#but also why do you keep putting the plot relevant information in a chapter like this lol

[partywiththedevildude]

Who else is feeling like physically ill from all the emotion, sensuality, relief AND EVERYTHING from that whole tianshan part 'cause oh boy I NEED TO LIE DOWN FOR A BIT! MAYBE FOR THE REST OF THE WEEK! 😭❤️😭

[little-hermit-crab56]

I've been writing for a while so I thought I'd share some writing tips I've learned along the way.

1. Never sacrifice the flow for a quirky line.

That bit of dialogue or flowery paragraph you really like but it kinda disrupts the flow? Scrap it. I know it hurts, but you need to. If you really want to keep it, find somewhere else to put it where it actually fits in.

2. Dialogue is a dance.

Dialogue should go at the pace of an actual conversation, back and forth with little breaks and pauses. Add as little dialogue tags as possible while still making it clear who is speaking. You can also describe what is happening during a pause in the conversation rather than saying they paused, unless the pause is important.

3. Show don't tell is a guideline, not a rule.

Show don't tell is a very useful guideline, but if you're ALWAYS showing it can get exhausting to read. Skip the boring bits and just tell us what happened, then we can get to the good stuff.

4. If it's boring to write, it's probably boring to read.

If you can cut out a whole scene with little consequence to the story, you probably should. As I said before, you don't always have to show us, you can always tell us.

5. Everything needs to have a purpose.

I know there are probably lots of interesting or cute scenes where your characters are just fucking around, but if it doesn't develop character, relations, conflict, or plot, why should we care? Definitely still write them if they make you happy, but if you're gonna add it to your final draft, make sure it matters.

6. You don't need to explain everything all at once.

I know it feels tempting to put all the lore, and all the character's intentions, and reasonings into the first few chapters, but please refrain, you can reserve that for your character and worldbuilding sheets. Instead, take the time to let us get to know the characters, and the world, in the same way we'd get to know a real person. Make your exposition as seamless and natural as possible. It will take practice to know when to reveal information and when to let us wonder, but you'll get there.

7. Write in a way that comes naturally.

I know you probably have an author you wanna write just like, but that is unlikely to happen. Embrace your natural writing style and perfect it, rather than trying to be something you're not. Writing is an art, you need to find your own style and polish it as best you can.

8. Try to make us feel connected by cutting out certain words like "felt".

"Chad felt like a glass of water." Can be replaced with, "Chad was thirsty, so he reached for a glass of water." Both sentences tell us Chad wants a glass of water, but one makes us feel more connected to Chad than the other. Though both sentences have their time and place, you want to make your audience feel as close to their protagonist as possible. Make them feel like they're there, rather than just an onlooker.

9. We don't need to know every physical detail of your character.

I know you probably spent ages creating the perfect characters and you want to give us the perfect image of what they look like, but it can get monotonous and boring, why do we care that your character has brown eyes unless the colour has some sort of significance? Try to list off only the most notable features of your character and put focus only on the relevant details. Sometimes you can even not describe them at all and throw in little bits of information about their appearance for the audience to put together. We read to imagine, not to have a perfect image painted for us when we could be getting to the plot.

10. You're allowed to be vague.

Allow your audience to assume things, with some things you can just be lazy and let your audience's imagination do the work for you. Of course, don't do this with important things, but you can save so much time you might've spent researching an irrelevant topic when you can just be vague about it. You don't have to know everything you're writing about, so long as you know the bits that matter.

11. Writing is a skill that takes practice.

Don't be so hard on yourself if your writing is a bit cringe, we've all been there. The important part is that you research how to get better and keep writing those super cringe chapters. One day you'll reread something from a while ago and realize you're actually not as bad as you thought.

12. Leave your work to rest.

I know you wanna start editing right away, but once you've finished, leave it for at least a month. The longer you leave it the better, but that depends on your attention span. A month to six months is good if you're really impatient but want a good result. If you keep writing in that time your skills will continue to improve, then you'll be editing that draft with fresh eyes and fresh skills.

And if you're a fanfic author, I usually leave my chapters for a week before editing and posting.

Hope this helps anyone struggling, I thought this might be especially relevant now with nanowrimo.

I recently realized how much knowledge I've been accumulating over the years, I definitely have more but this is all I can think of for now.

I'm no writing guru, but if anyone has anything they're struggling with, I can do my best to help you out, so dont hesitate to ask questions.

[moongothic]

This is gonna turn into some Crocodad Propaganda eventually but putting the man aside for a little bit

Let's be real for a moment. Regardless of who Luffy's other biological parent is, regardless of if they're relevant to the story or not, no matter what has become of that person, if they're dead or somewhere out there alive, etc-- I believe Oda "knows the truth".

Although it took One Piece until post-Enies Lobby to reveal some of Luffy's blood relatives to us, Oda had technically introduced both Garp and Dragon to us all the way back in the East Blue saga. And Ace was introduced not too long after in the Baroque Works saga, along with his tattoo which held that secret tribute to Sabo all along. (Also he was introduced as "Portgaz D. Ace" meaning Oda must've intended to make the two non-blood brothers from the get-go.) All this means that Luffy's family, both adopted and blood relatives, have been in Oda's mind from the very begining of the story. And so if Oda had figured out Luffy's grandfather, father and at least one brother (if not both) from the begining, then why would he not have decided what became of the person who gave birth to the idiot as well? Like considdering how detail-oriented and meticulous Oda can be, would it not be unusual for him to essentially forget about a character that important (in the sense that Luffy literally would not exist without them) and just handwave them away without much thought? Would that not be out of character for Oda? As such, I don't think it is not unreasonable for us to believe that Oda would know what happened to Luffy's other bio-parent. Mind you, it really could be just something like "Luffy's mother died of The Disease when Luffy was a baby", or "the mom fell down the stairs" or "was eaten by a bear in the woods" or something, anything, whatever. Even if it truly does not matter to the story one bit, I'm sure Oda knows the truth of what happened and why that character wasn't a part of Luffy's life.

But at the same time, if the identity and the fate of Luffy's birthing parent truly did not matter to the story at all, then why wouldn't Oda just tell us who that was and what happened to them? In an SBS or an interview? It's not like people haven't been asking about it, because fans and staff alike have been asking about it for years. If the information really would not change anything, be it the direction the story will take or how we view the characters, if it really is just worthless trivia, then why keep it away from us?

Now of course, I'm sure you'd want to point out that one time Oda told Mayumi Tanaka that "A young boy's adventure begins after he leaves his mother's arms. I want to tell this young boy's adventure story, so his mom is not part of it." And Oda isn't known for lying, we do kind of want to take what he told Mayumi Tanaka at face value. At the same time though. If Luffy's other parent did become a plot relevant character in like the final 200 chapters of the story, after a 1100 chapters, they and their potential connection to Luffy would not have mattered to the story for 90% of its run. For an overwhealming majority of Luffy's adventure, that person would not have been a part of it. So if that character did become relevant, and Oda was lying, then it'd be a white lie at worst. But also, if Oda did intend to reveal that other parent eventually, when the time was right, then surely he wouldn't want to get people hyped up about it way ahead of time. If it did turn out to be a big plot twist or an otherwise important plot point, Oda would want to keep it under the wraps and a secret until the right time, you don't want to spoil something like that. Not to mention it could end up working like a distraction and make people not focus on the more important things happening in the story currently. So really, I think we'd all forgive him for a white lie there. Not to mention, technically speaking, if Luffy doesn't even have a mom but two dads, then Oda wouldn't really be lying either.

But that does bring up an important thing to considder.

If Crocodile does turn out to be Luffy's other dad, when did Oda get that idea, and when would he have committed to it?

Because, keep in mind, One Piece began back in 1997. Twenty seven whole years ago. Which means there's two things to considder; the evolution of queer rights over the past near three decades, as well as the fact that One Piece has more than surpassed Oda's original plans for the series. We must not forget how for a manga to remain serialized in Weekly Shounen JUMP, you need to perform well in the popularity polls consistently; if your manga starts dropping in popularity, JUMP can cancel it and force you end it prematurely. Of course, Oda arguably does not have to worry about those polls anymore after all these decades, there's no way in hell JUMP would ever cancel fucking One Piece in this day and age. But that might not have been the case 15 years ago, that was not the case 20 years ago, and that was absolutely not the fucking case 25 years ago. Like we all famously know that Oda originally planned One Piece to maybe run for like a year, then five years, then ten etc etc. That really is because at the begining of his career he had no quarantee he'd be able to tell the full story he was slow cooking at the back of his mind. Back in the early days, One Piece could've been canceled and ended prematurely, so Oda smartly chose to write it focusing very specifically on what mattered to the story at that moment, in the short term. Yes, he did start laying out the groundwork for things to come, but he did it so subtly that had OP been forced to end early, the series wouldn't have been left with too many massive, gaping plotholes or unresolved sidestories. Another thing to keep in mind is how comic artists for JUMP do have editors etc who can have a say in what goes into the manga (famously, Sasuke only existed because Matashi Kishimoto's editor suggested it). So again, while Oda might be able to do whatever the hell he pleases in One Piece at this point, that wouldn't have been the case 20+ years ago. He would have been more or less at the whims of his editors back in the day.

So would Oda have thought about giving Luffy, the main character of the series, a transgender father back in the year 2000? Could that really have been the secret plan from the start? And would Oda's editor(s) at JUMP have allowed that? Or, did Oda maybe come up with the idea later?

Now just so we're clear, I am NOT suggesting Crocodad was Oda's original intent and that his editors didn't let him do it or anything like that, my tinfoil hat isn't on that fucking tight. What I do want to suggest, is that it is plausible Crocodile being Luffy's other dad was an idea Oda was playing around with at the back of his mind from the begining, but wasn't sure he'd ever get to, mainly due to the uncertainty of series' future and partially because he could've been unsure if his editors would even allow him to write that story. And IF this was the case, Oda may not have even started committing to to the idea until around the CP9 saga. Or, it's possible Oda only got the idea sometime after the completion of the Alabasta arc/during Skypiea saga, and started laying down the groundwork for during Summit War so that, if he ever got around to it, he'd be able to commit and tell that story.

Regardless, let's be real.

It is interesting and kind of suspicious how Crocodile does just happen to be introduced around the same time the rest of Luffy's family was first shown to us, even if we didn't know Garp and Dragon were Luffy's family yet (this was also the same time the first canon queer character was introduced; Oda was playing around with queer characters during Crocodile's introduction, possibly testing the waters to see what he could get away with?) During the CP9 Saga we got the Miss Goldenweek cover story, where we see what's become of Crocodile after the fall of Baroque Works. This is of course adding to the world building of the CP9 Saga (where we're told the criminals who go through Enies Lobby are either sent to Impel Down or to Marineford; so us finding out Crocodile's gone to ID is playing off of what we knew would become of Robin and Franky and the Strawhats not come to rescue them. AND it's foreshadowing for the Summit War Saga), but also, soon after we were reminded of Crocodile and told where he's been sent off to, we were finally formally introduced to Garp and Dragon (Garp having already been mentioned by Aokiji at the begining of the Saga). And we close off the Saga watching Ace and Blackbeard have their fateful match. So again, Crocodile was on Oda's mind around the same time the rest of Luffy's family was. And indeed, after Thriller Bark we then move onto Summit War proper, where Oda does all The Things we would considder The Groundwork for Crocodad, most important being the introduction of Ivankov and their Devil Fruit. But again, just like before, Crocodile just happens to be there at the same time as this saga, which really heavily focuses on Luffy's family, plays out. While we learn about Dragon's secretive nature and connection to Iva-chan, Garp's feelings for the boys, Ace's struggle with his heritage and Luffy's love for him, Sabo and Garp... Yeah, Crocodile's just... Also there.

Whenever Oda starts dwelling into Luffy's family, Crocodile is always there. It's a bizarre coincidence if nothing else.

(And oh won't you look at that, Crocodile has once again become a plot relevant character, just in time for The Final Saga where Dragon has also started becoming actually plot relevant as well)

All of this to say, again.

The fact that Oda has refused to tell us anything about Luffy's other parent is sus, and to me indicates that either although unusual for him Oda genuinely just doesn't give a damn about Luffy's other parent, or he's been trying to play it safe for years so that if he ever got the opportunity, he could give Luffy two dads. (Or maybe there's some other twist that has nothing to do with Crocodile, that is possible too, I just feel like if that was the case then why hide it for 27 years?)

Whatever the case, I'm sure Oda knows the truth.

And I'm sure we will find out the truth eventually, be it on the pages of the comic or in the SBS.

[8bitsupervillain]

Higurashi When They Cry Hou Ch. 7 Minagoroshi pt. 6

I'm trying to remember if there's any character who is actually relevant to the overarching plot I haven't at some point accused of being an antagonistic force or working for whatever the big bad actually is. Keiichi, I don't think I've accused, because unless they're playing the long game he's too much of a boob to be an evil chessmaster. And Satoko, maybe? I'm pretty sure at some point I've pointed the finger at all of them.

The reason I say this is because looking at the text as written it's very clear to me that Hanyuu knows more about the circumstances around Rika's death than she's letting on. She knows the culprit, if nothing else. The why of it is something I can only speculate on. Perhaps in a different timeline Hanyuu let Rika know exactly who was behind her demise in 1983 and she attempted to take that person out but failed? You'd think though that at some point during the hundred years worth of reliving these events over and over again Rika would've tried relying on Irie, Takano, and Tomitake at a few times. I know that Hanyuu specifically says Rika tried once, but you would assume that if for no other reason than to test the variability of events she would've tried using them before.

Well I guess that would explain that away. It just strikes me as odd that despite living these hundred plus years she was only willing to try it once, and then never again. Especially since later on in the chapter she mentions that she feels a growing desperation to alter her fate in any way, shape or form. I guess it's really just because of the news that she is running out of Hanyuu's power to rewind time that she's trying out new methods?

Now, I don't want any confirmation either way, but it seems to me this is pretty deliberately setting up the idea that Takano is somehow behind Rika's death in June of 1983. It stops just a little short of outright accusing her directly, I would assume primarily because of the fact that how could she really be behind Rika's deaths since she always turns up dead before Rika? Takano has, in all the earlier chapters, wound up dead alongside Tomitake either on the night of Watanagashi or the very next day. Unless this is some elaborate red herring, the visual novel sure seems to be going to some effort to paint Takano as the culprit behind Rika's death.

See this makes me really curious what exactly Hanyuu is. Is she actually just the reincarnation of Oyashiro? Which, that would certainly do a real number on the theory put forth in Tsumihoroboshi. Or is she just some extraplanar entity, similar to the witches in Uminkeo? It's been mentioned a couple of times that Hanyuu has been alive for longer than she's known Rika so what exactly is she? I am totally willing to accept the idea that Hanyuu is Oyashiro, there's a moment coming up very shortly where she reacts rather negatively towards the theories Takano has about Oyashiro, the sacrifices and all of that. But it's just what exactly she is in the cosmology of the setting that stokes my curiosity. Another thing that I'm curious about is her usage of the word we. "All we want is a happy life for Rika." She's always just used the word I to describe herself, never we. So I can't help but wonder if there's some other entity like her keeping tabs on Rika.

Also, at risk of repeating myself I'm very certain that Hanyuu knows more about Rika's deaths. Certainly she's shown that she knows the how and the when it happens, but I think she also definitely knows who is behind it. I have the theory that she's just keeping the information to herself about who kills Rika away from her, most likely in a misguided attempt to keep her sane and alive as long as possible. Perhaps she knows that if she tells Rika "oh yeah, Jimmy's your killer." that Rika will just go and try to solve this time loop problem with violence. Or maybe I'm putting too much stock into this character and what she knows. But I get the impression when they reveal who's behind it all (probably by the end of this chapter), she'll just be standing there pretending to be shocked that it was actually whoever. Takano perhaps.

[thecoramaria]

Hello! I have recently come across your videos while writing my first long fic. They have been such a joy to watch and very helpful. Your videos showed me that we are both quite extensive planners when it comes to our fics, but it sounds like your outlines are way more extensive than mine. Have you/would you be willing to share how you format your outlines to keep up with such detail?

Aaaahhh thank-you! I'm glad you've found them helpful. I always love to hear that from my dear viewers 🥰 and I'm always glad to hear from other extensive planners!

To share my outlining process in a video will probably be a feature-length movie, and since I use Milanote, I think they ought to sponsor me for it because I genuinely love it and have convinced other people to love it as much as I do haha

The thing that makes sharing my outlines for my WIP 'The Light Invasion' tricky (other than spoilers) is that I do decorate them with a lot of fanart. I think it's okay for private use, but I wouldn't want to share my outlines publicly unless I can somehow get permission from the dozens of fanartists. If I were to do a video on my outlining style, I would recreate my format from scratch to showcase it, rather than use my actual story notes.

I will share a snippet of my outline that uses screenshots from canon though, since that's what I used for my first few chapters.

[Put two in there because the first has lower quality.]

Okay! So my goal with my outline and how I format it is to both have the details and the big picture. I want to get a ton of information at a glance. That's why I use pictures and colour coding, so let me walk you though each feature, from top to bottom.

The Parts: 'The Light Invasion' is divided into three parts, and the chapters of each part sit on their own row, so we have the 13 chapters of Part I at the top, and then the 29 chapters Part II below that, and then the 11 chapters of Part III at the bottom. When I zoom out of my outline, I have a quick way to visualise how long each part is.

The Columns: I think it's pretty obvious that each column is a chapter. Since the state of the sky is perhaps the most plot-relevant thing in my story, that's what that strip of colour at the top of each column represents. The light blue represents a typical day/night cycle, while the dark blue is the perpetual night, and then there's orange later on that represents perpetual twilight.

Chapter Names: I've explained in one of my videos why I think chapter names are just as helpful to writers as they are to readers, but the gist is they can help me remember which chapter is about what. It also means I can connect the chapters in my outline to the chapters in my contents page and manuscript.

Thumbnails: These are screenshots, stock images, or fanart that make a great visual shorthand for what the chapter is about. The first chapter includes a prose adaptation of the opening scene from 'Twilight Princess' where Rusl and Link are chatting at dusk in the spring, and the second chapter is when the perpetual night has set in over Ordon Village, hence the use of screenshots. We haven't departed that far from canon yet!

Edit Tracking: Before I post my fics, I usually do three final rounds of editing. The first round is the final copyedit, when I resolve everything I made a note in my manuscript to change. The second edit is the final proofread, which is also what I record myself reading out loud for the podfic. The final "edit" is the editing of the podfic. These checklists help me keep track of that, so I don't end up doing extra edits because I forgot I already did a part of the process.

Scene Cards: So each card you see in each column represents a scene, and those cards are actually collapsible, so when you click on them, you get a full dot point list of the scene's beats, as well as possible details, description, and dialogue to introduce.

POV Colour Coding: The strip of colour at the top of each colour corresponds to the character who's POV we're in. As you can see, most of the POV is Link (green) with a little bit from Zelda (pink). We don't actually get to see our second-most prominent POV character have her own scene until Chapter 5, hence why you don't see any blue strips representing Midna, my blorbo to end all blorbos!

Single Sentence Summary: So this is something I kinda abandoned later in the outline, buuuuut the first sentence in each card, right next to the POV, is meant to describe the purpose of that scene's inclusion. I've since just started writing what the premise of each scene is and going from there. The thing about a scene's "purpose" is that it's pretty intuitive for me, so I don't really need to state "and this is what this scene will be for!" since I already know in my heart (or can figure it out during editing). But anyway, that little bit of text that's available even when the card is collapsed helps me quickly remember what a scene is about.

The Beige Colour: Okay, so remember how I mention zooming out to see my 53-chapter outline in full? A big part of this is that I actually use my outlines to track my writing and posting progress. The default colour for the cards is actually the same colour as the columns: so Dark Mode Black in my case. When I finish writing a scene, I colour it grey. When I post a chapter, I make it beige. That way, when I zoom out, it's really easy to see how much I've written compared to how much I've posted, as well as how much I have left to write/post.

So yeah! I use my outline not just as a plan for my story and a way to keep track of all the nitty gritty details, but also to track the progression of the drafting, editing, and posting process. It might seem complex to others, but works really well for me. I can find anything I want with ease, and I can learn a lot of what I need to with just a glance. Hopefully this will give you a few ideas on how to creatively use your outlines too!

P.S. This is just the plot for one book in a trilogy alone. It doesn't go into how I've done my worldbuilding notes or character profiles, the latter of which is uh...

Yeah...

Each one of those icons is actually a full Milanote board you can click on to see their character profiles. OC icons were made using Djarn and Brightgoat's picrews. Idk where that picture I use for Fabian is from and I'm too low on spoons to find out.

(also this relationship chart is outdated so take everything here with a grain of salt)

[a-student-out-of-time]

Though i am a proponent of the swap theory, at least at this moment, i would like to point out an anternative theory for the prosopagnosia speech.

Firstly, the prosopagnoisa will become relevant in a much later chapter

and secondly, Teruko is Mai Akasaki, or at least in her body. Which is a theory i’ve seen floated around before.

also, unrelated. in looking up Mai’s name to make sure i was spelling it correctly, i noticed some (flavor text? the page descrpitions? idk what they’re called, the text under the individual results in google) that heavily seems to agree with your stance of trust is good, actually.

“It is an equal failing to trust everybody, and to trust no one at all.”

//First of all, thank you for your time and for providing a legit counter-argument. I really enjoy talking about this stuff ^^

//While I agree on the latter point, here's why I don't agree with this theory or that this is setup for later. I'm gonna take a break from theorizing and discuss writing, a subject near and dear to my heart.

//A concept that anyone who wants to tell a mystery is encouraged to learn about is narrative weight, which I've seen defined as "how much or how little attention the story/the narrator is giving to any particular event, situation, setting or emotion."

//Simply put, the more attention something is given in a story, the more important it's going to be. Some examples:

If something is given direct attention for a long-enough period of time, it's a plot point.

If something is given attention for long enough that we remember it, and then it comes back later, it's Chekhov's Gun

If somethings is given attention and then turns out not to be true in the way we were expecting, it's a Red Herring

If something is given attention and changes details that we initially believed about something previously established, it's a retcon

If something is given attention and never receives follow up, it's a forgotten or abandoned story beat

//Narrative weight should, in principle, be proportional to the role something is going to play in a particular story, though not always. Sometimes it's inversely proportional, where something will be given just enough attention that you may remember it, but it seems to slip by in favor of the more obvious examples. Then it turns out to be the key all along.

//That brings me to another concept: breadcrumb storytelling. This is the sort of narrative where you receive pieces of information that lead into one-another, and it's an effective means of keeping someone hooked to learn the answer.

//This is pretty common with serialized stories today, where you have one story leading into another and into another. Some writers specialize in this concept, such as Stephen Moffat, who became both famous and infamous for it on his run of Doctor Who and with Sherlock.

//The problem with breadcrumb storytelling is that it runs the risk of ultimately proving disappointing, and potentially undermining or even ruining the impact of the story in retrospect. I'm sure we've all had that happen, where we were waiting for a big reveal and the landing is badly botched.

//I bring all this up because it disappoints me how the idea of a done-in-one, where things like an episode of a show or a single issue of a comic can tell their own story with the time they're given, has largely fallen out of fashion. Now, people seem to expect there to be some kind of cliffhanger ending or setup for what comes next.

//Yes, one can argue that's necessary for serialized stories, but you can have your cake and eat it too. Small details can serve the main plot of the smaller story and contribute to the larger narrative at the same time. For another DW example, the Bad Wolf and Harold Saxon arcs were there across multiple episodes, but they never actively took time away from the story; they instead came together in the finale episodes.

//All that having been said, I like what Despair Time is doing. Chapter 1 did feel like a done-in-one, where it told a complete story and gave Teruko an arc, and also provided setup for the rest of the story. It really set her apart from other DR and fangan protags for it, and helped to establish the themes of the story, that this is about trust and betrayal.

//That brings me to Mai Akasaki, the mysterious redhead girl. Now, I can completely understand why people would be theorizing about her and what role she plays, and would suggest the prosopagnosia has something to do with it. I'm not going to say that's wrong, because there are so many directions it could go.

//That being said, there's a difference in terms of narrative weight here, and this isn't a case of things being inversely proportional. The reason why I don't think she plays a role in this chapter is because everything we know about Mai, we know from supplementary materials.

//Outside of the ARG on DT's tumblr or the bonus videos on their channel, the only thing we've seen of Mai was a brief flashback after Teruko was stabbed, and a hint that Teruko knew her. Her name hasn't even been said once in the main story yet.

//The secrets motive was definitely an opportunity for them to suggest that someone in the group isn't who they said they were, or was disguised and nobody remembers them, but we haven't gotten any like that, at least compared to the more plausible answers we've received.

//For comparison, Danganronpa Another had a better means of foreshadowing a hidden character. In Chapter 2, they found a yearbook in a locker, which belonged to Hanzo Kisaragi. That not only set up the later appearance of his son, Yamato, but also served to foreshadow early on that they weren't really in Hope's Peak Academy like they believed.

//By comparison, there's still been no hinting toward Mai as of yet. No indication that she's part of the game or that she's here disguised as anybody else, at least not so far. I also find it fairly unlikely that Teruko is actually Mai, because not only does her bad luck plague her in daily life, but we've gotten glimpses of how scarred and injured Teruko's body really is. To me, nothing about it suggests she's not who she says she is.

//I know there's the easy answer that she had her memories and identity erased, but we haven't established a means for that to be possible in this setting. I know I've made that connection in my own AU, but that's for a story I'm telling. DT hasn't confirmed that they have flashback lights, so I can't in good faith say that's a real possibility just yet.

//Here's where the prosopagnosia's narrative weight comes in. See, it did receive some hinting in Chapter 1, but it was small and done as just kind of a funny moment near the beginning, where Teruko couldn't remember who Charles was until Hu pointed out what he looked like.

//In comparison, Chapter 2 involved Teruko having a whole conversation with Veronika about how she thought the protag looked a lot like Teruko, Teruko was confused, and we learned that she really only differentiates people by hair color, eye color and clothes. Veronika then took the opportunity to ask, if she switched all those, would Teruko recognize her? And we got no confirmation as to whether or not she would.

//The reason I'm so insistent about this point is because not only have we not had any follow-up on that yet, but because the only people who investigated the body are the girl who can't recognize faces and the guy who had reasons to half-ass the investigation. And Rose, the only one who could put the issue to bed, didn't even want to see the body.

//There has been very little attention given to Mai so far, but comparatively a lot given to the fact that Teruko cannot differentiate faces. Too much narrative weight for me to feel like this isn't going to play a role in this chapter in particular, the same way the difference between a CD and DVD did last chapter.

//tl;dr version- I think some kind of switch had to take place this chapter and to involve the people here, because I can't see this being about someone who's had no foreshadowing or hinting toward their identity or their presence in the main story as of yet.

//That's just my stance on things as of now, but thank you for offering another possibility. I don't doubt that her prosopagnosia is going to play a major role in things later on, so ultimately, both theories might end up being right : P

[fixyourwritinghabits]

Avoiding Info Dumps

So one solid piece of advice thrown around a lot is “don’t do info dumps,” but it’s not always easy to figure out how to do that. One part of the problem is that it’s a handy catchphrase, but you might not know what it means. So, to make it clear:

Q: What is an info dump?

A: Anytime you jam too much information on a page.

I know, this is unhelpful, but the truth is you could go on for pages with background information and have it still be interesting, or you could have an entire paragraph that derails the whole scene. This is hard! There is no one way to avoid info dumps, because always cutting scenes to the bare bones can cause more problems than they fix.

The Problem: Irrelevant information. You put a lot of work in your political structure, but it really has nothing to do with the story. This info never helps the characters, who pays taxes to who never comes up in the plot, and the whole thing slows down your opening characters.

The Solution: Start cutting. This is the most painful option, but this is where you start cutting. If it has nothing to do with the plot and no relevance to the characters, your readers will likely find it frustrating. Be sure to get feedback on this before you start cutting, though. Not everything has to be essential to the plot to create a good story, and if you’re struggling, it’s good to get an outside view.

The Problem: Relevant information, but given at the wrong time. This story about how Patricia accidentally stole thousands of dollars from the bank is great, but you’re telling it in Chapter 3 and it doesn’t become important until Chapter 17, your readers will have completely forgotten about it.

The Solution: Leave those clues with foreshadowing and chunking. What happened in the past is essential for saving the future, but the main character can’t realize that until latter in the book. Like a detective figuring out a mystery, scatter those clues throughout the book. Tim and Jason have a lifelong feud, but it takes Dick to Chapter 5 to notice that weird statue in the corner seems to move on its own, Chapter 10 to learn both are banned from the Smithsonian but not why, and Chapter 15 to pin the two down and finally learn why a drunken date has unleashed an ancient ghost in the attic. The answer to the plot/mystery has been there all along, but the journey is what makes it interesting.

The Problem: Too much description (that doesn’t paint a picture). Many people see their stories as movies in their head, but they’re not movies, they’re books. You have a beautiful room to reference and you want your reader to see everything in it, but in the process, there’s nothing to focus on. We’ve been told every detail, yet we still don’t know where we are or why.

The Solution: Broad strokes (lets the readers fill the gaps). We need to know two things about your setting: why it’s relevant and how we should feel about it.The bedroom of the protagonist’s sister is covered in band posters, but the room is small and never gets enough sunlight, and always seems gloomy. The graveyard should have been creepy, but the grass is well-trimmed and the flowers are colorful and bright. It’s hard to imagine grieving there. Now, this is also hard, and don’t feel like you have to keep your description sparse, but focusing on what a place can tell us about the characters in it and how it sets the mood will help you a lot.

The Problem: Explaining what the characters already know. This one is a real challenge, because what the character knows is something the reader needs to know, but doing this in a dialogue (”As you know, Charles, I lead the Brotherhood of Evil Mutants...”) or in huge chunks of your opening chapters can be derailing.

The Solution: This happened. How does your character feel about it? Dad lost his job two months ago. Mom said it would be fine, but then we had to sell the house. Then we moved to Maine. I hate this new apartment, and I’m pretty sure it hates me... Your characters are going to be carrying the past with them throughout their story. They’re going to have internal conflicts about it. They’re going to make some wrong decisions or confess truths, either in action (Ever since mom died, I can’t stand looking at the cup she gave me. Today, I finally smashed it) or dialogue (”Magnus, I just think the whole ‘evil mutants’ thing sense a wrong message...”), focusing on the why of this information rather than just establishing it will help you a lot - and let you sneak backstory in more naturally.

There are more ways to info dump, but when you start figuring out how to avoid the major ones, you’ll be able to avoid it in other forms without even realizing it. And do you have to worry about info dumps in the first draft? Hell no - that’s what drafting is for. You’ll realize how to rephrase the information as you go.

[duckprintspress]

How to Edit an Over-Length Story Down to a Specific Word Count

One of the most wonderful things about writing as a hobby is that you never have to worry about the length of your story. You can be as self-indulgent as you want, make your prose the royalist of purples, include every single side story and extra thought that strikes your fancy. It’s your story, with no limits, and you can proceed with it as you wish.

When transitioning from casual writing to a more professional writing milieu, this changes. If you want to publish, odds are, you’ll need to write to a word count. If a flash fiction serial says, “1,000 words or less,” your story can’t be 1,025 and still qualify. If a website says, “we accept novellas ranging from 20,000 to 40,000 words,” your story will need to fall into that window. Even when you consider novel-length works, stories are expected to be a certain word count to fit neatly into specific genres - romance is usually around 80,000 words, young adult usually 50,000 to 80,000, debut novels usually have to be 100,000 words or less regardless of genre, etc. If you self-publish or work with a small press, you may be able to get away with breaking these “rules,” but it’s still worthwhile to learn to read your own writing critically with length in mind and learn to recognize what you do and do not need to make your story work - and then, if length isn’t an issue in your publishing setting, you can always decide after figuring out what’s non-essential to just keep everything anyway.

If you’re writing for fun? You literally never have to worry about your word count (well, except for sometimes in specific challenges that have minimum and/or maximum word counts), and as such, this post is probably not for you.

But, if you’re used to writing in the “throw in everything and the kitchen sink” way that’s common in fandom fanfiction circles, and you’re trying to transition only to be suddenly confronted with the reality that you’ve written 6,000 words for a short story project with a maximum word count of 5,000...well, we at Duck Prints Press have been there, we are in fact there right now, as we finish our stories for our upcoming anthology Add Magic to Taste and many of us wrote first drafts that were well over the maximum word count.

So, based on our experiences, here are our suggestions on approaches to help your story shorter...without losing the story you wanted to tell!

Cut weasel words (we wrote a whole post to help you learn how to do that!) such as unnecessary adverbs and adjectives, the “was ~ing” sentence structure, redundant time words such as “a moment later,” and many others.

When reviewing dialog, keep an eye out for “uh,” “er,” “I mean,” “well,” and other casual extra words. A small amount of that kind of language usage can make dialog more realistic, but a little goes a long way, and often a fair number of words can be removed by cutting these words, without negatively impacting your story at all.

Active voice almost always uses fewer words than passive voice, so try to use active voice more (but don’t forget that passive voice is important for varying up your sentence structures and keeping your story interesting, so don’t only write in active voice!).

Look for places where you can replace phrases with single words that mean the same thing. You can often save a lot of words by switching out phrases like “come back” for “return” and seeking out other places where one word can do the work of many.

Cut sentences that add atmosphere but don't forward the plot or grow your characters. (Obviously, use your judgement. Don't cut ALL the flavor, but start by going - I’ve got two sentences that are mostly flavor text - which adds more? And then delete the other, or combine them into one shorter sentence.)

Remove superfluous dialog tags. If it’s clear who’s talking, especially if it’s a conversation between only two people, you can cut all the he saids, she saids.

Look for places where you've written repetitively - at the most basic level, “ ‘hahaha,’ he laughed,” is an example, but repetition is often more subtle, like instances where you give information in once sentence, and then rephrase part or all of that sentence in the next one - it’s better to poke at the two sentences until you think of an effective, and more concise, way to make them into only one sentence. This also goes for scenes - if you’ve got two scenes that tend towards accomplishing the same plot-related goal, consider combining them into one scene.

Have a reason for every sentence, and even every sentence clause (as in, every comma insertion, every part of the sentence, every em dashed inclusion, that kind of thing). Ask yourself - what function does this serve? Have I met that function somewhere else? If it serves no function, or if it’s duplicative, consider cutting it. Or, the answer may be “none,” and you may choose to save it anyway - because it adds flavor, or is very in character for your PoV person, or any of a number of reasons. But if you’re saving it, make sure you’ve done so intentionally. It's important to be aware of what you're trying to do with your words, or else how can you recognize what to cut, and what not to cut?

Likewise, have a reason for every scene. They should all move the story along - whatever the story is, it doesn’t have to be “the end of the world,” your story can be simple and straightforward and sequential...but if you’re working to a word count, your scenes should still forward the story toward that end point. If the scene doesn’t contribute...you may not need them, or you may be able to fold it in with another scene, as suggested in item 6.

Review the worldbuilding you’ve included, and consider what you’re trying to accomplish with your story. A bit of worldbuilding outside of the bare essentials makes a story feel fleshed out, but again, a little can go a long way. If you’ve got lots of “fun” worldbuilding bits that don’t actually forward your plot and aren’t relevant to your characters, cut them. You can always put them as extras in your blog later, but they’ll just make your story clunky if you have a lot of them.

Beware of info-dumps. Often finding a more natural way to integrate that information - showing instead of telling in bits throughout the story - can help reduce word count.

Alternatively - if you over-show, and never tell, this will vastly increase your word count, so consider if there are any places in your story where you can gloss over the details in favor of a shorter more “tell-y” description. You don’t need to go into a minute description of every smile and laugh - sometimes it’s fine to just say, “she was happy” or “she frowned” without going into a long description of their reaction that makes the reader infer that they were happy. (Anyone who unconditionally says “show, don’t tell,” is giving you bad writing advice. It’s much more important to learn to recognize when showing is more appropriate, and when telling is more appropriate, because no story will function as a cohesive whole if it’s all one or all the other.)

If you’ve got long paragraphs, they’re often prime places to look for entire sentences to cut. Read them critically and consider what’s actually helping your story instead of just adding word count chonk.

Try reading some or all of the dialog out loud; if it gets boring, repetitive, or unnecessary, end your scene wherever you start to lose interest, and cut the dialog that came after. If necessary, add a sentence or two of description at the end to make sure the transition is abrupt, but honestly, you often won’t even need to do so - scenes that end at the final punchy point in a discussion often work very well.

Create a specific goal for a scene or chapter. Maybe it’s revealing a specific piece of information, or having a character discover a specific thing, or having a specific unexpected event occur, but, whatever it is, make sure you can say, “this scene/chapter is supposed to accomplish this.” Once you know what you’re trying to do, check if the scene met that goal, make any necessary changes to ensure it does, and cut things that don’t help the scene meet that goal.

Building on the previous one, you can do the same thing, but for your entire story. Starting from the beginning, re-outline the story scene-by-scene and/or chapter-by-chapter, picking out what the main “beats” and most important themes are, and then re-read your draft and make sure you’re hitting those clearly. Consider cutting out the pieces of your story that don’t contribute to those, and definitely cut the pieces that distract from those key moments (unless, of course, the distraction is the point.)

Re-read a section you think could be cut and see if any sentences snag your attention. Poke at that bit until you figure out why - often, it’s because the sentence is unnecessary, poorly worded, unclear, or otherwise superfluous. You can often rewrite the sentence to be clearer, or cut the sentence completely without negatively impacting your work.

Be prepared to cut your darlings; even if you love a sentence or dialog exchange or paragraph, if you are working to a strict word count and it doesn't add anything, it may have to go, and that's okay...even though yes, it will hurt, always, no matter how experienced a writer you are. (Tip? Save your original draft, and/or make a new word doc where you safely tuck your darlings in for the future. Second tip? If you really, really love it...find a way to save it, but understand that to do so, you’ll have to cut something else. It’s often wise to pick one or two favorites and sacrifice the rest to save the best ones. We are not saying “always cut your darlings.” That is terrible writing advice. Don’t always cut your darlings. Writing, and reading your own writing, should bring you joy, even when you’re doing it professionally.)

If you’re having trouble recognizing what in your own work CAN be cut, try implementing the above strategies in different places - cut things, and then re-read, and see how it works, and if it works at all. Sometimes, you’ll realize...you didn’t need any of what you cut. Other times, you’ll realize...it no longer feels like the story you were trying to tell. Fiddle with it until you figure out what you need for it to still feel like your story, and practice that kind of cutting until you get better at recognizing what can and can’t go without having to do as much tweaking.

Lastly...along the lines of the previous...understand that sometimes, cutting your story down to a certain word count will just be impossible. Some stories simply can’t be made very short, and others simply can’t be told at length. If you’re really struggling, it’s important to consider that your story just...isn’t going to work at that word count. And that’s okay. Go back to the drawing board, and try again - you’ll also get better at learning what stories you can tell, in your style, using your own writing voice, at different word counts. It’s not something you’ll just know how to do - that kind of estimating is a skill, just like all other writing abilities.

As with all our writing advice - there’s no one way to tackle cutting stories for length, and also, which of these strategies is most appropriate will depend on what kind of story you’re writing, how much over-length it is, what your target market is, your characters, and your personal writing style. Try different ones, and see which work for you - the most important aspect is to learn to read your own writing critically enough that you are able to recognize what you can cut, and then from that standpoint, use your expertise to decide what you should cut, which is definitely not always the same thing. Lots of details can be cut - but a story with all of the flavor and individuality removed should never be your goal.

Contributions to this post were made by @unforth, @jhoomwrites, @alecjmarsh, @shealynn88, @foxymoley, @willablythe, and @owlishintergalactic, and their input has been used with their knowledge and explicit permission. Thanks, everyone, for helping us consider different ways to shorten stories!

[ltleflrt]

Hey Carrie! You talked a little the other day about writers' tendency to start a fic too early in the story, and how you see a lot of first scenes that could have been scrapped to improve the story. My question is if you have some tips to recognize while writing that first scene that you are starting too early in the story?

Hello friend!

That's a really good question, and I'll see if I can give an answer that makes sense. I am not a professional, and I'm not educated or trained in this stuff, it's just something that I recognize from years and years and years of voracious reading. And as with all writing advice, I encourage you to take what I'm going to say with a grain of salt and remember that no writing rule is a hard rule, only a guideline.

Also, my advice is going to be pertaining fanfiction, and specifically to AUs. Obviously a published book has an editor with a razor blade going through a manuscript for you, and the problems that bother me in fanfiction crop up in AUs more than Canonverse.

Oh, and every instance of "you" is general, not specific 😜

So I think the main problem that I see is that people are starting with an Info Dump. An Info Dump is not always a bad thing, sometimes it's completely necessary, but it is NOT where you want to start your story. If it absolutely has to be done, it's better to be somewhere in the middle or near the end. When it's something that your characters need to know.

That's an important bit: Do your characters need to know this?

And related to that: Does your audience need to know this for the story to make sense?

And very important follow up: If the answers to the above questions are yes, does the character/audience need to know this RIGHT NOW?

There's a lot of information about your story that YOU need to know. Heck, my notes files are full of sooooooo much stuff that I know about the characters and plot that never reaches the final product.

So when you're reading your first chapter (I say reading, not writing, because sometimes info dumping for your own benefit is good, and then you fix it before you share the story lol), ask yourself those two questions.

So for example:

In an AU where Dean is a tattoo artist, and it's his POV. The story starts with Dean driving to work, and when he gets there he's going to find out that the empty shop next door has been purchased and is going to be a yoga studio. He meets Castiel out front, up on a ladder trying to hang a hand painted sign, and some teens go running buy and knock into the ladder and Dean has to catch Castiel from falling. (Anyone who wants to adopt this idea is welcome to it btw, I would love to read this lol)

The mistake I often see in a first chapter like this is that as Dean is walking to work, there's a whole Info Dump about why he's a tattoo artist instead of a hunter. He'll be ambling along, thinking about his nice little business, and there's info about how his mom died in a fire, and his dad was a jerk, and Dean didn't go to college because he saved his money for Sammy's college fund, and Dean's only passion was art, and Bobby Singer introduced him to a tattoo shop owner who took Dean under his wing, etc.

Question 1, does your character need to know this?: Why is Dean reflecting on his past? Does Castiel need to know this information in order to build a romance with Dean?

Question 2, does your audience need to know this?: Why does this information matter? If Dean's only reflecting on this because you want to make sure your audience knows where the timeline changed and this became an AU, then you're starting too early in your story. Dean doesn't need to know this, and honestly in a lot of cases the reader doesn't need to know this. This is information that should have been left in your notes file.

Question 3, does the character/audience need to know this NOW?: If this information is pertinent to the plot, like maybe there's some trauma there that Castiel might need to know about to develop their relationship, then you don't want to put it HERE, you want to put it in a conversation with Castiel LATER.

If I was writing this AU, I would just start with Dean sipping his coffee, he's kinda tired because reasons, he looks up to see an unusual commotion, and has to drop his coffee and sprint forward to catch Cas. If he's reflecting on anything in this scene, it's going to be whatever made him tired, or how good/bad the coffee is this morning. Since Cas is a new business owner, they can talk about the origins of Dean's business on their first date, because it'll be a relevant response to Castiel talking about the origins of his yoga studio.

And just in general, if Dean's origin story includes a lot of canon elements, like mom dying in a fire, dad being a deadbeat, Sammy being the adorable overachieving Stanford student.... try to hide that info for as long as you can so that the audience is actually curious about it by the time the info might pop up. It's the wild divergences that are more interesting earlier on.

Okay, and then I want to talk about my giant pet peeve for a starting chapter. It's a specific kind of info dump, that often includes the stuff from above, but then goes a step further.

My nemesis, The Daily Grind.

I haven't asked the authors, so I could be wrong about this, but I feel like most of the time when this type of chapter is included in a story it is because the author wants to show the reader that the character's life is boring and meaningless before the plot's inciting incident. I can absolutely see why that might be considered an important detail about the character, but keep in mind if it's boring and meaningless to the character, it's boring and meaningless to your audience.

You know how I said earlier that writing tips should never be hard and fast rules? Well this is in regards to that Show Don't Tell rule, and it's an example of TOO MUCH showing lol

It is possible to do a daily grind in an interesting way, but only if you include a Shake Up right away. And you have to look at the 3 questions a little bit differently.

So for example:

Castiel POV, and he works in an office. His daily routine is to always get up at the same time every day, he goes for his run, he grooms himself, he has his breakfast, he goes to work and talks to Kelly about how Jack's doing in kindergarten for a few minutes before going into his office. Adler comes in to be a prick, Castiel hates him for it, and then he does his reports, has lunch hiding in a corner of the lunch room so that his co-workers will leave him alone, he does more reporting, leaves an hour after his shift technically ends, goes home to a lonely apartment that maybe includes a pet who is the only being that shows him affection, has an unsatisfying dinner of leftover takeout while watching a mindless reality tv show, then he goes to bed.

Ugh.

BORING.

Which, yeah I get it, the point is that his life is boring. But now the story is too, and I've clicked the back button before I can see how exciting it's capable of getting.

Question 1, does your character need to know this?: No. He knows. Poor thing definitely already knows.

Question 2, does your audience need to know this?: Yes, but...

Question 3, does the character/audience need to know this NOW?: Yes, but new question for ya:

Optional Question 4, why does this need to be separate from your plot's inciting incident? The answer to this 4th question is usually that it doesn't.

Chapter 2 of this type of beginning usually shows the shake up of Castiel's day. My advice is to start with the shakeup, and sprinkle in the details of what you would have put into chapter 1 to show the contrast. It's far more interesting to learn how boring Castiel's day is by starting with the shake up.

So, same scenario:

Castiel's alarm doesn't go off for some reason, OH NO HIS ROUTINE IS SHAKEN UP! You're explaining his routine while also stressing him the fuck out because he has to rush, or skip something that he normally needs to do. Action! Interesting! He gets to work late, and has to miss his conversation with Kelly about Jack because she's telling him that Adler's already in his office being a prick because Castiel isn't there waiting for him like he always is. Oh shit, he's pissing off his asshole boss! Conflict! He's so flustered by the shakeups that he misses something on his report, and he gets a call from that new marketing guy Dean Winchester who asks if they can have a meeting about it when Castiel normally takes his lunch. BAM! MEET CUTE OPPORTUNITY! While Castiel is getting all flustered by how pretty Dean is while they talk about TPS reports, he can reflect on how this is both better and worse than hiding from his co-workers in the corner of the lunch room. The rest of the day after that meeting he's thinking about how weird this day is, he still goes home an hour late, he talks to his pet about his weird day when he gets home, and maybe he still eats leftover takeout, but he's not paying attention to the reality tv show because holy shit he wants to count Dean's freckles.

In this example, you're Telling the audience about Castiel's normal routine instead of Showing them. But since it's during a plot heavy chapter, it works!

Lemme see if I can TL:DR this...

As you're reading, ask yourself who needs to know this information, why do they need to know this information, and why is it important for this information to be included early instead of later?

If the answer to any of those questions boils down to "this is backstory" instead of "this kicks off the plot", then you've started too early.

I hope this helps? I'm always nervous about giving writing advice because so much of the time I have no idea what I'm doing, and I'm just feeling around in the dark. And I definitely do not ever want to hurt an author's feelings, because this hobby is so fucking hard, and we're all fragile. Even authors who welcome con-crit with open arms will have a weak point that they're unaware of that might get poked wrong and cause a crack, ya know?

I hope anyone who gets this far who might see their own works reflected in my examples understands that I have a lot of respect for their ability to put their work out into the world, and I want them to keep doing it. We're here to have fun, okay? Okay. I love y'all 💜

[mala-sadas]

On the Legendary Wolves’ Plot in Pokéspe SWSH

I really like the way the legendary wolves’ plot is being handled in Pokespe so far. They’ve made a handful of changes and additions to the plot as it’s presented in the games that make it feel integral to the main characters and the overarching story, as well as just being more interesting to follow.

Part of the reason why this plotline is weak in the games is because it’s presented as just a minor subplot. You occasionally get more information about what really happened as you progress through the game, but it doesn’t seem important for you to pay attention to it until you get to the climax and Rose reveals that he’s caused the Darkest Day. Even though you encounter Zacian or Zamazenta in the Slumbering Weald at the beginning of the game, it’s not until Circhester that Hop connects that encounter to the legend you’re unraveling. And in the grand scheme of things, all that encounter does is confirm that the sword and shield Pokémon live in the Slumbering Weald - which Sonia apparently also learns about in a book that mentions Zacian and Zamazenta by name. So, why was it necessary, again?

But right out of the gate, Spe immediately ties the legendary wolves into the main characters’ backstory and motivations. A year prior to the beginning of the chapter, Sou goes to the Slumbering Weald to try to find the Rusted Sword and Rusted Shield. He knows about them – and has an interest in them – because he’s from a family of swordsmiths, and he wants to see genuine, historical pieces of armor in person. Meanwhile, Schilly goes to the Weald to look for a Wishing Star that she had seen falling, since she wants to get it made into a Dynamax Band. The pair encounter the illusory Zacian and Zamazenta, and Sou immediately comes to the conclusion that these two are here to protect the Rusted Sword and Rusted Shield – a conclusion supported by the fact that when they walk through the illusions to try to take a look at the artifacts, they’re knocked out by a flash of light. When they awaken, the Rusted Sword and Rusted Shield are gone - as are all of Schilly’s Pokémon. Sou decides to start traveling with Schilly because he feels partly responsible for her Pokémon going missing, and Schilly decides to compete in the Gym Challenge to spread the word about her missing Pokémon and make it easier for her to find them. Additionally, it’s later revealed that Sou decided to participate in the Gym Challenge so he can get stronger and challenge Zacian and Zamazenta to a battle, believing that they’ll only allow someone with skill as a Trainer and an earnest desire to see the Rusted Sword and Rusted Shield to see the artifacts in person.

So, in short, the reason why Sou and Schilly met and their respective reasons for taking on the Gym Challenge are both intrinsically linked to their encounter with the legendary wolves. This makes the wolves’ presence relevant throughout the whole story, ensuring that the reader doesn’t forget about the encounter by the time it becomes relevant again. (I also appreciate that they gave the wolves a concrete reason to appear before the protags in the Weald, something which the games and anime never really bothered to provide.)

Additionally, the decision to introduce the Rusted Sword and Rusted Shield right away instead of saving their introduction for the climax like what happens in the games was a really smart choice. First, it ties directly into Sou’s interests, giving him a good reason to be interested in the Rusted Sword and Rusted Shield as well as the other legends involving swords and shields. Second, it allows the characters to link together the encounter with Zacian and Zamazenta to the information they’re learning about the legends - Sou observes that the sword and shield held by the statue of the hero in Motostoke as well as the sword and shield depicted on the Hammerlocke tapestries resemble the Rusted Sword and Rusted Shield, suggesting that the legends have a connection to the artifacts. And when I say “suggesting”, I don’t just mean in the sense that it’s something you can interpolate from the text. I mean that Sou literally says, “It’s not entirely unlikely that the three are all the same,” and Raihan brings up later that if they’re the same sword and shield, the legendary wolves may be connected to these events in some way as well.

This is another thing that I really appreciate about the way that Pokéspe is handling this plotline: the characters actually speculate, hypothesize, and draw conclusions about the evidence that they’re being presented with. In the games, most of the encounters with Sonia just involve you pointing out incredibly obvious things about the historical artifact/legend, and Sonia agreeing that they’re significant. She asks a lot of questions, but doesn’t postulate answers to them unless they’re directly being shown to you. And even some of the conclusions she draws seem like leaps of logic, like when she assumes that the statue behind the Stow-on-Side mural must be correct because it was made in “truly ancient times” - like, we just discovered this statue, Sonia. We have no idea how old it is.

But in Spe, the characters draw logical conclusions from the information they have, which means they can figure things out a lot faster than they do in the games and makes the conversation interesting to read whenever they learn new information. For example, Sou speculates that the sword and shield wielded by the hero might’ve had special powers, which is true. How did he figure this out? He explains that he thought about it because the hero used them to fight giant, rampaging Pokémon, which is a bit difficult to accomplish with a normal sword and shield.

Another great example of this is in Hammerlocke vault, when Sou guesses that Chairman Rose wants to cause the Darkest Day. One might think that he’s figuring things out way too quickly, but the thing is, this conclusion makes perfect sense given the information he has. While looking at the tapestries, Sou notices that the first one depicts a Wishing Star falling and the second one depicts the Darkest Day occurring. Thus, he guesses that Wishing Stars might have caused the Darkest Day, a hypothesis that Sonia agrees with because they’ve already figured out that the Darkest Day has a connection to Dynamaxing, and Wishing Stars cause Dynamaxing. But Sou had previously learned from Bede that Chairman Rose is collecting a massive amount of Wishing Stars, so it’s only natural that his next thought would be to wonder if Chairman Rose is - advertently or inadvertently - going to cause the Darkest Day again. This immediately ties the Rose plot in with the legendary wolves’ plot, a connection that doesn’t start to be made until your third visit to Hammerlocke in the games.

In general, the Hammerlocke vault scene is way better in Spe than it is in the games, where all you get is Sonia saying that the disaster depicted is probably the Darkest Day and wondering if there was one hero or two. Besides the conclusions that I already mentioned, Sonia also connects the disaster shown in the tapestries to the disaster shown in the Turffield geoglyph, concluding that they’re both depictions of the Darkest Day. However, Sou points out the lack of giant Pokémon in the tapestries, which are always associated with the Darkest Day. I really like how they point out both the similarities and the differing details between the stories, which makes it a little more understandable why no one has ever put together that this myth of the creation of Galar and the legend of the Darkest Day might be referring to the same event.

Finally, the last major improvement that I want to talk about is the one that was introduced in the latest chapter: an explanation for why the legendary wolves’ existence was lost from the legends. The destruction of the Stow-on-Side mural happens offscreen in this story, which is kind of understandable - the main significance of this statue in the games was to introduce the concept of Pokémon being involved in the legend, which Sou, Sonia, and Raihan had already figured out. This statue holds a completely different significance here: when Sonia is telling the protagonists about the newly discovered ruins, she says that she thinks the mural was put up by someone who wanted to deliberately hide the two Pokémon from the legend, giving all the credit to the humans. She points out the tapestry at Bob’s Your Uncle as further proof of this, which - given its condition - looks like someone threw it away so it would disappear from history. 

I don’t believe that the games ever explain how the tapestry ended up in the restaurant, so the fact that it’s given any sort of context here is really neat. But more importantly than that, it’s really interesting that they’re stating outright that the legendary wolves were deliberately removed from the legend. In the games, Sonia wonders why the ruins at Stow-on-Side would be hidden, but doesn’t offer an explanation - she doesn’t even say anything to suggest that it was done intentionally. The question is never brought up again. So I’m really hoping that Spe won’t go that route, and this revelation will have broader implications in the story next chapter or even later - that we’re going to find out who covered it up, or possibly that someone in the present day knows about the cover-up and is willingly propagating it. The immediate assumption is that it’ll be connected to Sordward and Shielbert in some way, since they benefit from the legend being that their ancestors were the heroes who saved Galar. But I think it could also be interesting if we find out that Rose knew about the statue and is deliberately trying to keep the existence of the sword and shield Pokémon covered up - it’d make a lot of sense why he was so unforgiving to Bede for trying to destroy the mural if that were true. Either way, I’m excited to see where they take this concept.

tl;dr The way Pokéspe has been handling the plot points related to the legendary wolves has been really good so far, much better than it was in the games, and I’m very excited to see how it develops going forward!

[nikadoesanart]

My predictions on BSD getting animated going forward

I’ll be taking a look at the novel page counts (Japanese and English) and comparing them to the screen time they’ve gotten so far and then using this to predict how long the remaining light novel adaptations will be (approximately). At the end will also be my rough prediction/hopes for the order of some of these being adapted. I say some because I have yet to read what there is so far of the gaiden novel translations, the main story manga has essentially still been on the DOA arc almost since where the anime left off, and I personally think that it’s currently too soon for Storm Bringer (aside from money purposes).

Note, most of this was written well before the anime 5th anniversary livestream but the announcements wound up not affecting it. I then of course made adjustments as needed account for the novel content we do have so far, both in Japanese and in English (officially).

Page to Episode Count

Not counting the afterward, ads, etc for the English/US copy, Japanese is including it

Also all eng page counts are using the Yen Press release and jp page counts are taken from the fandom wiki

*148 is purely counting the Untold Origins portion of the novel. If we also count the A Day at the Agency short story that’s included before it (56 pages), then we get the full 203

Also the English page count for BEAST was noted before the English release date but after page counts have been posted by affiliated retailers, so subtract a couple pages from the written count of 176 for the time being to account for the afterward and possible character sheets being included

Now that we have our page to episode counts (as of April 5th, 2021), let’s find the actual content run time of what we do have animated so far.

Seasons 1-3 and the OVA all have the same episode length/duration. Each episode is 23 minutes, and we can subtract 3 minutes on average from that to account for the OP and ED being played. This leaves us with an average of 20 minutes of BSD story content per episode. So on average, each of the first 3 seasons contain 240 minutes, or 4 hours, worth of story content.

Dead Apple’s total run time is 91 minutes, with the OP and ED making up 9 of those minutes. However, we do have a bit of the story content being played while the ED is playing (as sometimes happens in the anime as well). To keep the math simple, I’ll be approximating story content time at 82 minutes.

Apply these numbers to the novels that have been animated so far and this is (approximately) what we get:

Now let’s use these numbers to predict the screen time needed for the other novels

Note that we can’t really use Entrance Exam as a fair measure because of how much got cut out (just compare the run time of it to Dark Era and it speaks for itself). However, the numbers for Dark Era and Dead Apple are the best ones to use, as they both have minimal changes between anime and novel and both have official English translations currently available. Take out the approximate time taken up by OP/ED and and the numbers pretty much match up.

So with that being said, we can estimate Untold Origins (only) at approximately 3 eps/60 min and 55 Minutes at 1h 40-55min/100-115 min or 5-6 eps if it doesn’t get a movie. We can also estimate the A Day at the Detective Agency short story at the beginning of Untold Origins to take up about 1 ep, probably even a bit less.

1+ 3 + 5-6 = 9-10 episodes which isn’t enough for a full single cour season unless they all get put into one big OVA season, but also 10-11 eps (or less) seasons are a thing (ie. Fugou Keiji: Balance Unlimited, Blood Lad, Black Butler: Book of Circus, The Seven Deadly Sins: Signs of a Holy War, FLCL)

My personal predictions/hopes for the anime adaptation timeline going forward

This is considering the manga content, current “pausing/stopping points” what wouldn’t be too awkward, each of the novels relevancy/necessity to the main story manga, and assuming we continue with single cour (12-13 ep) seasons

Hopefully/ideally a 55 Minutes movie

S4: ch 54-70

Early S5 (preferably) or end of S4: Untold Origins or A Day at the Agency

S5: ch 71-88/around where we are now?

A Day at the Agency can, in my opinion at least, be chucked in at any point either as a single episode OVA or as the light novel content for s4 (maybe not even taking a full episode and then starting ch 54 in the last few minutes for example). Keep in mind that the current DOA arc is a long one and has plenty to it, so personally I think it may even be better to not include a novel adaptation in a future S4, as it would likely already be a right squeeze content wise. Remember, we also have a few XX.5 chapters that are continuations of the chapter directly before them.

I still need to read what’s currently available of the gaiden novel fan translations but it can probably be adapted at any point as well. I’m estimating approximately 5-6 eps as an OVA series. I don’t really think it would get a movie, partially because you can make it only so long, especially since it’s an anime movie and unlike Storm Bringer, it doesn’t have Chuuya to practically guarantee the profit.

BEAST also doesn’t directly impact the main story and can be adapted at virtually any point. However, seeing as we do have a live action confirmed for it and it’s page count lines up very closely with Dark Era, it can be either 4 eps or (more likely in my opinion) a movie, as it can be considered almost stand alone content.

Personally, I believe it is currently way too soon to animate Storm Bringer as it came out only a little over a month ago (as of writing this) and has minimal plot necessity as of ch 91, but I do believe it should be either split into 2 movies (a part 1 and part 2) or it would need 8 episodes, likely as an OVA season. If it were to get animated sooner than 55 Minutes or Untold Origins, which I believe to be very unlikely, I feel that it would almost certainly be driven by the financial gains of Chuuya being included, and his popularity alone. Reminder, SB is about Chuuya and not SKK. Dazai’s appearance in SB is proportionally a very small percentage and he’s not even mentioned in the official plot summary.

However, you can argue that SB is starting to have some relevance now, with the recent mention of the Order of the Clock Tower in ch 90 and the increased relevance of sealed ability weapons in ch 91. However, I really do believe that you can’t adapt Storm Bringer before 55 Minutes because of Standard Island and its treaty, it also talks about sealed ability weapons, knowing who Wells is, and 55 Minutes canonically takes place during the “downtime” portion of S3. In fact, here’s Asagiri’s words directly from the Afterward (translation by Yen Press):

“this volume didn’t take place in the past, but rather sometime after the tenth volume of the manga. In other words, it’s a tale about the ‘usual’ detective agency in novel format.” (55 minutes, p 237)

Untold Origins also should be adapted sooner rather than later (at least compared to SB in my opinion) because it’s about Ranpo and Fukuzawa’s shared past, which becomes increasingly relevant ch 70 onwards, as well as the need for the ADA being founded (which ties in with Yosano’s backstory in ch 65-66).

In regards to whether I think each of these would be better suited to a movie adaptation or as multiple regular length anime episodes, it’s mainly due to page count and partly due to the budget difference between the two, as well as how difficult I think it would be to animate each of these based on what needs to be drawn. The anime industry isn’t the fastest to switch to newer technology, hence why we see issues with 3D blending sometimes. I really do think that at the very least, 55 Minutes deserves the movie budget because of how detailed and complex the architecture of Standard Island is described as, as well all the mechanical parts needed for the final battle of the novel. Hate the lizard mouths introduced in Dead Apple all you want, but you can’t deny that the 3D cgi was blended very smoothly. For any of the other novels to be movies, it’s more so because gaiden and BEAST can be considered their own stand alone stories that don’t rely too heavily on the main story in terms of when they take place and get adapted. I feel that SB is more likely to get its own season or an OVA season more so due to its length, but multiple part anime movies have also been done before (ie. the Fate/Stay Night: Heaven’s Feel movies), so it’s not entirely impossible. Especially considering that merely having any Chuuya screen time means that you can expect the profit and popularity to really go up, especially with SKK being on screen together (regardless of whether you love or hate how the fandom tends to push a shipping POV on them).

These are all of course just my hopes and predictions and estimates based on information currently available, so take them with some salt. I’d love to hear opinions on how, when, and why each of the currently non animated novels should be adapted going forward. Also please stop begging the relevant BSD official Twitter pages for SB to be animated next and go read the other light novels you Chuuya simp

[bookwyrminspiration]

hello! just curious, how do you plot out your stories? (for example, what have you done to plan out the wings au? do you have it all in your head? do you plan it out on paper or in a doc specifically for it? do you just go with the flow? sorry if this is a lot of questions lol i'm just trying to convey my point-)

hello, synonym!! lovely to see you again! I'd love to share my process!

as I explain my personal methods (again, personal, just how I do things!), I'll use the wings au as an example because i know you've read it and it'll just be easier over all. but essentially, yes to all of the above, just with different parts of the story!

my progression is: chaotic doc, background (as needed), basic written plot, expansion on the plot, any other details needed, and then just write things! but don't worry, I'll provide more detail, i say as if i'm capable of being concise

(putting below a readmore for simplicity)

chaotic doc: so, the very first thing I do when i have a story is open up a doc, and write down everything i know about it in little bullet points and rambling sentences, just basic information with no organization. the organizing can come later, right now I just want to get as much of what's in my head onto the paper as possible.

I type out the basic premise of the story or the few things I know about how I want it to go, the things I know I want to remember later, things I'd need to think about to set it up, etc. for the wings au, this was details like everyone's wings (things to remember later), how they got those wings and a sentence or two about what the world was like now (things I needed to think about to set it up), a little blurb about where the story would start. this is less writing details about the story, and more noting down the details I want to figure out later in the expansion. i find it works best to type this out because i'm a much faster typer than I am at physical writing, which allows me to follow the flow of my thoughts a lot better and go back and change things.

background: background prepares me for the next step, but the amount of effort I put into this section depends on how complex my story is. it basically means write down (we've moved to pencil and paper now, but this could be digital too if you prefer) anything you need to know in order to set up the rest of your story. what do you need to know in order to tell the story you need to and to get you where you want to be? for the wings au, the background was that the world had been overrun with monsters and everyone was living underground now. the neverseen had been defeated, or so they thought, coming back later. all these things that essentially prepared me to get to the plot. it told me where the story was happening and the emotional/physical environment everything else would happen under. if you have a more worldbuilding heavy world, this step might be a little more complex, or if there's something very specific with the characters you need as context beforehand.

sometimes the readers will be aware of pieces of the background, and it's even necessary for them to know--for example, you all knowing the elven world is in the middle of a monster apocalypse and living underground; if you didn't know, the rest of the story wouldn't make any sense. but there may be things you write down that are just for you to know, personal notes. for example, I have notes written about how the monsters came to be, more specifically, that you all haven't been made aware of and may never be. planning this out is for you, so if there's something you want to remind yourself to keep in mind while writing, this could be a good place. but now that we know the world we're writing in, we can move on

basic plot: for me, I struggle to figure out where to take a story, and if I don't have the basic concept laid out before I start writing, I ended up with really weird stories that completely deviate from what i wanted (I say this from experience). so I break it down into the bare essentials. literally as basic as I can be. there are five crucial parts of a plot: exposition, rising action, climax, falling action, and resolution. just those five. for each of those, i write--writing, because it takes more time (allows me to think) and feels more organized to me, but you can do it differently--just the general idea I have for each section. just as few words as possible. detail comes later. for the wings au I literally wrote "they get wings" for rising action. having read the wings au, you know just how simplified that is.

one things that might help is consider how you would explain this idea to someone in one or two sentences. you just want to make sure you have a beginning, middle, end, and the transition between them. from there you've got the skeleton of your story, and everything else can fit itself into this idea.

expansion: now that you have the skeleton, it's time to fill in some of the more essential anatomy. this is where you add the specifics. for me, i write this physically in bullet points in a journal of some kind. I take the first section, and write down how the story is going to start. where am I going to begin this journey. for the wings au I wrote "beginning: sneaking into breeding facility to destroy monsters. problem: caught/monster breaks loose." if you remember this is essentially the events of the first chapter but in two sentences. I'm giving enough detail that I know what I'm going to write, but not so much it's going to be stifling to follow my exact notes when I actually get to writing. this will be different for different people, so you may want more or less detail than I provided, I'm just giving an example of how I did it.

I continue this for the rest of the plot, but that doesn't mean every single little detail that will ever happen is planned out. I'm not patient enough to be super thorough with every little thing, so I go long enough until I have a solid understanding of what I'm going to start with when I'm writing, or just until I'm bored and can't deal with planning anymore. for me, that meant I was more detailed when planning from the mission in the facility to them getting to the abandoned gnomish village, as those would be some of the first things I would be writing about. after that, I got more vague and just touched on some of the key part of each of those five sections. I take those two/three words and turn them into two/three bullet points. I also didn't want to be too specific with the later details, because I knew i'd be influenced by things as I wrote and would be inspired to fill that out.

any other details: this is kind of any afterthoughts you might have or details you need to keep i mind that aren't necessarily plot. you may have a lot of these, or you may have none. for me, this was where I wrote down what kinds of wings and other animalistic traits each of the characters had (yes, I wrote them down again). it's not strictly plot, but it does affect the rest of the story. this is also where I write anything I forgot to when going through the first time, and then i can draw a little arrow pointing towards where it fits in to the rest of the story or is relevant (which is part of why I like the writing aspect, but this is entirely achievable on a doc). another example from the au is me writing "domestic" to the side and pointing it back to my notes about the gnomish village, because while it wasn't essential to moving the plot forward, i wanted to touch on some aspects of domestic live with the ten of them while they were there.

just write things: now that you have all this planning done (good job, you!) you can get into the writing aspect. you've already decided your beginning and know where you want to go, so this is the part where you just starting putting words on the page. it can be pretty daunting to just look at a blank page, so if you'd like, start a paragraph in. skip the first paragraph and just start in the middle of something else--you can add back what's missing later. I personally note things that I want to come back to inside [brackets like this], and that can be words, sentences, entire paragraphs. i use the square ones specifically because I don't use them in my writing unlike (these parentheses), and then I can search the document for them all at once and see all the places I need to go back.

this is also where the "just in my head" and "make it up as I go" part comes into place. you have a pretty good idea of what you're doing, but you're going to have ideas as you write, so sometimes you just follow the flow of your brain and write things you could've never even planned for. and if you're interacting with others as you're going (like I'm talking about theories with you all while writing future chapters) then you may be inspired by them to add things to the story. originally, I wasn't going to even have any messages from Bronte or Oralie, but now because I saw what some of the people reading it were picking up on, I realized the potential there and added them in on a whim

and sometimes when you get stuck, the best way to get yourself out of that is to just add something random, which can spiral off and affect the rest of the story. I've said it before, but the dragons were not planned. I'd actually seen a piece of writing advice months ago that if you're stuck, change the weather. so I was stuck and made a sudden rainstorm, but then I needed an explanation as to how things got so wet so fast because I'd mentioned clear skies earlier. so in my attempt to explain it, dragons came to exist. writing is a process, so don't limit yourself to everything you've written. you'll be inspired along the way, so try to take it in stride.

one final note: as much as you plan, this is not going to be a definite map for how the story will go. maybe something makes sense as you're planning it out, but when you get to actually writing it makes no sense as all and you need to change things. that's fine! this kind of a plan is just to get you prepared and keep you afloat amongst this ocean of words trapped in your head that you want to transcribe. if something isn't working, change it! in my original written plan for the wings au they weren't going to run away for a few weeks, instead sneaking out for an hour or two at a time over those few weeks because they couldn't stand being underground anymore, until Linh was actually the first one to make contact with a creature and realize it didn't immediately want to kill her. but because she's not the narrator of this story, I couldn't write it the way i wanted, so I gave that to sophie in the tree.

this is just my approach to my more complicated stories! for some of the really quick ones, I just open a doc and start going. this kind of thinking keeps me organized so that I'm doing the idea the most justice. but just because it works for me doesn't mean it'll work for everyone. if it does work for you, great! but if there are parts you need to modify for yourself, you are more than encouraged to do so. personally, if I could only chose one part of this process to rely on, it would be the basic plot. that's the key to everything for me, but for others it might be something different.

I hope this helps with whatever it is you're writing!! I wish you luck and look forward to seeing whatever it is (should you chose to share it, no pressure)!! if you'd like more of my process on how I write it consistently and update on a schedule, I'd be more than happy to talk about that too!

[bloodstainsontengensfloor]

The Star Plasma Vessel:

When I first read Gojo’s past arc, Riko Amanai and the whole dynamic created between all of the characters and how fast a strong bond can grow, really interested me.

⚠️Spoiler warning ofc ⚠️

But... I was so confused over the Star Plasma Vessel. I was so confused and thought I missed something because I didn’t even know who Master Tengen was. And the site I was reading the manga didn’t have chapter 72, but after re reading it... the Star Plasma Vessel and Master Tengen are... still suspicious as hell.

So Let’s talk about it!

Who is Master Tengen?

In the Nara Period (710-794) Tengen spread Japanese Buddhism and ‘preached what would become the foundation for Jujutsu sorcerers(JJK.wiki)’. They were first mentioned in chapter 53 by fake Geto. 

At this point, the only information about Master Tengen was that of their jujutsu. Jogo asks Fake Geto who’s stronger; Tengen or Gojo? Fake Geto simply states that “it’s immortality not anti-aging” and that Master Tengen doesn’t interfere unless it involves the barrier. He also makes this comparison with a tree? However, I’m not sure if the tree metaphor is comparing Tengen and Gojo or describing/comparing Tengen’s technique. 

During Gojo’s Past Arc, we find out more about the specifics of their jujutsu and how powerful and important they are. Tengen’s jujutsu is immortality but it doesn’t stop the aging process. The cursed technique tries to switch bodies roughly every 500 years. If Tengen doesn’t get a vessel, then they will ‘evolve’ or ascend to a higher state where they have no will. If in this higher state, they could become a threat to humanity. If they do get a vessel, then they rewrite the body’s genetic information. 

On top of all that, Master Tengen’s ability strengthens the barriers that protect the jujutsu world and keep the amount of curses limited to Japan. The Jujutsu world wouldn’t be working the way it has for so long if not for these barriers. It isn’t specified whatsoever what Tengen would do that would make them a threat to humanity, but my guess is that it would have something to do with allowing curses to run free and unrestricted. 

In the reccent chapters, Fake!Geto used a remote activation technique that Yuki orginially mistakes as an attack on the barrier. He’s disrupting the balance that’s for sure, but I believe that  he could have broken the barrier. He had the option and probably the power, but he didn’t. This implies that Tengen is a force that even our antagonists fear or don’t wish to get involve. They said that they were  stabilized even after Riko Amanai died, but... considering Ep. 18 where Principal Yaga goes ‘I’m going to see Tengen” after the Curses break onto school grounds implies that maybe he is weaker. Gojo even talks about how in the end, Tengen’s barrier hides rather than protects and that it’s weak once infiltrated, which raises a lot of questions. And maybe Tengen plays a part in this whole scheme because of  the talk of how much chaos the world would be thrown into had the barrier been broken by Yuki and Fake!Geto’s questionable response. 

Who is Riko Amanai?

Riko Amanai was the Star Plasma Vessel in 2006. It is implied that she was pretty wealthy, and when she was younger, her parent’s died in a car crash, but she survived. Between the years of her parents’ death and her death, she was cared for by Misato Kuroi, a non combatant  jujutsu sorcerer who can fight curses, well educated in the curse world, but might not be able to use cursed energy/techniques. It is unknown with who Misato is affiliated with and if Amanai became aware of her status as the Star Plasma Vessel at an early age. 

 When first introduced, she is very willing and seemingly okay with the merger. When Gojo expresses his surprise over Amanai’s reaction to her attempted assassination attempt and the whole concept of the merger, she simply proclaims “Master Tengen is me and I am Master Tengen!”. She then goes on a rant about how the merger and death are different things and how after the Merger, her will and spirit will live on. However, this statement was contradicted earlier, when Yaga describes the Merger as an ‘eraser’. Later, Geto even talks about how after the Merger, Amanai will just be forced to be beneath the school and has to get rid of all mortal connections. It just happens to be that, she has no relations besides Kuroi... suspicious.... 

  Riko is spunky and fiesty. During her rant, Gojo and Geto comment on how she probably has no friends based on how she talks. She is clumsy, and honestly just... funny. I keep on hoping someone in the main timeline says something similar to the “Liar, you look a liar... and whats with those bangs” line  in reference to Fake!Geto. Getting back at hand, Riko is also brave. When Kuroi gets kidnapped, she insists on coming with Geto and Gojo despite having no fighting or curse capability. When nervous or in an emotional confrontation, she has a habit of scrunching up part of her skirt in her fists. 

 Despite putting up an image of content with the Merger, Riko is a normal teenage girl. Moments before her death, Riko’s inner monologue focuses on how she was always told she was ‘special’ and ‘different’, and how despite everything that happened, she always survived. Now, being told that you are special and different at a young age is something that affects people heavily. Weather  it is being told that you are a ‘gifted’ kid or that you are just ‘different’ can lead to a lot of self separation from others. One might see themselves as better than others because of these skills or believe that someone else like them can’t exist and struggle when meeting someone similar or in a similar situation. Before her appearance in the story, it is implied that she had good relationships with her friends, classmates, and Kuroi, but didn’t really value them as much as she should due to this idea of being special or having a destiny. (Damn, a Gojo parallel maybe hmm)  This led her to be really lonely and she believed that she would be okay with the merger because she thought that the loneliness and sadness would disappear. In the last three days of her life, Riko got to spend time with her friends at schools  (the last she saw of them was them teasing her for her ‘hot cousin’ Gojo), spending time with Kuroi, and developing a strong bond with Gojo and Geto. She realizes that the sadness and loneliness could and would leave as long as she had strong bonds with others. 

“I want to be with everyone more! I want to go to more places, see more things with everyone... More!!” 

  After Riko comes to terms with what she really wants, she dies at the hands of Toji Fushiguro/Zenin. Her death sets an entire series of misfortunes and rifts between the Strongest Duo and she serves her part as... well the plot tool she  doubles as. 

A Choice:

 Before her death, Riko is given a choice. Geto gives her instructions on where to go for the merger, before saying “Or you can turn back and return home with Kuroi.”. He gives her a choice. A choice to go through with the merger and ensure stability despite no one truly knowing what is happening, or a choice to live a life of her choice. We find out that Yaga gave hints that there is something wrong with the Merger due to the way that he described  it as an ‘erasure’ and how he isn’t one to ‘beat around the bush’. 

 We find out that Gojo and Geto decided beforehand that if the Vessel wasn’t willing to go through with the merger, they wouldn’t do it and that they, the strongest duo, would fight Master Tengen. Gojo and Geto were the strongest and Geto says that no matter what she chooses, they will protect her future. 

 Riko decides to go home, wherever that may be, instead of the merger, but of course, dies. 

 As established before, this whole concept is suspicious. Yaga knew there was something wrong with this. Gojo and Geto both knew there was something wrong with this.

 In chapter 138, Yuki goes “it’s about time I confront Tengen.” This opens a box with even more questions. What does she mean by this? Why is it ‘about time’ and how casual is it for sorcerers to talk to Tengen? As mentioned before, Yaga is apparently in communication with Tengen when he needs to be. And Yuki is the one who told Geto that Tengen was stabilized after the failed merger and that the vessel was probably reborn...

Conclusion: 

 I honestly hope more than predict that we get to meet Riko Amanai reborn or the next SPV.  Tengen is a name that is getting thrown around recently so there is no way that he is just.. not going to be relevant in the coming chapters. 

  I know a lot of people have found comparisons to Buddhism and the Jujutsu world, and I am not that well educated in this area, I do know that rebirth plays a big role in it. Rebirth is viewed as a negative cycle one should want to escape from called “Samsara”. I personally headcanon/theorize that the Star Plasma Vessel and the soul of Riko Amanai, is one that gets reborn constantly and is stuck in a cycle where they experience a lonely and sad  life before getting a taste of a full and happy one right before the merger. In terms of the 500 year thing, the Star Plasma vessel would have first been born( created?) during sometime in the in between of the Heian Period (794-1184) and the Muromachi Period (1392-1573). The Heian Period is implied to be the Golden Age of Curses and when Sukuna was in full power despite being known in history as a peaceful time for Japan, so I definitely believe that there is some connection if my math is correct (which it probably isn’t. I hate math). 

Right now in the story, vessels... are really important. According to Fake Geto, he released what is like a thousand Itadori Yujis, so I think that bringing back the star Plasma vessel would fit really well. However, they would roughly be around 12 years of age in 2018, meaning that they might not even be able to do the merger because I think the vessel has to be sixteen and older and have a full moon.

(Edit: added 4/1/21: Also, it might not be Riko reborn, but just another Star Plasma Vessel. Like Yuki says that either they had another vessel at hand, or another one was already born. So like... the new SPV might be the age of our main characters or possibly even one of the characters we already know!)

I also think it will be really interesting to see how it would play off with the fact that Gojo/Geto are no longer involved in the story. Gojo is sealed and the real Geto is dead. When thinking about how the SPV would be in the story, I imagined a picture of a younger girl in a uniform and with a braid holding the sealed Gojo and staring up at the fake Geto. I’m not over what happened to Riko Amanai if you haven’t noticed and I feel like she deserves to have this other chance. I also think it’ll set up the eventual meeting or confrontaion with Master Tengen which I’m personally dying to see.

So what do you think? I don’t really have any solid predictions other than that the SPV reborn will make an appearance, but what about you? Do you guys think Tengen will play a big part? Do you think Tengen may end up becoming a big threat or a good ally? Do you guys want to see Itadori and the SPV interact? Or am I just over analyzing this?

Thanks for reading!

[tamhrayis]

I brought a theory from Reddit.

Disclaimer:

I am here to not disrespect the author by any means. I simply have questions as a person who is reading it and pointed out which parts are confusing. It’s up to you to believe this theory or not.

What’s more, reborn Ymir will be in the same position as 2000 years ago – the Founding Titan's shifter. BUT, this time she's free. Therefore, once she pops out and gets her abilities back, she can do whatever she wants with them. She no longer needs to be commanded by royals, which gives her the ideal opportunity to conclude everything. [How does Eren know that an infant can assist him in such an endeavour?]

Well...Ymir was definitely not free, but Ymir wasn’t born with her abilities. She got them because of hallucigenia attached to her back when she fell into that water in the tree. She wasn’t born special.

Another point. How Ymir being born with titan powers will stop the cycle of hatred?

Zeke’s death was a necessary distraction, deliberately included by Isayama to divert our attention. It tricked us into thinking that the baby inheriting Zeke’s titan is relevant as it would help Eren resume the Rumbling. But that’s not the case. The child will indeed inherit the Beast but what’s important here is the baby inheriting the Founder (what Isayama tried to hide behind Zeke’s death). Also, his death served the purpose of stopping the Rumbling as it is not needed anymore. Most of the world's population is already massacred. [What was the point of Zeke dying? Will the baby inherit the Beast Titan?]

Hm...Yeah, Zeke’s death indeed helped to stop the rumbling, because Eren could reach the Paths because of him and killing him stopped the whole process, but why would Isayama make such a distraction at the last third chapter of the whole manga? Shouldn’t he kill Zeke before, so Eren and Historia’s plan would work and it had more screen time?

“In a vision, Eren saw that Ymir will be reborn after his death. He told Historia that he has to figure out which random child will inherit the Founder”. [“What would you think… about me having a child?”]

Which vision? Ch.1 or after kissing Historia’s hand? Ch.1 vision was Eren and Mikasa’s shared dream and we still don’t know what exactly Eren saw while kissing Historia’s hand.

Of course it’s safe to say that it was his future memories, but it yet has to be revealed.

Random child. How Eren can predict that the baby will be Historia’s? Does he know how many pregnant women are there on Paradise? Okay, let’s say that it’s FT and Paths magic, but can he control which child will be born with Founder’s powers?

It would also explain why Historia didn't appear in Ch. 138 – if Isayama showed the baby coming out seconds after Mikasa decapitated Eren then it would’ve been obvious what’s going on.[“What would you think… about me having a child?”]

Chapters are 45 pages long. Why Isayama didn’t cut out some panels and didn’t put it here? Why not to show it right after the kiss page? Distraction?

Moreover, Ymir is smiling at Eren and Mikasa not simply because she saw affection. Yes, she does care about bonds but another thing could be that Eren's plan downed on her – she connected the dots and figured out that it's now her turn to contribute and complete the mission Eren wordlessly gave her. I believe next chapter will start with her disappearing from inside the Founder's mouth and switch to her being born. [“What would you think… about me having a child?”]

Okay! I agree with the part that Ymir smiled at Mikasa and Eren because of the affection they showed to each other and the part that she will contribute to the “mission”.

They showed affection to each other. Why would Eren show affection to Mikasa if he is having a child with the woman he loves?

What about the hallucigenia? Will it still stay there or disappear with her?

Immediately after she cries for the first time, all Eldians will perhaps be summoned in Paths, where Eren will be waiting. To their surprise, he will announce the end of the Titan Age. Then, Ymir will make the command and Paths will begin collapsing. Eren will hold her in his arms as all traces of titans disappear. "You're free." will collectively be directed to Ymir and all of her Subjects. [What will happen after she is reborn?]

Hold on. Can the power of Founder be shared between two people? Is it like One for All? If Ymir was born with FT, doesn’t that mean that Eren no longer has FT, AT and WHT? How Ymir can summon them? She is an infant. She doesn’t have a proper consciousness to purposely summon everyone into Paths. Where AT and WHT will go? To random Eldian children or Ymir?

It has always been suspicious as to why Eren teased Zeke about them not reaching "the part where he eats their old man". It's strange that Grisha gave Eren the power of the titans when beforehand he begged Zeke to stop him. The only logical thing would be that Eren showed him what I described above: the resolution. [What did Eren show Grisha?]

Wait. Why would Grisha be this heartbroken and scared if Eren showed him the resolution? He doesn’t look like crying from happiness. Sure, he was crying because he killed children and others, but why would he look at Zeke like that? He was in literal pain.

What used to be nonsensical before is now super logical. Grisha and Kruger were not helping the Alliance because Armin’s TnJ (talk no jutsu) worked. They aided them because beforehand Eren revealed the truth of what is to come and that they will NEED to kill him in order for Historia’s baby to inherit the Founder. Basically, they didn't feel sympathy for Marley all of a sudden – instead, they were helping Eren in liberating Eldians from titans. [Why did Grisha and Kruger help the Alliance? Why did Ymir revive them if they were going to go against Eren?]

Well...Besides Grisha and Kruger, Marcel, Ymir, Mr. Xavier, Porco and Bertholdt were there. Did they want to help Eren too?

As it has been confirmed by Isayama's notes on Ch. 138, it’s not an AU. So we should probably forget about time loops. It's a dream. Eren entered it (through Paths, duh) as he wanted to convince Mikasa to behead him as fast as possible as they have no time left. Him joining her is why Aaron Yogurt dream Eren got shifter marks on his face and why in Ch. 1, he saw this particular moment. [What’s up with Mikasa’s hallucinations?]

Oh! “A long dream” topic again. I went to the link author put and this is what I see (see below).

Okay, let’s say that he entered it via Paths, but why not to straightforwardly say that? Why to create a dream where they live happily? Why to show this hug, “I want to live with you for the rest of my 4 years”?

I don’t really like the time loop concept myself, because I don’t like time travel stuff, but why then he saw the exact same dream in ch.1? Something is not clicking.

The former will likely return to being humans. There’s no reason for them to disappear as they’re material beings that exist in the physical world – what will be removed is just titanization. Plus, with this, Eren will keep his promise of his friends living long lives. Though, this is something I cannot predict properly and just speculation. The latter will be free from the Curse of Ymir (good luck, Reiner, no dying for you). [What will happen to the titanized Eldians and titan shifters?]

Fully agree! No debate.

There's no question really. I feel like it should be self-explanatory after everything discussed so far. The farmer being Ymir's father would be a more shocking twist than Eren being the dad. [Is it sure that Eren is the father?]

Why wouldn’t Isayama add a plot twist into his story? It’s not hard to do. But Isayama’s plot twists work because he visually foreshadows it or uses characters’ dialogues. He already has showed us farmer. Why he is here? For cover up? Why would Isayama put these words if farmer is unnecessary? Why not to add more information?

To stop the cycle of violence and hate once and for all. If Eren removed titan powers without the Rumbling, most people (especially Marleyans) would’ve still despised Eldians and they would've just been defenseless. So Eren wanted to prevent that. [Why did the Rumbling have to occur?]

I agree with this. Rumbling was a cause for people to work and stop fighting each other as I said here. Rumbling plan was very risky, but it was unavoidable, because Marley is way more advanced and Paradise would terribly lose. Good point!

But why would Historia, who has decided to live for herself agree with Eren’s plan? How would she benefit from it? Okay, she and Historia are in love, but why would she want the person she loves to become a mass murderer? Why she couldn’t stop him? Why she was crying when he told his plan? She is a royal blood after all too! They could come up with another plan which wouldn’t involving Zeke.

I assume it would just die/disappear/go back to the tree it emerged from. [What about hallucigenia?]

Where’s that tree? How it will get there?

In conclusion, the theory isn’t bad, but it would work if Historia and Eren had more set up, the importance of Zeke would be explored a little more here and ch.138 didn’t have clear symbolism between Eren and Mikasa. There’re some holes, but the author gave some good points, which is truly appreciated!

[midethefangirl]

Captain America: Civil War - My Thoughts

I know this is like 5 years late but for this, I’d like to resurrect a barely dead discourse that succeeded in not just dividing the Avengers but also dividing the fandom. Before we start, content warning for spoilers and let’s dive into this mess.

So, basically, the entire conflict of civil war stemmed from General Thaddeus Ross (who is a hypocritical dick, btw) coming to lecture the Avengers on being destructive despite conducting destructive experiments (ahem, the Abomination and the Hulk) but I digress. Then, Ross presents the Sokovian Accords which is really lengthy and we see Steve reading like a few chapters(?). Now, let us note that the Accords were presented to the Avengers after a mission-gone-wrong killed about 11 people in Lagos (lay-gos, not lah-gos that pronunciation gave me headaches as a Nigerian).

So, the Sokovian Accords were written by 117 countries and vetted by the UN asking for the Avengers to be under oversight (which SHIELD would have done if HYDRA hadn’t infiltrated it in the first place but it is what it is). Somehow, Steve made it about “our right to choose” (how?! Cause I’m not understanding) and decided to not sign*.

*he later got back to sign, then backed out when he learnt that Tony had placed Wanda under house arrest (even though it was for her protection. I do believe Tony should have fully informed Wanda about keeping her in the Avengers’ Tower)

My issues with the plot of Civil War are:

1. The Sokovian Accords were not read out loud or placed on some kind of PowerPoint slide for the audience to understand why Team Cap is against the Accords. No, the fandom wiki is not a source because that one is from Agents of SHIELD and not a lot of MCU fans are familiar with that show (yours sincerely included). Assuming the contents were read out loud or discussed by the Avengers, I’d have understood why Team Cap refused to sign the accords but since none of that was given, I’d remain Team Iron Man for this one.

2. The Sokovian Accords is not the American Constitution. Then again, the MCU fandom tends to be American-centric and most Americans seem to have this belief that the world revolves around them (and it manifests itself in Civil War discourse).

3. Contrary to popular opinion, the Sokovian Accords were about 117 (mostly third-world) countries asserting their sovereignty and boundaries, not taking away rights from the Avengers. If we go by what the MCU wiki claims about the accords, yes, some parts are absurd (like asking for blood samples and using trackers, why are those necessary?). However, when 117 countries state that they want you to respect their boundaries, I think it is best to comply. Unfortunately, respecting boundaries is one thing the USA has a problem complying with and guess who happens to represent America?

4. The Accords affected only their hero lives, not their lives as a civilian. I doubt the UN would limit the Avengers’ movements as civilians

5. Let us not forget how Steve and Clint protect Wanda from accountability and responsibility. Wanda in the MCU is like y/n in many fanfics where everyone (except for the “big bad villain” who in this case is Tony and 117 countries) seems to love her and want to protect her from facing the consequences of her actions. Anyone *ahem Tony* who has a bit of problem with her is suddenly the enemy. Not to mention how Wanda seems to have a knack for causing destruction in African countries (Johannesburg, Lagos, Wakanda)

6. And fandom behaviour from the Team Cap stans

7. Also, why is Civil War not an Avengers part 3? It’s better than making it a Captain America trilogy and then trying to frame Steve as being right.

8. I do believe that the accords were sped up which left little time for the Avengers to discuss and compromise on certain issues. If they were given more time to discuss, compromise and negotiate, I think the movie would have ended better than it had.

9. In addition, I also agree with Team Cap stans on how the UN arbitrarily deciding to shoot Bucky on sight is a human right violation.

10. “The safest hands are our own” why does this sound like a white saviour talk point from Steve? The accords is about 117 countries wanting you to respect their boundaries and the best you can come up with to refute that is saying something a white saviour would say?

11. “Even if the whole world is telling you to move...” just shut the fuck up, this is no way comparable to 117 countries trying to assert their sovereignty.

12. Look if I have to choose between surrendering a few rights as a hero and just dismissing that of civilians as potential damage, I’d go with the former because the people whom I’m suppose to protect come first. For me to dismiss their deaths as “we can’t save em all” is just not it.

13. “She’s just a kid”, a few years later and I still hate that term. One, it’s infantilizing an adult white woman (something white men have historically done and we all know how that went) . Two, while Tony was obviously wrong for not informing Wanda about her house arrest, he was right to keep her in the Tower when they were people who would harm her with every chance they could find. **

** after watching WandaVision, some people might find every reason to want to harm her.

14. Let us also discuss the motivation of those in Team Iron Man vs Team Cap

Team Iron Man

Tony: feels guilty for the events of Age of Ultron, believes that he’s stepped out of line and the Avengers need oversight.

Natasha: believes that the Avengers should listen to the public and the UN after all, if they had one hand on the wheel, they can still steer.

Vision: believes that the Avengers as a whole bring challenge which brings conflict and then catastrophe.

Rhodey: a soldier; believes in following orders especially when it is from the UN and 117 countries.

T’Challa: dude is just there to kill Bucky. I’m sure if Bucky was on team Ironman, my guy would have joined team cap, lmao 😂.

Spider-Man: not really there for a reason except to bring in Steve to Ross. I do agree that Tony shouldn’t have dragged him to the fight without Peter making an informed decision.

Team Cap

Steve: didn’t want to sign because it takes away his “right to choose”. Idk what that means or how it is relevant to the Sokovian Accords but okay. However, I understand his mistrust considering a few movies ago, we found out HYDRA had infiltrated SHIELD and as much as I believe governments are corrupt and the UN is shit, you cannot just enter a country anyhow without warning ahead of time.

Bucky: was his motivation given? I mean, I believe he joined Steve’s side to stop Zeno from unleashing the other winter soldiers. Not that that’s a bad reason, it isn’t.

Sam: again, I don’t think the movie gave us a reason for him being against the Accords. Did he also believe it was taking away his “right to choose”?

Wanda: undecided as of moment of discussion. Joined team cap because Tony placed her on house arrest. While I agree that Tony should have informed her that he was putting her under house arrest and stated the reasons why, I believe it was for good reasons especially when some people might decide to carry out witch hunts (you get it, witch hunts? 😅)

Clint: only joined because Wanda was placed under house arrest. We aren’t given any reason why he would oppose the Accords.

Scott: fan boy of Captain America, need I say more?

15. Also, to Team Cap stans blaming Tony Stark for Team Cap being imprisoned, grow the fuck up. The people in Team Cap are all adults who made their own decisions yet Tony is to blame for them breaking the law (because they did break the law), wtf.

16. “Are you capable of letting go of your ego for one damn second?” Like Steve’s ego didn’t play a part in all this too, lmao.

17. Okay, the final battle was intense and while I believe Bucky was also a victim, I can understand why Tony lashed out at him. The one to blame here is Steve because even if he had no clue Bucky was responsible for the Starks’ death, he still lied to Tony by not telling him who was responsible. It is more appalling to learn that Steve, in an attempt to “protect Tony and Bucky”, was actually covering for HYDRA!

Also, the way Steve stood emotionless while Tony watched a footage of his parents being killed. Yet, he could shield Wanda from watching the news because of how it affected her, okay.

“I can do this all day”, fuck you, Steve

18. Clint exploding at Tony is so fucking hilarious. Tony is right, Clint has a family yet he decided to fight in a war that didn’t concern him. Also, his comments about breaking backs is so tone deaf after Rhodey just broke his back!

19. If Sam was Captain America, I think Civil War wouldn’t have happened at all, from the dialogue in the Raft.

20. Overall, this movie is a fucking mess and I hate it for dividing both the Avengers and MCU fans.

Before I close with this, I want to add that I am not anti-Steve but Civil War really made me hate him. I get, Steve is supposed to be a Boy Scout and shit like that, but he’s a Gary Stu in the MCU, let’s be honest about it. Civil War should have been an Avengers movie, rather than a part of the Captain America trilogy. The Avengers should have been given more time than three days to discuss the Accords and make necessary amendments; after all that went down in Lagos, Wanda should have been made to sit out missions and maybe we could have had someone like Doctor Strange help in training her; Crossbones would have made a great villain but it is what it is; Peter’s introduction to the MCU could have been as him actually interning for the Stark Industries and forming a kind of acquaintance with Tony Stark before Tony finds out that he’s Spider-Man; Steve should have told Tony about HYDRA‘s hands in his parents’ deaths. Anyway, I’ll go read Civil War fix-it fanfics and fanfics where the Avengers are more like family. Fuck Civil War and I’m outta here.

Edit: okay this was a thought I had when I was trying to sleep but it was too good to ignore. Rhodey has a point about Steve arrogance (if that’s the correct term) in saying “the safest hands are our own” and here’s why:

Like he stated “this is not the World Security Council...neither is this SHIELD nor HYDRA” (paraphrased). This is the UN as well as 117 countries. Look, I am as anti-government as one can go and I don’t believe that the UN are reliable (plus, if we really want to go by the AoS version of the Accords, the Accords are flawed and they need amendments), however, given the US records on disrespecting boundaries in many third world countries, I can understand why 117 countries are wary about a bunch of superpowered Americans entering their country.

To us, the Avengers are saving the world. To these 117 countries and the people who have families who were killed in the crossfire (Zemo is a good example), the Avengers are a bunch of nuisances who leave destruction wherever they tread.

I am still neutral on the whole Accords as I don’t know exactly what it entails but for Steve to go “we are surrendering our rights to choose” (again, how is the Accords threatening the Avengers’ right to choose?) when asked to be under oversight is tone deaf.

[goldenkamuyhunting]

Ramblings and crazy theory time about GK chap 275 “Tokyo Love Story”

So we’ve a new chapter and I’ve discovered…

Yeah, the fake Yuusaku theory turned out right and wrong at the same time as we’ve someone posing as Yuusaku… but it’s definitely not how I was expecting things to be.

But whatever, let’s start.

We’re in Kanagawa, in 1901. The scene is placed after the one in chap 35, when Toraji and Sugimoto fight the night of Toraji’s marriage, because Toraji is afraid Sugimoto came back to snatch Umeko away from him.

Since Sugimoto’s father died in 1899 according to the official timeline, this confirms Sugimoto waited 2 years before coming back to his village.

Evidently the two have calmed down because they aren’t fighting anymore and Toraji is asking Sugimoto where will he do now. Sugimoto informs him his father told him to search for a place he can be happy. You might not remember this bit being included in chap 236 because it was a volume addition.

Sugimoto says he wants to go to Tokyo, since up until now he was in places with few people, which makes sense since he feared he was infected with tuberculosis.

In the Q&A section from the Golden Kamuy fan book it was said:

Q8: What did Sugimoto do in the 2 years between leaving the village after burning his house and coming back to Ume’s wedding? Noda: He travelled to places such as Tokyo and Kyoto. [translation here]

But it’s likely Noda means Sugimoto didn’t stay in the big cities, but in the areas around them.

So okay, we move to Tokyo and after getting a glimpse of Sugimoto moving overly excited through the city playing ‘singing in the rain’...

...we see him being involved in a fight with more than 10 candidate officers.

Kikuta is called in to stop the fight. Evidently they forced him to interrupt his meal as he is still holding chopsticks and a bowl of rice.

We learn from the info box that Kikuta, full name Kikuta Mokutarou, was at the time a Sergeant in the 1st division (which tells us in his future he was promoted and transferred in another division, the 7th in fact in 1902 he’s working for Tsurumi during the Koito kidnapping), in charge of instructing and providing guidance to the officer candidate students enrolled at the Imperial Japanese Army Academy.

He’s also keeping his hair short and there’s no facial hair on his face, giving him a much more proper appearance than the one he’ll have later on, although he keeps his uniform unbuttoned, which is less proper.

As Kikuta tells at the rather bruised officer candidate students to stop fighting as it’s disgraceful for them, they protest they can’t let Sugimoto go as he’s dangerous while Sugimoto, completely restrained by their weight, seems to bark and growl like a wild dog. Kikuta offers him his bowl of rice and this gets Sugimoto to calm down as he starts eating the rice.

LOL, Noda couldn’t have made more obvious with this scene that Ogata and Sugimoto fight like cat and dog because THEY ARE A STRAY CAT AND A STRAY DOG.

Kikuta comments that by how it took such a huge number of students to stop him, he expected Sugimoto to be some sort of monster… but now he thinks Sugi can be of some use for him, so he tells the students he’ll take him and tells Sugimoto to follow him as he’ll get him something to eat.

As they eat Sugimoto confesses he got into the fight because the students glared at him, revealing quite a horrible temper. Kikuta points out how his was a stupid reason to start a fight, asking him if he’s a STRAY DOG (ノラ犬 ‘nora inu’). This leads him to nickname Sugimoto “vagrant boy" (ノラ坊 ‘nora bou’), warning him Sugimoto was lucky Kikuta got in between the fight, because otherwise, if the students had managed to take him away, Sugimoto would have been in deep troubles.

As Sugimoto asks why he’s called in such a way, Kikuta explains it’s due to the norabou vegetables that grow in his area. Kikuta then proceeds to explain that there’s an officer candidate in the army named Hanazawa Yuusaku, son of the commander of the 7th division.

Kikuta wants Sugimoto to take his place. So okay, it’s a chapter in which we’ve a fake Yuusaku… only he’s not the one I was expecting.

Kikuta then proceeds to explain how Hanazawa ‘I’m the worst father of the century’ Koujirou, wants his son to become the regimental flag bearer because whoever cares about the high death rate of flag bearer when he can gain more honour through Yuusaku?

Yuusaku’s mom, Hanazawa Hiro, from whom Yuusaku got his nose and, probably, his eyes, doesn’t like the idea of her son being used as cannon fodder for her husband’s glory,

but know better than to say it out loud and also know it would be a crime to murder her husband so she did the next best thing, she plotted against him, secretly contacting a “marriage agency” in Tokyo so as to find a girl desperate enough to get a husband she would be willing to steal Yuusaku’s virginity (you might remember virginity is a fundamental requisite for a flag bearer), Kaneko Kaeko, daughter of an executive in the Mitsubishi Zaibatsu.

If the name Mitsubishi feels familiar to you yet it doesn’t make you think of a car, it’s probably because we already had to deal with someone from the Mitsubishi in the Igogusa/Harumi Chiyo story.

In GK it seems people from Mitsubishi are always desperate to get married... it makes you wonder if Tsurumi had a hand in this mess as well or it’s just a coincidence...

Sugimoto, who’s poor, doesn’t get why a rich girl would be desperate to find a man, so Kikuta explains him her potential partners wouldn’t care about her being rich as they’re rich as well.

Overall Sugimoto ends up on showing again how he’s not very good at placing himself in the shoes of people of upper classes.

Turns out though Hanazawa figured out how his wife his plotting behind his back and tried to plot behind her back as well, asking the help of the commander of the 1st division, whom he trusts, who passed the job to Kikuta (I guess Kikuta might still be loyal to his former commander, which might be he’s okay with plotting against Tsurumi... or was he sent there specifically to do so? We’ll see...).

Anyway Sugimoto, who’s so NOT FAMOUS for sitting around a table and having a honest discussion with people, asks why they didn’t just do that. Really, Sugimoto, if you know talking can solve problems why don’t you try implementing it?

Kikuta replies the things had gotten too far and they’re afraid this could cause an incident that will affect the morale of the division, and, more importantly, could put Hanazawa’s wife patriotism into discussion and this would SURELY reflect bad on Hanazawa who was already willing to sacrifice his son on the altar of his own honour.

To all those who’re reading my meta for the first time, in case you’re wondering no, I don’t like Hanazawa. Not one single bit. Sorry for being biased against him.

Anyway Sugimoto gets a haircut and then Kikuta has him wear an uniform with some stars on the collar so as to make him look like a candidate officer.

Sugimoto wonders why Kikuta picked him and isn’t just using another candidate officer. I don’t know if this is relevant but Kikuta seems thoughtfull when Sugimoto says so, his hat slightly shadowing his face.

Hopefully this doesn’t mean this deception is going to put Sugimoto in serious troubles.

He then explains Sugimoto if they were to use someone from the army they would risk bad rumours about the Hanazawa to spread around.

Kikuta then comments that Sugimoto, wearing the full uniform, looks good as there’s a touch of elegance on his face that can help him impersonate Hanazawa Yuusaku, son of a high-class general. I wonder if this is meant to foreshadow Sugimoto is actually more than the commoner we believe him to be or if it’s just another way to inform us Sugimoto is good looking, in case we’ve missed it.

Sugimoto wonders if, by joining the army, he wouldn’t have to worry about food anymore and I facepalm here because really, if this is what pushed him to join, he really made a poor decision, but his expression as he talks makes me wonder if he’s just being so very naive I kind of feel bad for him... did he really have no idea what joining the army could include?

His words cause Kikuta to remember his younger brother, apparently sick, telling him to take the army cap back with him.

I guess Kikuta is kind of adopting all those young men, Ariko, Sugimoto, maybe even Nikaidou and Ogata, because he lost his younger brother.

It’s interesting how Noda shadows his face here...

Anyway Kikuta proceeds to educate Sugimoto, as he’ll have to be capable to eat great food at a fancy restaurant. So, once Kikuta thinks Sugimoto is ready as he mastered enough good table manners, a nervous Sugimoto can take part to the marriage interview… where Kikuta discovers with horror they served western cuisine… with Sugimoto being completely ignorant about western etiquette and trying to eat the shrimps using two forks… and Kikuta, who’s pecking through the window while being seated on a tree, panics, thinking he’ll be discovered immediately.

Well, that’s all for this chapter.

It was undoubtedly a fun flashback chapter that reveals that the fake Yuusaku theory wasn’t completely baseless… but definitely not what I expected it to turn out as I would have never guessed Sugimoto impersonated Yuusaku.

On another note this give me additional fun when I think at this scene.

Sugimoto should have been thinking at the time he played the high ranking officer, here... though I guess the idea is that Kaeko didn’t immediately recognize him because she’s not in the army? Didn’t they gave her a photo of Yuusaku? Sugimoto’s nose and probably his eyebrows too are different.

We’ll see.

I don’t dare to think Kaneko is also a fake sent, this time, by Tsurumi, to steal Yuusaku’s virginity because Tsurumi doesn’t want Yuusaku among them.

This would just be too crazy.

On more serious topics we can assume now that Kikuta saying Sugimoto to forget about Yuusaku in the previous chapter is due to the interview failing and Yuusaku now being forced to become a flag bearer, high mortality rate and all and the whole fake Yuusaku thing having to remain a secret between the two of them so likely Sugimoto doesn’t know anything dark about Yuusaku… beyond the fact his father wanted to use him as cannon fodder to increase his own prestige but whatever, I hardly think someone could have missed it.

I find rather fun how Noda isn’t really fond of drawing Hanazawa, he’s just using the same image of him over and over… and how instead he had no problems showing us Yuusaku’s mom, name and all, but we still have to see Yuusaku’s face. Really, I can’t wait for the big reveal.

Oh well, we can only wait and see.