s bad governing eventually led nearly every member of Manburg to switch to Pogtopia, until he was just a shell with no power, easily toppled. 

Dream did, at one point, try to force people to be part of the Dream SMP (1st war), or no longer part of L’manburg (exile arc), via violence.

Techno did, at one point, try to force people to no longer be part of a government, via violence. He seems to believe that because he can physically overpower people, that makes it his burden to spread his ideology of anarachy (where the “survival of the fittest” idea comes in)

The only actual threats to free will and choice (in the long term, not singular acts committed by people) on the dsmp have been orchestrated by people with immense physical power.

“But Tubbo exiled Tommy. Doesn’t that count as an obstruction of free will?”

Nope! Tubbo had his hand forced by Dream to exile Tommy as means of appeasement. Plus, Tubbo wouldn’t have been able to actually enforce this without Dream’s power.

“But Tubbo made the Butcher Army. Doesn’t that count?”

Not really? I mean, you could call it a bad decision, but Techno isn’t actually a citizen of New L’manburg. Tubbo wasn’t acting as an oppressive figure to his citizens, he was fighting with a body outside of his country. You can say he was wrong for doing so, but then it wasn’t wrong because he was a government figure, it was bad because he wrongfully tried to kill Techno. Techno destroying L’manburg wasn’t based on trying to protect it’s citizens, it was a personal revenge against an attempt on his life (which is arguably valid but not based in moral values lol).

“But Tubbo wasn’t voted in!”

Ignoring the obvious fact that Tubbo was clearly supported and accepted as president with no challengers, This. Does. Not. Mean. Tubbo. Is. Obstructing. Free. Will. So long as people in L’manburg were fine with living under whatever you would call Tubbo’s government (I wanna say enlightened despot but those didn’t really have cabinets so who knows), Techno taking Tubbo down is not an act of supporting autonomy or free choice.

Techno nevers asks citizens of L’manburg whether they want to have their government destroyed. He wasn’t planning on asking Snowchester’s citizens before destroying their home if he deemed it a government.

He destroys Ghostbur’s home (and everyone else’s) with little regard for his say in the matter. That is not a lack of hierarchy or supportive of personal autonomy. Techno is the authority in this situation, he’s just not a government figure.

That doesn’t make controlling people’s lives and destroying their property any less morally questionable

Techno doesn’t have the right to decide for people whether or not they want a government. Neither does the Syndicate. If he wants to make a funky little anarchist book club, I support him, but using it like a police force is Questionable.

(this doesn’t mean Techno is Wrong, per say, for thinking government is bad, just that his ideology does not support individual choice as much as some people believe. If Niki is an anarchist because she believes governments have hurt her too much, that’s perfectly fine, but if Karl wants a government, that’s fine too)

So yeah.

Can we please stop acting like anarchy on the dsmp is any more valid of an ideology to force on people than any other.

[pompompurin1028]

Ok, I just finished "The Setting Sun" and wow I may have read a little too fast towards the end because I was so excited and eager to finish but I'm very much in awe of the whole novel. I hope you don't mind if I just put down my thoughts about it :')

Ig I should put a SPOILER WARNING and obviously, there's:

TW: Mentions of suicide

First off, my opinions of the main cast:

I honestly had very neutral feelings towards Naoji in the beginning but shortly after his suicide and his note to Kazuko I felt that I understood him a lot more. Maybe it was partly because the story took place in Kazuko's POV that I had a more discontented viewpoint of him but afterward I felt I understood him more as a person.

With Kazuko, I personally liked her character and the fact that she didn't seem like she was written to be the "perfect woman" like I've seen in some novels. She has flaws and I think her love for her mother is something I found interesting. Although towards the end, I felt that her love for Mr. Uehara sort of anchored her down.

Kazuko and Naoji's Mother was honestly my favorite character of the whole series. I adored her from start to finish. All the way from when she was first introduced she had a sophisticated and genuinely kind aura and when she died I honestly felt a little part of me die as well, haha. But her last line in the book: "It must have been a terrible rush for you" pulled my heartstrings a lot.

Secondly, I just wanted to ramble about some of my favorite quotes from the book lol

The first quote I highlighted was a line Kazuko says: "...The ones who die are always the gentle, sweet, and beautiful people." Which honestly felt so Dazai-like. In both the case of Dazai-sensei and the BSD version of him. There were so many times I wondered if it was the character speaking or Dazai-sensei himself adding himself into the character.

Another one I liked was "I wonder how it would be if I let go and yielded myself to depravity." I don't really have a comment on it, I just sort of liked it lol.

I highlighted so many in all honesty but I also wanted to point out this one: "The dying are beautiful, but to live, to survive--those things somehow seem hideous and contaminated with blood." Again, it just seemed so beautifully raw and just something I envision BSD Dazai saying and believing as well.

In Naoji's suicide note I almost felt as though it was coming from not just him but from Dazai-sensei as well. Which I'm beginning to see is a recurring pattern in the novel. In particular, this one line stood out to me: "Why must I go on living after what has happened? It's useless. I am going to die. I have a poison that kills without pain. I got it when I was a soldier and have kept it ever since."

I loved the Snake Metaphors(?) throughout the story. And especially Kazuko and Naoji's POV of their mother and how they call her "the last lady of Japan" I think they truly honor her and it's interesting to see such two somewhat lost and "tainted" characters almost obsess over this "light" and genuinely kind woman they hold in such high regard. It almost reminds me of BSD Dazai's opinion of Odasaku or even Atsushi.

That's mostly it- I just really wanted to talk about those things and overall I loved it a lot. It's been a while since I've been so absorbed in a book so reading it felt very relaxing and at the same time so riveting. I hope you don't mind me popping into your inbox and chattering on about this :')

Okay, before I begin, Ariel please don't apologize for putting down your thoughts here. I love discussing Dazai-sensei's novels, and I can't even begin to express how giddy, excited and overjoyed I am to receive this ask of yours. And please if you would ever like to discuss more of his works, feel free to chat with me as well, via asks or on discord it doesn't matter😭❤, I'm always down for it. And this whole thing is me rambling over this so please bear with me haha.

And, I want to say, I was extremely eager to read and finish the novel as well as I continued on reading. It is strangely alluring and compelling. And honestly, I tend to be in awe of Dazai-sensei's thoughts and writing as well😫💕.

Okay, so before I begin to address your thoughts on the novel. Let me write down some background information on the novel to hopefully give you maybe a better understanding of it and Dazai-sensei as well?

The book was published in 1947, not long after the end of the Second World War which ended in 1945. The book in general talks about the state of Japan after the Second World War, and the decline of the aristocracy that came with it. (It should be noted that Dazai-sensei came from an aristocratic background as well, but he also seems to have a sense of shame towards it). The title of the book is literally a metaphor for the decline of Japan. Japan is often known as the "land of the rising Sun", and therefore "The Setting Sun" as the title is fitting for this theme.

And well, this defeat created according to here (an article written in Chinese unfortunately😥) caused a great change in moral values in the Japanese society, which caused an uproar for democracy. Dazai-sensei, however, was quite critical of this, as he sees this as a sign that the Japanese do not feel any guilt or remorse for their actions in the war that took place. (From what I've read Dazai-sensei in his works is very much known for his sense, albeit unusual for Japanese writers from what I read, of guilt, remorse and in a sense seeking for atonement, in one of his prose he even wrote that he writes literature for "remorse, confession and reflection" [my translation from my native language]).

Also, it should be noted that The Setting Sun is also deeply inspired by a diary written by one of Dazai-sensei's lovers (especially chapters 1 to 5 I believe). However, Dazai-sensei himself is best known for his I-novels and their semi-biographical elements. In one of his short stories, or prose in his book I am reading, he confesses that he cannot write things he doesn't know or hadn't felt for himself...

Now onto your thoughts on the novel!

Naoji, I honestly felt the same about him at first, but the more I dove into the novel, especially in the chapters Moonflowers and his note to Kuzuko, I felt more connected to him. And when I read the novel I felt as though Dazai-sensei had actually reflected a part of himself in Naoji, and I read something from what @/bsd-bibliophile had said which confirmed that perhaps Naoji was in a sense an extension of Dazai-sensei himself. (Same for Mr. Uehara I should note, who is also an extension of Dazai-sensei, which I had also noted as well when reading the novel).

And yes! I loved Kuzuko as well, and I have to agree with your statement about her love for Mr. Uehara. I was somewhat disappointed with that as well. But I actually had just been reading on something today which is a bit interesting. However, I do not know enough on the topic yet, nor am I entirely confident at myself explaining it at the moment, but I will talk about it briefly down here.

CW Religious Mentions [Christianity] (Feel free to skip if it makes you uncomfortable <3 For this is simply for literature analysis uses)

Before I begin, I should note that Dazai-sensei is by no means a "religious person", many scholars do not believe so either. It was mentioned in a paper that he even holds a critical view of the Church. However, Dazai-sensei commonly mentions the Bible in well the prose of his that I am currently reading (which brought me to research this topic). It was written in some papers that I am reading that he simply understood the Bible through his own means and not what the Church says (perhaps he sees it as a piece of literature as well in a sense...). Some papers say that he formed his unique views of the need to find "atonement" for his own guilt due to this, which some say is not often seen in Japanese authors.

I'm getting off-topic, but what I'm trying to say is that some scholars say that that action by Kuzuko might've been an allusion in a sense. But what the paper was trying to say was that it was meant to be something powerful? But, personally, I'm not sure what I think of it, it might be a bit far-fetched. But I just wanted to make a note of it.

End of CW

And yes! I do agree I loved their mother as well. I loved how genuine and kind she was. I think she is my favourite too, but she also acted as a form of symbolism for the theme of the novel I believe, which I will talk about briefly later on.

"...The ones who die are always the gentle, sweet, and beautiful people."

I really liked this quote too actually! And yes, I can definitely see Dazai-sensei saying this... It is hard to tell which part is him confessing, but most of his work tends to have elements of his own feelings and thoughts. Personally, I think it might be Dazai-sensei himself speaking... But I'm not sure, but it should be noted that Dazai-sensei held the concept of "tenderness" in high esteem (other people have also mentioned it here).

And honestly, I get what you mean when you say you don't know what to say about it haha. Sometimes authors just put sentences and words together so beautifully.

And yes, I definitely understand that! I felt that as well, and as I said, Dazai-sensei seems to have put elements of himself into Naoji...

And ahh the snake metaphor! I read on it a bit before, and some say that it might've been symbolizing the decline of Japan/the aristocracy. And the use of the term "the last lady of Japan" seems to symbolize the fall of the old traditions of Japan. It had seemed to me that their mother was a symbol of the "old Japan" that had fallen after the war.

And yes, they do hold her in very high esteem! I wrote that in my analysis as well before! From what I have read, Dazai-sensei does seem to hold such people highly, especially those that are honest and genuine it seems. And yes, exactly, it reminds me of BSD Dazai as well T^T.

And please, thank you for coming over to chat with me about it haha. You could probably tell by how long this is how excited I am about such topics😅. Don't hesitate to come by if you want to chat more! And I'm also really glad that you liked the book as well <33

[ladytabletop]

Do you have any advice for creating character backstories? I seem to fluctuate between not preparing anything and writing six pages of backstory that I either end up changing or just completely ignoring.

Oh boy do I!

I get where you’re coming from. I tend to lean toward more detail, not less, but there’s definitely some things you can do to make a manageable backstory that doesn’t overwhelm.

1. Figure out what your character wants.

This is the big one, and while you don’t have to start here, it is essentially the heart of your character. What drives your character? Do they seek honor? Revenge? Love? Start with the general drive and work your way to specifics.

For instance, my paladin wants to make an impact on the world. More specifically, he wants to do this by performing well at the position he’s just been appointed to. Even more specifically, he wants to stop a recent crime spree in order to live up to the expectations of his position.

“I want” is the phrase that drives the story. Your character can and most likely will have more than one want, and the driving factor at the beginning of the story isn’t always the same as the one at the end.

2. What makes them “them”?

What does your character value? What flaws and fears do they have? What virtues and vices are the underlying current for their actions?

Answering questions about what is and is not important to your character can help you quickly get a grip on who they are and how they might play in game. The follow up question to all the above questions is, of course, ‘why?’. If you’re worried about writing too much and then discarding it, don’t answer ‘why’ beyond the surface reason.

For example, the paladin we’re talking about values honesty and fears disappointing those he admires. Why? He grew up hearing stories of heroes and longs to be one himself.

You don’t have to flesh out every single aspect of the character’s personality and life, which brings me to my next point.

3. Leave gaps.

Don’t fill in every bit of minutiae you can think of for your character. There’s a couple reasons for this: first, you need to allow the GM and other characters room to play.

“But it’s my character!” you say. That’s true, but you’re telling a story collectively. If you know every single thing about the character, you’ll have a more difficult time being flexible as you and your group tell a story. Allowing a GM to surprise you because you left room in your backstory for some past action/NPC to bite you in the ass, or because you didn’t flesh out with 100% certainty your character’s relationships and responses to various situations is delightful!

Secondly, you need to allow yourself room to play. Sometimes what we put on paper doesn’t translate to the table, or a response that flows better with the gameplay is “out of character” with your backstory. Give yourself wiggle room. Understand that you can’t conceivably know how your character would react to every single scenario; the split second reactions and improv may come more from you than your character, but that’s part of the charm of telling a story. You can inhabit a character well without knowing every little thing about them. Develop them as you go based on the solid foundation you have built.

Building a whole backstory that may or may not impact the game can be disappointing. Don’t set yourself up like that! It’s fine to have details and impactful events, but remember that your character needs to be ready to take part in a story with other characters whom they likely do not know or share history with.

4. Connect them to someone/thing.

Adding in a couple NPCs can give your GM fodder to make a story more personal to your character (and no, I’m not talking about them killing off your loved ones in session one). It allows you to carve out a little part of the world that is yours. While it can feel more real to make an entire family tree and circle of acquaintances, it can also bog things down! I tend to enjoy rolling with a little improv when my GM says, “Your paladin knows this fruit seller from the days before he joined the order,” rather than me writing a character the GM then finds himself having to play.

You can similarly connect your character to a cause or organization. I’m not saying it’s bad to have a loner character! But even the most independent individuals know people. Do yourself a favor and give yourself a reason to connect to the story in advance, and then see where that connection takes you.

5. Quirks, preferences, and other little things.

This is optional, but for me it’s the quickest way to make my character feel like a real person, even if I don’t know much about them or have much in the way of backstory. Write down some likes and dislikes, or habits/superstitions, just 3-5 of each. Then jot a little note about why. It quickly gives your character the feeling of being a fully realized creation.

For example, my paladin has the following:

Likes

swimming - used to visit cousins on the coast

walnuts - a favorite snack from late night study sessions

vaudeville - if he hadn’t been a paladin, he’d be destined for the stage

Dislikes

bees - deathly allergic

cold - grew up in a warm climate and gets cold easily

the sound of metal on metal - inconvenient, but raises goosebumps every time

You can even start here, with the smallest details, and build out!

Whatever your preferences when it comes to building a character, the important thing is that you’re considering how they will fit at your table. TTRPGs are not a solo effort; it is important for you to enjoy your character, but equally important is making sure that who you choose to play is someone who will be compatible with the story/table, and who can be adaptable.

Happy gaming!

[nutty1005]

Xiao Zhan: It’s Your Turn

Translator’s Note: This article comes from VogueMe Magazine 2020 Feb Issue.

Currently, the trend in the entertainment business is to get famous overnight, the statistics dictate everything – a drama, a variety show, a song… all of which could give birth to a super idol, fame, commercial value and opportunities that come along with it. In 2019, the drama “The Untamed”, adapted from an internet novel, became this window of opportunity. This is the story of a young man who received the opportunity. And like other idols created by their era, his fanbase grew immensely, radiating throughout the youth, his name etched in time. All of these simply points to this – it’s now Xiao Zhan’s turn.

1

The summer of 2015, Xiao Zhan had not yet realized that he was going to job switch from the design firm opened by his teacher. The teacher did not feel so as well – as Xiao Zhan left for the talent search variety show, he told him, “Go play, come back to work once you’ve been eliminated.”

The show was called “X-FIRE”, and positions itself as a large scaled youth talent development inspirational show. During broadcast, the description says “16 secretly trained youths painstakingly selected from a few thousand 16-24 year olds”. At that time, Xiao Zhan was 23 years old – nearing the upper age limit.

Xiao Zhan just wanted to “play around a bit”. He felt that he would be just touring for a round, and he would be back after a week. As the former class Cultural Committee Member in his university, Xiao Zhan loved singing, won quite a few inter-school cultural activities awards, but never trained in dance-singing. Xiao Zhan, who graduated in graphic design, learnt drawing since young, but never thought of becoming an artist, because “it is hard to survive as an artist, you still need to earn a living”. He was willing to lead a simple life and go to work everyday, with a direct and clear life plan – as a graphic designer, do his work well, then open his own firm.

The summer 4 years later, the name “Xiao Zhan” meant a lot of different things – a member of a pop group, the lead actor of one of the most popular drama, the owner of a Weibo account with more than 22million followers, or as what Chinese entertainment business puts it – a “top traffic”. The topics and imagery surrounding him includes – Xiao Zhan’s looks, Xiao Zhan’s design talent, Xiao Zhan’s professionalism, Xiao Zhan’s role as Wei Wuxian…

And like the other idols who broke out in this era, he has his own set of records – moderators of Bilibili (a video hosting site in China) nagged that his drama fans uploaded so much of his videos that they “almost see him 800 times a day”, Xiao Zhan was jokingly proclaimed as “The Man who caused the Bloodbath of Bilibili”; he became the cover person of a magazine, and the two mobile sales platform app broke down consecutively on the day of the sales; his popularity in 2020 only got higher – on 9 Jan, according to Tian Mao statistics (TN: Taobao eShopping Mall), the Portrait magazine, where he was the cover person, sold out 100,000 copies in 3 seconds, overall sales exceeding 13million Chinese yuan, a poster was spread all around the internet with the accompanying text “a fandom that brought paper media back from its grave” – this is the Xiao Zhan statistics.

But different from the breakout idols, Xiao Zhan did not encounter major controversies (TN: This was published early Feb), and his career did not seem to go through much fluctuations. He never thought that he would be at this point – “Sometimes you’re not ready, but life has already pushed you to ahead. What you can do is to quickly keep up with the pace.” He is now at the stage where any of his actions are “studied under a magnifying glass”, but he feels that his stress levels are not as high as his previous few years, “the past few years, I had the drive but nowhere to use that, now I know how to work hard.”

2

During the initial auditions, Xiao Zhan still continued to work as per normal, go onstage – sing – leave, which was quite fun. After the selection down to 32 persons, he did not think much of it, and left his work to go to Beijing to practice the dance for the variety show. After the selection down to 16 persons, he practiced everything – dancing, vocals and flexibility training.

He did not think much of what would happen later. The winter in Beijing was especially cold, after the show recording, it would be around 3am or 4am, and there would be fans waiting for him outside of the studio – Xiao Zhan felt quite sorry for them, “All are young girls, it’s so cold and so dark.” He felt surreal having fans. When the 16 of them went to Zhejiang TV “Running 2016” New Year Eve performance, he saw the stage and felt that it was especially big and he was especially happy, and kept making sure he remembered the moves so as not to make any mistakes. After the final battle, Xiao Zhan’s team lost, but he and a few of his teammates were rescued by fan votes.

In 2016, Xiao Zhan debuted as part of X-Nine. During the signing of the contract, Xiao Zhan finally realized that he was going to make a career switch. “When you look at it now, 23 year old is also still a child, but no one took me as a child then.” – Xiao Zhan was the oldest in the group, he made his own decision to sign the contract, he thought that if it did not work out, he could go back to work, there was no need for him to paint himself into a corner.

3½ years after his debut, Artist Xiao Zhan still had to explain to interviewers his obsession with going to work. That day, he had a pimple on the left side of his face, and the makeup artist was applying essences on his face. The makeup room was simply a curtained area in the basement of the Art Gallery, full of passing staff, the editor was discussing the shooting schedule with his manager, the stylist was here delivering clothes, and he sat there with his eyes closed, allowing others to apply whatever it is on his face.

Xiao Zhan’s eyes are long, and also wide, he is very fair and his side profile is graceful and beautiful. With his looks, one would imagine that his personality would be cooler, more introvert, with mild melancholy, like those prince-like male leads in romantic dramas. But his personality does not really match his looks – he is serious, disciplined, he does not talk much initially, but overall he is a relaxed person, and quite funny occasionally.

“A lot of art students do not want to go to work,” the interviewer said. Xiao Zhan learnt drawing since young, some of his happiest moments in his childhood would be to win drawing awards or to have his works praised by his teachers, other unimportant happy moments includes had a good lunch, went to an amusement park, or had a liking for a girl in high school.

“They never went through the society school of hard knocks,” Xiao Zhan said. He described himself as someone who went through “quite a fair bit of knocking”. Since young, his father thought him to be independent, taught him budgeting, and told him stories about Bill Gates’s children… “I wanted to say, god, you’re not Bill Gates.” Despite all these, Xiao Zhan stopped using his parents’ money ever since his university graduation.

Xiao Zhan not only learnt drawing, he also learnt violin, go and Chinese calligraphy… pushed him to study in “National Key” middle school, “National Key” high school (TN: National Key refers to the top range of schools in China). He was an obedient child, but as a standard art student, Xiao Zhan was better in humanity subjects, and his math was not good, hence all the while he had always been the mid-bottom of the pack, which worried his family of 3 quite a fair bit.

Studying graphic design in university, Xiao Zhan felt that his university life was quite comfortable – everyday before class he would adjust himself a bit, although in the end it seemed like it did not work well after all, but at least his results were decent. Xiao Zhan emphasized that he was “definitely not the school hottie”. He was a good student. After he had learnt what the teachers taught, he started a studio on the side. The design studio would take on poster and logo design work; the photography studio only have 3 persons, Xiao Zhan did the photo taking, the other 2 did lighting. Before graduation he went to intern in a design firm, hence it was easy for him to find a job. Within a year of working, his monthly salary was around 4,000 to 5,000 Chinese Yuan, which would quite alright for Chongqing at that point in time.

Being part of a boy group releasing albums, shooting web dramas. The way to do things right was quite different from his previous job – his characterization in the group is a warm guy, although Xiao Zhan did not like characterization, he seriously fulfilled his role, and he was obedient. When someone in the variety show suggested that he lose some weight, he replied “I’m quite thin already I still have to lose weight”. As a commoner, Xiao Zhan was 183cm and 150lbs, his mother would always say he was too thin, and he felt so himself as well. That person showed him the film, “the camera lens is a really scary thing, I literally looked like a ball”. It was not easy for Xiao Zhan to lose weight, so he did it brutally. He was so hungry that he dreamed that he was eating. Xiao Zhan is now 127lbs, but this was not his thinnest.

“How was it like after debut?” “Unoccupied.” (TN: Xiao Zhan used the Chinese phrase “picking at his feet” to describe the state of emptiness.) Xiao Zhan’s words were paced and gentle, most were caught unawares by the sudden switch to casual humor, he might not be laughing, after others laughed he would continue his conversation seriously.

After his debut, he felt that he was freer than the times when he was still an intern. But he did not allow himself to stay free, he took vocal and dancing lessons, making sure that he could do sing-dancing to the best of his abilities. But he was still a bit lost – when he was still a designer, his future was clear and straight, but after his debut he had no clue where his future led to.

3

“I could count the number of dramas I’ve acted in with my fingers,” Xiao Zhan said. After which, he started counting them – “Battle through the Heavens”, “The Wolf”, “Oh! My Emperor”, “The Untamed”, “Joy of Life”, “Jade Dynasty”, “The Oath of Love”… the earliest work “Super Star Academy” was not counted – It was shot with his boy group, he was still fat, and he had no clue what he was doing.

Acting was his own idea. When he started auditioning he had not even attended any performance classes, he saw the director, took a piece of paper that indicated the scene and lines, and just went for it. Xiao Zhan did not feel that it was awkward, it was something he wanted to do, so he would do so without any inhibitions, and grasp every opportunity to do so. Singing was something that he always liked, his first single after debut was a song voted by his fans. With the stage and his fans, with attention, he would always want to do it better. Acting was something totally foreign to him.

The first turning point was “The Wolf”. When auditioning, within 2 hours, Xiao Zhan had tried many roles – the bounty hunter who was threatening someone, the prince whose brother was about to be executed… Xiao Zhan won the role of the bounty hunter – the 4th character on the character roll, Ji Chong. During the pre-shoot training he was still acting in “Battle through the Heavens”, daytime he would be shooting, nighttime he would be having performance classes. He did not feel it was tough then, as long as he had time to sleep. “Work is something I am willing to do, I will only feel very motivated, tomorrow must be done better than today.” Xiao Zhan liked Wei Wuxian, felt that he was vivid. When acting, during the first month he would be second guessing himself everyday, is the portrayal accurate? Would the audience accept it? Xiao Zhan checked with the director everyday. After a month, he stopped asking, he felt that he was Wei Wuxian. Dramas adapted from web novels are rarely positively received, his hopes for Wei Wuxian was that “I hope people would not dislike the character because of my acting”.

The summer of 2019, the drama aired, and the real turning point arrived.

Billions of fans, frequent trending topics on Weibo, appearing on multiple magazine covers and even causing the sales platform app to crash…

He is one of the few artists in Weibo that sets his account as “only posts in the past 6 months are viewable”, but it did not affect his popularity. His interaction with his fans are witty, the statistics are more than enough to attract attention. Last year on the Chinese Valentine’s Day (TN: 7th of the 7th Lunar month), he posted a photo informing his fans that he had put on weight, his pants folded up, legs in the swimming pool. One of his fans replied, “Fine, good to know that your leg hairs are doing fine.” This reply was boosted to the top with 190,000 likes.

“After watching ‘The Untamed’ and ‘Joy of Life’ and then meeting you, I feel like you are very similar to your performance method, calm. You are like an AI, whatever you do you’re especially precise.” “You’re highly professional.” The interviewer concluded.

At the start of the conversation, Xiao Zhan just finished an exterior photo shoot, we were both seated, leaning forward and warming hands above the radiator. He said, “Artist is just a job, I don’t like artists to place themselves on a pedestal, just like today you are the reporter who is interviewing me, today I am someone being interviewed. Cooperation, is just so that we can complete our jobs, coming in for the photo shoot is my job today, every single staff is also executing this job, it’s just the role is different.” Because he went through the society “school of hard knocks”, he respected and understood the truth behind teamwork.

As someone who once had to face clients, he knew how it felt as someone at the receiving end of endless unreasonable requests, and therefore he did not want to be someone like that. His standards for work is consistent – high efficiency, good results, everyone is happy, no one has to serve another person. Also “once I am done I will knock off, after I knock off no one should come find me, let me be alone.”

“Everyone works to fulfill their needs, they have entertainment after they knock off, they have freedom and privacy. As a public figure, artist, the product is yourself, the works are also yourself. You have to output materials, contribute works, and then gain the opportunity to grow, for higher social status, value and better lifestyle. For some people, besides their career, they also included their dreams,” the interviewer said.

“The understanding is very thorough. You win some, you lose some, after becoming a public figure it meant that there are multiple pairs of eyes staring at you, anything you do would be judged. Whether it is positive or misguided. Truth and falsehoods, isn’t this circle just like this? Whether the rumors or the gossip is true or false, who knows?” Xiao Zhan said.

4

On 5 Jan 2020, Xiao Zhan was working in a sculpture garden in Shanghai Songjiang, shooting a series of photographs to be the cover of VogueMe. It was cold, the gallery’s doors were open, and the wind blew from the first floor to the basement. Everyone was wearing winter jackets.

In the morning, beside the metal sculpture on the first floor, Xiao Zhan and model Chen Yu faced the camera separately. As the shutters rolled, they did not exchange glances or touch each other. As the photographer requested the model to sit on the ground, Xiao Zhan said his only sentence to her, “Careful your head.” and used his hands to shield her head from the protruding portion of the sculpture.

That day’s Weibo opening advertisement was also Xiao Zhan. As per the photographer’s request, he tilted his head up slightly and gave a cold gaze, or side glancing a faraway place, but also at the same time, he was smiling sweetly on mobile phone screens, promoting a series of instant food products.

In the afternoon, the team went to the exterior, to a concrete sculpture beside the gallery entrance, where he and the model stood in front of, facing the camera. The arm was on the model’s shoulders, and the two of them looked at the camera – he was even thinner than the model. In yet another set, the staff erected a ladder to one of the rooftop grass patches on the gallery buildings. An ice cold rock slab was selected, which the assistant padded using a jacket, and tested the light levels. After which, it was Xiao Zhan’s turn. He was wearing a red jacket with blue shirt, wearing a baseball cap, lying on his side on the rock slab, supporting his head with his arm. In between shoots, the assisted would hand him a long wool top, with deep blue diamond checks, quite thin. The top was flipped over, he slipped his hands into the sleeves to protect the front of his body, his assistant handed over another water bottle that contained warm mineral water to warm his hands. Xiao Zhan basically did not speak, he placed the bottle on his neck to gain some warmth.

An artist’s job, the profession included losing weight, staying hungry, freezing and staying up overnight, wearing winter clothes in summer is the norm, not drinking water prior to any shoots to prevent water bloating on screen… people who do those well may become famous, if they look good or are lucky they may become even more famous. Now Xiao Zhan has an opportunity, and like his previous job, he chose to be down-to-earth and do it well.

In the evening, the green screens were setup in basement 2 of the gallery. 17:44, Xiao Zhan was in position, his manager reminded the stylist to take note of the clothes’ proportion – “The sweater is too long.” Hence, the sweater was folded up. After the camera assistant brought down the Apple machines, the cameraman adjusted his machines, and started shooting the video. Quite a few scenes were done in one take, in the middle there was a break, the manager and the camera crew were discussing camera positions. This was the 10th hour of the shoot, Xiao Zhan sat behind the table, laid his head on a prop gift box and waited quietly – we could not see if he was tired or not.

The shoot ended, and the sky was already dark. Xiao Zhan has not yet knocked off. The media had ended their work, the manager was darting around, arranging for Xiao Zhan to change out and get on his car, to rush to his rehearsal that night – they were already behind schedule. Both teams bid their farewell, Xiao Zhan warm and gentle, still unclear whether he was tired. After less than an hour’s journey, he would need to go onstage to sing, and thereafter, his work would be to complete the costume testing of 20 different sets of clothes.

The Initial Cold

The time set for the shoot was 9am, Xiao Zhan arrived at the rural set at 8.30am. His overnight flight arrived only the day before, meeting Xiao Zhan on the cold morning of a deep southern winter, his spirits looked great, his face having the same kindness as usual. The endless job schedules taught him how to conserve his energy – no casual conversation, not even to his staff; take every opportunity to eat or rest; absolutely no procrastination, ensure efficiency, do his best to accommodate and complete every job. He is a highly disciplined and professional artist.

In this shoot, the warm, gentle smiles have been replaced by cold, sharp glares, the metal and concrete sculptures gave him a few minutes of inner emotions and narrative, his scenes with the model was almost like he was acting in the set of “Last Year at Marienbad”. Xiao Zhan displayed emotions and charm very different from usual self – this is the power of an actor. The darker filters and monochrome imagery restored the caution that the youth of his age would have, it was the concealed feelings of a sunny boy. With such an idol, not only he can warm your hearts, there are still much to expect from him.

[tawakkull]

ISLAM 101: Spirituality in Islam: Part 5

Muhasaba (Self-Criticism or Self-Interrogation)

Muhasaba literally means reckoning, settling accounts, and self-interrogation. In a spiritual context, however, it takes on the additional meaning of the self-criticism of a believer who constantly analyzes his or her deeds and thoughts in the hope that correcting them will bring him or her closer to God. Such a believer thanks God for the good he or she has done, and tries to erase his or her sins and deviation by imploring God for forgiveness and amending his or her errors and sins through repentance and remorse. Muhasaba is the very important and serious attempt of asserting one’s personal loyalty to God. It is recorded by Muhy al-Din ibn al-‘Arabi, author of al-Futuhat al-Makkiya (The Makkan Conquests), that during the early centuries of Islam, righteous people would either write down or memorize their daily actions, thoughts, and words, and then analyze and criticize themselves for any evil or sin they had committed. They did this to protect themselves from the storms of vanity and the whirls of self-pride. They would ask God’s forgiveness after this self-analysis, and would repent sincerely so that they might be protected against future error and deviation. Then they would prostrate in thankfulness to God for the meritorious deeds or words that the Almighty had created through them.

Self-criticism may also be described as seeking and discovering one’s inner and spiritual depth, and exerting the necessary spiritual and intellectual effort to acquire true human values and to develop the sentiments that encourage and nourish them. This is how one distinguishes between good and bad, beneficial and harmful, and how one maintains an upright heart. Furthermore, it enables a believer to evaluate the present and prepare for the future. Again, self-criticism enables a believer to make amends for past mistakes and be absolved in the sight of God, for it provides a constant realization of self-renewal in one’s inner world. Such a condition enables one to achieve a steady relationship with God, for this relationship depends on a believer’s ability to live a spiritual life and remain aware of what takes place in his or her inner world. Success results in the preservation of one’s celestial nature as a true human being, as well as the continual regeneration of one’s inner senses and feelings.

A believer, in his or her spiritual and daily life, cannot be indifferent to self-criticism. On the one hand, he or she tries to revive his or her ruined past with the breezes of hope and mercy blown by such Divine calls as: Repent to God (24:31) and: Turn to Your Lord repentant (39:54), which come from the worlds beyond and echo in his or her conscience. On the other hand, warnings as frightening as thunderbolts and as exhilarating as mercy are contained in such verses as: O you who believe! Fear God and observe your duty to Him. And let every soul consider what it has prepared for the morrow (59:18) bring the believer to his or her senses and make one alert once again (against committing new sins). In such a condition, a believer is defended against all kinds of evil, as if enclosed behind locked doors.

Taking each moment of life to be a time of germination in spring, a believer seeks ever-greater depth in his or her spirit and heart with insight and consciousness arising from belief. Even if a believer is sometimes pulled down by the carnal dimension of his or her being and falters, he or she is always on the alert, as is stated in: Those who fear God and observe His commandments, when a passing stroke from Satan troubles them, they immediately remember (God), and lo! they are all aware (7:201).

Self-criticism resembles a lamp in the heart of a believer, a warner and a well-wishing adviser in his or her conscience. Every believer uses it to distinguish what is good and evil, beautiful and ugly, pleasing and displeasing to God. Through the guidance of this well-wishing adviser, the believer surmounts all obstacles, however seemingly insurmountable, and reaches the desired destination.

Self-criticism attracts Divine mercy and favor, which enables one to go deeper in belief and servanthood, to succeed in practicing Islam, and to attain nearness to God and eternal happiness. It also prevents one from falling into despair, which will ultimately lead to reliance on personal acts of worship to be saved from Divine punishment in the Hereafter. [1]

As self-criticism opens the door to spiritual peace and tranquillity, it also causes one to fear God and His punishment. In the hearts of those who constantly criticize themselves and call themselves to account for their deeds, this Prophetic warning is always echoed: If you knew what I know, you would laugh little but weep a lot. [2] Self-criticism, which gives rise to both peacefulness and fear in one’s heart, continuously inspires anxiety in the hearts of those who are fully aware of the heavy responsibility they feel the anxiety voiced as in: If only I had been a tree cut into pieces. [3]

Self-criticism causes the believer to always feel the distress and strain expressed in: Earth seemed constrained to them for all its vastness, and their own souls straitened to them (9:118). The verse: Whether you make known what is in your souls or hide it, God will bring you to account for it (2:284) resounds in every cell of their brains, and they groan with utterances like: I wish my mother had not given birth to me! [4]

While it is difficult for everyone to achieve this degree of self-criticism, it is also difficult for those who do not do so [to be sure that they will be able] to live today better than yesterday, and tomorrow better than today. Those who are crushed between the wheels of time, whose present day is not better than the preceding one, cannot perform well their duties pertaining to the afterlife.

Constant self-criticism and self-reprimand show the perfection of one’s belief. Everyone who has planned his or her life to reach the horizon of a perfect, universal human being is conscious of this life and spends every moment of it struggling with himself or herself. Such a person demands a password or a visa from whatever occurs to his or her heart and mind. Self-control against the temptations of Satan or the excitement of temper are practiced, and words and actions are carefully watched. Self-criticism is constant, even for those acts that seem most sensible and acceptable. Evening reviews of words and actions during the day are the rule, as are morning resolutions to avoid sins. A believer knits the “lace of his or her life” with the “threads” of self-criticism and self-accusation. [5]

So long as a believer shows such loyalty and faithfulness to the Lord and lives in such humility, the doors of heaven will be thrown open and an invitation will be extended: Come, O faithful one. You have intimacy with Us. This is the station of intimacy. We have found you a faithful one. Every day he or she is honored with a new, heavenly journey in the spirit. It is God Himself Who swears by such a purified soul in: Nay, I swear by the self-accusing soul! (75:2).

[1] Translator’s Note: If one despairs (of Divine mercy) concerning his or her eternal life because of his or her sins, relief from Divine punishment is sought. Such a person then remembers and relies on past good deeds. However, this way is utterly inadequate, for only through Divine mercy can one be saved from God’s punishment and enter Paradise.

[2] Al-Bukhari, “Kusuf,” 2; Muslim, “Salat,” 112; Abu 'Isa Muhammad ibn 'Isa al-Tirmidhi, “Kusuf,” in Sunan, 4 vols. (Beirut, n.d.), 2. [3] Al-Tirmidhi, “Zuhd,” 9; Muhammad ibn Yazid al-Qazwini Ibn Maja, “Zuhd,” in Sunan, 2 vols. (Egypt, 1952), 19. [4] Muhammad Ibn Sa’d, Al Tabaqat al-Kubra, 8 vols. (Beirut, 1980), 3:360. [5] 7 In other words, all moments of one’s life are spent in self-criticism and con-stant awareness of what one says and does.

[writerlilahsuzanne]

Say it in a Song: Writing Lessons From Country Music

When I started writing a book series about country musicians in Nashville, I did not expect to gain a new appreciation for the genre—the music, the artistry, the emotional pull of a country tune—that enriched the stories and the lives of my characters. But it wasn’t just the characters and their world that bled into my own reality; I also learned surprising things about craft and how to tell a tight, emotional story without a lot of fluff and filler. Country music is chock-full of storytelling songs, that is, lyrics that act as a narrative. A country song can tell a full, rich story in three minutes, and there is a lot any author can learn from that.

“Harper Valley PTA” (written by Tom C. Hall and famously performed by both Jeannie C. Riley and Dolly Parton) starts off with: “I want to tell you a story…” and then we’re told of a widowed mother shamed by the local small-town PTA for her short skirts and scandalous behavior, how this effects her daughter and how Ms. Johnson then lays the smack-down on the Harper Valley PTA hypocrites. An entire story arc of hook, rising action, climax, and resolution in a mere three hundred and twenty four words. Similarly, “A Boy Named Sue” tells a tale of abandonment, ridicule, and revenge. In “The Devil Went Down to Georgia” we’re told about the time a soul-snatching Satan was thwarted by some killer fiddle playing. So how is it that a song can fit a story within such a limited space? And how does that storytelling style translate to novel writing?

Keep it simple: The age old advice is still kicking around for a reason. As a story unfolds, it’s tempting to pile on the ideas. We fall in love with new minor characters, new themes emerge, backstories get more complex, one idea spawns another spawns another spawns another… But doing too much can detract from the story. Country music songs illustrate how to pick one story thread and keep with it, instead of allowing the narrative to spiral out in infinite directions. In “Harper Valley PTA” we stick with Ms. Johnson’s journey; despite the title it’s not about the members of the PTA, or even her daughter, it’s really about her.

Utilize metaphors and symbolism: Sometimes a story calls for lengthy descriptions and background exposition, but often times, using metaphors and symbolism can say a lot by saying something else. “A Boy Named Sue” tell us explicitly: “My daddy left home when I was three, didn’t leave much to ma and me.” and then uses imagery to flesh this out in only a few words: “Just this old guitar and an empty bottle of booze.” We can infer quite a bit about a man who left his wife and child, with only an old guitar and empty booze bottle to remember him by without spending too much time dwelling on it.

Stick to a central theme: If plot is what the story is about, theme is what your story means. “The Devil Went Down To Georgia” uses a deal with the devil motif, concerning itself with the morals and virtues of our fiddle-playing hero Johnny: By staying true to himself and his values, he defeats the devil and retains his soul. Keeping a story’s central theme in mind gives it complexity without adding more baggage to the plot.

Watch filler words: We all have our favorites that we constantly use without realizing it. I overuse “just” and in a recent editing pass it felt like I had to remove a character “hopping down” from something every other scene she was in. If you’re writing a story that needs to be told in the length of a single song, you’re going to watch those filler words. Similarly, in writing a book it’s important to pay attention the words that (just) don’t need to be there.

Portray human experiences. If a story speaks to a universal human experience, then you can count on a built-in reader response. Perhaps not everyone has been publicly shamed by a small town PTA, but we can all relate to not fitting in. We haven’t all been abandoned by a cruel father, but certainly can understand the feeling of left behind or unwanted. And maybe we haven’t actually had to battle the devil via fiddle showdown to save our mortal souls, but certainly we’ve all wrestled with moral dilemmas a time or two. Of course I’m not a songwriter, despite creating county music singer-songwriter characters. I got help from an actual songwriter for the songs I created in the books, and it takes me quite a bit a longer than a few dozen stanzas to weave a cohesive tale. But I do think trying my hand at songwriting and immersing myself in the word of someone who does has made me a better writer. If nothing else, it helped me to think about what I’m saying, how I’m saying, and how long it takes me to get there.

This post originally appeared as a guest column at Bayou Book Junkie

[oldtypenewtype]

7 years ago I had this article professionally translated. 1986 is considered to be one of if not THE defining years of the medium. In this article Newtype intervies 21 anime industry leaders to discuss what’s wrong with the industry, ways it can be fixed or just their gripes with with it all. A true snapshot of some of our anime heroes while they were younger.

*reposting article altogether in one post.*

アニメの予言者21人

21 Prophets of Anime アニメ大予言'86 Grand prophecy of Anime ‘86 今、アニメ界に求められているのは、こんな企画だ！私はこんな企画を出す！1986年のアニメ界をリードする21人が業界の問題点と自らの解決策を語る。これを読めばアニメの未来が見える。 This is the project needed by Anime world now! I propose this project! 21 leading personnel in Anime world in 1986 talk about problems in the industry and their solutions. You can see the future of Anime by reading this.

Page 46 & 47

(Article Title)

1985 was a flat year in the animation world.  Let’s ask the hit makers who hit the home runs on how to put an end to this situation.

HAYAO MIYAZAKI (writer and director of “Laputa: Castle in the Sky”)

(Blurb)

What are the animated works that the young ones, the ten year olds to fifteen year olds want to watch? Doors will surely open if you keep them in mind.

It’s unthinkable that new hope can come out of TV when one episode from a TV series needs 3500 cells to be drawn. On the other hand, in movie theaters as well, there are no films that will mobilize moviegoers other than anime fans. I think that filmmakers have forgotten the basics of selling movies.  Collaboration films intended for overseas markets are all the rage,  and even though I want the fans who are in Japan to see these films, they can’t and all I’m left with is frustration.  Only deterioration can come out of this situation.  Actually, there isn’t even one anime today that is aimed at older kids in elementary school to kids in middle-school - the very kids who should be watching anime.  (The anime available now) is aimed at younger kids at elementary school and then jumps straight into anime for college kid anime maniacs. It’s a tough time for fifteen year olds who are put aside by society.  Twelve year olds to fifteen year olds are the kids who need the most comfort and yet the situation now is that they get their comfort from handheld video games.  Those who produce animation are losing sight of their targeted audience.  The remaining anime fans are making anime that they want to watch, and this is a symptom (of the present situation) that is beyond redemption. This is why video animation is still backward in terms of its production, and only its format is new.

If one has an earnest approach, children will definitely react.  This is a real example - in a run-down middle school, in his morning greeting, a new principal said, “I don’t determine a person’s value by his or her grades or appearance”.  Miraculously, all misbehavior was gone from that day’s afternoon onwards.  What children want has always had just one theme - an adventure that saves the mind and heart.

(Caption for illustration at the top of the page)

The hero “Pazu” and heroine “Sheeta” from “Laputa: Castle in the Sky”.  Mr. Miyasaki comments that “For a young lad, living at all times in itself is an adventure.  The reason why Japanese adventure novels are boring is that the hero (in these novels) makes a living out of going on an adventure.”

SUGII GISABURO (executive director of “Touch”)

(Blurb)

What people want nowadays can’t be found in data.  What is the secret of the hits “Night on the Galactic Railroad” and “Touch”?

Honestly speaking, if anything, I genuinely make animation to match my desires, not thinking that today’s animation is trending towards this way, or future animation should be this way.  In other words, I think a great deal about my daily life, figuring out what is lacking and coming up with desires felt by everyone else.  I just happen to be a person who creates, so I vent out those accumulated desires and discontent and let them combust in my work.  

My works are quite heavy in terms of cycle and tempo, whether it be “Night on the Galactic Railroad” or “Touch”.  I sometimes think if this kind of heaviness is ok or not.  But that is because I have a desire for this heaviness, and also because I have this easy pleasure within me.  Instead of work that is borne out of being hung up just on data, I think work that is borne out of my inner natural desires is more acceptable to people.  In the meantime, “Touch” will be shown as an hour and a half movie in the spring so please look forward it.

ISAO TAKAHATA (producer of “Laputa”)

(Blurb)

Movies that make the mind and body come alive are what’s important.  As for me, I am trying my hand at my first live action film.  I am shooting a documentary.

I think nowadays, the thing that a lot of people working in anime has forgotten is the excitement they felt watching adventure movies when they were kids, the kind of excitement that even your body moved spontaneously.  In that sense, I think that works such as Hayao Miyazaki’s films should be brought out to the rest of the world and after (producing his) “Nausicaa”, I am still producing.  When kids’ minds are liberated, there’s no reason to think that they won’t spontaneously move.  In this day and age dominated by computer games, a lot of kids’ play involve just using the brain and nerves so I’d like them to experience things that energizes the blood and makes the body dance. The difficulty is, I think it’s a difficult time now to have a situation in place wherein you let them experience adventure.  If you can’t make people believe in the world portrayed onscreen, you can’t pull viewers into the adventure onscreen.

It’s not that I’m not doing my real job as a producer.  I am now producing a live action documentary movie set in Yanagawa in Kyushu.  It is about how our Japanese ancestors developed towns which utilized waterways.  There is also a part in the movie that has graphic illustrations using anime.  It’s less than 2 hours and is slated to be shown after the summer.

MAMORU OSHII (scriptwriter and director of “Angel’s Egg”)

(Blurb)

This is a warning!! Please reduce the number of collaboration animes before Japanese animation is annihilated.

If I’m going to be severe about it, I’d say that I want all collaboration animes gone.

Those who work in big studios and places with systems in place may not feel a sense of crisis yet.  But in the case of freelance animators like us who work together and put together a workplace and disperse once our anime is done, a part of our actual work is outsourced.   Recently however, the small video studios and finishing studios that we outsource to are loaded with collaboration work.  Japanese animes can’t compete with collaboration animes in terms of profit so when that happens, we just have to rely on the goodwill of the studio bosses, or make them feel the same way we do with regards to the contents of our work, or by chance see an opening and aim for that, or appease them or plead with them.  We can’t work in just that kind of a situation.  That’s why it’s almost impossible to make highly compact and solid animes in Japan now.  Even without going that far, it’s almost impossible to make even decent animes in the country today.  In fact, anime TV series are almost all in shambles, and I can’t even be optimistic about the video quality of the anime we have now.  In this kind of situation, I can’t help but seriously think if next year, our ideas can be made into anime.

(Caption for illustration at the left side of the page)

A girl from Mamoru Oshii’s original video anime “Angel’s Egg” (drawn by Seikou Nakura).  Mr. Oshii revealed that he is having a hard time because there aren’t enough animators to make even just one anime video.

YOSHIKAZU YASUHIKO (director and screen director of “Arion”)

(Blurb)

I haven’t decided yet on what I will make after “Arion”.  I will not take part in the new Gundam series.

I am very busy now with screen work for the anime “Arion” which will be shown in theaters on March 8th.  But as far as I’m concerned, I’m conscious  of the fact that this is my anime for 1985.  Therefore, I haven’t decided yet on what my anime will be for 1986.  I feel like I want to take a break for a year.

“Arion” is quite restrained for an anime to be shown in movie theaters.  I’m happy that this movie is being touted as “the” main animation movie this spring but conversely, it’s a shame that there aren’t a lot of big anime movies for theaters.  It’s already been decided that “Arion” is going to be shown in top-class movie theaters throughout Japan.  It just shows how much anime has received recognition.  I’d like to wait for animes that will pick up on this trend.

With regards to anime TV series, I was in charge of character design for “Z Gundam” this past year but I’ve decided not to be involved at all in the sequel’s new series.  I think it’s better to relegate “Gundam” to the younger animators, starting with Hiroyuki Kitazume, who have grown so much in their craft.  Now I sincerely think, if only someone as good as Kitazume were around eight years ago to help with “Gundam”, I would’ve been saved…

(Caption for illustration at the bottom of the page)

The heroine “Lesfina” from “Arion”, which was produced, character designed and screen directed by Yoshikazu Yasuhiko.  This is the drawing touched-up by Mr. Yasuhiko.  As we have discussed in a series of character designers in last month’s issue, he breathes life into his anime characters, showing genius capabilities.

(Box at the lower left side of the page)

If there were animes like this I’d watch it!

MASAMI YUUKI (manga artist)

As a rule, the three things I’d like to see are: “something that isn’t originally from manga”; “robot animation that isn’t dark”; and “in one year, a collaborative anime by Osamu Dezaki and Akio Sugino for release in Japan”.  I can watch TV anime while casually lying around but I’d like anime that I wouldn’t be able to take my eyes off of the screen, something that is both easy to watch and amusing.  And as written in other magazines before, I’d like to see Mr. Hayao Miyazaki’s version of “Atragon”! (Translator’s note: “Undersea Warship” in Japan)

YUUKI KUDOU (actress and singer)

I’d definitely watch anime that’s fun to watch, anime that will make me happy.  At any rate, I’d like a hero on the side of justice who will beat the hell out of the bad guys and put them in a bind.

RYOKO YAMAGISHI (manga artist)

If there were an anime like Disney’s “Fantasia”, I’d watch it!

Pages 48 & 49

(Article Title)

Major producers from each of the anime/production companies talk about their hits for 1986 and foresee what their companies will be producing

KENJI YOKOYAMA (Toei Animation Co.)

(Blurb)

The new hit TV show Gegege no Kitaro from the fall of 1985 which received top ratings reflects modern times.

This is what I’ve been thinking with the third conversion of Gegege no Kitaro into animation.  One is the change in children’s thinking with regards to ghosts/monsters.  Of course “Ghostbusters” and “E.T.” have influenced this change, and now kids consider ghosts almost as pets.  So in this way I think that if you match the present mood and go in the direction of lighter anime, you’ll be able to create different things from before.  Children’s lives are too managed now, so they’d want an outlet to vent too. And in a society that has too many things and where, if you have the money, you can buy anything, things like the Toyoda Company fraud scandal and shady investment journals can also be construed as monstrosities. This anime has this overall theme: In the ideal world of Kitaro, monsters, people, animals, grass and trees should all co-exist so I thought I’d have various new approaches within the anime.

As a new endeavor, our company is going into video anime.  It’s called “Amon Saga” and we’re not just going to sell it in video format, (I’m also hoping) we can show it in any movie theater even for just one week otherwise it’ll just be too sad.   Especially with regards to original works with names that aren’t well known, I think it’s dangerous to rely on just one production studio. After “Konpora Kid” ends, beginning February, we’re planning on animating “Kinka”, a serialized manga in the weekly magazine Shonen Jump.

(Caption for illustration on the left side of the page)

A figure from the very popular “Kitaro”.  They can’t keep up with the demand for a ghost eraser that they’ve produced and now it is a hit product.  It’s also been decided that there will be new movie releases for this anime in the New Year and in the spring.

EIJI YAMAURA (Nihon Sunrise Co.)

(Blurb)

Find common ground with your viewers and defeat this lethargic mood!

Sunrise has now expanded into six studios and at any given point in time, we plan to work simultaneously on two to three anime TV series, video anime, anime for movie theaters and collaboration anime.  Overall, anime today is manga magazine-driven, so our question is how far can we go in staying on an original anime track. Robot animes have vastly decreased in number, so conversely, I think this is a chance for us to come out with epoch-making anime.  I’d like to make anime that will allow us to seriously converse with our child viewers.

TOSHIMITSU SUZUKI (Artmic Co.)

(Blurb)

Making anime that will be understood by the whole world!  The robot anime boom is shifting from transformation-type robots to robots that merge into one.

Speaking of Japanese products in the international market today, mechanical products come to mind.  This is also true in the animation world since Japanese robot animes are extremely in vogue.  Especially in the American market, they already have transformation-type robot animes, so animes that have robots that merge into one are new to them.  We’ve already exported “Beast King GoLion”, following that, (we’re going to export) “Dancouga Super Beast Machine God”.

We at Artmic plan to make animation that can be exported to foreign markets and we also are also keeping in mind to configure these anime with universal values.  The video anime “Gall Force” is the first step in that direction.

NOBUO INADA (Tokyo Movie Shinsha Co.)

(Blurb)

Our track remains the same - making collaboration animes for foreign countries but we also have new anime.

I can’t necessarily say that the present state of anime is good.  But the passion for anime during the anime boom of “Gundam” and the like was an anomaly so I feel that the state of anime now is the real one.

As you may know, not only do we make anime for Japan but we also produce anime for foreign countries.  It’s a difficult situation for us now to concentrate on anime just for Japan because of production costs.  It can be said that Japanese anime should be improved from the very basic level.

In 1986, we plan to have “Little Nemo” and in the fall, an anime for movie theater release by the duo Desaki and Sugino.  At any rate, we’re doing our best.

JUNZOU NAKAJIMA (Nihon Animation Co.)

(Blurb)

We’re aiming for improving the quality of our masterpieces and we’re also trying our hand at new anime!

As you may know, our company has mainly been making masterpiece animes for more than fifteen years but I think we’ve made a habit of making similar anime.  But we’ve been able to improve on our animes’ degree of perfection precisely because of the buildup of our experience in animation.  We’re also working hard on our technology, and on the authenticity of our masterpieces.  At any rate, we’re trying to make anime that is still interesting to watch even after five or six years have passed.  Next year, we plan on making “Pollyanna” after “A Little Princess Sara” ends, and a new SF series called “Space Sagittarius”.  We’re also going to have one TV special around May.

HIROMICHI MOGAKI (Tsuchida Production Co.)

(Blurb)

Just like what we did in “Tsubasa” and “Kimengumi”, we’re adding our original flavor to animation adapted from manga!

Even with regards to animating manga, the time when you aren’t creative when adapting something is over - just like our approach to our anime “High School! Kimen”.  In manga, the fun is enclosed in a comic cell.  Differing from that, we were able to bring out fun that moves freely (in the anime format).  (Our decision to) put two episodes in one anime has also been well-received.  We are also planning to have an anime TV series next year but all will depend on how long “Captain Tsubasa” will last.  Captain Tsubasa’s storyline is that the finals will end in March, and the European leg will begin.  This will catch up with the manga version’s storyline so I’m thinking of making a new one or taking a temporary break.

MASAYASU SAGISU (Eiken Co., Ltd.)

(Blurb)

Please watch the cooking scenes in the manga  “Oishinbo” animated in a live-action format.

The anime “Sazae-san” is going to be seventeen years old.  I think that the things that last for a long time are not manga for boys or manga for girls but manga for adults such as “Sazae-san” that has a family theme.  But there aren’t many of this kind of anime today.

There has been a lot of SF space anime but nowadays it’s quite possible for kids to go to space someday.  But the world of “Sazae-san” where the grandma, the grandpa, the old maid and the troubles they encounter while living together is farther than space in today’s world of nuclear families.  Conversely, this makes Sazae-san’s storyline fresh.

For next year’s anime, we are developing our plans to animate Mr. Shinji Wada’s manga “Pigmalio”.  We’d also like to do SF action animes, and a totally new genre -  animating Big Comic Spirit’s serialized manga “Oishinbo”.  Following a ten-year cycle, monster animes might come out next year but we’d like to try out new genres.

HIROSHI KATO (Ashi Production Co.)

We are developing original videos for the anime “Dancouga”

Our company has concentrated mainly on original anime and we are continuing with this direction in 1986 and beyond.  Even though our animes are popular, I don’t know why we are edited a lot.  Even “Dancouga” which originally had fifty-two episodes was reduced to thirty-eight and the final story was changed.  We are going to sell a one and a half hour video in March and we’d like to include the real final story in it.  Seventy percent of animators in Japan today are working on collaboration anime. The pay (for collaboration anime) is more than double, so we have to do something about it.  

TOSHIHIRO NAGAO (Kaname Production Co.)

I’d like to see different kinds of SF anime.  “Windaria (Once Upon a Time)” is the first step in that direction.

Generally speaking, I’d like to go with polar opposites - simplistic anime that has funny gags and anime that explores heavy themes.  I think our company would like to take a short break after “Windaria” ends and then we’re going to do a lighter anime.  We’ve also talked little by little about producing an anime TV series, but can we really do it with the present situation?  Companies we outsource to are doing a lot of collaboration anime and we don’t have the confidence that we will win the price war and if we dabble in (anime TV series) incorrectly, it will be a death blow.  With this situation, it seems like we will be concentrating on video anime for now.  With regards to the direction of our anime, we’d like to consider doing SF anime with our own touch and foray into different parts, for example, making modern anime like “Radio City Fantasy (Machikado no Marchen)” that merges footage and music.

(Caption for illustration on the left side)

“Mujigen Hunter Fandora”, one of the original video anime from Kaname Production Co..It is said that the second part will be released in March.

YUUJI NUNOKAWA (Studio Pierrot)

(Blurb)

“Magical Emi, the Magic Star” will end in February.  We’re working on the anime that will follow this.

Ever since our “Dallos” anime, anime in the video anime genre have increased, and it’s becoming more and more difficult to foresee what’s ahead.  But I feel our viewer base will return to children after the continuous increase in anime fans.

In our animes’ genres, it seems that we foray into unprincipled things but through trial and error, we are at that stage where we are aiming for our own style.  In 1986, we plan to stop producing transformation-style anime after “Emi” and we are now working on an anime with a witch theme, with a nod to our very first anime.  We have also decided that we will make a sequel to “Rumic World”.

(Box at the lower left side of the page)

If there were animes like this I’d watch it!

MIKI TORI (manga artist)

And yet there are only a few animes wherein you can feel each anime’s distinct character.  I understand that anime is a group effort, but like manga, the director’s tastes dominate.   If the time comes when the writer can say “that is good but this is also good”, I think that anime will become more vibrant.

AKIO YOSHIDA (manga artist)

If I’m going to watch, I might change the channel if they’d revive anime like the long adventure animes of Toei.  It would feel just like watching the movie “Mothra”.

YUKI SAITO (actress and singer)

I was in a manga research group when I was in high school so all I watched were anime from Sunrise.  I like “Gundam” and “Ideon”.  If there were anime in that vein, I think I’d be obsessed again.

Pages 50 & 51

(Title)

A Glance at the Anime World: The Hit men and their Predictions

SHOJI KAWAMORI

(Blurb)

It’s important to have interesting anime that will be universally accepted!

I haven’t really watched TV anime these past two years.  Once you get rid of a habit, it’s not good.  Once you distance yourself from anime, you won’t even be able tell which anime is good and which is bad.  It’s scary to think that I’ve been watching anime by force of habit.

I also haven’t watched that many video animes to be fussy about it but I feel that video animes have become closer in form to manga.   I can’t say though that it’s already at the serialized manga level, but it’s just a matter of time.  But if you’re going to make video anime and you don’t make it differently from TV anime, it will be a waste.  Probably change the design a bit…just like what Mr. Oshii is doing.  Once your attempts go beyond the realm of attempting things and once you’ve achieved something basic, I think we’d probably be able to see the direction of video anime for the first time.  If I were to create video anime, I’d like to make a short sixty minute one, something that is highly concentrated and can’t be fully “digested” in a TV anime format.  Sixty minutes is too short for a movie and too long for TV, and I think it is a length that is untapped and put aside.

Compared to video, TV’s strong point is that you can make serialized anime on TV.  Nicely put, TV is a medium wherein if you don’t have “ordinariness” (badly put, “mass appeal”) you won’t succeed so in this sense TV is a more demanding form of media than video.  I also don’t like the trend wherein anime that don’t appeal to the masses are turned into video anime.  I think that video anime should also have universal appeal.

For 1986, if there are proposals that come my way, I’ll do them.  I still don’t know exactly what I’m going to do.

TOMOKO KONPARU

(Blurb)

With regards to video anime, I have “The Super Girl” and I’d like to try my hand at a new kind of animal anime.

Anime is said to be on a low note right now but I think that the number of anime being produced now is just right because there was a time when the anime that was being produced went over the production capabilities of those in the anime world.  I even think that the number should be reduced by just a little bit more, but only if the quality is improved.  It seems that 30 animes will be released in 1986, but I think that in terms of quality, (those that aren’t good) will be culled.

I don’t have any children yet but as a housewife I don’t think that anime has a bad influence on children.  Since I was little, I myself grew up watching anime.  Even now, from the standpoint of someone making anime, I don’t want to forget about the children.  But on the other hand, I also think that mothers who just park their kids in front of the TV to watch anime isn’t good either.

The anime following “Hai Step Jun” will be “Maple Town”, an animal anime but I don’t want it to be anime with just “good” characters in it.  I want to try making anime for young girls, which will be a new thing for me.

ICHIRO ITANO

(Blurb)

There must be anime that only young animators can do!

I think that mass media has a very strong influence on children.  I want people to be more conscious of that.  I feel that anime that is being made today just to make money is overly increasing - animators don’t question things, or assert themselves.  An extreme example is the Lolita complex boom of late.  If a person is being shown something like (a Lolita anime) from way back (from childhood), that person’s imagination takes precedence instead of the ability to adapt to another human being, and stress builds up as a result.  I think we should oppose this current reality, and as for myself, I plan to try different things.  I wonder what I’d be able to do before I turn thirty-five, and I also think that you can learn from failure.

MITSURU KANEKO (MK Productions)

(Blurb)

The computer is absolutely infiltrating the anime world.

It’s possible to think that in the future, the possibilities of computer graphics will first be used in the industrial fields.   For example, the depth maps of the Japan Coast Guard just have numbers on them now but if you input these numbers into a computer, you’ll be able to see valleys (under the sea) that continue for miles as video images.  And if this (technology) presses forward, for example, there is an (American) masterpiece special effects movie called “Fantastic Voyage” wherein they (physically) made the sets and then shot the film but in the future, you can make the movie set by inputting data in a computer.

Speaking of another side (of this technology), take the example of video images shown on large screens that have been demonstrated at an expo.  Just like what was shown in the expo, video images and 3D images shown on dome-like screens can only be made using a computer.

In this way, the spotlight is now aimed at anime as a means to (showcase technology).  Animation’s possibilities will also become limitless as it will need to respond to the diversification of people’s demands.

(Caption for illustration on the right side of the page)

This is Cindy, a young girl from a biker gang in the anime “Megazone 23 Part 2”.  Mr. Yasuomi Umetsu’s character design is original, as personified in this drawing.  This anime has a different kind of appeal compared to Part 1.

KEISUKE FUJIKAWA (scriptwriter of the anime “Once Upon a Time” or “Legend of Fabulous Battle Windaria”)

I researched and compared the recent trends, the trend in fans’ consciousness about anime and anime programs and from around last year, it seems like the age of wanting “salvation” has come.  I think that in so many ways, we are being stifled and we are seeking breakthroughs.  I think that how anime as a medium is going to lift this issue up is going to be important.   Even “Once Upon a Time”, which we will show in 1986, takes up issues of the present times.  I’m putting emphasis on what I will say to the youth of today through SF that has stories of people in it instead of just hardcore SF.  For this year and the next, I’d like to dig into aspects of the youth in different ways.  I’d like to make anime that makes viewers think that there is something out there that matches their present selves perfectly.

(Caption for illustration on the left side of the page)

This is Anasu, the heroine of “Windaria”.  Illustrated by Ms. Mutsumi Inomata, this character personifies the pure themes of Mr. Fujikawa’s anime.

YOSHINOBU NISHIZAKI (producer)

(Blurb)

I’d like to make a video anime that will be a preview of a movie theater anime

With regards to “Odin: Photon Sailor Starlight”, I didn’t make excuses and I haven’t commented on it but there are clear reasons why that movie ended in failure.  That anime was originally a one-hour program, twelve episode TV anime - in other words, it was an anime made to be aired for twelve hours.  I think there was a big mistake in the producers’ thinking that they could digest this into a two and a half hour movie.

I used to say that after 1955, there wouldn’t be a hit anime made for movie theaters.   The same thing is about to happen in the video anime world.  If the overproduction of low-quality anime continues, there will definitely be a backlash.  It seems that the most basic idea during planning anime has been forgotten.  And this basic idea is this: things expressed through anime must rouse people’s imaginations.

We’re planning on releasing an anime for movie theaters on July 9, 1986 based on “Desler”*.  But before that we’re planning on selling a promotion video about the movie in April.  In making this video, budgetary issues, which have always been a concern in video animes, have been set aside so I’m planning on making it in the same high-quality as the movie.  I’m also thinking of releasing a trailer of the movie at the same time.

*Translator’s note: Desler is a character in the anime “Space Battleship Yamato”.

(Box at the lower left side of the page)

If there were animes like this I’d watch them!

FUJIHIKO HOSONO (manga artist)

I like the works of Mr. Hayao Miyazaki.  I heard that he said that he wanted to make an anime about the Period of Warring States (in Japanese history) so if that anime is made, I’d definitely want to watch it.  Personally, I’d also like Mr. Miyazaki to make ninja anime.  With regards to other animators, I like Mr. Mamoru Oshii, the one who made “Beautiful Dreamer.

SHOJOTAI (a singer/actress trio)

Reiko: Among animated characters, I like Peter Rabbit.  I’d like Peter to guide me into a dreamy nature scene.

Miho: I really like Phillips. I’d like to plunge into a world adventure with a kitty cat.

Tomo: More than anything, I like Snoopy.  I’d watch any number of animes with Snoopy in it.  I’d like to watch happy animes.