#it's like that one scene from akira

[kissykalachuchi]

it's crazy how my catradora brainrot feeds my bakudeku brainrot, which feeds my togachako brainrot, which feeds my catradora brainrot... like wow, what a mess of a feedback loop. a gay-ass feedback loop. i swear to god it's always a blonde and a dark-haired bitch like woah. woah is this what drugs feel like.

[books-are-my-life-stuff]

"All I wanted to do... was to have fun at the public pool with my friends." "If that's really it, then...you're a fool, Higurashi... You should have just told us... what you wanted sooner, back then." "If the time comes when I really become a zombie... let's go to the pool together, okay?"

Dedicated to: @apparently-artless

[floorpancakes]

its not a 1:1 but im still thinking about explaining the clamp devilman doujin and vague devilman lore to the holic discord and suddenly being overwhelmed w the urge to draw doumeki as 1980s OVA akira w the eyeliner and half open silk shirt and watanuki as ryo, having ripped apart the world and his beloved before realising his feelings, doomed to repeat an endless cycle where he realises too late and throws his life away for an unfeeling god and a belated love or whatever idk all that gay shit

[cryptid-condor]

this is one of reigen's special moves, where he kicks a spirit upside the head with his new steel-toed dress shoes. he then falls flat on his ass because you cannot kick anything like this and expect to land on your feet

click for better quality and so you can admire how well i drew his belt :)

[koipalm]

...deltarune-esque persona 5 au? especially with the Stuff with maruki?

ahhh i have mulled over how to answer this so much but i am just going to try. insert [orv-style monologue about about how even though no meaning will ever be translated completely from one person to another we still have to try] here

so i have not played deltarune yet, but to the best of my knowledge, kris, the protagonist, is a separate entity from the player. in additional, they are also aware they are being controlled.

i thought this would be an interesting thing to touch on in p5r, especially with the focus on control and power in the story. from corrupt teachers and government officials, to gods, to school counselors, there is a focus on choice/action being taken away and the characters rebelling against it.

i think it would be really interesting for akira to be somewhat aware there is something going on behind the scenes. especially with him thinking that shido is behind it, and then thinking its actually yaldaboath. think periodically having an "im being watched...." thought bubble pop up or a "something's wrong" as you play the game, and thinking its igor, or shido's goons. and he isnt wrong, but that feeling not going even when yaldaboth is defeated. and then maruki changed everything, so it must be his fault, right....?

and then another "i'm being watched" pop up, but. akira turns to face the screen:

from here, dialogue options not popping up, like he's refusing to speak. the name you chose glitching, like he's trying to remember who he was before he transferred...

in the end, i think it would be interesting to end the game on having to let go of playing akira; a prompting for the player to take hold of their own life. you helped akira and the phantom thieves, and they're grateful, but it's time for everyone to go their separate ways.

[orcelito]

aw fuck okay i just remembered the additional scene idea i had for discacc this chapter

in figuring out what scenes i want for this chapter i have decided to initiate the next step of the Goro Makes Friends agenda. i am looking forward to it

[flovverworks]

no but rly the entire feeling of "rather than having the strength to do it alone, i want to have the weakness to rely on someone" is gonna consume me

[koushirouizumi]

{"I'll take this match--"} {"[BE QUIET]. They're bullying YOU."}

[v5hadow]

WIP Wednesday (@2am Thursday again! WOO)

I think I'll be done with this scene next week. I hope I'm done with it next week anyways. But honestly I wouldn't be shock if it's got 2 if I add more like I did this section. I've also got a portion in this scene not posted and toward the end of the following scene that are giving me trouble for approximately the same reason.

From last week's:

“Ryuji, you may have to think on whether you can too. Niijima-senpai and Okumura-senpai are college students and Kitagawa lives alone in a dorm,” Yuuki sweeped his hand across the table at the three members in question.  “Niijima-san might voice a want to know where Niijima-senpai is, but I don’t think those two would stop each other if everyone is doing alright. Since she knows you all can take good care of yourselves and the world.” Yuuki added with a shrug.

Continuing on:

“Yeah, Sae just told me a few weeks ago that she doesn’t expect to see me a lot this summer and to keep everyone out of trouble,” Makoto nodded as she explained.  “But Yuuki-kun, I thought both Haru and I have expressed a want to at least drop the senpai?”

“Him and Sumire-chan are always so polite. But aren’t we at least friends by now, Yuuki-kun?” Haru reached over Akira to hold Yuuki’s hand.

“Yes?” Yuuki received one of the brightest beaming smiles from the heiress and a few laughs from the gathered friends.

“And it’s ‘we’ can! You’ve been a part of us for a while now,” Morgana called as he jumped onto Futaba, causing her to squeak in surprise.

Makoto directed her attention back squarely on their curly haired header. “Speaking of Sumire-chan, she has a gymnastics camp for this first week of summer that ends in a competition.” She got a nod in response from him.

“So that’s why she wasn’t here!”

Futaba threw a ball of napkins at the blond boy as she asked, “Did you not read that group text, Ryuji?”

“What? Akira didn’t know either, right?” The blond looked to his friend for reassurance and confirmation and got a confused nod. Once he turned back to Futaba, Ryuji waved his hand towards Akira and opened his mouth. 

Only for his hands to near immediately be put down onto the table by Ann, which closed his mouth. The model explained “He wasn’t in that group chat since she told us in the party planning group.”

“On what I was talking about, Tak…Ann-san’s parents are rarely around and freely allow her to take modeling jobs at her own leisure and study abroad. She has the ability to have a believable story or the money to be able to travel Japan under her own power.” Yuuki had gotten a little flustered as Akira put his arm around his waist but quickly adjusted back into a comfortable position and pace.

“Why are you going backwards on names, Yuuki?” Futaba asked as she got off the ledge to lean against it, Morgana moving to lean on her shoulders. 

Ann looked between the two techies before ignoring the name flub. She went on to say, “Yeah, my parents left for their own summer vacation yesterday and won’t be back for at least 2 weeks.”

Makoto asked the blonde, “And technically you are only here due to summer break in the US being around the same time, right?”

“Yeah! I’ll be a year behind in graduating here in Japan, but maybe that will work out in my favor.” Ann shrugged as she smiled. “But it's the middle of the summer break before my year there so I wouldn’t have many friends or things to do there right now if I even went now.”

“Your parents will be in a show in Copenhagen, correct?” Yusuke asked fairly suddenly. The artist idly continued, “I wonder what beauty could be found there…” 

Ann blinked at Yusuke. “Uh, yeah. When did I mention that?”

“You did not. A potential patron mentioned his agency prepping some work for there and your parents were listed in some of the noteworthy guests lists.”

“Yusuke, I-” 

Futaba tapped the cat on her shoulder’s nose as she said, “Nope, let Inari have this win, Kitty.”

“I am not-” Morgana started to say something again before being booped again before Futaba began to play-fight him. 

Yuuki smiled at the orange haired girl as he continued his ramble to Ryuji, “And Futaba-chan, well let’s just say between Sak… Boss not being too different from Niijima-san in opinion, she’ll also be with Akira.”

“Older brother, right,” Ryuji nodded along with that reasoning.

“Ryuji! Niishima! Stop being so embarrassing!” Futaba looked back at them while pausing her onslaught on Morgana. 

“You weren’t saying that a few weeks ago when they took you to the arcade in Akihabara for a break from studying, Taba-chan,” Haru teased the younger girl.

“Haru, not you too!”

Apparently Futaba stopped paying attention to Morgana long enough for her to get a paw flat to her nose with the cat squawking a delighted “Gotcha!” Futaba fell backwards causing both to go crashing to the floor and everyone else to give some laughter. The geek gathered Morgana to pet him more in apologies.

[swampjawn]

God I love animation. I love it for the way it can bring anything to life beyond the constraints of boring ol' reality, but also the ways that it's inextricably linked to, and draws on the conventions of live-action film-making.

So fuck it, let's look at how Hayao Miyazaki straight up copies some camera framing techniques from his predecessor and the other most influential Japanese filmmaker of all time, Akira Kurosawa! (Kurosawa really was the master of framing scenes around his characters, so he's a great source of inspiration)

(btw, this is a screenshot from this TV special where the two met for the first time just after the release of Kurosawa's final film. It's pretty interesting, and also very cute how nervous Miyazaki seems to be to meet one of his idols.)

Specifically, how the two each choose to break the 180 degree rule (well, not technically 'break' in the case of Kurosawa) to show their protagonists' changing destiny in "Throne of Blood" and "Princess Mononoke".

For anyone who doesn't know, the 180 degree rule is a basic film-making rule of thumb which states that in any scene where two characters interact, you should draw an imaginary line between them and the camera should always stay on one side of that line.

("In the Mood for Love" - Wong Kar-wai)

This way, one character is always looking to the right of the camera, the other is always looking to the left, and the audience doesn't get confused by the geography of the scene. Crossing this line can be disorienting, but when done intentionally, it can convey a paradigm shift of some kind in the scene.

In this scene from "Throne of Blood," (a feudal Japanese retelling of Macbeth) Washizu's wife Asaji discusses tactics with him and tries to convince him to aspire to the throne and to assassinate his lord Tsuzuki while he sleeps.

As two servants appear to notify them that Washizu's sleeping quarters are prepared, the camera dollies left and around the characters' backs. This camera movement is motivated by the motion of the servants' torches outside the room, but it also signifies a change in Washizu's outlook.

Washizu is completely silent for most of this scene, contemplating his wife's advice. But as the camera slides behind his back and across the line of action, the scene is now re-framed, illustrating his change in perspective.

He's been convinced and the trajectory of his life is about to change - and now, facing away from the camera, is the time for action.

Because the camera slides smoothly across the line, Kurosawa isn't technically breaking the 180 degree rule. Miyazaki on the other hand, takes it a little further.

The complimentary scene in Princess Mononoke comes near the start when the wise woman of the village reads Prince Ashitaka's fortune after he's cursed by the wild boar spirit. She tells him that it is his fate to leave the village and travel to the west, where he may be able to lift the curse on his arm. The trajectory of Ashitaka's life changes in this moment too. As he accepts his fate, the change is symbolized by him cutting off his hair, but also by the camera jumping the line.

Throughout this dialogue scene and even as he cuts his hair, the simulated camera sits just slightly to the side of Ashitaka's left shoulder.

But once it's done, for the final shot, the scene is reframed and we jump to the other side, where Ashitaka is now looking to the right of the camera instead of the left.

Making the camera dolly across a scene like Kurosawa's version in 2D animation is no simple task, so this transition with a simple cut is in a way subtler, in another way a bit more jarring, but it conveys the same meaning.

This is the moment when our protagonists make the choice to embark on a new destiny and re-frame their lives.

This has been an excerpt from a short video essay I made a while back, which not many people watched. I think this is at least in part due to my failure to package it well, and it seems you tumblheads like this animation/cinematography analysis stuff, so this is an experiment to see if, with the help of y'all, and a new title and thumbnail, it's at all possible to give this video a second wind in the eyes of the Youtube Gods!

So if you found this interesting, I'd appreciate if you checked it out! Thanks for reading!

[sukunas-wife]

Hehehe rising at 12:57 in the morning for my day of birth 🥺🤍🤍

In commemoration of my birthday, I offer Birthday Sukuna (Student edition) 🥺 I love Big Daddy Ryomen, he loves his wife so much even though she has no find details 💀 (Yet- maybe) they give me Kushina/Minato when Naruto had his Madara induced dream

In all things, the Sukuna family wasn't to extravagantly celebrate holidays. “Special days” such as Christmas, Halloween, Valentines, White Day, and those other seasonal festivities would be recognized, however Ryomen Senior and Junior would usually brush it off, leaving it to their wife and mother to make arrangements.

Akira Sukuna, was a woman who came from a family who loved to celebrate the holidays. Seeing it as a way for the family to come together and tighten loose bonds. Birthdays and Anniversaries in specific were her priority. A sentiment her husband had shared from the beginning. If there was a special day, it would be his wife’s birthday, or his son's birthday. Followed very closely by his wedding anniversary.

Now here she stood yelling at her son, “WHAT DO YOU MEAN Y/N’S BIRTHDAY IS THIS WEEK AND YOU DON'T HAVE A GIFT OR ANYTHING PLANNED OUT!? WHAT DID YOU DO FOR HER LAST BIRTHDAY!? DON'T TRY TO SPEAK OVER ME YOU PROBABLY DIDN'T DO ANYTHING THEN EITHER! RYOMEN SUKUNA JUNIOR, I MAY HAVE BROUGHT YOU INTO THIS WORLD BUT I WILL NOT HESITATE TO TAKE YOU OUT OF IT YOU KNOW HOW IMPORTANT BIRTHDAYS ARE I SHOULD- OH- MMM, YOU- RYOMEN GET YOUR SON.” She was livid, and pacing around in front of the table where she had sat her son after he nonchalantly mentioned your birthday would be during the week. Then proceeded to say “Oh I don’t have anything.” After his mother asked what he was going to do to celebrate.

Sukuna turned to look at his father who was attempting to avoid the scene, “Ryomen,” he cleared his throat unable to think of the proper words, “You should understand by now how important days like these are. They come around once a year. Holidays will continue with or without us, birthdays can only be celebrated with that person. You don’t celebrate the birthday of a dead person or a person who is no longer in your life, we celebrate the living because they’re alive and with us in these moments. Our time here is limited and that’s what makes it special, that’s what makes spending time with your loved ones special.” He looked at his wife for approval, she had a soft smile, “Aww my Ryomen.” She raised her arms bringing her husband into a hug, a hand on his face bringing him down to kiss him.

Sukuna cringed at the sight, and scoffed when he saw his dad wink at him. Of course his dad would know how to play his moms game and get away with it.

“Now,” his mom tuned to him with a smile, break into your saving and go find something nice.” Sukuna hesitated in getting up, waiting as if there was something more to be said, and there was. “AND I'M JUDGING EVERYTHING YOU DO AND BRING SO YOU BETTER BE READY TO EXPLAIN AND DEFEND YOURSELF WHEN YOU GET BACK RYOMEN.”

He was quick to evacuate hearing his dad laugh, “That’s my girl.” He heard the mumbles of his parents as he ran to his room and out the house, “Find something nice…” he scoffed to himself, “I’ll find something better than nice, I’ll find something amazing you’re gonna be jealous.” He was mouthing off, shaking his head while looking at the cards in his wallet. He had one escape plan if something was out of his limit, which would be hard considering his father never turned off his weekly allowance from all those years ago. He let out a smug laugh before he was officially ready to go.

—- —- —- —- —-

“So what’s the difference between this and that?” Sukuna was squinting displeased at the poor lady behind the counter. She looked around, frantically begging silently for her superior to hurry with his lunch. “Well, this is 2.8 carrots for 775,939.73 yen…” she motioned to the bracelet on the velvet display in front of him.

She hesitated to turn around in fear he’d pocket the bracelet and run off. But his stare had her more fearful of offending him by moving the bracelet away. “I-I’m sorry sir, would you please tell me what you're asking about when you refer to ‘that’.” He gestured to a necklace sitting on a high shelf over a velvet stand, “That necklace up there.” She slowly turned her head, shaky hand resting on the glass case ready to snatch up the bracelet at any sudden movements. Sukuna was occupied tapping away at his phone doing maths to justify his spending.

“S-sir,” the jeweller carefully placed the velvet stand in front of him on the glass case. She watched as Sukuna put his phone away, hand coming up and taking the centre diamond between his curled pointer finger and thumb. He lifted it higher to get a closer look at it, uncurling his hand to let the strand of diamonds run over his fingers. “This is seven carrots in total weight and it goes for 1,901,013.11 yen. It’s called a graduated diamond necklace. The diamonds graduate in size as they near the centre. Many couples or parents for their children like to start off with a hand full of diamonds usually 5-7, odd numbers so the centre stone usually remains the largest and add on more as they achieve accompaniments in life such as graduation, engagement, marriage, job promotions, pregnancies, anniversaries or birthdays.” The sales woman smiled at him, missing his eye twitch, “birthdays…” was all she heard him say before he took a deep breath and sighed, “This may be improbable but will you take a full single payment.” The lady blinked, “I..I’m.. Yes?”

—- —- —- —- —-

“Hey! I just called! You didn’t answer so I thought you were busy and weren’t gonna call back.” Your voice on the phone had Sukuna’s lips shifting into a faint cross of a smile and a smirk.

“I know, I watched the phone ring.” His grin grew when you scoffed “How rude. This is why you're not in the running for Boyfriend of the year and my plushie is.” His grin didn’t falter, “Yeah yeah, see if that little shit buys you your McDonalds happy meal when you want to collect their stupid little toys.” He heard your hushed devious laugh and rose a brow, “why-WHAT ARE YOU DOING RIGHT NOW?” You spoke over him, and his eye twitched, “I’m out, running errands foorrr… running errands.” “Awwww you’re such a good boy running errands for your mommy huh?” He rolled his eyes at your tone, “Yeah sure.” He started to turn on his car, “WAIT” his eyes snapped to his phone, “Ryo, wait wait wait. Hold on, don’t do anything.” He started looking around, there wasn’t a chance in hell you were telling him to wait and not do anything just by chance. He saw you, running up the sidewalk and around his car to the passenger side and jumping in, your phones echoing until you ended the call. He looked at you, mouth slightly open and brows furrowed, “Hi.” You smiled at him, “y/n…” he sighed, “What were you doing running down the sidewalk.”

“Oh, well, I had to um, I was doing a thing where I was going to go and-“ he cut you off with an unimpressed look, “You were going to McDonalds for that hello kitt-Sanrio collection!” You cut him off with a grin leaning forward and smacking the dashboard, “C'mon let’s go! The fries are only getting colder.” He sighed, “Fine but first, get away from the dashboard.” His arm pushing you back against the seat as he reached over to grab your seat belt was something you’d never fight against, instead you always took the opportunity to grab his face and kiss his cheek.

“So what are you doing here at,” you looked out the window, “Woah, that’s the fancy jewellery store.” He shrugged, “Picking up a gift.” He was nonchalant and you awed, “Aww your dad is so sweet to your mom, he loves his wife so much.” He shook his head with a faint smile, side eyeing how your expression, how your eyes lingered on the shop with a soft smile. “Alright, let’s go.”

—- —- —- —- —-

“Cmmoonn Ryyooooo.” You whine sitting beside him. He was still sucking from his straw, side eyes you and he tilted his head to the side. You took it as a yes and started to raise your hand and he pulled his head back, “No.” you huffed, “You’re just jealous I’m prettier.” He rolled his eyes watching as you threw your Kuromi comb back onto the booth's table and picked up the sliding Little Twin Stars mirror, opening it to look at yourself and nodding your head. He laughed and put his empty cup down. You looked at his empty cup as he flicked the fries on the wrapper around before eating one. You picked up your cup and took a sip holding it in your hand as if your were offering it, he took and started to sip on what was left of your drink and you angled the mirror to look at him. He let the straw go to make a face at you through the mirror. Snapping your head to him, “Why did you drink my sprite?” He looked confused, “You gave it to m-why did you drink my sprite I was just holding it here and you took-.” You closed your mouth when he pressed some fries to your lip and you shook your head, “Why did you drink-“ he held the fries out to you and you smiled trying to pull away and he did it again, finally you took a bite of the fries and he snapped back at you “why did you eat my fries?” You looked away smiling half covering your face with your spread open hand, “I can't stand you.” You missed his grin, “It’s a good thing you’re sitting down then.” You both sat back against the booth, watching the orange even slowly turn pink. The people passing, the ones on bikes, the kids running by looking like they were avoiding someone they had caused trouble for. You smiled propping your face on the palm of your hand, staring off into the skyline watching the birds pass over. “What do you think tomorrow will be like?” He eyed you, following your stare into the city building skyline. “Hopefully quiet, I wanted to sleep in but I ended up getting in trouble this morning and sent out.” You hummed, “heh, your mom reminds me of Naruto’s mom, don’t tell me your dad I’d like Minato too.” Sukuna went blank, doing his best to remember what you were talking about. There was a small twitch in his lips, “It’s close.”

You smiled huffing through your nose, “Oh wanna go with me to pick up a dress? I was supposed to earlier but ya know.” You picked up the little hello kitty case and shook it around, “I got distracted.” He smirked down at you, “Got distracted or just wanted a ride?” Your sheepish grin gave it away, “Alright, let’s clean up and go.”

—- —- —- —- —-

“You’ve been out all day, what did you get?” Sukuna’s mother was quick to stop him at the entrance, “You don’t have anything big so I’m hoping you have plans?” Her eye twitched the same way he had earlier under the stress.

“I do.” She smiled pulling him in, great WE” she yelled back over her shoulder, “want to hear all about it.”

Sukuna heard his dad groan, “Oh- I mean ofcourse we do.”

That’s how he ended up sat across from them, all of them in silence after he explained his gift choice… “Well.. congratulations on your engagement sweetie.” Sukuna and his father looked at their respective wife and mom, “I’m sorry, dove, what did you say?”

“It's graduation. diamond. necklace. Ryomen, that’s a lifelong commitment. Y/n isn’t his daughter so he would be stupid if he’s going to give this gift away and he doesn’t plan on having a future with her. But, that’s not my little Ryomen. No, he’s smarter than that, so I’m congratulating him on his pre engagement statement.” She looked away sipping from her cup of tea that had long ago gone cold. Her husband was looking at her and she placed her cup down, “Don’t argue with me about this, he came in here and said it’s for LIFE ACHIEVEMENTS, then said graduations, Engagements, marriages, pregnancies and anniversaries- does that not sounds like the process of what their lives could pass through???” Her husband paused to think about it, she was making sense, Sukuna was looking between the both of them, “I also bought a dress…” His mom smiled fondly, “Oh that’s sweet, what colour is it?” “…White..” his mom laughed softly, not at his choices but how in her head it sounds like a marriage was taking place, replace the necklace with a ring and she’d be telling him goodbye next week.

“Well, as long as you put thought into it I’m happy and I know y/n will love it.” His mothers soft eyes and smile matched her tone and he nodded. “I hope so, she basically chose it out and left it because she said she couldn’t ever buy something that fancy without a special occasion.” He scrolled through his phone to find the video of you trying on the dress, his mom saw the look on your face, how your eyes lit up when you turned to the mirror, the smile on your face and how your head snapped to him and ‘you’re taking a picture?’ You smiled with closed eyes holding up a peace sign and, ‘Heh, that’s the best you got?’ He questioned you and you pouted, ‘How do you like it?’ The sales woman who finished laying out the dress asked you, “It’s really pretty! I love the sleeves! It’s a little simple but it would look amazing in pictures.’ Your excitement shined through, ‘It’s our first event dress created, I’m so glad you love it, it’s only 152,100.05 yen. We can alter sizes and length upon request if you’d like, but in my opinion I think the length is perfect here, but in the back we could add a small clasp to hold it in just a bit more snug.’ Your blank smile was enough for Sukuna to cut off the video and go to your rescue.

“Sweetie.” His mom smiled at him, but he was smiling like a fool at his phone, the silly look of your blank smile made him laugh, “Ryomen.” He looked up at his mom, “That’s an event gown…” he blinked and nodded, “I heard her say it was an event gown.” His brows furrowed, “A WEDDING, event gown.” His mom stressed the word, “I would know, I was there and I saw the dress when they first brought it in store a week ago for their wedding debut.”

“Biology wants what it wants.”

—- —- —- —- —-

‘Are you going to class in the morning?’ You squinted at Sukuna’s message, it was almost midnight when you had woken up to his message. ‘No, I’m gonna sleep in late. I don't wanna go in tomorrow.’ You watched the screen of your phone when the chat bubble popped up. ‘FINE THEN, didn’t wanna see your face in the morning anyway 😒’ you smiled and laughed lightly at his message. Head nodding as you yawned, blurry vision as you got ready to nod off again.

‘Still awake?’ You blinked slowly at the message, typing your answer and accidentally hitting answer when a call came in.

‘Hey’ Sukuna’s voice on the phone was comforting, ‘hey.’ You were cut off by a yawn. ‘Y/n.. I need to tell you something.’ Yawning again you tried to answer, ‘yeah?’

‘I…’ the line went quiet for a second ‘Happy Birthday y/n…’ silence, you smiled, ‘Thanks Ryo.’ The smile was evident in your voice as you yawned again. Silence took over the line, you laid their comfortably to the thought of Sukuna being the first to wish you happy birthday. ‘Y/n?’ You hummed, ‘Ryomen.’ He let out what sounded like a smug scoff. “I love you…’

You grinned like a mad man, “I love you Ryomen.” You could hear the smile in his voice when he finally spoke up again, ‘Get some rest I’ll see you tomorrow then.’ You hummed with a smile, ‘yeeaah, I’ll see you tomorrow Kuna’m.’

—- —- —- —- —-

Waking up at 5 in the morning wasn’t ideal on your birthday, yet here you were, in a haze staring at your window that was being tapped on. The brief wave of panic had you shooting up until you heard the voice of your cursed lover. Sighing you opened the window and he quietly made his way in.

You yawned trying to ask him why he was here and he just brushed you off kicking off his shoes and taking off his sweater showing the long sleeve shirt that hugged his frame. He pulled down his sweat pants and you were going to look away until he mumbled “Calm down I’m wearing pants.” You looked back to see he was in fact wearing a thinner set of joggers, before he threw himself onto your bed throwing the blanket back. You looked at him as he looked at you, “You coming or not?” You weren’t sure what to say, as another yawn racked through your lungs and chest, “Yeah let me just.” You turned and locked your room door playing a risky game of getting caught with your boyfriend in your bed or getting yelled at for having a locked door. Either way, you’d take a scolding for a locked door any day. Yawning as you made your way to your bed, Sukuna rolled his eyes when he saw how much space you left. With one arm he hauled you over into his chest using the other to pull the blanket up over your shoulder. You settled on his chest as he held you tight, “Happy Birthday brat.” You smiled and hummed, a quiet “yaaay”, left you as you fell asleep on his chest to the faint scent of his cologne comforting you.

—- —- —- —- —-

It wasn’t until you woke up that you realised you had drooled over Sukuna’s chest. You looked up at him and he had an arm thrown over his eyes, the other wrapped around you loosely. His chest was rising and falling slowly as you started to sit up. You sat up and smiled down at him. When his hand slipped from your side he started to wake up groaning. “What time is it?” He was drowsy based on his squinty eyes that kept closing slowly and he’d force them open again. You grabbed your phone from the nightstand, “It’s 10:56.” He hummed and let his head fall back into your pillow. You sat there just staring at him and he was staring off at the roof.

“I’m hungry..” he looked at the glow in the dark stars on your ceiling before answering you, “Where do you wanna go?” He turned to you to see your cheesy grin before he popped your thigh with his hand, “It’s your birthday we’re not going to McDonald’s.” You huffed, pulling his hand into yours, spreading his fingers out and popping his joints, “How about one of those fancy kfc lunches?” He laughed, flexing his hand before intertwining his hand with your own, “I’ll take you somewhere I know that little brain of yours will be entertained entirely.” You would’ve squinted at his little Brian comment but let it slide, “alright, I’ll get dressed then and we can go. He rolled over to face you, you were sitting facing his chest before he propped his head up on an arm, “The place doesn't open til four, we have about 6 hours to burn if there’s something you wanna do.” You sighed, “I don’t know, I’m just hungry.” He huffed, flaring his dramatics, “Fine, get ready I’ll take you somewhere you can eat BEFORE we go eat.” He watched as you jumped up running over to your closet pulling out whatever it was before rushing out your room. He made quick work of getting out of your bed and running to your window to pull his bag in. It was a duffle bag that had your presents, his clothes and a few extra things.

By the time you came back he was dressed and stretched out over your bed that he tried to straighten up. “Took long enough.”

—- —- —- —- —-

You were indulgent in the little treats Sukuna kept paying for. By now you had one to many mini bags and Sukuna was carrying a few more. Each one was filled with chocolates and sweets you had picked up from every shop he had taken you to. Biting into a chewy fudge you were content with how it was sweet but not overwhelming, it was smooth and didn’t taste strongly or bitter. Turning to Sukuna with a smile you held the piece up to his lips, any other day he’d resist and make you work for it but he was curious and immediately inhaled your sweet making you laugh. The both of you sat in silence sharing sweets and opinions on what could be better. You mostly listened to Sukuna as he critiqued harsher things.

“Now what?” You asked as he chewed on another piece you pushed to his lips. He shrugged, “Is there anything you wanted to do?” You hummed looking around, and down at your shoes. They were your worn down sneakers, you’d wear when you’d often go out with Sukuna because they were more comfortable than those stiff loafers you’d use for uniform. You kicked your feet, “I wanna go buy new shoes, pretty soon I’ll have to retire these.” He looked at your shoes, “Yeah, didn’t wanna say anything but they look like they’re begging for a break.” You smacked his shoulder and he grinned at you catching your hand squeezing it, “truth hurts sweetheart.”

“Alright, let’s go then, take my bags.” You handed him the rest of the small bags that held chocolates neither of you liked. He rolled his eyes taking them from you and following you God knows where.

That’s how you ended up here, trying on shoes with Sukuna watching intently. You made the mistake of asking his opinion and he had taken his role seriously. “No, you’re not a show girl y/n you’re not going to wear six inch heels anywhere. You’ll break your ankle anyway, look.” His open hand motioned to your wobbly walk. “You just hate me cause I’m pretty Ryo.” He let out a single laugh, “Try these instead.” You sat across the aisle from him holding up your foot to him, “Change it for me?” If you were anyone else he would’ve thrown the box of shoes at you. But alas, there he was with a soft smile a scoff, untying your heel and putting your sock back on he placed the new shoe on your foot. They were simple converse but you were gleaming because he put it on and even tied it for you. “Perfect.” You wiggled your foot at him and he grabbed your foot by the sole of the shoe pulling the shoe off, “Great, we’ve been here so long I think we can go eat now.” You hummed lifting your other foot for him to take the heel off and put your sock on. He watched as you huffed trying to slip your old shoes on. “What about all the bags?” “We can take them back to your home and I’ll give you your birthday present.” He saw how your eyes lit up, “How about now?”

The way you exaggerated batting your eyelashes had a small smile tugging at his lips, “I left it at your house so you wouldn’t bother me all day, let’s go pay and then when we get there you can open it. I won’t fight you about it because you have to use it today or I’ll take it back.” You were smiling like a love struck fool when he offered his hand. You took it, letting him help you up before hugging his arm resting your head on his shoulder, “I love you.” He looked down at you from an angle, “mhm.”

—- —- —- —- —-

“No… Sukuna..” you held the dress to your chest looking at him with a sympathetic smile, before holding the dress up and smiling at it before hugging it to your chest again looking at Sukuna, “you didn’t have too Ryo, I love it so much, but it was so expensive I can’t, awww but it’s so pretty Ryyoooo.” You whined doing a little stompy dance squeezing your dress to your chest before throwing it in your bed beside Sukuna. He reached over to pick it up until you were between his legs squeezing him in a hug, his head pressed against your chest with wide eyes. He couldn’t get used to the displays of affection, still he let his hands hover over you until he hugged your waist letting you press your cheek to the top of his head and squeeze him harder, “I lied you are in the running for best boyfriend of the year.” You didn’t see the way he smiled but you felt the way he laughed when he pulled away shaking his head, “Where’s that damn plushie anyway.” You pulled him back into your chest fearing for your plushies life, “Uh, no where.” He squeezed your waist in his hud before he tried to push you back so he could stand. “Get dressed, I need to get ready.” You finally let him go and he turned to give your dress a Quick Look before grabbing his bag and heading out to the bathroom.

It took half an hour for you to get ready and you were still in a Fritz about shoes and how you were supposed to close your zipper. Finally you gave up sitting down on your bed huffing. The knock on your door pulled you out of your despair, “help me..” your plea had Sukuna dropping his bag and walking over to you with a focused face as he motioned you to stand. You did and face your open closet door, the body mirror there showed your reflection and how elegant the dress made you look. You smiled at yourself watching as Sukuna looked like he was struggling, “Step forward.” Was all he said as he finally stood behind you and zipped up your dress, you were smiling bright at your reflection, watching how it looked like he was pulling at something. “Is something wrong?” He looked up at you through the mirror, “Yeah something is missing.” His furrowed brows looked concerned through the mirror and you gave him a worried look, “Put your hands down I’ll fix it.” You kept your arms to your side hearing him rustle something around before he looked up bringing his arms around your shoulder over chest. He pressed his hands together before pulling them apart slowly showing you the reflection of the necklace he had bought. Your jaw dropped before you started choking, “RYOMEN.” You tried to step back only to bump into his chest as he laughed, stepping back to clip the necklace onto you, “What.” “NO RYO you didn’t have to, please, I’m gonna cry.” His smile was priceless, he looked so soft staring at you through the mirror. The edges of his lips were pulled up into soft smiles, his eyes were full of sentiment. “I think it fits well y/n.” You felt heat race to your face as you forced your eyes closed cupping your hands over your face. You turned to face him, hugging him and burying your face in his chest to hide your face, “rryyooo.” Your muffled whine was ignored when he laughed lightly patting you back with his hand, “if you really don’t want it I’ll take it-NO IT'S MINE.” The way you turned your head to the side with a sheepish pout led him to sigh, smiling down at you, “you’re a mess y/n.”

—- —- —- —- —-

“Ooou, well aren’t you just fancy.” You shook your head side to side taunting him. “No, I just don’t spend all my money at McDonald’s for toys.” He flicked your forehead making you squirt him and make a face. “So… what is this exactly?”

“Just trust me you’ll like it alright, my parents are here also or else we wouldn’t get a private room so you can have fun with that also.” You both stopped when the hostess stopped in front of a Shoji door, “This is the room reserved for Ryomen Sukuna and company. Company has already arrived.” She slid the door open and there you saw Mr and Mrs Sukuna. Your bright smile was genuine as you greeted them, being wished happy birthday and squeezed into a tight hug by his mother. She held at arm's length, “Oh you look beautiful! This is beautiful. Where did you get it? You look very nice y/n.” Her eyes fell on her son, she looked him up and down, “I see you took a lesson from your father.” Her husband choked in the background looking at his son. Black dress shirt, black dress pants, shiny dress shoes and a black tie. “I don’t see anything wrong with it…” his mumble had her casting him a side glance, “There are other colours other than black husband.” He grinned, “Says the woman wearing black.” You smiled before she turned back to you rolling her eyes, “men.” Your laugh had her refocusing on you, “assuming Sukuna was with you all day after I got a call saying he was in fact not in school, how was your day?” She was smiling, nodding along as you went about telling her of the chocolates you tried, she was surprised Sukuna ate any considering he didn’t like chocolate all that much. Even more surprised when you told her you spent over an hour shoe shopping before he finally found you a decent pair. The two of you kept talking until she asked what he had gotten you as a gift. She was how you perked up jumping out of your chair to show her your dress in its full glory, “He bought me this dress, I really loved it when we saw it in a store, but I couldn’t get it because of how pricey it was. I almost started crying and telling him to take it back.” His mother admired your enthusiasm and sheepish smile, “Well, it looks amazing y/n. A beautiful dress for a beautiful girl.” You blushed with a sheepish smile. “Thank you he also got me this actually, you asked earlier but I didn’t get the chance to answer.” She watched as your hand touched the necklace. Your expression changed to a soft smile as you looked down, “I kept telling him he didn’t have too, I actually started crying.” She looked at her son, he was staring at you with a goofy smile until his dad elbowed him talking about something he didn’t have a clue of.

She smiled, “You’re a very lucky girl Y/n, but I can say that Ryomen is even luckier to have found someone like you.”

You all turned to the door when there was a tap. A chef rolled in with a cart, “It’s a special day, so we’re going to make it extra special!” Sukuna’s mom left you to sit by her husband leaving room for Sukuna to sit with you, “You’re going to love this.” You smiled at him, he was staring at you with a small smile. You reached over under the table taking his hand and bringing it to your lap squeezing it in both of yours. “Thank you for everything Ryomen, I love you.” It wasn't until your hand came up to bring his face closer and you kissed his jaw he reacted. His father laughed at his son's wide eyes and reddening face. The Chef laughed, drawing a heart with oil on the flat grill, “ah, young love,” he lit the oil causing a burst of flames leaving you in awe, squeezing and shaking Sukuna’s hand. He missed the entire show but was content with taking in your reactions.

It was true and he hadn’t realised it, he was in love with you and he couldn’t deny it.

(On a side note, I went to early birthday lunch and I dressed up and a lady literally got a glimpse of me and snapped her head around and screamed across the room “OH MY GOD YOURE BEAUTIFUL!” And i felt so loved 🥰🥰 also go you wanna leave me a gift 🥹 here’s my PayPal (my cash app didn’t wanna link) but it’s not obligatory or anything, I’ll probably take them down later because it makes me feel funny. Someone sent me a dollar and I love that virtual dollar sm it makes me smile lol)

Tag: @sakuxxi @mercymccann @certainduckanchor @najiiix @bakugou-katsukis-wife @amitiel-truth @souyasplushie @mylovelessnightmare @ynjimenez @princessluvz @furiousblacktiger @anyaswlrd @shytastemakerthing @alialucille

@sad-darksoul @satorisgirl @bontensbabygirl @lupita97lm @queen-luna-007 @venus-seeks

@bofadeezs @shytastemakerthing

🤍🥳

[canmom]

Animation Night 173: Takashi Nakamura

Hi everyone! It's that time of the week again~

The day that puppets bite their gloves off.

Tonight on Animation Night we'll be taking a look at the works of Takashi Nakamura (中村 たかし).

Nakamura is a director who flies under the radar a bit over here, but for those who know him, he's a unique director - one who we've actually encountered a couple of times before, actually! He directed one of my favourite shorts in Robot Carnival [Animation Night 158] Chicken Man and Red Neck, in which the machinery of a city comes alive to have a violently strange Bosch-like party led by a strange red-robed robot, witnessed only by one salaryman on a moped...

...and if you remember when we looked into the three adaptations of Project Itoh's novels [Animation Night 127], he co-directed Harmony with Michael Arias, a powerfully understated film about a high tech biopower future and people who reject its utopia through a suicide pact. We also saw him in the Japan Animator Expo, with the charming Bubu & Bubulina...

But let's give a fuller story...

As an animator, Nakamura entered the industry very young, signing on as a colourist and inbetweener at Tatsunoko in 1974 - at which point he was only 16, an aspiring mangaka newly arrived in Tokyo. Working in Tatsunoko's distinctive 'industry within an industry', he was introduced to Hirokazu Ishino's 'Anidō' association, in which he was introduced to not just many important animators but also had the chance to see animation from around the world, from Norm McLaren to Japanese independent animators like Kenzō Masaoka. The two films that got him most excited were Takahata's Horus, Prince of the Sun [AN41] and Disney's Fantasia [AN15], both of which contained incredible flexes of effects animation.

(Incidentally, it makes me happy that a lot of the films Watzky mentions showing at Anidō showed up on here! Following in the footsteps of giants and all that.)

Once Nakamura got the animation bug he put aside his manga aspirations and became a key animator, going freelance a couple years later. In 1979 he saw Galaxy Express 999, and got to witness the insane 'liquid fire' effects of Kanada, and he instantly became a devotee - soon enough getting a chance to work with Kanada directly.

And by the early 80s Nakamura was definitely making a name, already working in animation direction and solo-animating entire episodes of Gold Lightan for Tatsunoko. The next couple of years he'd end up working on Nausicaa, Macross DYRL and the with Rintaro [AN53, 134] on Genma Taisen. By now he was specialising hard in effects (not unlike Anno!), and his work had become terrifyingly elaborate, look at this building collapsing into every single element or the clothes coming to the life under the power of a psychic. His work also inspired another incredibly significant animator to enter the industry - Kōji Morimoto, future cofounder of Studio 4°C - and they ended up working together on Genma Taisen.

Meanwhile on Nausicaa, Morimoto handled some of its most memorable scenes like the opening sequence where Nausicaa is pursued by the giant Ohmu. Once again you see his fascination with effects and debris, like the shot where the Ohmu explodes out of the forest, sending stalks flying in every directions. In Macross DYRL he animated the scenes of the gravity flipping sideways and a street's worth of stuff tumbling down all at once, elaborating on a scene by Itano from the TV show.

In short, if there's lots of bits of stuff flying around in a mid-80s movie, there's a good chance that Nakamura was involved somehow.

Such a focus made him a perfect fit for the 'realist school' developing in the late 80s - whyat you might loosely call the Otomo circle. You see his work on both Manie-Manie/Neo Tokyo and Robot Carnival, and naturally enough he ended up part of the team for Akira. Given what he'd already accomplished, could he somehow step it up another notch? You bet.

Going by sakugabooru comments, Nakamura's role in Akira was mainly related to two things: explosions, and animation direction. Considering how iconic the explosions in Akira are, and how challenging it was to animate Otomo's very solid and 3D designs... the success of the film depended a lot on Nakamura's insane drawing skills. Further, he was a kind of 'teacher' to the rest of the staff, such as Morimoto. But this was apparently the 'limit' for Nakamura, and after Akira he turned from creating animation for others.

And this point marks a major stylistic turn in Nakamura's work. Starting with the World Masterpiece Theatre adaptation of Peter Pan, on which he worked as character designer, he adopted a highly stripped-down, simplified style. With all the Akira goodwill, he was able to pull in many of the new stars of the 'realist' school, from Okiura to Ohira. But his work became a lot less flashy, focusing more on a Disney-like approach where it's about creating a consistent sense of life rather than individual flashy sequences.

The Hakkenden [AN 122] was one of his first chances to experiment with the new style as a director, with Episode 4 really kicking off the series' trend of completely redesigning the characters according to the sensibilities of each director. He also worked on the kinda obscure but gorgeous realist-school film Junkers Come Here [AN 118] as his own film debut, Catnapped!, progressed.

So Catnapped! This is a weird movie. Many people see a Disney influence in its style, and it definitely broke the 90s trend with a younger target audience - but Disney could never make a movie filled with as much imaginative strange shit as this one. Watzky points out how much Otomo influence there is in the direction - dense environments and elaborate multiplane shots, in contrast to simple character designs which afford a lot of movement. These designs allow great animators like Okiura [AN139] (who animated most of the finale) to really go to town. There's a great para in Watzky's article on the different directions taken by the 'realist' animators.

Catnapped is a pretty short film at less that 80 minutes, a revel of visual imagination; Nakamura's next film A Tree of Palme is just as distinctive but in a different direction. It's another take on the Pinocchio story [c.f. AN138], but a very 'dark, metaphysical' one, with its biggest inspirations apparently being French - Moebius and René Laloux [AN71, 93], with Mutsuo Koseki coming up with art direction capable of comparing to Laloux. The three year megaproject pulled in animator legends from across the board - Inoue, Ohashi, Ando, Masuo, Matsutake, Umetsu! (Count how many directed part of Robot Carnival).

The character designs of Palme look simple in stills, but once you see them in motion, they're anything but - incredibly volumetric and full of life and movement.

In the 2000s and 2010s, Nakamura ended up working with Colorido and 4C a lot (naturally enough given the connection with Morimoto!), increasingly making effective use of CG in his projects. This led up to The Portrait Studio (写真館 Shashinkan) (c.f. AniObsessive) in 2015 - an almost solo short film, with Nakamura writing, storyboarding, designing characters and doing all the key animation, which is a kind of slice through Japanese history through the lens of a photographer who just wants to figure out a way to get his client to smile.

Much like Palme, The Portrait Studio combines simple character designs (in a stylised picture-book look) with very precise, realist animation on 2s and 1s to lend them a sense of density and 'existence'. Moreover, unlike most anime, it uses the raw pencils as finished lines instead of redrawing them clean on a computer. The style might call to mind Otomo's Cannon Fodder, and in fact the two films share a colour designer. 3D is integrated with an unusual degree of skill and subtlety. It makes for a fascinating combination, a very memorable and impactful film for all its apparent simplicity.

So, that's our focus for tonight! We'll be watching Catnapped!, A Tree of Palme and The Portrait Studio, and getting to find out what the deal is with Nakamura - one of the Very Important Guys in the history of anime, influential on so many of my faves... but all too often overlooked by people who aren't like, huge animation nerds.

If that sounds fun, come join me at twitch.tv/canmom - going live in just a minute! I've been wanting to do Nakamura for ages, and today I finally found energy for a writeup. See you there~

[vashtijoy]

Hi! Pre-emptive sorry for the long ask- I don't know if you've answered this before but I was scrolling through your blog and in one of your posts you note that the brief bit we see of Akira's hometown has high rise buildings, which implies it's a city. I could've sworn there was in game dialogue calling him a country boy though or referencing him being from a rural area? Is there something in the Japanese text to suggest these are meant to be taken as jokes (I.E. protag is from a city, but it's not as big as Tokyo so he's playfully considered 'rural') or is this a case of the game devs simply not considering what buildings they had in the background of that scene?

Hello! First of all, I think it's insanely unlikely that the game devs just forgot Joker was meant to be from a shack on top of a mountain and accidentally put him in a city. Maybe they didn't have time to design a farm and shoved him in a random cityscape instead? Well, maybe. I would at least have pasted in a couple more trees.

So what do we know about this?

Sojiro calls Joker 田舎もん inakamon, short for 田舎者 inakamono—someone from the countryside; someone provincial. This is what's translated as "country boy", or "country bumpkin". Chihaya uses it about herself, and Chihaya I think is certainly meant to be very rural. The Adorable Woman and Rural Young Man in Shibuya Station use inaka a lot:

His name did not originally use inakamono or similar, by the way—he's the 上京してきた青年 joukyou shite kita seinen, "the young man who's moved to Tokyo". Note the moving-up kanji there, 上, lol—this is not a sideways move, it's a definite move up.

so what is the inaka?

In short, the inaka can be the remote countryside—but it can also just be your hometown, of any description. It can be legit anywhere that isn't Tokyo. Here's Tofugu:

My mouth was hanging open and I know I was being rude, but it was really hard to pull myself together. The woman I was speaking with was from one of the top Japanese Universities. She has had international relationships, traveled the world, and done work that most foreign anime fans would kill to see. Someone with her experiences, to me, should be open-minded about other cultures and lifestyles. Just the same, I can't help but to be bothered by what she said: "I feel like anything outside Tokyo's 23 wards is inaka." [...] Often, people usually just use what they read in the dictionary, but I learned fast that "countryside" in American English is much different than in Japanese English. For me, countryside means farms. Countryside is driving to see your closest neighbor, riding tractors for work and pleasure, and being able to immediately tell who's from your town just by looking at them. When I say this to Japanese people and ask them to explain inaka, the joke is always the same: "Inaka is anything outside of Tokyo." Osaka and Kyoto, for many, aren't inaka, but Sapporo, which is one of the few parts of the country where this legendary thing called "insulated housing" exists, is inaka. [...] So you might be wondering how "bad" it really is out here. Truthfully, I'm living in a city, at least by American standards. Great bus and train systems, tons of malls and movie theaters, some of the major stores people visit Tokyo to see, game centers, golfing… and a few rice paddies. Not many, but there are some. Imagine a fashionable mall, famous manga store, well-respected school with a strong baseball team, and major supermarket, all within walking distance, with maybe one field of rice. Honestly, the place is so city that I don't think I would willingly eat any rice that grew in that field. I swear, it's in front of a bus stop.

So, tl;dr: if you aren't in Tokyo, Osaka or Kyoto, you're probably in the inaka—at least to someone's mind. You can be somewhere that looks to us in every way like a city, and be in the inaka. And if you pick up sticks and move to Tokyo? Then you have a good chance of being jibed about being a "country boy".

so what is joker's inaka like?

[Joker] 田舎に帰りたい inaka ni kaeritai I miss the country... [lit. I want to go back to the inaka.] Ryuji ハハ、都会の洗礼ってか? haha, tokai no senrei tte ka? Hah. Not used to the big city yet, huh? [lit. Haha, so this is your first time in the city?]

We don't get a huge amount of detail in-game about Joker's home. Besides Sojiro's "country boy", Ryuji has a couple of comments. Here's another:

Ryuji あれ? お前ン家ってわりと田舎? are? omae n uchi tte wari to inaka? Wait a sec, your hometown isn't near the countryside, is it? [lit. isn't your place relatively countrified?] Ryuji いや、大自然でランニング練習とか気持ち良さそうだなーって。 iya, daishizen de ranningu renshuu to ka kimochi yasasou da naa tte I was just thinkin' it'd be great to run an' train somewhere out where it's all big, naturey open space. [lit. no, I thought it seemed like it'd feel great to train in the great outdoors and stuff.]

(I think something may be off here with that translation of daishizen, which seems to connote "the great outdoors", "a vast wilderness", etc, as well as just meaning "nature" (the sort you get out into) more generally". The word has been split up as if Ryuji was just saying "big nature" for some reason, like if you thought "the great outdoors" meant "the outdoors is great :D".)

But we can see from Ryuji's statement that Joker's home is wari to inaka, "relatively countrified", "kind of countrified"—it's more the country than Tokyo is, but it's probably not the ass end of nowhere, either. It's somewhere Ryuji pictures getting out into nature—but even if that's accurate and not just in Ryuji's city-boy head, that again doesn't connote "ass end of nowhere"; a lot of very built-up places are startlingly close to farmland or to nature, as with the putative rice field at the bus stop that we read about earlier.

the artbook picture

There is, of course, a picture of Joker's home in the artbook:

That doesn't scream "rural" to me—though it's also not the built-up area we see him in with Shido. It backs onto a cliff, it's very green. It's clearly a row of houses on a street, maybe in a fancy suburb on the edge of the city?

It's a nice house, at any rate. Joker moving into Sojiro's attic, with his clothes in a box, will have been a harsh step down.

Another detail from this image before we move on:

Look at this board. We can make out what it says. We can even, just possibly, make out a town name there...

日立自治会 掲示板 hitachi jichikai keijiban Hitachi Neighbourhood Association noticeboard

自治会 jichikai—neighbourhood associations. As you'd expect, they tend to be organised at the very local level—so Hitachi is likely to be a small district within a larger city, rather than (say) the city of Hitachi in Ibaraki Prefecture.

his city has a name guys i can't believe it lmao

the coup de grace

But there's one question I think really puts the nail in the coffin here: WTF was Shido doing in the middle of nowhere?

It's totally plausible that Joker came from a remote farm in the country, or a tiny village in far northern Honshu. But what is there in that to attract Shido? Like... Shido seems kind of an indoor guy, y'know?

He goes where his business is. He goes where the money is. It's difficult for me to picture him going to random rural areas with nobody to schmooze, with what I'm sure he'd consider to be poor facilities and shitty hotels.

Even if he did stoop to visit somewhere like that, by the time he was on his off hours getting pissed (in both senses) and attacking women, wouldn't he have gone back to civilisation?—back to the city?

conclusion??

This place Joker is wandering after dark doesn't look like The Country. It looks quite built up. I'd say it's the centre of a regional city or large town—with those nice houses we just looked at set off in suburbs along its edge. Look at this place:

It really does look like a less cramped version of Yongen-jaya, down to the trees. I don't think they spent too long on this area, but I also don't think it's inaccurate.

By the way, that "Hometown Neighbourhood" was originally 実家近くの住宅地 jikka chikaku no juutakuchi—"residential area near home". So this is not where Joker lived with his parents; it's an area close by. Like he says, he's on his way home late.

Where was he? We never find out. He has what looks like a school bag, well before his nasty crime days. Maybe he was visiting a friend we never hear about again. Maybe he was at cram school. But he's gone to this built-up part of town to do something there.

My guess would be that he lived in some prefectural capital or other. That's why Shido is there. I'd also guess that it's one of the Kanto prefectures, since the further you go from Tokyo, the less likely it becomes that Joker would have been sent to Tokyo for his probation, whether Sojiro was a friend of a friend or not.

As ever, all of this is for information only, and if you want to do something else superior in every way, you definitely should. At the end of the day Joker's a silent protagonist player insert, who can be from absolutely anywhere and as gay as you like. Let a thousand Jokers bloom.

revision history

Click here for the latest version.

v1.0 (2024/01/17)—first posted.

[sashimiyas]

here’s the scene. it’s an autumn afternoon. brown and orange drizzle over drying, green grass. a young man stands outside his house. in front of him is a beautiful young woman with a box tucked in her arms.

from your bedroom window, you can tell she’s wrapped the fragile paper with meticulous care. the man breathes in. his shoulder pull backward, and as he does so, you let out the most disappointed sigh.

“your son’s breaking another girl’s heart again.”

“that ain’t my son.” the scene has been on repeat. what feels like day after day is a vision of a poor girl running from your home and never into it. at this point, osamu pays it no mind. “if he’s fucking up, then that’s atsumu’s nephew. ain’t no son of mine.”

you scoff at the image of a young atsumu, bronze and brittle hair, waltzing around school grounds with an excess of confidence and cringe.

“atsumu?!”

“well he sure ain’t got that from me.” osamu joins you by the window. fall sunlight steeples his nose, a contrast that heightens the beauty of his round cheeks. recently, you’d done some cleaning and he’d found an old kendama you’d bought when the younger heartbreaker was little. what was a mild fascination for your son has now become an obsession with your husband.

he snaps the wooden ball against your window with a rattle. your quiet glare is enough for osamu to toss it aside and pay attention to the matter at hand.

“are you sure about that?”

“don’t—“

“what about akira? and kira? and hatsume? and—“

osamu’s arms bundle across your chest as he hugs you from behind. groans that turn into a petulant whine as you continue to list of his previous romances before you, he squeezes you tight until not a single breath, and especially, not another name can escape your mouth.

he tosses you into bed. body pressed between the mattress and his, osamu already knows your antics. he places his full palm against your mouth, silencing any more words from your lips.

“so i might’ve broken hearts.”

you hum into his hand, delighted despite your position.

“but i ain’t never broken yours.” your mouth moves but osamu is quick to stop you. “ah! don’t think too hard on that one. ya gonna hurt yaself. i ain’t never done it. and that’s a fact.”

not wanting to admit how carefully he’s handled you, you simply lick past osamu’s fingers. he meets your peeking tongue with his, making your shriek. osamu’s ecstatic and though you flail to and fro like a fish out of water, he reels you back in with ease, wetting your lips with a kiss.

“go talk to your kid,” you finally say. quiet this time, serious. “show him how to treat someone right.”

osamu lifts you both up from the bed. he twirls you around until you’re by his side with his arm across your shoulder.

“ya gotta come with,” he says while walking towards your bedroom door. “lead him by example and show him how i love ya.”

he leaves you behind, rushing toward the stairs to take the first two steps. turning around, he holds his hand out for you to take.

when you’re on the stairs together, osamu calls out into the house.

“hey little man! guess what we’re having for dinner!” osamu looks at you playfully, a tease on his lips. “ya ma’s favorite! now guess why!”

[duhragonball]

Akira Toriyama (1955-2024)

I wouldn't say I'm feeling better today, but I'm feeling less bad than yesterday. So let's see if I can put some words together.

In case anyone still hasn't heard, Dragon Ball creator Akira Toriyama passed away on March 1, 2024. This news was made public on March 7 or 8. I woke up early on Friday morning and found out while I was checking Twitter. I had a long, busy day at work, and I kept getting on my phone to scroll through fan reactions and tributes.

I think that, more than anything, is what's gotten me so worked up about his death. My Twitter timeline and my tumblr dashboard were just chock full of touching message and images about how Akira Toriyama's work has changed their lives. I wanted to write my own tribute, but I'm not sure what else I can say that hasn't already been expressed by Archie Comics, professional wrestling trio The New Day, and the Republic of El Salvador.

There's this immense, global community of fans, and it's easy to lose sight of just how big it is. It's easy to get bogged down in the infighting and petty squabbles. I saw one tweet responding to the criticism of Dragon Ball not being like this "entry level" franchise compared to other, more high brow anime and manga. It's popular with so many people, that critics will assume it's designed to appeal to the lowest-common-denominator. But the opposite is true! Dragon Ball is accessible, which is how so many people from so many different places and walks of life can get into it. The guy telling the story was such a master storyteller that he could grab an audience's attention and make it look easy. So easy that the haters would start to think that it was a trick, and he must be overrated.

Let me talk about this panel for a minute.

Last night I started going through the original manga, looking for panels to screencap. I wasn't sure what I wanted to do, but I thought maybe a selection of panels that really stood out for me might be worth posting. I'll probably still do that one of these days, but I got to this one, where Gohan tells Chi-Chi about Goku's death, and it hit me like a ton of bricks.

This was a powerful scene in the anime, of course, but in the comic it's even more profound. It's just one panel, no dialogue, because the reader already knows what's happening here. We know Gohan is telling his mother that Goku died in the Cell Games, and that he refuses to be wished back, because he thinks his presence on Earth will attract new enemies. It was hard enough to hear when Goku said it to Gohan and the others, and now Gohan has to relay that message to Goku's wife. All she can do is lie prostate on the floor and weep.

And look at the composition. She's surrounded by all that negative space. Gohan's there for her, but she still feels so alone, surrounded by her husband's absence. Pots of flour for food he'll never eat. An empty chair he might have sat in. Their son, who will have to grow up without him.

I saw this, as though for the first time, and it was so gut-wrenching that I had to post it by itself. I felt like it summed up my feelings better than any words could. We're all Chi-Chi in this panel, reacting to Akira Toriyama's death. And we're all Gohan too, each of us consoling one another with our own thoughts and tributes.

So what did Akira Toriyama mean to us all? Lots of people have answered this in a lot of different ways. Obviously his art, storytelling and cultural impact speak for themselves. I've seen people compare him to other luminaries like Jack Kirby and Osamu Tezuka. I'll try to add my own two cents with this:

I wrote a post about "Dragon Ball Daima" back when it was first announced, and I led off with this image of a note from Akira Toriyama. I guess this was from some big fancy presentation about Daima at a convention. I forget which one. In particular, I was skeptical that the Daima rumors were even true, and if they were, the whole idea seemed half-baked to me. Turning Goku into a kid had been done before, and it wasn't exactly successful the first time.

But this note from Toriyama was very reassuring to me. More than the trailer clips and character designs, this was what got me interested in the show. That's because he took the time to not only hype up the show, but also to explain what's going on behind the premise. He took the time to tell everyone that he's working on this show, and what "Daima" means, and why all the characters get turned into kids. It's "due to a conspiracy", and the good guys will have to "fix things". In short, he established a plot, conflict, and resolution to the story. He didn't just slap this together to sell new merch. I'm sure that was part of the motivation to make Daima, but there's more to it than that.

I think that's the loss I feel with Toriyama's passing. It's not that there won't be new Dragon Ball stories in the future. I'm sure others will continue telling their own versions long after I'm gone. I'm not that worried about the fate of Daima. I'm sure they'll figure something out, whether it's delayed, rewritten, or canceled. But we'll never see another message from Toriyama to promote a new project, and that's what I'll miss. From here on, his credit will just be an acknowledgement of his past contributions.

There's this great credibility with Akira Toriyama's name. Fans will argue about how involved he was in a project as a way of establishing how good or bad it was. Dragon Ball GT has his name on the credits, and he provided some designs and artwork early on, and for some fans that proves the series has his endorsement. For others, the sole problem with the show is that he wasn't directly writing the script. There's similar debates over Dragon Ball Super, where he was involved, but only writing those mysterious "notes". So if a fan doesn't like something in DBS, who do they blame? Did Toriyama lose his touch, or did his co-creators fumble the ball? Dragon Ball Evolution basically ignored all of Toriyama's advice and bombed, while Battle of Gods, Resurrection F, Broly, and Super Hero all put Toriyama's writing credits up at the very beginning, and each film made plenty of money. I read his comments on the Daima confirmation, and immediately thought "Okay, this should be pretty good. Akira Toriyama knows what's up."

That's gone now. I mean, there's still a lot of talent out there, but we'll never again have the little gas mask-wearing robot telling us that this story will be good because he worked on making it good. I don't think I really appreciated how much I trusted that guy until now. I still can't believe he's really gone.

I'll probably have more to say about this in the coming days, but I'll stop here for now. Thanks for letting me ramble a bit on this.

[gavalaa]

Sketches of all my redone designs for my Phantom Thieves from my AU, Icarus! Lots of info down below on the cut, so if you want to know more about the details and inspiration, feel free to keep reading!

This includes Akechi’s design for his Princely/Robin Hood attire, BEFORE his Icarus attire you might have seen from my other posts! Check out the Icarus AU tag for more info! Icarus has a main focus on Akechi and his relationship to the thieves, but the AU is actually an entire rewrite with new designs, 3rd semester and epilogue/strikers/tactica stories, hence Zenkichi and Sophia’s inclusion.

Read below for individual info:

I decided to include more motifs towards their persona’s and general vibes; and also just my own personal touches haha.

AKIRA - Not much has changed, I really like his design overall. I raised his boots to be like Arsene’s and changed his neck area.

MORGANA - I hate the OG pill shaped head, his new design is based heavily on the shape of Palico’s from Monster Hunter. Added a little more nod to Zorro/His persona motifs and also just made him cuter! Little hamburger headed cat.

RYUJI - I made him a little bulkier and gave some more weight to his outfit overall. I gave him heavier boots and a slightly buffer build to relate back more to his sporty style.

ANN - honestly was never too big on her latex outfit, I wanted to call back to a personal favorite female lead; Christine Daae, and used one of the versions of her Don Juan costume as inspiration. I remember seeing Phantom live and in many stage versions of her character, the Don Juan scene was a pure moment of female control, and she was truly working the Phantom and controlling every movement on the stage. Her presence is commanding, and I thought it was a very fitting tribute to Ann’s character as feminine strength. (I’m absolutely not referring to the movie iteration of Daae btw.)

YUSUKE - I referred to some historical art and legend of Goemon to add more elements of design to his outfit. When I color them, I want to add some really strong pops of color to his clothing to really drive the aesthetics and artistry home.

MAKOTO - Another totally redid outfit, I opted to give her a design which relates back to Popess Joan, and also Anat. I gave her a clawed hand on her right side and an uncovered hand on her left as both a nod to Anat’s hand raised in iconography of her from art history, but also to show the duality of Anat’s title as both a goddess of war, and of love. It also relates to the mythology of Joan and her nature as both a leader and a martyr. I changed her mask to a Venetian Commedia mask as well.

FUTABA - ok. I’ll be honest. I never liked her skin-tight outfit, it just doesn’t match her personality at all. Also, the high tech Egyptian feel never really sold me. I totally understand the tomb thing, but I truthfully think a dungeon/palace which was more like… tech/nerd themed would have been much more “futaba” the inspiration for this new outfit relates back to her persona, the Necromomicon, as well as her nerdy personality, and her affiliation as Alibaba (Ali Baba.) I wanted to go more lovecraftian, long sleeves and patterning designed to look more like lovecraftian tendrils, and big baggy pants and her classic shoes to match. The patterning on her undershirt will resemble a rib cage, both as a reference to her deathly “tomb” iconography, but also to Lovecraftian and Necronomicon lore. I think she matches the description of a nerdy, techie DND dungeon master more than the initial outfit, so that’s the route I took personally.

HARU - relating back to some fashions from 17th c France, where Milady’s story (the three musketeers) takes place, I kept her design relatively similar. I just gave her a little more iconography relating to the three musketeers and that general timeframe.

AKECHI - in his pre-Icarus outfit, I’ve given him a princely sort of outfit befitting of his two faced nature, and edited it to relate to Robin Hood a little more. I tried to keep it sleek and just generally very concealing and layered.

SUMIRE - i gave her some iconography relating back to one of her personas, who is an inference to Freya. I also included some more nods to classic Cinderella, with fantasy gown elements. Overall, relatively similar.

ZENKICHI - again, relatively similar, I really like his outfit. I just opened up the face some to show more personality and spiced up the outfit generally to keep it matching. honestly, les mis/Valjean was a hard one, but I also think his character could be heavily related back to Edmond Dante (Monte Cristo.) so I gave some nods to that as well.

SOPHIA - I turned her into a FINGIE!!!! I made her whole dress as a nod to her persona/to pandora’s tiles around her/the pillars. I wanted to make her small and almost unnatural since she’s an AI, and I thought having a little guy on the team would add some more variation.