#Anime Discussion

[sukunas-play-thing]

The more I try to look up mote about this and not finding anyone talking about this infuriates me to no end. I truly wanna know why Law was not interested in boa's beauty.

I totally get it that she's absolutely stunning, (I'm Hella jealous she makes me feel so ugly compared to her she's so cool though still)

And being a law girly kinda makes me feel a type a way knowing he's one of the few men unaffected by her. No one talks about this. At all. Anywhere I've looked, and he's never mentioned either but other characters are? The only times law is mentioned being unaffected, is in his wiki. Under relationships

Okay, okay, hear me out. It's a HUGE possibility he wasn't bothered by her beauty because let's face facts. Law was OBSESSED with his revenge been obsessed since he was at least 17 after he discovered Doflamingo was crowned king of dressrosa. It's why Law began to set sail in the first place. To take him down and avenging his father figure. Even if it cost him his life.

On a less heavier note. The fanficccsss about this would be so amazing. 🔥

Imagine it. Here me out please.

Readers self conscious and has issues with her image. (Same me. I'm reader). And discovering law is completely unaffected by Boa!? Not drooling and foaming out the mouth and being all in all creepy and worhshippy every time Boa is around?. Can you imagine how thazd make you feel being laws lover and seeing g him like "eh. My lovers beautiful. More beautiful.". It makes me feel a type of way. He'd be such a great partner I'm dead serious. He'd never be the flirty type. Only for you. Only flirting. With you. Always going the extra mile and being a show off. For you. And not even Boa fucking Hancock can avert his gaze from you.

Ahhhhhhhhhhhhh

[textmel8r]

ATTENTION ! DISCORD SERVER i made a small, cozy server for my followers/talented smau moots to come together and chat because i NEED to share jujutsu kaisen headcanons or i might die (kidding(no im not))

it will be a strictly 18+ jjk/aot centric server where we share fanfic, wips, fanart, smut, all of that good stuff🤤 please join if you’re interested !!

+ new & in need of staff

[troythecatfish]

Imagine if Netflix released:

Along Side Already Having:

Personally, I think I’d be pretty interesting if Netflix tried to collect The Big 4 Modern Fantasy Anime like they were Pokémon Cards.

What Do You All Think?

[natsuki208]

After going back to listen to the soundtrack of Attack on Titan season 1, I recall regretting not giving this show a chance back when it first came out in 2013.

Everything about it seemed simpler back then; discussions on the amazing animation, music and story. The most iconic deaths being Carla, Marco and Petra. (speaking of which, it was when JeanMarco was in its prime ☺️)

Gurren No Yumiya was everywhere too, and that was the only thing I liked about it back then. (as I was a coward to violent shows)

For veterans, what was it like being part of the fandom in 2013/2014 compared to it now?

[chaztalk]

This is for the anime that aren’t officially shoujo/josei, but they likely could pass as one.

[secretsofflowers]

Hairstyles of Shinobu Kochou

Today, I'm discussing hairstyles of Shinobu and Kanae. Throughout the anime, we see two styles of hair for Shinobu. Earlier on, when it shows a younger version of Shinobu (image below), she has short, mostly black hair with slight purple ends, and tied up neatly in the back. The way Shinobu's hair is tied back makes her look stern, and fierce. And the way only two strands hang down in the front make her look angry, and short tempered. Some may say this hairstyle character design is similar to Aoi Kanzaki's, which is also short and stern. Young Shinobu wore her hair like this because she wanted to seem tougher than she physically was. Shinobu was never strong physically, so she had to make herself look tough in order to get by. She made herself look like that, even though she knew that Kanae's looks were enough to help them both get by, and that no one would mess with Himejima-san, who was the size of a bear. As mentioned in the anime and in the manga, Shinobu always had a boiling rage inside her, which is why she was open about her anger to a point in the beginning.

Later in the story (picture below) after Kanae died and Shinobu moved out of Himejima-san's estate, Shinobu changed her hair. She grew out another strand on each side of the front, and worked on softening her facial expressions. She grew out her hair to look more like Kanae's, because Kanae had two long strands of hair in the front. Kanae also always had soft, kind, expressions, which Shinobu tried to model herself after, after Kanae's death.

Comparison below.

You can see a change in her eyebrows, eyes, cheekbones, and hairstyle.

»»————> below is a comparison of how Shinobu's hair would have looked in Kanae's hairstyle<————««

[marsbarsthereal]

Y'all can keep complaining about the lack of queer representation in anime, and the fact that when there is, it's usually censored. I mean, it breaks my heart to see that in 2022, a certain studio felt the need to cover up a kiss scene with a very convenient shot of a sword (Requiem of the Rose King, I'm looking at you!) Hell, I'm all for demanding more from these studios. It took us a while to get to Yuri On Ice where we had a gay relationship at the forefront (which, might I add, also had a kiss scene that was censored, a choice made outside of the creator's hands), and only about 5 years ago did Bloom Into You get adapted, plus Given shortly after that. Yeah, it's taken way too long for progressive anime to enter the limelight. Sure, there are a few wonderful queer series out there today (ex. Stranger by the Shore & Sasaki and Miyano) but when another series takes a step back from where we are, it's disappointing to say the least. That doesn't mean we should give up hope though. I believe it's important that we're grateful for what we have, and remember that anime won't always spell it out for us (cough cough SK8: the Infinity cough cough), and that's something we're unfortunately going to have to live with. Have hope, my friends. And if you're looking for a pick me up, a David Wald dub is always the way to go!

[leeahl]

my ass literally burns in the bowels of tartarus when people say "why did you ship them? he/she/they are literally married to another person" as if the point of shipping isn't to bring together characters who in canon had a total different relationship.

[sauljudgeman]

Finished season one of Demon Slayer today. 10/10! Loved the story and the characters (especially my glorious king Rengoku). So excited to watch the Mugen Train movie!

And yes, I'll always be a Rengoku dickrider😤

[maruren]

I guess I found a mistake in the canon

I was looking for Gklk info, and here's the thing: how did Yuto start working as a prison guard before Shion was put in prison?

In Showdown drama, in flashback, Yuto has his first day in the prison, Shion is already there, and not only, Shion's already the third-place in prison. Prison rap battle happens once a month, which means Shion would need 2-3 months to establish himself as the unbeatable third place. Which means Yuto started working in the prison year and a half ago, at most.

Apparently, Yuto never left the city where he worked with Zen, i.e. it's the same prison.

So Yuto became a guard before Shion was arrested?

Which canon is lying to me?!

[i-am-trans-gwender]

Why didn't Light Yagami/Kira write Osama Bin Laden's name in the Death Note?

[conostra]

Griffith's Relationships

The White Hawk. The White Phoenix. The King of Falconia. The Savior. Femto. The Blessed King of Longing. Once, the greatest mortal to ever wield a sword. The bane of the Black Swordsman. The most beautiful man alive. Him with a stature nothing short of pure magnificence. You know him. You love to hate him. I’m talking about one of the greatest characters not just in manga, but in all of fiction: Griffith.

Griffith is one of many examples of how masterful Kentaro Miura was with a pen, be it pressing against a notebook or a panel. An incredibly written character, as complex as they can come, with some of the most complicated, deep, and tragic relationships I’ve ever seen put to any form of media.

Here, I’ll be discussing what is inarguably a core tenet of Berserk: Griffith’s relationships. With two exceptions, there is no dispute that Griffith’s relationships are the singular most important part of the media he resides in, there is no debate over whether or not they are still crucial parts of understanding both Guts’ disposition, and the world of Berserk. Griffith’s different approaches to interacting with those in his vicinity warps the very world itself, and his whims shape the very nature of the conflicts the protagonist engages in.

Here, in 6 parts, we will be dissecting Griffith’s most important relationships through Berserk, how they shaped him, and what they explain about who he is and how he got to where he is now.

Part 1: The Boy, and The Hawks

Part 2: The Governor.

Part 3: The King.

Part 4: Charlotte.

Part 5: The Wings of the Hawk (1)

Part 6: The Wings of the Hawk (2)

______________________________________________________________

Part 1: The Boy, and The Hawks

Throughout the story of Berserk, Griffith goes through many changes, some more drastic than others. But no change is more pivotal than the one caused by a certain young bird who flocked with him and the Hawks when he first started his journey. Before Guts, before Casca, Griffith was no one. He was a commoner, no more than a child, starting his own little group of misfit warriors to become… something. Whatever it was, surely, it must set him on the path to his dream. But to the others, whatever that something was did not matter. It was of no consequence to them whether that mystical something ever came into fruition. All that mattered was that Griffith was the one who was pulling them along with him into the smoke that obscured their immediate war-torn futures.

Among them was a young boy. Younger than Griffith, even. So young, he would even bring his toys onto the battlefield. A young boy who admired him from what he thought was afar, but in actuality could be only a few feet away at times. It was like admiring a star, or, as Griffith puts it, “the hero of some story.” A hero not too unlike the toy knight Griffith found one day in his satchel, no owner left to claim it, as he lay on the ground, blood pooling around him as it soaked through his bare clothes, no armor, merely a tunic and a dream. A dream to serve alongside Griffith. A dream to aid Griffith in achieving his dream, a small dream, a dream to aid another man’s story.

Griffith wondered, as he placed the boy’s toy back on his chest, whether, when he died, he felt comfort from his dream. Or, perhaps, did he die in agony, unable to achieve it? Was death the start of a new dream, or the end of all other ones? Was it even the boy’s dream that he felt as he slipped away? Or was it the dream Griffith imposed upon him? He did not know the answers.

But he knew one thing- that he could no longer idly hope for his dream to be achieved. He knew he could not simply throw enough numbers at the board, have enough fights, gain enough men, and maybe he’d get lucky, and his dream would simply fall into his lap. He would have to take initiative. He would have to work for his dream, would have to devote every waking moment, every sleeping moment, to the pursuit of that dream. 

One night, later on, upon returning to the castle, Casca finds Griffith with a man known for… having a particular taste regarding young boys. Later on, she finds him, bathing himself in a nearby river. He begins to quite literally tear into himself, ripping open his arm in a perfect metaphor for how he feels. He claims he has logically reasoned out that what he did was necessary in order to make sure that he gets the funds needed to properly helm a militia the size he will require. But this is only after admitting that he feels that he must be as filthy as those who follow him, because he does not deserve to be clean when his dream is smeared in the blood of thousands who follow his words.

Despite his supposed recovery from this mental break, and despite his claims, the scene of that young boy, dead on the battlefield, with his only belonging encapsulating the lofty ideal to which he held Griffith, broke him. It could have, should have broken any man who would be in the same situation. But it did not just break Griffith. It melted him down, only to reforge him again. That young boy pushed Griffith to do whatever it takes to achieve his dreams, and to accept that casualties will occur. It was a notion Griffith accepted, but not one he fully understood until it was there, laid bare in front of him, forcing him to either confront it, or to give up. And Griffith confronted it. And it warped him. As the story progresses, we see that Griffith is still affected by the death of this young boy, and that his blood still stains crimson all of Griffith’s decisions. 

Without this death, perhaps Griffith is content to simply grow the Hawks through skirmishes, through battle, and through battle alone, until another opportunity presents itself. Perhaps Griffith does not sleep with the old man. Perhaps Griffith does not engage in the activities he does later on in the story, assassinating rivals in his chase of his dream of a throne. Perhaps he does not pull Guts as his sole equal in the depravity he lowers himself to for his dream, sending him on an assassination mission where Guts has a realization of equal magnitude to his own. But Griffith does not recover from this spiral. Perhaps, if this child did not die as a result of Griffith’s own actions, perhaps The eclipse never occurs. Perhaps Griffith must work ten times as hard, it takes ten times as long, but perhaps Griffith does not become the false emotional stonewall he acts as. Perhaps he gains a new dream, perhaps he does not, but either way, perhaps he can have that journey with those he loves, he values, to keep him company.

And Griffith loves the Hawks. All of them. Perhaps not to the same degree, but for all of them, Griffith feels this same type of patriarchal, shepherd-esque obligation, with perhaps the exception of Guts, and Guts alone. He takes on the burden of making the hard choices, of putting himself through hell, to attempt to mitigate the harm they can potentially receive as much as possible. He bears the weight of every victory, every loss of every individual, all willingly given for the sake of his dream. He alone bears the cross of being the head of the Hawks, at every step of their journey.

And this makes his decision at the Eclipse all the more powerful. Some may think that Griffith made the decision because he did not actually care about the Hawks, those who would so loyally lay down their lives if he were to so much as ask. But no. The thing that makes Griffith’s decision to follow that through, to sacrifice all of the Hawks for the sake of his dream so sickening, so gut-wrenchingly despicable, is that he does care. He values each and every single life that was lost at the hands of the apostles, and the demons that began to ravage his party at his behest. He has to care. After all, the Behelit requires him to sacrifice whatever he values most in order to give him his chance at his dream. 

All this death and mayhem, yet underneath it all, it is the scarlet blood of a single child, barely younger than him, that tinges Griffith’s memory. 

[freshpizzalady]

Funny: someone noticed I'm like Yukia

From a discussion on "Karasu wa Aruji wo Erabanai" anime:

TAKASAKI: "There is absolutely nothing going on in this anime!

I don't like anyone in this anime. All the characters are assholes.

There is a very painstaking work by the author himself to create a certain universe and that's the only reason I watch his efforts. All the characters are very meticulously crafted, but they're all shit. It applies to the brides that are spelled out down to the last detail, and to all men too …! This "riter"does not enjoy the characters (she hates them more than she loves them - she's not the first and she's not the last), but the world she created, and the characters are just pawns on a chessboard that can be sacrificed."

"What? Thirteen episodes we've been fooled with brides, and in the sixteenth episode it's shown that he married Hamayu off-screen. Whaaaaaat? When did they ever…. Well… Okay, I don't have any questions about this piece. Here, the scenery changes like a woman changes clothes, at the will of the author. Did I realize she's already his wife? Yuki's sold back into slavery, he'll be a regular there from now on. And the author gave him a nice girl, I wish the author had no “surprises” about her."

Me: "About Yukiya, you didn't get it again this time, due to inattention and habit of patterns…. Actually, this anime isn't made for export, but more for those Japanese people with whom the original novels are popular. So it's not "that way" and "about that" compared to modern standard (well, or “non-standard”) anime. Also, this crow world has its own “divine afterthought” that will make them all, without exception, pretty fucked up at the end, if they ever show it)."

TAKASAKI: "...I don't know how to answer in this situation and so that it doesn't offend me and your question (post)."

"I remember myself so many years ago, when having read an AWESOME work, you are trying to explain it to everyone and they look at you like a fool."

Me: "I'm not running around trying to prove how awesome this "Raven" is and that everyone should watch it. It's just that other reactions and assumptions about it are interesting, and I can't resist some clarification."

TAKASAKI: "Snotty little snot!" "You have the same personality as Yuki. I can see why you liked that piece of writing. A girl who's pissed off for being scolded. I'm sorry, I didn't mean to scold or insult you! Your understanding of this piece seemed too fanatical to me. It's a serious challenge for such a young mind.

And about my templates, standards and clichés, you better not think about it, girl, because they have arisen a very long time ago, when I started watching anime, very long ago."

Me: "Yeah, that's a nice compliment, both funny and flattering, to be honest. I still remember the pre-standard and pre-patterned anime times…"

[setthephaserstorot]

While yes, the religious symbols in Evangelion were implemented mainly because the creators thought it would "look cool", I feel as though alot of people disregard the fact that any time it is brought up in the show its for a distinct purpose. Mainly to convey a theme or story element. It doesn't "mean nothing" as the narrative surrounding the symbolism goes.

[kohakurin8]

~ Dissecting Kimetsu no Yaiba ~

Kyōjurō Rengoku, Dragonball, & The Tale of The Monkey King

I'm sure you can already tell where this is going based on the title, but this is actually a post that I've wanted to make for a while now and just... couldn't find the words to put it in. Eventually, I just realized that the words probably won't come to me until I start writing them, so here I am!

Let's talk about a relatively obvious reference made within Kimetsu no Yaiba that a surprising amount of people completely missed. That is, the fact that the Hashira Rengoku is an uncanny, undeniable reference to the Monkey King, or Sun Wukong, from a very famous Chinese folktale -- Journey to the West!

Fun Fact: Dragonball was originally a loveletter to Journey to the West, with Goku originally being a direct reference to Sun Wukong as well!

Haha, that fun fact may seem random but it actually plays a big role in what I'm about to say.

See, I'm no expert on Journey to the West, but thanks to the widespread popularity of Dragonball and the Shounen genre, you really don't need to be in order to understand the relevance and significance of Sun Wukong!

It's pretty well known that Dragonball was essentially the progenitor of the Shounen genre, and before it got into Dragonball Z with all of the aliens and galactic drama, the series actually focused on Martial Arts and its relationship with the mystical forces of the world. Of course, this means it's not at all surprising for Goku to be a reference to Sun Wukong since Journey to the West essentially defined the Martial Arts Movie genre of Eastern Asia.

You see where I'm going with this yet? 😏

Yes, Sun Wukong defined the Martial Arts Movie protagonist, and through him Goku defined the Shounen protagonist.

Sure, not every Shounen protagonist rides through the sky on a cloud like our beloved Saiyan Hero or the Monkey King, but there are still plenty of other shared character traits that became staples. An astounding, almost insatiable appetite; unyielding willpower; enough love for friends and family to move mountains; almost inhuman courage and heroics; supernatural power to rival even the gods -- basically anything that makes you think of a Shounen protagonist is a trait originally beheld by Sun Wukong.

So now that we've done the background knowledge, let's shift our focus to Rengoku specifically.

I know what you're going to say. "But Rin, if Sun Wukong is in every Shounen protagonist we've ever drooled and cried over, what makes Rengoku so special?"

And to that I say sit down and have some patience, I'm getting to that!

Rengoku is special because he somehow masterfully represents all of the things that Sun Wukong was known for while avoiding the bland and boring tropes yet somehow simultaneously expressed everything you love about classic Shounen.

He has a razor-sharp wit and instinct, smoothly hidden beneath playful, charming, and almost clown-like behavior. His bright personality, warm kindness, and furious power remind one of the sun itself -- something that Sun Wukong was widely representative of.

Delightfully eccentric and quirky. A blazing glory that touches and warms hearts until he's etched into their very soul, shaping viewers into brave warriors the same way he shapes Tanjiro Kamado into one himself.

Kyōjurō Rengoku is a flawless loveletter to everything that ever was, and ever will be, The Monkey King.