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slugtranslation-hypmic · 2 days

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I Think Hypmic's Portrayal of Gender Roles is Kinda Refreshing: An Essay A.K.A. I'm Procrastinating on a Weekend Deadline :)

Hypmic's talking points on gender are hamfisted, corny, and melodramatic. "Maybe...we shouldn't have a wage gap," is not the hottest of takes. However, like most things in Hypmic, the writers have a lot more to say about gender and gender roles in the framing of the story itself that's much more nuanced. And honestly? It's kinda refreshing.

It's also something that went way over my head when I first became a Hypmic fan. Sure, I read manga and played Japanese video games--usually translated into English first--but I didn't have enough exposure to hundreds or thousands of pieces of untranslated Japanese media. I'm going to guess that most Hypmic fans don't either, which is totally fine and normal. We all exist within our respective cultural communities wherein we're bombarded with messages constantly telling us how to act, think, and speak. We tend to absorb these messages on subconscious levels and reflect them in the art we create and stories we tell, either by reinforcing them or challenging them. Thus, our stories don't exist in a vacuum, and divorcing stories from their cultural backgrounds can suggest the artist is the original thinker of a larger concept or hide their specific point of criticism. That is, if I wrote a story about a man who chooses to not catch fish, drink beer, and drive a Dodge Ram pick-up truck, we should be aware that I'm not the person who conceptualized the stereotype of dudes who catch fish, drink beer, and drive pick-ups. I wouldn't deserve the credit for dreaming up that exact image, and at the same time, it would be incorrect to read that as me targeting those three things randomly. The choice to not drive a Dodge Ram pick-up is not a commentary on Fiat Chrysler Automobiles. It's a stand-in for the notion of masculinity.

Thing is, we're hit with messages about masculinity, femininity, and other gender-related concepts on a daily basis. No matter where you live or what language you speak, every person on Earth is inundated with messages saying, "This is what you are, and consequently, this is how you should act." Our relation to these messages is complicated, and this complexity is compounded by different cultural communities preaching different messages in their stories, marketing, and human interactions. For instance, the US's massive global cultural influence means that those outside the US can still easily recognize what I mean by catching fish, drinking beer, and driving enormous American pick-up trucks. But the location and cultural differences may add or subtract nuances. A person living in, say, Munich is unlikely to have Dodge pick-ups advertised to them the way a person in rural Texas would. Our fictional Munich person does not feel the same social pressures to buy a Dodge and represent their masculinity with a Dodge the way our imaginary Texan would. In turn, the Munich person likely sees a Dodge with an element of absurdity--who the hell needs such a big truck in a European city?--and foreign Americanness. The Texan wouldn't have that concern--why worry about navigating your enormous truck down narrow streets when you live in the countryside?--and sees Americanness as their local default, thus removing any element of foreignness.

That is to say, gendered messages aimed at people (especially women) who live in Japan don't affect me the same way as they impact those who do live in Japan. Like, it's not my dog in the fight, and there are plenty of people who are directly affected who write their own stories and commentaries on gender roles in Japan. Japanese women don't need a random guy in the US to stand up and say, "Damn, your gender roles are fucked!" 1) They already know. 2) They're already saying it. So I come at this from an angle of someone who already has deep, primary frustration with the gendered messaging in my culture and secondary frustrations when similar messages appear in other cultures. I don't have a bone to pick with Japanese media in particular. Plain and simple, reading and working on hundreds of pieces of Japanese media is what I do for a living. It's in my face constantly, and as a result, I am also perpetually bombarded by messages about gender roles in Japanese media.

It's not a hot take to say that Japanese media, like the media of every single other culture around the globe, has a lot to say about gender. There's a lot of slotting people into boxes and telling people what to do. It's chafing, as we see all across history in art produced in reaction to gender roles. In the past couple of decades, global shifts in gender roles have caused media to shift the messages they're pushing, but it's not controversial to say that Japan has lagged behind other countries like the US.

Many, many stories push arbitrary notions of how to be a girl or how to be a boy that don't necessarily come from the author themselves. The authors probably aren't even fully conscious that they're making these choices. If an author writes a story about a library and makes every female character a romance fan and every male character an action fan, it's likely a reflection of endless messaging that says action is for boys, romance is for girls. In turn, this story becomes yet another reinforcing message. If no fictional girls like action, and no fictional boys like romance, it becomes alienating for real girls and boys who don't follow these same rules. These rules are everywhere and have so much to say about gender that it's hard to know where to begin. Girls must like cute things. Boys can't like sweet food. Women must not express sexual desire. Men can't be shy. On and on and on.

Which is why, when there's a relative lack of this in Hypmic, it's kind of a breath of fresh air.

Wrong Ways to Be a Man

Actually, Hypmic does have a few moments where characters claim there are certain things men or women should do, but the writing always frames these messages as incorrect.

Take Samatoki, for instance. After Kuukou and Sasara leave MCD, Samatoki tells Ichirou, "Men shouldn't cry when they lose their friends. Men should only cry when they lose a family member."

(TDD chapter 10)

This line usually appears via Ichirou's perspective. In the stage play, it's told during a song Ichirou narrates, and as shown above in panel 3, the manga frames the line from the angle at which Ichirou sees it. In such moments, the audience is meant to read this as a cool line from a strong mentor figure to Ichirou. That's how Ichirou sees it, and he's a seventeen-year-old with too much on his shoulders who idolizes Samatoki. He is incapable of seeing how much pain Samatoki struggles with.

However, when the manga focuses on more intimate moments of Samatoki's life, we see that Samatoki does struggle quite a lot.

(BB/MTC+ chapter 6)

This isn't a cool, attractive figure meant to be idolized. While Samatoki's cigarette usage and aggressiveness are often framed as sexy or enticing, the juxtaposition with dirty laundry, overflowing ashtrays, and empty bottles make him a sympathetic and struggling figure. Therefore, we should understand that his notion that men don't cry is flawed. It's a means to distract himself from emotions he doesn't want to feel.

Later, as Samatoki begins to process his emotions and open up to his teammates, the unhealthy coping mechanisms recede. Samatoki is more confident, mature, and happier as a result of being more emotionally vulnerable.

We see a similar transformation with Kuukou. As a teen, Kuukou is reluctant to accept help or truly let anyone in. In a conversation with Hitoya, he says (and I am still completely unable to take this seriously), "A man's got to wipe his own ass."

(DH/BAT chapter 4)

However, over the course of his character arc, Kuukou learns that he cannot exist as a good leader or individual without the teamwork of his newfound "family." Only rejecting this classical and toxic notion of masculinity brings Kuukou joy.

In fact, most of the first-line characters have very similar arcs. At the start of the story, Ichirou is insistent on doing everything himself. He has to learn to be able to rely on other people (Kuukou, Samatoki, Ichirou and Jirou) to be happier and unlock his true strength. See below, his final attack and Ability use in the 2nd DRB, which is only possible when his brothers figuratively and literally support him through it.

(BB/MTC+ chapter 25)

Sasara struggles with emotional honesty and trust in favor of using humor to gloss over discomfort. It takes multiple heart-to-hearts with Roshou before he can let humor take a backseat and say how he really feels. Ramuda has difficulty trusting other people and being honest with his emotions when faced with stressful scenarios. Only through Fling Posse is he able to open up and ask for help instead of driving people away when the problems are too big for him to face alone. Jakurai struggles to connect with other people, work through and acknowledge his complicated feelings, and not place himself on a pedestal. Through Matenrou, Jakurai is able to ask for help, be more open, and ultimately be less hard on himself.

The second- and third-line characters follow similar arcs, and this repetition creates a core message for Hypmic: Trust and rely other people. Be open with your feelings. There's a wrong way to be a man, and that's to hurt yourself and other people.

Right Ways to Be a Man...Are Infinite!

But with that being said, there is a surprising lack of commentary on how else to be a man. Hypmic as a whole doesn't do much to constrain the male characters in terms of gender roles.

Sure, some characters do fit into more traditionally masculine roles--Ichirou, Samatoki, Riou, etc. The messaging makes it clear that it isn't wrong to play into masculinity provided it doesn't become toxic. (See above.)

Even then, however, these especially masculine characters are associated with less masculine traits that are either portrayed positively or not portrayed as a joke. Riou is an avid cook, but the joke is never that he wears an apron and knows his way around an outdoor kitchen (tee-hee, men don't cook!). It's that he cooks with horrifying ingredients. Samatoki is a fashionista, but the joke is framed as a counterpart to Ichirou's nerdiness.

(DoD chapter 1)

Here, it's funny that neither of them can shut up (the ペラペラ/blah blah SFX, the long bubbles filled with lots of text that's cut to indicate they kept going for longer), but the object of their attention--a model toy and a pair of jeans--are treated in the same neutral light. It's very common for stories to touch on, even defensively, the social taboo of men being into clothes. Hypmic doesn't even acknowledge that such a taboo could exist.

This is subtle but extraordinarily effective in giving characters the same consideration and weight. The more feminine characters are always treated just as sincerely (or, if there's a joke to be made, irreverently) as the more masculine characters. Take Ramuda, for instance. In Japanese media, a love of sweets is often characterized as feminine and will often be remarked upon, even in LGBT+ media, as atypical for men. Again, there's zero acknowledgement of such a thing in Hypmic. Whenever other characters talk about Ramuda's food intake, it's always framed as a concern about the lack of nutrition.

(FP/M chapter 11... I don't have the source lying around on my computer, so here's the old-ass scanlation lol)

It's also given the exact same weight as anyone else's junk food habits. Here, MCD goes out for burgers (a neutral to masculine-coded food due to the meat and high calorie count) while Ramuda opts to try a sugary Starbucks-esque drink. The parallelism in the comic's framing suggests that the two objects are functionally the same, and there is no comment that a sugary drink is feminine and therefore "inappropriate" for Ramuda. There's also no indication that MCD's preferences are in any way better. They simply happen to be the characters' personal preferences. The punchline is two groups splitting up, only to awkwardly run into each other again moments later.

(DoD volume 4 bonus comic)

Similarly, Ramuda's interest in clothes or fashion is never treated negatively--in fact, the discussions of clothes as a means to find identity and happiness make it a positive!

In ARB cards and promotional materials, Ramuda sometimes wears dresses. It's, again, portrayed in parallel to other characters wearing more masculine clothes and is never commented on as something "unusual." It's just who Ramuda is.

Hifumi is another interesting case. Like Ramuda, his playful personality often doesn't as stereotypically masculine. (To be clear, I read much of this as "gender neutral with a strong emphasis on youth" versus "feminine" in a way that I'm not sure has a good US equivalent...metrosexual/yuppie men's fashion, maybe? In the sense that it's a youth subculture that defies some masculine gender roles but is still focused mainly on men. I wish I was more well-versed in Japanese men's fashion and could give an exact term, but I'm what I'm thinking of is definitely an established thing--young, trendy dudes whose styles focus on poppiness vs. the rugged manly man or "idk, I'm just some guy" subcultures. It's a thing that pisses off old Japanese conservative men in the same fashion as people getting up in arms about "the gayz!!!1!" and their androgynous clothing lol.) Their personalities are often the butt of jokes, but only in the same way that Dice or Doppo are--that is, that they're exaggerated and over the top. There's no commentary on masculinity or lack thereof.

There are also moments when Hifumi, Gentarou, or other characters play feminine characters in roleplay moments, which is usually (but not always) not the sole joke. The audience is supposed to find it funny, but the humor is almost always centered on the absurdity of the scene as a whole. For instance, in a moment where Hifumi and Doppo are pretending to be two drunk karaoke-goers, the humor comes from the composite set-up of Hifumi's hair twirl, Doppo's untucked shirt and tie, Doppo and Hifumi's exaggeratedly flirtatious poses, the spotlights and sparkles, and the same font as used on classic karaoke machines.

(FP/M+ September 2022 oneshot)

Hifumi and Doppo do not perform traditional gender roles in their homelife, and while it's easy to see and often commented on in the English-speaking fanbase when it comes to Hifumi, I find it just as prevalent on Doppo. It's true that Hifumi is taking a feminine role by doing the majority of the household's cooking and cleaning, but if we were to assume Doppo has the masculine role in the household, he would have the breadwinner duty. However, he isn't the main source of income for their household, and he's just as unassertive in finding a (female) romantic partner as Hifumi is. Japanese men are bombarded with media messages stressing the importance of taking an active role in career and romance. That Doppo does not would, in many stories, make him the butt of a joke for not living up to masculine gender roles. But he isn't; instead, Hypmic portrays him as a sympathetic character. It's tough, Hypmic says, for people to get good jobs and maintain friendships/relationships as an adult.

Similarly, it's noteworthy that Hifumi's self-appointed term "Gigolo" is consistently portrayed as a good thing in Hypmic. The meaning of the English term aside, the Japanese word ジゴロ (jigoro) is almost always used as an insult for a man who is financially dependent on one or multiple women. In the strictest sense of the term, Hifumi is a jigoro in that his income derives from his female clients. However, there is never any shame associated with that, and as a whole, Hifumi's career as a host is shown to be a positive thing. I can't express enough how rare that is in any sort of semi-serious media. Certainly, Hypmic acknowledges that his job requires too much drinking (Doppo's verse in Hoodstar), but the overall portrayal is overwhelmingly positive. Hifumi and his coworkers are never treated as uneducated, boorish, or pathetic for "failing" to find other work that does not require flirting with and entertaining women. (This is partially due to the overlapping judgment with sex work.)

All the various harmless preferences and personality traits of the male characters are treated equally with no judgement over what's masculine or non-masculine. Within the broader context of Japanese media, this absence of judgment stands out and reinforces one of Hypmic's core themes: Differences make us better, not worse. In the end, Hypmic suggests, there's no one right way to be a man.

Right Ways to Be a Woman...Are Just as Infinite!

But what about women? This series is, after all, marketed mainly towards women, and while female audience members can no doubt extrapolate the lessons learned from the male characters, it's worth taking a look at the female characters too.

The female characters do receive much less screen time than the men and are not the focus in the series; I'd argue that's less an issue of overt sexism and more that they fall out of focus in the story the writers want to tell. (There's a broader discussion to be had about inherent sexism in the writers' focus which goes hand-in-hand with rap industries across the globe favoring men and rap being an example of exaggerated masculinity, but that's a topic for another day.)

Even so, the framing of the female characters is interesting in a couple key respects. The individual character arcs and motivations of the main female characters are, in my opinion, some of the weakest parts of Hypmic--many times, Otome and Ichijiku do things because the plot demands them to, making them look incompetent or needlessly cruel for characters we're supposed to sympathize with. Nemu's story seems to be handled with more care and takes an interesting twist, wherein she openly acknowledges that she's disenfranchised as a woman in modern Japan but rejects the notion that she needs to find strength on either Ichirou or Samatoki's (male) terms. By choosing to be strong in "her own way" (whatever that means...it's not well-defined), the authors are using Nemu to reject the notion that strength and power are inherently masculine.

What I find to be far more interesting is the character design for the Chuuouku women, both in what is said and what is not said.

To begin with, the characters and their portrayals run the gambit from highly sexualized to completely non-sexual. Some characters (especially Ichijku and Honobono) have conventionally attractive, curvy body types and are often drawn in ways that highlight their bodies.

(FP/M+ chapter 4)

(FP/M+ chapter 14)

In some cases, especially Honobono's, the enticing nature of the illustrations is framed as the character's choice; in the above, her words indicate that she wants to seduce the off-screen listeners. The images included above are largely representative of these characters' raps, regardless of illustrator.

But on the flip side, other characters with large breasts or hips are never drawn in a sexual fashion. By way of comparison, here are two shots of Nemu rapping.

(BB/MTC+ chapter 12)

Even in shots with dynamic poses, no attention is drawn to Nemu's figure in any sort of provocative sense. Nemu touches her chest, drawing the reader's eye there, but the artist does not emphasize the size of her chest--they're allowing a chest touch to be no more than an emphasis of the self. At the same time, Nemu's body isn't downplayed. We can see in panel 2 on page 2 that Nemu has a small waist and wider hips, but once again, she isn't being sexualized. The action lines draw the reader's eye to Samatoki and thus put the action first and foremost. This creates the idea that not only can characters portray themselves sexually, but they can just as easily choose not to.

We see similar with Otome, who does not wear any sort of revealing clothing and is never shown in a sexual fashion. However, Hypmic doesn't equate revealing clothing to sexual portrayals either! While I wouldn't call Tsumabira's outfit revealing, she does have more visible cleavage than most Chuuouku figures. However, her bare chest is never sexualized like Ichijiku's.

(BB/MTC+ chapter 4)

Compare the non-emphasis on the chest and the power stance to any of the many shots of Ichijuku where her breasts are front and center in the camera. Speaking of power stance, Tsumabira remains confident in her power stance without being sexy--that is, no stepping on the camera and showing her whole leg.

Which isn't to say that Tsumabira is a sexless character. She's drawn visibly turned on by the male characters in such a way that is cartoonish but not, in turn, overly sexual. Were this supposed to be titillating to the reader, I would have expected to see a larger close-up on her face and tongue. However, the artist (who is no stranger to focusing on tongues!) devotes the majority of the panel to Tsumabira's body language (which, again, doesn't absurdly exaggerate any of her proportions or focus on her chest) and covers part of the mouth with text bubbles. Tsumabira is drawn as engaging in sexual behavior without being sexualized for reader entertainment.

(FP/M+ chapter 4)

The juxtaposition of such different views with little to no judgement attached to any of them suggests that it's perfectly okay to want to be sexy or not, to wear revealing clothing or not, to be involved in sexual situations without being the object of sexual interest, or to simply exist with an attractive body type without sex ever coming into the equation. Just as some characters choose to tie bodies to sexiness, some don't whatsoever--and either is perfectly fine!

The former idea ("I can choose to be sexy") may not sound especially revolutionary to US audiences, where sexuality is thrust upon women willingly or otherwise, but I find it fascinating because it lets the main characters embrace this idea without associated slut shaming. So much of Japanese media insists that women should be sexy but are also wrong for wanting to indulge in their own sexuality. Therefore, having characters who run virtually every iteration of take on the topic (I want to engage in sexuality and be sexualized, I want to engage in sexuality without being sexualized, I don't want to engage in either) with multiple body types (ie, Tsumabira isn't automatically not sexualized because she has a smaller chest; Nemu isn't automatically sexualized because she has a bigger chest) and no judgement involved feels like another breath of fresh air to me.

As a whole, I find the diversity of the Chuuouku uniforms and character appearances quite interesting. They're undeniably all feminine and relatively militaristic, but different characters wear entirely different wardrobes. Skirts vs pants, blouses vs dresses, high heels vs boots... Since every character has her own take on the common theme, it once again feeds into the idea that each character is her own individual and perfectly valid for defining femininity in her own way.

Haircuts, too, range from longer and more feminine hairstyles to pixie cut-esque looks.

(BB/MTC+ chapter 16)

Again, nothing of the framing suggests this short-haired woman is in any way different from her longer-haired counterparts on the edges of this screenshot.

Finally, while most Chuuouku women are conventionally attractive, I find it extremely compelling that Haebaru is a stereotype of an unattractive Japanese woman. To be extremely clear, I do not think these stereotypes should have weight, but the combination of chubby and/or muscular build, freckles, rounded nose, and non-glossy hair is often used as a visual shorthand for unattractive or otherwise undesirable women.

Sure, it's not fantastic that Haebaru is a scheming, two-bit villain. However, so is virtually every other female character in the series, and in particular, Haebaru is (the conventionally attractive) Tsumabira's counterpart. Both are treated with the same respect or lack thereof, suggesting that one's appearance has nothing to do with your ability to be a no-good baddie. Ha ha ha.

It would be lovely if the female characters were fleshed out further and given intelligent choices and diversity outside of the realms of physical appearance. However, I do think the writers' choices are limited by virtue of all women automatically being antagonistic side characters (which, again, is another discussion altogether). What the writers can and have accomplished is further reinforcing a celebration of differences. Just as there's no one right way to be a man, there's an infinite number of ways to be a scheming snake of a woman HAHA.

Intersection with LGBT+ Topics

Unfortunately, this is a very binary look at gender and gender roles, which, while largely representative of the current state of Japanese media, can be disappointing.

Hypmic appears to want to steer shy of LGBT+ topics as a whole, which is a bit of a shame. In a story so focused on gender and acceptance of diversity, it seems the natural next step to explore the notion of those who experiences don't align with a strict gender binary. Such stories are growing in popularity in Japanese media but have yet to be anywhere near the mainstream acceptance in US media (which is still in a fledgling stage at best). I would imagine Hypmic's writers are unable or unwilling to take a definite stance on these topics in the work due to fears of financial or career backlash. If nothing else, the sexuality of the main characters needs to remain in a limbo in order to have plausible deniability for both self-shipping and shipping with other characters. (Some deniability may be more plausible than others.)

The few instances in which Hypmic does wander into this territory are usually clumsy. I am no fan of the handful of scenes where male/male attraction is supposed to be funny purely by virtue of being male/male.

The inclusion of Urumi, the one minor character explicitly LGBT+, is not stellar either. I am hesitant to apply any definite label to her, as the real-life people her stereotype portrays self-identify as everything from trans women to cis men--or refuse to use these English labels at all! Still, we know from her profession (proprietor of a bar heavily implied to be a gay bar by the neighborhood it's in), appearance (poofy permed hair, exaggerated make-up), and demeanor (feminine speech style, a bit flirtatious) that she's AMAB and choosing to present herself in a feminine fashion. By writing Jirou to ask, "Aren't you a man?" in an exasperated fashion, the writers have put her gender presentation in a boke role--suggesting she's over-the-top, exaggerated, comedic. It's not great. I completely understand why readers find it offensive (and it is) even while I don't think the writers intended it that way. Ultimately, it would have been great to see other explicitly LGBT+ characters portrayed without the joking angle.

With that said, I'm not entirely unhappy with her character. She is a stereotype, but the authors have chosen to take only the visual elements of the stereotype and leave the rest on the cutting room floor. In other works of fiction, characters like Urumi are often hypersexual to the point of being in-universe creepy, especially towards underage boys. Other times, characters like her may be eccentric or off-putting in other ways. However, that's not at all the case here. Urumi seems to play a helpful big sister/aunt role in Jirou's life, and he's clearly comfortable enough with her to spend the night at her bar.

(BB/MTC+ chapter 17. "Sorry, but can I shack up here again tonight?" "Of course you can.")

While she seems to engage in some sort of a bohemian lifestyle, as evidenced by the alcohol and smoking, it isn't anything outside of what many of the other characters do. Additionally, while she isn't drawn in a flattering fashion in scenes where she's playing up her persona (which is par for the course with any character in this series, regardless of gender), there are plenty of neutral shots of her being serious. Finally, the art is never outright rude--that is, she isn't drawn exaggeratedly masculine or flamboyantly...snakey? I don't know how to describe this to anyone who's lucky enough to have never seen this--clearly LGBT+ AMAB characters drawn with noodly limbs and huge, overblown lips winding around male characters.

Maybe because I see so much worse continuing to be produced in this day and age, I feel like Hypmic could have done a much, much worse job with this character. She overall plays a positive role and is treated with much the same care as other side characters. It's unfortunate, then, that the writers have chosen to make her gender presentation the subject of a joke.

In other frustrations, I heavily dislike the unnecessary gender divide in background characters. All punks and other background baddies are male, whereas all adoring fans are female. (But Rhyme Anima has done an interesting job of subverting this!) The vast majority of other background figures fall into strict gender roles, which is likewise disappointing. It appears that diversity may be an accepted trait for none but a lucky few that form the main Hypmic cast.

All in all, I don't think Hypmic's portrayal of gender roles is groundbreaking, nor do I think it's fair to suggest that all Japanese pop culture plays into strict gender roles. There are certainly many Japanese works, popular or otherwise, with much more interesting things to say about gender. However, when compared to the vast majority of the titles that cross my desk on a regular basis, I notice and appreciate the level of care put in to Hypmic's commentary on gender roles. The work consistently reinforces the notion that it's okay to be your own individual, no matter how that plays into your gender, and I find that freeing. That's a message we could all do to hear more often, regardless of culture and language.

TL;DR: Oh no, my rapidly approaching deadline. :)

#not a translation #analysis asks

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neoflect · 3 days

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sharing some of my disorganized jojo musical thoughts now that ive had a week to sit on it and ive rewatched it several times over. i intended to wait to publish something like this until a subtitled version was available, but im not seeing any indication that thats happening any time soon so for now youll have to deal with my loose interpretations from my extremely rudimentary and rusty japanese… so take what i have to say about the finer points of characterization with a grain of salt. gratuitous spoilers below obviously, both for the original source material and the changes made in the stage production

my feelings are OVERWHELMINGLY positive. of course there are things i can criticize or that i would have personally done differently but oh man… i have literally not thought about anything besides this fucking show for a week. im 100% confident in saying this is a better adaptation of the source material than the tv anime. sorry to the davidpro staff, i respect their hard work and their love for jojo and their dedication to what is by any metric a pretty difficult property to adapt off of the page, but i dont know if i can ever forgive them for leaving half of the first episode’s storyboard on the cutting room floor in order to fit a standard half-hour tv slot, especially considering that what they cut is some of the really crucial character-building stuff. happily those scenes are not only reproduced in the stage version, some of them are expanded upon!

with the quick disclaimer that i’ve only managed to get my hands on the final 4/14 performance with shotaro arisawa and yoshihisa higashiyama, from what i’ve seen the casting is perfect. i’m sure there’s a rip of the 4/13 performance somewhere (i’ve seen clips) but i haven’t been able to find one… every single performer knocks it out of the fucking park, the cast chemistry is incredible and even the minor characters are loaded with charisma. and mamoru miyano… my god… mamoru miyano i owe you an apology. i was not familiar with your game. of course hes been killing it for decades at this point but i had soured on him a little bit recently because i felt like he was overcast in everything and i just didnt connect with his dnt reinhard at all, so when the casting was initially announced back in august i was underwhelmed, and of course my standards for the dio role in particular were astronomically high… i’ll go more into detail later in the post because i have so so many things to say about dio’s characterization here but mamoru miyano’s performance is like, life-changing. i had impossible expectations and he exceeded them.

sorry if im gushing. i am a hater by nature. its unusual for me to be so thoroughly pleased with something. im not even a musical theater guy. these are strange new feelings for me.

just to balance things out i’ll talk about a couple of the things that didn’t really work for me: first of all, the music is just ok. my initial draft of this post called the music “bad” but three additional viewings later i have warmed up to some of the songs. i don’t know if this is a shortcoming by dove attia as the composer or if it’s just me, as i said i’m not a musical guy and a lot of the genre conventions of musical theatre are not really the things i look for in music that i enjoy, but like… even at their worst they are serviceable. nothing here is sonically unpleasant to me. high points are “resolve of the ripple” (zeppeli’s hamon training song, a jazzy swing number - it’s simply catchy and fun to listen to) and the closer “phantom blood” (a sweeping ballad that reprises the earlier “light and darkness”/”golden spirit” leitmotifs into an epic duet between jonathan and dio as they join hands and walk off into the darkness together… made me cry! i wont lie! on every single one of my numerous viewings this one got me misty eyed!)

wait i forgot this is supposed to be the part where i’m being critical. ok my most loathed song in the musical is “dio’s world”. sorry dio nation. it doesn’t really work for me. i think this might be a case of my standards/expectations being too impossibly high because it’s not even really the worst song in the whole thing. and of course miyano eats it up so it’s not really his fault. i just find it kind of underwhelming… i find the melody a little grating, it’s kind of just a generic rock number, it’s just missing a particular je ne sais quoi…. the essence of dio isn’t there… lyrically though i am obsessed with the premise of dio recruiting his minions by selling himself as a kind of social revolutionary who is upending and inverting the brutal hierarchy of post-industrial victorian society with zombie blood magic. you win some you lose some.

the second sticking point for me is the costumes. they’re perfectly serviceable… adequate… but i mean when it comes to jojo “serviceable” and “adequate” costume design obviously falls well below what’s expected, right? a lot of the outfits have kind of a boxy, almost flat-looking kind of unflattering fit on the actors, which if i wanted to be generous i could attribute to the challenge of bridging the gap between these frail slender musical theater twinks and the two-meter-tall 250lb roided-out beefcakes theyre meant to be embodying. (bearing this discrepancy in mind a lot of the insane martial arts stuff in the second act doesn’t really land with the oomph that it should, but i also understand logistically why this kind of casting is not practical, and all things considered i think shotaro arisawa does a really incredible job of embodying jonathan joestar even though he kind of looks like i could snap him in half over my knee like a twig. he’s very cute. so i’m not mad about it.) of course, again, logistically, i understand that in a stage musical production, where actors only have minutes to complete costume changes, some sacrifices have to be made to the creative vision in the name of practicality. nevertheless this is jojos bizarre adventure!! i want to see some fucking baubles!!!!!!

which is all to say that… after carefully considering it for some weeks… i still have extremely mixed feelings about dio’s grink ass feather bathrobe look. it’s not that i dont think its something he could wear (the concept of dio lounging around in his gothic vampire palace doing re-animator style body horror experiments on the local wildlife in this “officer i have no idea what happened to my husband”-ass nightgown is nothing short of hysterical to me) but then he wears it into combat and i felt a little disappointed… it has the same unflattering fit issue as the other outfits in the show, and it is just such an un-araki-like design… where are the gaudy color combinations? the bizarre geometric patterns? the tease of an exposed boob/thigh/midriff? erina gets a stage-original dress design that i have fewer issues with because the excessive pleats and ruffles have more of an araki-esque sensibility, but every time i look at dio’s robe it feels like there’s something missing. i’m going to choose to be nice about it because it’s not at all a deal breaker and, again, mamoru miyano devours the look. it’s fine. it’s always fun to have a new dio outfit. if anything, the fact that the blu-rays are being marketed as “2024 cast version” gives me hope for the possibility of a future production with a new vision for the costume design. (although the fact that this was such a difficult production - with stunts and pyrotechnics and moving setpieces - that its entire first week was cancelled indicates to me that the prospects for a future production from a different company are impossibly slim. i guess there’s always hope?)

in terms of the writing and the changes that were made from the original narrative, honestly i don’t really have an issue with anything that was cut. sorry if there are any diehard stans of Poco’s Unnamed Sister out there who are steamed that their favorite minor late phantom blood character got the axe, i kind of understand how you feel because i’ve been malding over david pro cutting the Danny Lore for eleven years, but i think it was the right choice and the story flows so much better. the real juicy meat at the core of phantom blood as a narrative and the thing that brings it head and shoulders above so much of the rest of jjba is the character-driven drama - that deliciously pulpy victorian gothic family tragedy - and the relationship between jonathan and dio. the musical beefs up the character drama and slims down the action-driven second half by trimming out the extraneous battles. the only real downside i see to this is that the absence of tompetty and his prophecy makes zeppeli’s arc and death feel INSANELY abrupt, but tbf that’s not a deal breaker for me. sorry zeppeli. you were born to die.

okay. okay. i think 1500 words into the post is enough fucking around so let’s talk about the real reason why you and i both know we’re here

musical dio is SO fucking sad. he’s positively wretched, you guys. he was born in a wet cardboard box all alone and forced to eat cement when he was six. he cries even more than he does in the source material and even when he’s not crying he frequently delivers his lines as though he is moments away from bursting into tears. back when the musical first opened i was snooping on the reactions on jpn twitter and one commenter said they could see miyano’s tears and snot from the nosebleeds even without opera glasses, a remark i initially assumed was hyperbole but that i now think probably was not. araki’s dio is certainly tortured and a deeply pathetic crybaby beneath all the cruelty and posturing, but changes in the musical and miyano’s embodiment of the character bring this pathos to the fore. he is literally haunted: dario’s ghost lingers, a manifestation of all of dio’s traumas and insecurities that emerges from the recesses of his memory to taunt him with the reminder that he will always be his father’s son, all the way up until the very minute that jonathan breaks down the door to his vampire lair. i am OBSESSED with this - not only for the obvious reason that i delight in dio’s suffering personally but also because kong kuwata is a delight and he fucking kills it every time. also lends itself to a category 10 leitmotif moment at the top of the second act when dio emerges from the charred ruins of the joestar estate singing dario’s theme and calling out to jonathan - if i had to pinpoint this is probably the moment when this musical stuck for me as the Real Deal. they Get It.

the first solo number in the show is dio’s disney princess I Want song (amazingly, simply titled “dio”) where he weeps for his late mother and his wretched lot in life, and then - in a creative decision that made me clap my hands and hoot and holler at my screen in real life - there is a reprise of this number (delivered, naturally, through tears) when dio is almost arrested for murder and decides to become a vampire instead. so there’s this amazing hopeful uplifting inspirational orchestral music accompanying the onstage action of dio ruthlessly slaying jonathan’s dad and then getting pumped full of lead by a bunch of cops. it is brilliant. 10/10 no notes. it’s moments like this that i think really sell the “softening” of dio in the stage version for me, even though i am historically Not A Fan of fanworks that take a similar angle - like, yes, he is sad, but specifically he is narcissistically obsessed with the spectacle of his own suffering, he is boiling over with bitterness and rage for everyone around him who (by his own estimation) could never hope to have suffered as much as he has. this sensitivity and self-pity he wallows in are not expressions of a guilty conscience or a desire to change - they’re entirely the opposite - every cruel and monstrous deed dio commits is always justified to himself because he is simply the saddest little boy who has ever existed. he has been done wrong by the world and so there is no limit to the depravity he may reasonably respond with. i’ve seen several commenters describe this as a drastically different interpretation of the character from araki’s dio (and someone told me on twitter that mamoru miyano himself has also said this, but i cba to go digging for an actual source so take it with a grain of salt?), but i… dont think thats the case! dio’s obsession with his own weakness and his self-perception as the eternal underdog (as compared to jonathan) are certainly more exaggerated in miyano’s performance, but i don’t think this is an angle to the character that’s been manufactured out of whole cloth. the genre conventions of the stage musical force the melodrama up to eleven and dio’s incredibly repressed angst is the most rich vein to mine for that. hair-trigger sadist dio is still here, it’s the same guy, he’s still killing people mercilessly, you’re just getting to see him sing a big ballad about his feelings instead of confining those to an internal monologue.

if anything, the exaggeration of dio’s pathetic/cowardly/crybaby traits combined with his megalomaniacal aspirations and bottomless well of cruelty is just right. it’s perfect. fucking around, finding out, and then trying to weasel his way out of the consequences with crocodile tears just so you don’t see him drawing his knife to cut you clean open… yeah. thats the stuff. thats my one true blorbo. sad to say i will love him for ten thousand years.

i think that might be all i have to say… or at least all i feel like saying here… most likely ill come back and edit this post later. i certainly have some additional thoughts and some more esoteric/controversial takes but they’re not suited for a public blog. real ones will understand. im keeping my eyes peeled for somebody to translate this thing but to be frank i am kind of enjoying this little corner of fandom as it is right now: just the asians and the true hardcore phantom blood phreaks. i have not had this much fun in jojo fandom in almost a fucking decade. as soon as somebody publishes an english version my timelines going to get flooded with all the most deeply annoying “kono dio da” “speedwagon waifu” reddit guys and 15 year olds and my suffering will proceed. unfortunately this is my lot in life and i am doomed to be here forever because dio put a worm in my brain

#⚰️#jjba tag for blacklisting purposes but i dont want this in the main tag

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raven-at-the-writing-desk · 2 days

Note

On the language debate, I personally headcanon that the main language spoken at NRC is a common one. (?) (Like how English is the business language, or like how generally Native Americans had a common language that they spoke when trading with other tribes.) And Crowley or the Mirror used magic so that You was temporary fluent in that language.

After the ceremony, Yuu has to learn the common language and picks it up really fast (as one would in such a situation). Therefore, Yuu can still speak it when away from NRC.

(I also headcanon English as an ancient language akin to Latin, because I heard that Arabic was canonically an ancient language.)

[Referencing this post!]

I’d buy that everyone at NRC speaks the common language to some level of proficiency; it’s like how international students typically need to speak the language of whichever country they hope to study in and need to prove their fluency in an exam beforehand. As I said in the original post, the light novel does mention a translation spell over the school, so maybe that’s part of the “magic” that helps Yuu to understand what the others are saying.

Now, it’s theoretically possible for Yuu to learn the common language of Twisted Wonderland in a year, but I don’t think immersion alone would cut it (especially since the main story is only up to like 2/4 to 3/4 of a year so far) . They’d probably have to put in significant effort outside of everyday conversations to pick up its rules (because remember that language isn’t just vocabulary but also grammar, syntax, and social conventions). Yuu would also need consistent feedback from people since that’s how one usually “fixes” their incorrect language use. It’s similar to how adults would correct a child learning their first language; ie a kid says “wadur” instead of “water”.)

One site I looked at suggested that, depending on the language categorization (I, II, III, of IV), it can take 24-92 weeks’ worth of time to become an “advanced” speaker. Realistically, just getting to the basic conversational level could be hundreds or thousands (700-2500+) of hours on its own—and Yuu has to do this on their own time between homework, going to classes, and managing all the issues that Crowley doesn’t 💀 To me, that doesn’t sound like a lot of free time. Counterpoint to my own point though, we also have to consider that Yuu is... well, technically Yuu can be any age you want, but most Yuus are implied or portrayed to be 16-18. The critical window for language acquisition is theorized to be anywhere from the first three years of life up to as late as 17-18 years. After this critical window, the ability for language development tapers off. So, thinking about that, Yuu's brain could still be very pliable and able to absorb new language (though they'd have to work quite intensely to pack in as much as they can before this ability starts to decline).

Something that I feel would be difficult for Yuu is that the characters often use slang (Cater, Floyd, Idia, etc.) and/or uncommon words (like Vil’s “pulchritude”). The former may not follow the standardized rules of a language or may be idioms (other non-literal meanings for common words), which could make it hard for a non-native speaker to understand. The latter would not be used that often, so Yuu would be forced to guesstimate what the word means. I’d imagine this would make fluency challenging, because as immersed as Yuu is in Twisted Wonderland, less frequently used words are harder to grasp.

Maybe Crowley cast a translation spell ON Yuu so that they can still converse with people in the common tongue whenever they leave NRC? Or, since the events basically occur in an AU, more than a year has passed so it has allowed Yuu more time to absorb the language. Language in TWST and how it works… It’s really interesting to think about!

#twisted wonderland #twst #disney twisted wonderland #disney twst #Yuu #Dire Crowley #twst light novel #twisted wonderland light novel #notes from the writing raven #twst theory #twst theories #twisted wonderland theory #twisted wonderland theories

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utilitycaster · 17 hours

Text

Bonus:

Campaign 2 episode 92/Campaign 3 episode 92 parallels (with some assistance from 3x89)

Transcription of the text in the above images (screenshots from the Critical Role Transcript Search) below the cut:

The following is excerpts from Campaign 2, Episode 92, and Campaign 3 Episode 92 (except one from 89, noted below), interspersed. Travis is playing Fjord, Marisha is playing Beau, Laura is playing Imogen, Liam is playing Orym, and Matt plays Thoreau Lionett in the Campaign 2 excerpt and Liliana Temult in the Campaign 3 excerpt:

First image:

TRAVIS: Your histamine reactions are going again.

MARISHA: Yeah. I've been away from Zadash for a little bit, so the pollen, it's kicking a little, you know?

TRAVIS: I take it you don't fully, fully hate your dad. It's got to be hard to hear this.

Second image:

LAURA: I'm going to heard toward Orym who's at a distance and approach slowly.

LIAM: Hey.

LAURA: Hi. I'm going to put my hand on your shoulder.

LIAM: Sorry, I know how hard all that is for you.

Third image:

MARISHA: Everyone wants to make their dad proud, you know? Just hoping he could, he could show some of that.

TRAVIS: You don't know that he can't. It's been years. You've grown, you've changed. I'm sure you were even more of an unbearable shit before. I'm not saying he deserves a second chance, but he is your father, and you do have a mother, and a brother that you've never met.

MARISHA: (sniffs) I guess it's hard when... the word inevitable has been brought up several times in the past 24 hours amongst us. I feel like I've found my family with The Mighty Nein. I don't like looking at my past, because it doesn't have The Mighty Nein in it, and I think I put off the inevitable, because I'm going to-- I'm afraid it's going to be like my past.

Fourth image:

LAURA: Don't apologize. I can't begin to understand how hard it is for you.

LIAM: You know, every one of us makes our decisions with the lenses or prisms we see life through.

LAURA: Mm-hmm.

LIAM: I can't take mine down. (sobs softly) It's not even about revenge for me. (sniffles) I just try and honor what they sign up to do. (sniffles) I just try and honor what they sign up to do.

LAURA: I didn't know them, but I can't imagine they wouldn't look at you and not be proud.

LIAM: (sighs sadly)

LAURA: I think you've gone farther than anyone could ever expect you to, and you're still going.

Fifth image:

TRAVIS: I don't think one contaminates the other. You've got good, solid footing here. I mean, shit, if we want to run, we run. If we want to kick his ass, we'll kick his ass.

MARISHA: Yeah. (sniffing) I kind of want to kick his ass, and I don't want to run.

TRAVIS: Could I ask you, in your wildest dreams, and feel free to say you don't want to tell me, what would you have happen when we go there?

MARISHA: I think I've worked so hard because I scripted this day, in my inevitable future that I would go back to him, successful woman, respectable member of society, Cobalt Soul, an Expositor, the thing he threw me away to, and I embraced. And then, I would get mad at myself, because I felt like I was doing exactly what he was doing to me my entire life, scripting me to be something else. And I'm still doing it. I haven't seen him in three years, and I'm still trying to be... something. And I think what's scary is that I like this, and what I've found, and I don't think it was until Nott started talking about having to go home and go away that it truly started terrifying me. Because for the first time, I'm happy. And what if that goes away?

Sixth image:

LIAM: (sighs softly) (sniffles) So far. I'm going to miss him.

LAURA: Yeah. Yeah.

LIAM: I'm going to miss Letters.

(sniffles)

LAURA: They were-- They were alive.

LIAM: Out of any of us, he just wanted to help.

Seventh image:

TRAVIS: It could always go away. It could go away tonight. The Gentleman's debtors could come calling.

MARISHA: (chuckling) And I think I know that, and I think I say things to Nott like, "You don't have to put those stipulations on yourself" because I've convinced myself that destiny or the inevitability won't come knocking. If you ignore it, it won't exist, and that's not true.

TRAVIS: (sighs) It'll be interesting either way. Your face is leaking.

MARISHA: I hate it.

TRAVIS: I won't tell anyone.

MARISHA: Don't tell anybody.

TRAVIS: Yep. You're a good friend. You're a good trainer.

Eighth image:

LAURA: I want you to know that that for a while it may have felt that you and I were not seeing eye to eye or maybe you felt that I, I didn't have the same goal in mind that you did. But don't worry about that anymore, all right?

LIAM: I understand family.

LAURA: Yeah. Yeah.

LIAM: I want for all the world for you to have your family.

LAURA: I wanted that, too, and (chuckles) god, that back and forth is a pretty funny thing, but choices were made. If nothing else, then at least we've got a little bit of knowledge on the inside now.

LIAM: Yeah. As much we'd like to, you can't turn back the clock.

LAURA: That's right. But you've got us.

Bonus image 1:

MARISHA: Mom already fucking mentioned that life gets difficult and it's hard. So you're right. Maybe it's easy to justify the easy way out, just get rid of the problem.

MATT: "That's not what this was about. You were on the self-destructive path. We didn't know what to do. I've never been a-- no one teaches you how to be a good father. I regret choices I've made, and you don't think I don't hold myself responsible for-- I thought I was doing what was best for you, truly."

MARISHA: You did. It was probably the best thing you could've done for me. So thank you. Tell me the story again, and then I'll go.

Bonus image 2 (from 3x89):

MATT: "History is filled with evil men. But few have the courage to stand up and try and stop them. Where I'm standing, I don't think we're on the opposing sides like you think we are. We just have a different myth, that's all. That's all. Please see it in yourself to understand why I've done and given up all of this."

LAURA: Maybe it's your turn to run. And I wake up.

#critical role #fjord stone #beauregard lionett #imogen temult #orym

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sarafinamk · 23 hours

Text

Fallen Angel (Smiling Critters Space Riders AU Reader Insert) Part 4

Summary: Bobby has been dealing with a lot of guilt ever since you went into rehab. Now that you're finally getting released, she's determined to make it up to you.

Two chapters in one day! Let's go! Check out the other parts here. The Smiling Critters Space Riders AU belongs to @onyxonline. Enjoy!

TW: Mentions of Blood, Mentions of Injury, Trauma, Death mentions, Mentions of assassination attempts, Religious Trauma, Religious Imagery and Symbolism, Religious Cults, Mentions of Drug Addiction, Self harm Attempt, Mention of Suicide Attempt, Mental Health Issues, Brief Anxiety Attack, Slight cursing, LOTS of negative thoughts, Implied Abuse, Conditioning

----------

Bobby woke up and shot herself out of bed before her alarm could finish its first beep. She puts on her uniform, goes through her usual routine, and finishes by the time everyone else wake up. The other riders exchange worried glances amongst each other but they say nothing to Bobby.

Today’s the day the riders pick you up from the treatment center so you can continue to serve your sentence with them. Sure, serving your sentence in the same station where they kept the other prisoners would seem like the obvious choice, if you were any other enemy to the galaxy, that is. But the fact is, you’re not, and Commander Ludwig isn’t sure just how many more break-ins he and the medical staff are able to handle.

Of course, word would get around that the Prototype’s archangel was being confined at HQ’s treatment center. To no one’s surprise, anyone with a vendetta and a craving for bloodshed, would try to find you and your cell. You never got hurt, at least. No extra security measures are enough to dissuade them it seems.

Bobby gets herself situated in the cockpit, glancing back and forth between the starry scenery, the clock on the wall, and the navigation tab open in front of Dogday. She sighs while absent-mindedly bouncing her leg hard enough to turn the couch into a massage chair.

“Are you sure you want to come with us, Bobby?” Dogday’s concerned voice pulls her out of her thoughts. “It’s okay if you want to stay behind while we get (Y/n). There’s no pressure. I’m sure they’ll understand.”

Bobby gives her best reassuring, confident smile.

“Dogday, I appreciate your concern, but I can’t avoid (Y/n) forever. I have to face them eventually. And I really do want to see them.”

There is a brief moment of silence before Dogday sighs, nods, and goes back to piloting the ship. Bobby goes back to glancing out the window, her smile quickly disappearing.

She didn’t lie. She really wanted to visit you. Just once. Everyone else has visited you at least a few times, but Bobby couldn’t even find the courage to visit you after what happened in your old prison cell. None of her teammates held it against her, but she sure as heck did. She's a trained medic for crying out loud! She shouldn't have been acting hysterical the way she was, especially when you needed her the most. She's dealt with blood and injuries before. She's dealt with a few mentally unstable cultists during her time as a Space Rider. She's even helped out people in similar situations like you before.

No!

She has to remember that she may not have been much help during such a critical moment, but help came to you on time. You’re surrounded by trained medics and from what the other riders have told her, you’ve been recovering well in the treatment center. That's what matters!

Part of her, however, still holds onto the fear that if she visited your cell, she would find you all bloody and on the edge of death again. Some nights, she would have nightmares about that.

What if it happens today?

Soon enough, they arrive at the Space Station. Straightening her uniform and taking a deep breath, Bobby follows Dogday into the station. Thankfully, the treatment center was close to the hangars. It made the transporting of the injured easier for everyone.

The pair stop at the entrance. Dogday looks back at Bobby with a reassuring smile, gesturing back to the hangars. Bobby returns the smile, more sincere and determined this time. She shakes her head and stares at the neon sign above the entrance. She is going to see you today and she will not back down.

Not this time nor any time going forward.

Dogday nods in understanding, and the pair make their way inside. They check in and wait which didn't take long. Dogday sees you first, and greets you warmly. Bobby turns to where her captain was looking and there you were.

You walk out the hallway with two riders and a doctor. Bobby frowns upon seeing the handcuffs on you. She hated the idea of you being locked in a cell while needing to be hospitalized. Sure, you’ve done terrible things, and you served a terrible being, but you must’ve had a good reason. Call her crazy but she believes there is some good in you.

The riders hand Bobby your bag and stand at attention while the doctor and Dogday discuss your treatment plan going forward. Bobby tries to pay attention, but finds herself too busy staring at you. In her defense, how can she not? She's seeing you for the first time in six months.

She was ACTUALLY seeing you without any bandages, bruises, cuts, or that awful mask you always wore. For the first time, Bobby is seeing the real you, the one everyone called the Archangel. Her teammates were right about you. Not only do you look healthier, but you just look...

Beautiful.

Like...

REALLY beautiful.

You glance her way, and she smiles and waves (albeit very awkwardly). You nod in her direction and turn your focus back to the conversation between Dogday and the doctor.

Oh god, this is awkward.

After a brief exchange of thank you's and goodbyes from both sides, Bobby and Dogday quickly escort you back to the ship.

----------

You internally breathe a sigh of relief the moment you entered the Space Riders’ ship. You weren’t sure how much longer you could handle all those eyes glancing your way. You were waiting for someone to come out of the shadows some way and finish you off just like those intruders that try to break into your cell.

Now that thought made you tense up again despite it being only you and the eight Space Riders in this ship. You couldn't sense any other energies in the ship, but that didn't ease your racing mind one bit. Who knows what the Space Riders will do to you now that they are not forced to follow social protocols?

You still have those damn power mufflers on you. Sure, that shouldn't stop you from fighting, but not only are you surrounded by four riders who have celestial powers, but you're surrounded by four non-celestial riders who, unfortunately, handle themselves well in combat. Unless you can outsmart all eight of them and break your power mufflers in the process, you don't see yourself winning this fight. It's best to be smart about all this.

"Okay, so, first things first, welcome back, (Y/n). We're happy that you're here with us," the Captain begins while clasping his hands together, making you stand straight at full attention. "It's okay, relax. It's just introductions. Nothing formal."

You're not sure if this is supposed to be a test or not, but you would rather not risk failing it when you just got here. You continue to stand at full attention, waiting for the Captain to continue. The Captain sighs, and clears his throat before continuing

"Anyways, I know there's a lot to do and discuss, and you probably have some questions. Don't worry, we'll get to that in time. But since this is your first day back, I think it would be best to try and get you settled in. I can show you where you'll be staying and-"

"Actually," interrupted Bobby, "I can show (Y/n) where they'll be staying."

"Are you sure?" the Captain asks with hesitation in his voice.

"Don't worry about it. I'm sure."

The only response she is met with is silence. You wait for something to happen: an argument, physical discipline, a speech, or a fair sentence. You never saw the Captain incorporate the type of punishments that the Prototype did.

At least in public anyways.

But now that he is no longer in the public eye, you're not sure if you're ready to witness the truth for the first time, but you prepare yourself for it anyways. Instead, to your surprise, the first thing the Captain does is take the handcuffs off you, but not the power mufflers.

"Okay, if you're sure."

Bobby cheerfully thanks the Captain and escorts you to the direction of the prison cells. You reach the entrance leading to the prison cells, but Bobby just... passes it. Did she not pay attention to where she was going? Why is she passing it?

You want to ask, but you force yourself to keep quiet. She could be looking to punish you for making her suffer with your selfishness. That’s why she never visited you during your rehabilitation. Instead, she leads you to the riders’ sleeping quarters and into one sleeping quarter that you know was never occupied. All the furniture arranged was as you remember it from previous battles except the bed is now neatly made.

“Here we are. Your new room. It’s not much, but I think it’ll be a nice change of environment for you after being hospitalized for almost a year.”

Not much? This is a lot more than what you see in the sleeping quarters back home. This is much more than the cells you were in for the last several months. If this isn’t “much” to the heretics, then what does having a lot look like to them?

“Crafty and I made some clothes for you. She noticed you like having your head covered, so we made you a lot of hoodies.”

You silently take in every little detail of the room.

“This is all mine?”

“Yes, it is. We weren’t sure how you wanted your room decorated, but we’ll figure that out over time.” Why would it matter how you wanted to decorate this room? At least the Space Riders are giving you, their prisoner, one in the first place. It’s selfish to ask for more than what you deserve. “Picky is making a special dinner to celebrate your recovery and coming back. I’ll come get you when it’s ready. I’ll leave you alone to get settled.” Bobby’s voice cuts off your thoughts, even when you don’t say anything. She smiles and makes her way to the door.

“Thank you,” you say suddenly. Bobby stops dead, turns to you slowly. Her eyes widen.

“What did you say?”

You clear your throat and straighten yourself up. “Considering the fact I’m your prisoner, this is a very generous accommodation.”

Bobby continues to stare at you, and you're questioning if you said the wrong thing already. Not even one hour into your return and you’re already making mistakes. Maybe she’ll change her mind and decide a cell is a more fitting place, but instead of her screaming, or silence and storming away from you, she smiles. “You're not our prisoner here, (Y/n). You're our guest. We want to help you get better. I’m just happy that you’re here with us.”

With that, you are left alone. You hastily dig into your bag which Bobby must have placed in the on the dresser. Thankfully, your journal and the books given to you by Bubba were still there.

You pull one of the drawers and they were full of very thick long-sleeved shirts with hoods. “Hoodies” as Bobby called them. But… which one are you supposed to wear? Bobby never specified which one was mandatory for you, and you couldn’t just ask. You would get punished for not knowing when it should be obvious. You grip the skin of your forearm tightly.

No.

No, no.

No, no, no.

Fight back the temptation to see red! You can’t risk being sent back again. Just take some deep breaths.

In…

Hold…

Out…

Repeat.

Just like the healers taught you. Soon enough, your grip loosens and thankfully, there was no sign of red.

You look back at the drawer of “hoodies.” Since the Space Riders wear white while off duty, then perhaps the white one would be your safest choice. You sigh, hoping that line of reasoning will hold true during mealtime. You relax more when the warmth and softness cover you. The best part was that hood covered your head. It was no mask, but it was better than having your entire head exposed. You were just relieved you no longer had to rely on those infirmary blankets to keep your body and head covered. At least there were no cameras installed in your accommodation… to your knowledge.

Since you had no orders given until mealtime, you decided to explore more of the room. Maybe if you are good, then living as a prisoner of the heretics won’t be so terrible. Maybe you will be able to survive Hell after all.

----------

Stay tuned for the next part "Burn Bright Until You Burn Out"

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lorelaiislatte · 2 days

Text

NCIS: Hawai’i Renewal Demands - Actions to Take

Since many of us are unable to physically arrive and beat down the doors of CBS, here are a list of actions to be taken. I personally dislike the use of planes, billboards, etc - they’re a waste of money and resources in the current climate, and networks rarely care. Here are a list of direct-to-network actions to take that don’t involve any cost to fans.

1. Contact CBS directly through their feedback form, which you can find here. Select ‘Late Night’ and ‘NCIS: Hawai’i’ when prompted. Within your message, be sure to include the following: why the show is important to you, steps you have taken as a direct result of the news (cancelling Paramount Plus, for example), and a demand for at least a final season. Syncing our demands is particularly important. I know it’s tempting to let all hell break loose, but ultimately, firm demands for at least one final season are significantly more effective.

2. Sign the petition. I know people have mixed feelings on the effectiveness of them, but we’ve hit over seven thousand signatures in less than twenty-four hours. That’s not nothing. You can find it here - please, please ask friends, relatives, whoever else to sign it, even if they aren’t an existing fan.

3. Continue to make a storm on Twitter/X. Use the hashtags #SaveNCISHawaii and #RenewNCISHawaii and tag @/CBS and @/CBSTVStudios in every tweet. Edit: to expand on this - simple retweets (and private account tweets) do not get counted in numbers. Please quote tweet publicly whenever you can and add those hashtags each time.

4. Flood their Instagram comments - whether the post itself is NCIS: Hawai’i related or not. Do not allow them to avoid our frustration.

5. Continue to amplify the articles and reviewers who have expressed surprise and disappointment. Ratings and critic reviews hold weight in which shows get renewed and which get cancelled. If SWAT could be revived, there’s no reason NCIS: Hawai’i can’t.

If more routes become available, I’ll reblog and add them here.

#ncis hawaii #ncis hawai’i #ncis #kacy #cbs

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flowerandblood · 2 days

Text

I don't like many of the authors' decisions here – sometimes their tropes, sometimes their choice of how they present events, dialogues, sometimes their characters, relationships between them or their appearance. It's not a bad thing. I have a right to feel this way.

But I would never tell them about it. Not because I don't have the courage to do it but because it would give them nothing, nothing good. You criticise when someone asks for it – when someone doesn't, then you should keep quiet.

Why? Because perhaps someone does not want this criticism and it's their right too. I, for example, don't care and I don't want to know how much someone dislikes something in my work. I don't need the fake appreciation of others, just as others don't need mine.

If I don't like someone's stories, I just leave them alone. God bless all of them! Write and be happy.

No one here is an oracle or judge, and some people feel that way. If you don't like what the authors are writing and their choices, give them a holy peace or else all you'll achieve is that they'll be discouraged from writing – they'll think: maybe nobody wants to read this after all, look at my characters, maybe it's pointless, maybe everyone thinks about me and my writing this way.

Sowing doubt and passive humiliation is very popular here for some reason and I find it incredibly annoying. People don't know when to shut their mouths and when their private opinion to which they are, after all, entitled hurts others, making them uncomfortable.

Our right to free speech should not cut someone's wings and mock them. This is an expression of disrespect and basic culture.

Not everyone has to want to change, to develop if it is not their profession but a simple hobby.

Anonymity does not make malicious gibberish sound any smarter, and a large audience or reactions under posts does not make anyone entitled to post an opinion in which they criticise works of others for their choices.

"Why do you write with only small letters? It's so annoying. This character would never do this, are you dumb? Aemond would never betray his family! Oh nooo, next Visenya on a big dragon? Why these OC's are so boring? Reader insert is just for you because you are desperate to fuck. Why do your OC is fat? Why do your OC is slim? Why do make your OC look like this, why won't you try something new? Why do you put Alys in your story as a third wheel when she is Aemond's real love interest?"

Shut. The fuck. UUUUUUP. GOD.

You say – you don't agree, don't read, I have a right to my opinion. Well, I say: your right does not absolve you from thinking about the feelings of others.

You are hypocrites. You cry and make a hiatus when someone sends you a nasty anon writing that you write crap, but you devote 2,000 words on your blog to why a certain trope doesn't make sense, why other authors don't have a right to make their OC's look the way they want.

What you write is not private, it's public. Who are you writing it to? Is it an expression of your frustration? Those you write it about can read it. They may feel very, very bad about it, they can think to stop writing at all or make themselves to do something against their will. But that's not your concern anymore, right?

Taking responsibility for your own words only when it's convenient for you is an expression of immaturity and that's what I see in this fandom – most people here are afraid of adulthood and the clash with it. Because in adulthood everything we do has consequences to face.

But it's easier to say that we simply have the right to express our opinion, no matter how hurtful and unfounded it may be.

I want to be clear – I will see anyone reblogging or write this kind of posts – I will block them. Even if I like you, if you are with me for a long time. I don't want to see this kind of toxic behavior on my wall ever again. Enough is enough.

#hotd fandom #gibbering about others oc's #gibbering about aemond x strong niece trope #gibbering about readers inserts #gibbering about smut in the fics #shut #the fuck #upppppp #plz #writing #writing advice #writing fandom #writers #criticism #writers on tumblr #fandom

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rad-polls · 1 day

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I actually have a radfem topic I am split on myself so I’d be interested in discussion on this too —

I have seen and agreed with critiques of the trans movement taking key slogans from other groups and making them trans focused instead. Not just once or twice but over and over where almost all their slogans are reworked slogans from racial justice, feminist, intersex/DSD activist, disability justice and other such groups. This is implied to be disrespectful, to come from a place of over-focus on trans issues at the expense of the rest, and sometimes done in cases where people who coined the original specifically said “no don’t riff on this”

While I think some examples didn’t really fit (like cases where the original inventors of the idea clearly WANTED it to be copied into other movements) overall I thought it was a legitimate criticism for the trans movement having a tendency toward disrespect for any other cause having importance without being connected back to trans issues too. And to excuse themselves for everything instead of ever owning up to overstepping.

At the same time I am someone who likes to say “male supremacy” and “male supremacist” to really hit home what patriarchy is, especially for women who are jaded into seeing feminist issues as petty, boring or “already basically fixed”. The type of woman raised on cartoons with “eee the patriarchy!!!” screeched by a straw-feminist villain character. It’s sad and I don’t abandon the word patriarchy but sometimes I need other, less common terms to cut through the bias.

So I say male supremacist violence and talk about systems of male supremacy. Which all more or less mean patriarchy.

But it is 100% true I took this pattern from people of color discussing white supremacy. Whatever the history of these terms (like if actually “male supremacist” did get said first long ago, by someone) it’s clear at this point, in this language, that white supremacy is the established term, and male supremacy is the riffing on it, to make a parallel.

I hope it’s different mainly because we (feminists) don’t make SUCH a habit of it, have more original terms too, and have (I think?) a healthier relationship to intersectionality (mostly due to many centuries of efforts by multiple-times-over marginalized women)

But I do wonder about when it may be disrespectful. I also favor “male supremacists” because unfortunately I have had some women hear me say “male supremacy” and assume at first that I’m an antifeminist literally saying that male people are superior, supreme or am advocating for it. That’s just sad though. That that seems more likely to be what it means, to anyone.

So - thoughts?

Options:

- TRA slogan/term behavior is wrong beyond just disagreeing with their movement, and this is wrong too — slogans/terms should never be 1:1 from another group first

- I do think the TRA slogan/term behavior is wrong beyond just disagreeing with their movement, but the “male supremacist” term is different and ok

- I don’t know about the TRA side but the “male supremacist” term is ok

- riffing on slogans/terms from other movements is always ok UNLESS asked not to, I apply this fairly to myself AND movements I don’t like

- riffing on slogans/terms from other movements is always ok EVEN when asked not to, I apply this fairly to myself AND movements I don’t like

- it’s ok when TRAs do it (eg, trans lives matter, cis supremacy, trans rights are human rights) but “male supremacists” is a bad term (TRA button???)

- bald/nuanced/I have some other opinions and will write them out longform

- vanilla extract/no thoughts head empty/see results

please read the ask before voting, as I won't be able to fit the options properly in the poll!

Thanks for the suggestion! And thanks for making me laugh with the "vanilla extract/no thoughts head empty" part ^^

#poll #polls #radblr #radical feminism #radical feminists do interact #radical feminist safe #gender critical

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moonxytcn · 2 days

Note

Hey! Could I request Billie comforting and taking care of an insecure reader with an eating disorder

And, I'd love to be friends :)

Love and Insecurities ||

Billie Eilish x fem!reader

summary – when you feel insecure Billie is there to remind you how beautiful you are.

warnings – fluffy, angst (almost anything ), eating disorder.

word count – 606.

a/n – Heyy! my first request, I'm happy. I hope you like this, and I'm sorry if it wasn't that good I'm a new writer so I'm still learning, constructive criticism is always welcome. thank you very much for requesting.

English is not my first language so there may be some errors

This gif isn't mine, I found it on Google

–––

You are sitting by the window, watching the city lights sparkle in the darkness of the night. A gentle breeze enters the room, bringing with it a sense of calm and serenity, as you let yourself be enveloped by the silence of the night. Waiting for Billie, who at this moment was in her studio, you can't help but fear the moment when she comes home with the same pizza box she always brings when she comes home late at night.

Your eating disorder has been present since school. Since you were a teenager, you've always been a bit chubby in your thighs, belly, and arms, which at the time led you to suffer bullying. Not wanting to hear any more comments and teasing about your body, you started reducing the amount of food you ate and sometimes even skipped meals during the day, all in an attempt to get as close as possible to the imposed standards.

When you met Billie, it was like a breath of fresh air. From the moment you laid eyes on each other, it seemed like a line had been drawn connecting you two. Billie has always been kind and loving to you, always making sure to tell you how much she loves you and affirming how beautiful you are. Of course, over time, this reduced the insecurity you had around her, but there was always a small flame waiting to grow, I mean, surely she's seen prettier women out there, right? She was a famous singer, you were sure there were better people to be by her side.

But she always assured you that you were the right person for her, that she loved you, and that you were the one she loved showing off to the world, always protecting you from the paparazzi but also showing the cameras the beautiful girlfriend she had.

Snapping out of your thoughts with the sound of the door opening, you got off the window ledge and went downstairs to meet her.

"Hey, love." She says when she sees you, coming towards you and hugging you and giving you a soft kiss on your lips as a greeting. "I brought pizza." She adds, smiling, showing her dimples.

"Hey darling. How was your day?" You ask. "I'm really not that hungry." You say and you don't notice but she already looks at you with recognition in her blue eyes.

"It's okay, come here." She says, taking your hand and leading you to the couch where she lays you down and climbs on top of you. "You are beautiful and perfect just the way you are, and I know I've been a bit distant with the album production, but I promise I'll remind you of this every day. You're the most beautiful girl I've ever had the pleasure of seeing, and I'm thankful every day to be able to call you mine." She says, looking deeply into your eyes. And with her words, you feel your eyes welling up as you try to look away, but she doesn't let you, gently grabbing your jaw to make you look at her.

Looking into your eyes she leans in and gives a soft kiss on your eyes, cheeks, forehead, and until she reaches your lips where she gives a kiss full of love, passion, and affection for you. "You are amazing and I'll never tire of saying that to you." She says softly to you.

She gives a last kiss on your lips and leaves light kisses like feathers down your neck, which she passes to your collarbone and onto your arms, belly, and thighs where she knows are the parts you like the least. "I love you entirely, I love your brown eyes, your beautiful arms, your belly, and those wonderful thighs where I always love to be in the middle because you know I love it when you almost suffocate me with them." She says, making you let out a little laugh which she finds adorable.

You pull her up by her t-shirt and pull her into a deep kiss, trying to show your gratitude and love for her. Coming out of the kiss all you can say to her is how much you love her and how grateful you are to have her in your life, and that you hope that in the future you'll have the life you've always dreamed of together.

#billie eilish x reader #billie eilish #billie eilish imagine #billie eilish fanfic #celebrity imagine #billie eilish x fem!reader #billie eilish x you #wlw #billie eilish fic

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allthecanadianpolitics · 15 hours

Note

Re: the UofT anon, I think it's worth sharing the full email we got. This is the same university whose land acknowledgement talks about how grateful they are to have the "opportunity to live and work" on the stolen land their "private property" occupies. Also note that campus police have arrested members of OccupyUofT while they were holding a peaceful sit-in on campus.

"Dear students,

At this time of heightened tensions, when protests are taking place on many university campuses, I am writing to remind you of the University of Toronto’s commitment to free expression and lawful and peaceful protest, as well as the necessary limits that accompany those freedoms.

Freedom of expression is central to the University of Toronto’s mission of learning and discovery. The University’s Statement on Freedom of Speech notes that “all members of the University must have as a prerequisite freedom of speech and expression, which means the right to examine, question, investigate, speculate, and comment on any issue without reference to prescribed doctrine, as well as the right to criticize the University and society at large.” The statement also makes clear that all members of our community have the freedom “to engage in peaceful assemblies and demonstrations.”

The University respects our members’ rights to assemble and protest within the limits of U of T policies and the law. The University also has a duty of care to our students. Actions that create a health and safety risk, that interfere with the ability of students, faculty, librarians and staff to learn, teach, research and work on our campuses, or that disrupt or impede other University activities are not permitted.

U of T’s lands and buildings are private property, though the University allows wide public access to them for authorized activities. Unauthorized activities such as encampments or the occupation of University buildings are considered trespassing. Specifically, our Code of Student Conduct prohibits intentional damage to University property, unauthorized entry and use of University property contrary to instructions, disruptions of University activities, and other offenses to property and persons.

Any student involved in unauthorized activities or conduct that contravenes University policies or the law may be subject to consequences. We ask that you engage productively with one another to fulfill our mutual obligation to provide a welcoming and safe community in which all members can express themselves.

Best Regards,

Professor Sandy Welsh

Vice-Provost, Students"

~~~~

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tobiasdrake · 1 day

Note

You previously anaylzed Yamcha's fighting style and the flaws he doesn't overcome. Do you have any thoughts on how Krillin fights?

Krillin's fighting style is one of my favorites, to be honest. He's a dedicated pragmatist, ready and willing to do whatever it takes to win. His techniques and strategies are deceptive and tricksy, always on the lookout for a way to circumvent the straight fight.

Krillin's fighting style is all about cutting the knot. It's just a shame that, Dragon Ball being what it is, his methods run counter to its central philosophies and so he is doomed to constant failure.

We get our first glimpse of the kind of fighter Krillin is going to be when he defeats Goku in the rock hunt on the first day of their training.

He first tries to win the competition by forging a counterfeit rock. But when the Muten-Roshi sees through that, he instead uses his counterfeit to fake out Goku and steal the real rock for himself.

He's narratively punished for this victory when his reward dinner poisons him via badly prepared pufferfish. But we see the foundations of what will become his martial style beginning to take root here.

Krillin is a tricky trickster. His goal is to be the guy still standing at the end of the fight. That's what he's here for. Though he does quickly soften up and become Goku's Male Bestie (opposited Bulma as Goku's Female Bestie), he carries this pragmatism with him as he begins to develop his skills.

Note that this is not to say Krillin isn't a capable fighter in his own right. As a pupil of Kame-senryu, he is a formidable martial artist. He begins to show the fruits of his martial training as early as the 21st Tenkaichi Budokai, where he crushes one of the monks that used to bully him in the preliminaries. He also pressures his own mentor, the Muten-Roshi, by raw skill alone.

Krillin's got the skills and he uses them. When I say he's underhanded and deceitful, I don't mean instead of fighting straight. It's a weapon in his toolbelt but not the only one. Nonetheless, it's a potent one, as he nearly defeats the Muten-Roshi via a special technique that only Krillin would devise.

Goddammit, Roshi.

He starts out using these kinds of underhanded tricks to compliment his martial arts. But as he grows as a martial artist, he begins to incorporate strategies like this into his art itself.

Aside from a brief and mostly offscreen bout with General Blue, his next significant fights are in the 22nd Tenkaichi Budokai. His fight with Chiaotzu demonstrates the way Krillin's sneakiness and martial training complement one another, as a major spotlight of it is his ki exchange with Chiaotzu.

Chiaotzu, like Tenshinhan, is a trained wielder of the Dodonpa. A lethal technique first introduced by the assassin Taopaipai, designed to fire a thin ki bullet from one finger, straight through its target for a mortal blow.

To counter this, Krillin attempts to perform the Kamehameha for the very first time. Which. Is. Absolutely stupid and reckless, as the Muten-Roshi notes. Baby's First Kamehameha is a poor choice to defend himself from the Dodonpa.

Or it would be, if that were the plan.

This is Krillin's strength in action. He fakes out everyone with an in @ Me Bruh bluff and then skirts around the direct competition to blindside Chiaotzu when he isn't looking. This is what a tricky trickster martial artist looks like.

In his next match with Goku, we see Krillin's ruthless pragmatism on full display. He devises his own version of Tenshinhan's Taiyoken/Solar Flare.

And he nearly wins by a tail when he once again breaks out his weak, improvised Kamehameha.

This bluff is brilliant. He gets Goku's focus on the Kamehameha while his true goal is Goku's tail. Unfortunately for him, Goku - under advisement from both the Muten-Roshi and his Grandpa Gohan - has been training his body to rid himself of that critical flaw over the last three years. His tail no longer saps his energy when it's grabbed.

But if Goku were still the same fighter Krillin knew before, this bluff would have been game-ending for their semifinal match. Krillin's abilities both in martial arts and in knot-cutting have advanced substantially. It's just that Goku's have advanced as well.

Krillin only gets one fight in the 23rd Tenkaichi Budokai. But he goes hard.

In the three years since last tournament, Krillin's devised bending ki blasts that home in on their target. Holy shit, what a stellar-

GOT YOU SUCKER THAT'S A FAKEOUT IT'S KRILLER TIME

Krillin's invented bending ki blasts that home in on their target as a distraction. Sadly for Krillin, characters at this point are beginning to distribute Bukujutsu, the Flying Technique, among themselves so surprise ringouts aren't an option anymore. Piccolo's been capable of performing Bukujutsu since his previous life.

Krillin loses the match, though he does force an admission from Piccolo that martial artists of his caliber will make the world difficult to conquer.

The next chance Krillin has to put his skills on display comes six years later when the Saiyans attack the Earth. Vegeta and Nappa grow their six Saibamen, forcing the Earthlings to entertain them by battling these veggie monsters. Tenshinhan and Yamcha handily defeat two of them, though Yamcha's killed by a surprise attack.

And then Krillin decides enough is enough and makes his move: Opening fire directly on Nappa and Vegeta with everything he's got.

A fool's attack guaranteed to fail against the insurmountable might of the Saiyan-no, wait, what's he doing?

Ha, fuck you, he was aiming for the Saibamen the whole time! Made ya look. Though he does also hit Nappa and Vegeta for good measure.

Krillin is technically the first Earthling to ever land a hit on either of these guys. Imagine that. It doesn't do shit to them, but still.

This fight also brings out Krillin's ultimate technique. The epitome of his skills, the final fruits of his labors, the be-all end-all of Krillin Techniques. You already know what I'm talking about.

This. This, right here. The Kienzan/Destructo Disc is peak Krillin. Literally a knife with which to cut the knot. Everyone else is throwing ki punches except those assassins shooting ki bullets. And Krillin stops to ask, "What if I sharpened my ki into a buzzsaw so I can slice open an opponent's flesh rather than trying to beat them at punching?"

Prior to Goku's arrival, this technique from one of the weakest fighters on this field is the closest the overconfident Nappa ever comes to defeat.

Nappa outright tries to take it like a punch. But for Vegeta paying the fuck attention, this would have taken his head clean off. Even Frieza can't resist it.

Because it's not something you resist. It's a buzzsaw. It doesn't hit, it cleaves. It's a technique that's so utterly Krillin in nature.

In fact, the entire Namek arc in general is peak Krillin. A three-way tug-of-war over the Dragon Balls between Frieza's ungodly might, Vegeta's rogue wildcard antics and deadly force, and Krillin being a tricky trickster gunning for any opportunity to scoop victory out from under them.

That Krillin wins.

This is the key to Krillin's longevity as a character. Like the rest of the cast, he eventually falls victim to inability to keep pace with Goku's advances, and becomes further and further de-emphasized from the big action pieces of Dragon Ball.

Krillin's tricky methods were rarely allowed to grant him much success in the ring due to the way they chafe against Dragon Ball's tone. This simply isn't a series where ruthless pragmatism and knot-cutting generally wins the fight. But those same methods also gave him staying power and an ability to continue influencing the plot of Dragon Ball long after he ceased to be relevant as a fighter.

Krillin's style is designed to punch above his weight class, and he's in general a tricky trickster outside of the ring too. The result of this is tremendous staying power as a weaker character brushing elbows with the titanic super gods of the cast. He may not be the clincher in a fight but there's almost always something for a pragmatist like him to do.

#dragon ball #dragon ball z #krillin

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homesickturner · 2 days

Text

Homesick - Ch. 1

plot : childhood best friends Gracie and John are separated when join joins the war. Both are dealing with their own problems…will they cope with such distance between them. Most importantly, will the friendship (or more than..) stand the test of the war?

Dara speaks : hi hi! I’m overjoyed to finally be releasing this first chapter 🥹 I just could not keep these two to myself anymore 🫶 pls comment if you enjoy…any constructive criticism is welcome also. My asks box is wide open for any and all thoughts you have after reading this chapter so please send them my way !! The idea for this series came to me while listening to my favorite song ever homesick by dua lipa…give it a listen if you have not it’s too good!

warning : will be historically inaccurate at times for the sake of storytelling. Mentions of anxiety.

Gracie and John grew up together. Their parents often say that it was not often throughout their lives that one was seen without the other. Once they reached hugh school, things certainly changed although they still remained very close.

Gracie has been an exceptional student for all her young life and had future hopes of become a nurse. John and Gracie spoke often of their future plans and although there was a chance they may end up hours and hours from each other they knew they would be alright.

“So John,” Gracie spoke up, John sitting opposite her at the dinner table at her home. “I was thinking of doing some traveling before I head to Washington in the fall…where is it that you confirmed again?.”

“Gracie-.”

“Don’t worry though it’ll be way before college so we’ll have time to work and-.”

“I’m joining the air corps,” he blurted out, setting his knife and fork down.”

“You’re…what. John you’re going off to the war and you didn’t mention it.”

“No Gracie because I knew how worried you’d be-.”

“Damn right John.” She shot back, a hurt expression clouding her face. The girl was lost for words. “I’m coming with you-.”

“Like hell you are,” he scoffed. “Quit talking crap Gracie.”

“John! I was going to be a nurse anyway at least this way I’d be helping.” She pleaded.

“Gracie..you don’t want to see what some of the nurses do in the war,” John said softly. “You have so much going for you, go to college and have fun-.”

“While you’re getting shot down out of your fucking plane John!.” She shouted back at him, tears brimming in her eyes.

“Grace I’ll be ‘aright. I’m not letting you throw your future away for me…for this stupid war.” He insisted.

“John you’re my best friend. I can’t let you go out there.” She stood from the table and began pacing the small dining room. “If I do, I’d bet money that there’ll be a letter landing on my lap in Washington in a few months because you’ll-.”

“Gracie,” he yelled, strolling to where she was in front of him and laying both hands firmly on her shoulders. “Please…you’re breaking my heart. You gotta let me go.” He choked out, getting the slightest bit emotional seeing her eyes filled with tears.

Gracie felt like the life she’d planned had been ripped from beneath her. Some may say, she indeed had the world at her feet, everything was in her favor. Her family were wealthy, she had friends and she was headed to one of the top nursing programs in the country. Gracie never in a million years expected to hear that news from John. She was so crushed, so angry that this war was going to take away her favorite person from her and maybe never give him back. Gracie knew that boy better than she knew herself, so she knew that there was no changing his mind.

Although she was deeply upset, she knew John and had every belief he was doing this for the right reasons. Gracie knew that John had a big heart and truly just wanted to do what he could in such a horrific situation.

She wished she could be mature and think clearly about the situation. At the end of the day, Gracie was 18 years old and about to potentially loose her best friend to this war. So, she certainly was not thinking clearly.

As much as Gracie tried to persuade him, John’s decision was made. One week later he and Gracie stood at the Wisconsin harbor to say their goodbyes.

“Please don’t do this,” she whispered quietly into this ear, both her arms wrapped around his neck. “I can’t loose you Johnny…you’re my other half.”

Gracie couldn’t believe John was finally leaving her. She wasn’t sure she could live without him. Unfortunately for her, she was about to find out.

“It’ll be alright Gracie, I promise you. Just trust me alright?,” he muttered to her softly, he hands rubbed her back slowly.

John knew no matter what he told her, she’d worry. He knew that they were two halves of the same coin, and they balanced each other out perfectly. John brought out her wild side and Gracie kept John’s feet on the ground when he got overexcited. They certainly brought out the best in each other.

He might have been going off to war, but the only thing he was worried about was how Gracie would cope when he was gone. She’d always been an anxious girl, and it has only worsened in her late teens. In recent years, her friends and family realized that it was only John who seemed to truly help her. They would watch the nerves and worry melt off her face and her body relax when John and Gracie were in company togther. When she was with him, it was as if all the voices in her head were quieted and she felt herself again. John could only hope a constant stream of encouraging letters would keep his Grace happy.

As they broke apart John kept his hands on her shoulders. The two kept their eyes locked for a few moments, the words that were not said danced in the air between them. The moment neither of them ever thought would come had finally arrived.

Gracie watched as John turned and slowly began to walk away from her, and into the unknown. Right before boarding the boat, he turned to her once more as she called out to him.

“John?,” she asked. “Yeah Gracie?,” he called back, a small smile forming on this lips. “

“Please take care of yourself Johnny….and I’ll be waiting for my letters.” John could see her eyes lighting up as she shouted out to him.

“I will Grace, I promise I will. You’ll have plenty of letters don’t you worry.”

Gracie watched as her best friend boarded the boat. Moments later he appeared on the top deck, finding himself a spot next to the railing and stood waving to Gracie. A smile graced her lips as she watched him waving to her, and she would laugh when every so often he would do a salute. John noticed these laughs, and did them twice as much when he noticed she enjoyed them.

Gracie’s heart broke as she watched the boat sail away slowly. She stood and waved the John until she couldn’t see him anymore. Once the boat had sailed far enough, she let some tears finally fall down her cheeks.

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