#mini ashes

[halothanic]

final and TINY sticker for the pack! the minis are mentally sick in the head and—

[sambadeamigosgato]

Do you ever think Evil Ash misses the mini-ashes....they're like his brothers!!!

[mirellapryce]

Today's stupid thought - Charles showing his parents to Edwin and Crystal, then pointing out an urn on the mantelpiece and just saying, "That's me :D"

[centrally-unplanned]

I was going through some archived scans of 90's otaku magazines, as is my sacred duty, and I stumbled on this ad for a Sega Saturn game I did not know:

The pitch of Roommate (as seen here) is that of a "real time" romance simulation:

What makes it real-time is that the game progresses in sync with the Saturn's internal clock. In that way [main girl] Ryoko is just like a real girl; she has her own daily habits and lives her life accordingly. So if you start the game in the afternoon, you might not be able to meet her because she's at school [...] The purpose is to enjoy living together with Ryoko in real time and communicating with her.

And this is exactly the kind of way-too-convoluted gimmick that sacrifices gameplay functionality on the altar of conceptual novelty based on random technology add-ons present in new-gen consoles of the era that I just love. Obviously the concept of starting a game and having the main girl not be present so you cannot play is completely asinine - but think of the realism!

Between that and the discount-Sadamoto 90's character designs, I wanted to see it for myself; so I spent way, way too long setting up a Sega Saturn emulator. In my experience early CD-ROM-based consoles often require much more bespoke set-ups to get working, in this case custom BIOS files in the emulator firmware directories, and JPN-language ones at that for this game. But I got it to work and oh yeah, this is some early "digital" console era crust:

Playing this game is just painful. The clock of course means that you essentially can't play it at all - looking at YouTube comments on the very few Let's Plays and such that exist, people are reminiscing about how they could never find Ryoko because their schedules didn't align. One person even comments:

This game is for NEETs and shut-ins

Which is a valid demo I guess! But it doesn't really stop there - your house is a "fully realized" 3D environment of bare walls which you navigate with clunky controls. Let me log in and take some screenshots...

Jesus Christ it's 10 pm and you are cooking dinner?! The one time I don't want this ghost popping out of the cracks in the floorboards, I swear...

Okay, got rid of her (She broke a plate -_- you moved in yesterday, girl):

You walk, in real time (step by step) through this pixel museum just...hoping that one of the rooms will contain Ryoko and proc a dialogue event based on the time of day. There is a little more to it than that but that is essentially the gameplay. This would, very obviously, be simply better as a straightforward visual novel.

But you see how that just isn't as cool in 1997, right? This is the era where the fidelity of graphics and the technology for simulation is progressing at a rapid clip, and everyone wants to see the boundaries pushed. Roommate isn't the first "real time simulation" game, but it is the most pure, the one fully committed to the bit. Your house is completely mapped out, the girl has her routine, you walk step by painful step through the rooms because this is "real", you are living it. They even use a live photo for the outside of the house to sell the aesthetic (and also save money):

Ryoko is waiting in the kitchen of that house when you come home from work, putting on an apron, ready to cook dinner. For you.

Assuming you get home at whatever fucking 30 minute window the game decided to gatekeep its gameplay behind! But of course I exaggerate - it wasn't that bad (there are little mechanics you can use to set some schedule times in the game for example), player tolerance for bullshit was way higher then, and you were expected to buy strategy guides for these things. So even though it was panned by critics on release...it was a sleeper hit with a devoted fanbase.

Which means it got a ton of sequels and ports! We don't have to go through them all, though I will share my favorite factoid about the first sequel - "ROOMMATE ~Ryoko in Summer Vacation~" from the wiki:

The character designs are significantly different from the previous game (especially Ryoko's brown hair and large breasts).

Priorities, baby. But some of the ports are interesting because of the changing tech. A version was ported to the PlayStation, which does not have the internal clock a Sega Saturn had. But coincidentally it did have the PocketStation, a handheld GameBoy/Tamagotchi hybrid expansion tool that did have an internal clock and could sync with the game. It also let you track Ryoko's schedule and play mini-games, with some very adorable animations as you can see in this ad for the product that featured Roommate:

This device absolutely reminds me of the Disc Fax system discussed in my Miho Nakayama essay - a very niche product biting off more than it can chew making games overly complex to play but allowing things that would otherwise be impossible (and this one was a good deal more successful at least). Here it allowed Roommate's central gimmick to function - and is super cute, honestly I would buy a standalone tamagotchi version of this game.

The PS1 also couldn't quite handle how the game was built for the Sega Saturn graphics-wise, and as such a bunch of the 3D elements were sanded off into 2D simulacrums - most notably the house:

Which, despite this being a technological downgrade, is way better! It looks adorable, you can actually see what is going on and where Ryoko is, and you can navigate it way more cleanly. God, did...hold on let me tab back to the game...yeah, is there no clock in the original game on screen. That is insane. Anyway the PS1 version had a lot of these cute little graphical additions, even right on the title screen:

It is definitely the better looking version, which is a classic tale - in 1997 the "bleeding edge" of 3D graphics were impressive to players, even through their roughness. Now they just aren't, and so the retro charm of designs that are optimized what the mediums of the time could reliably handle have a lot more appeal.

There was also a PC port in 1998, which did exactly what I suggested and added an "adventure" mode where you could ignore the clock system. They definitely learned over time what worked and what didn't; but the appeal of the gimmick is what first sold it to players in the end.

All of this is to say, don't play Roommate, and if you do just emulate the PS1 game instead of torturing yourself with the Sega Saturn version. Oh...you weren't gonna play a Japanese-only abandonware 90's not-even-eroge dating sim to begin with? Ah, well, yeah, I guess that makes sense.

Man I should translate it shouldn't I? So people can play it...

[remitro]

what is happening to me. what the fuck. i haven’t had the inclination to draw like this in at least two years. WHAT. the power of ashe winters i guess

[naarinn]

You're as beautiful as the time I lost you

[banditblvd]

YAHOO DAY TWO OF @justfluffwithit WEEK

Friendship bracelets are such a cute concept,,,,

I actually don’t know if there’s a specific kind of bracelet that makes it a friendship bracelet, but hey who cares they’re silly

[liquidtwilight]

Happy Memorial Day weekend!!! Treat yourself thru Monday 🫶

[loafdy]

Hehe I made one my comics digital (Witch’s Heart)

[ashoss]

thinking abt them

[sambadeamigosgato]

Officer, they're practically the same.

[ashthewaterghoul]

I will NEVER understand the people who romanticise ‘Blood Sport’.

For starters those people clearly have no reading comprehension because how THE FUCK do you hear the lyrics “I made loving you a blood sport, I can’t win” and go “oh yes, perfect for my relationship playlist! Let’s walk down the aisle to it!”

And, Vessel spends the last 30 seconds of that song CRYING INTO THE MICROPHONE. How the HELL can you romanticise a song that is obviously about some extremely painful time in the singer’s life???

This is something I think about a lot bc every time I listen to ‘Blood Sport’ I have to stop what I’m doing when I hear Vessel crying. It’s OBVIOUSLY not a positive song, like loads of Sleep Token’s songs.

I severely question the intelligence of those who romanticise the songs that CLEARLY are not meant to be about positive and healthy relationships.

[centrally-unplanned]

Wasn't quite in the headspace today to be postin', but the New York Times had to drag me to my keyboard by publishing an article about "The rise of otaku". An article on otaku! In the Year of Our Lord 2025!!

It isn't that you can't do that, of course - the thesis about how Japan's otaku approaches to fandom grew to dominate the wider world is a perfectly valid one to discuss. But if you do, you need to grapple with the cultural detritus the West has accumulated about "otaku culture" over the years, and it does not reach that bar. It isn't "cringe", it isn't obviously wrong, but it is stuck in the past. Take the headshot you can see above of a 単眼面/Tanganmen, or "one-eyed mask". The author is using it to showcase the ~crazy things~ people in Japan who are into anime-adjacent stuff do. In other words, the Weird Japan trope, where for complex reasons niche one-off things done by influencer-types or media companies in Japan get transported to the West to be used as symbols of Japan's "alt" culture. So while in English searching "tanganmen" throws up Vice articles, in Japan the creator of these masks Ozawa Dango has 6000 followers on Twitter:

She first made them in 2012, and while like props to her for keeping an art project alive, the source the NYT uses is an article from 2019, 7 years later - which is itself from 6 years ago! This isn't a "thing" in Japan, it is not a relevant part of otaku culture, and I think having it be front billing here is deceptive. I have a similar-if-less-intense reaction to the usages of the classic "otaku room photos" in the article:

This does reflect a real phenomenon, for sure, but for one the first photo is from 2014, and the second from 2019. In fact, none of the photos in the article are from the 2020's at all - a serious problem for a discussion of a youth pop-culture-focused movement. But let's take that first photo - it is from Shiori Kawamoto's 2014 “Daraku Room” book. Did you notice, like I did, that our girl is, well, really hot? Like way too hot to be that devoted to moe yuri series YuruYuri? For context, let's look at some other photos from that book!

Thanks, JapanTease.net! I can't tell you where this book ranks on the gravure-scale, I don't own it, but I can promise you is not zero. That girl might actually be a massive yuri manga fan, I won't judge, but the point is that pulling photos from a softcore porn glam book to stand-in for otaku is not what we in the statistics business call a representative sample. Like the one-eyed mask, this isn't real otaku at all.

Okay, enough photo dunks, let's get into the text. Those dunks are relevant, of course; they play on older tropes about Japan, "Weird Japan" and the "Otaku Room", and that problem continues throughout the article. First up, we have foundational quotes from Susan Napier, who is something of a trope herself as the first American academic to publish serious-yet-accessible works about anime starting in the 1990's. I am not a fan of her work, as she constantly tries to draw overly ambitions and serious social and historical connections between anime and the world, and we see that on display here:

[She] traces the origins of the otaku to the Edo period. Beginning in the early 17th century, sanctioned red-light districts known as pleasure centers were built in Tokyo, Kyoto and Osaka as sites for courtesans to entertain men; other areas were designated for enjoying Kabuki theater. “You had the development of a fan culture with people who loved a particular courtesan or actor.”

Strictly wrong? No - but Edo's red-light districts did not invent the idea of a celebrity, let's be real. That is a socially-universal concept that existed for centuries before then across the globe, and it didn't really lead to otaku (a very modern phenomenon) in any causal way. But it makes it sound more distinguished, more artistic, the way 2000's fans of anime in the west wanted their hobby to look.

That temptation to universalize cuts a different way too - lumping too much under the "otaku" umbrella. Since it has that "otaku led the future of fandom" thesis, it wants to label everything from themed Shinjuku bars to Lolita as "obsessive otaku fandom" to sell you on that idea. However, while those concepts are linked, sure, are they the same phenomenon? When, as the article quotes, Marie Kondo calls herself an "organizing otaku", is she actually saying anything about creative fandom? Or is she making a joke, and she is just an interior designer/lifestyle guru like every country everywhere has had for decades? These comparisons obscure more than elucidate, because "otaku" culture was historically, by a large majority, composed of media otaku. Japan did not invent or export a model of people being devoted craftsmen or opening themed restaurants. What it did "export" was the idea of fandom-as-identity and fandom-as-creativity, which media fans in the relevant eras dominated.

A topic around which, admittedly, the article has a bit of a knot it can't untie; because it is an article about otaku that doesn't want to mention sex. Beyond Edo-era red-light districts, the only mention is from a gender lens:

Wong and others make a point to address what he calls “the elephant in the room”: an undercurrent of female sexualization that began with manga and which, in what’s still a rather male-dominated society, extends to the broader world of otaku

"Elephant in the room" guys it is the whole room. It is a whole city block! You mention Comiket - oh sorry, "Comic Market" - but delicately dance around how those "750,000 attendees" bought at least as many porn doujins. And unlike Marie Kondo this is foundational to how otaku cultural dynamics were formed, and how they spread - the erotic content was a core part of why everyone "showed up" in the early days. And it is how the media mix and fandom-creator model spread to other countries, building on extant communities writing fanfiction and making fanart zines. You could not mention this topic at all if you didn't want to, but if you are going to touch on "sexualization" you need to own its importance. I almost see this as a sort of memetic response; in the anime early days everyone bashed otaku as perverts. In the new, tolerant era of today the author doesn't want to engage with that, but they overcorrect by essentially ignoring it. You have to find the middle here if you want to understand the history.

Okay, okay, that is enough - I know this is a very "death of a thousand cuts" essay, there isn't like a core failed thesis. As the New York Times, articles like these both set the standard for narratives around a topic and reflect the standard ideas already out there, so it is frustrating for it to be so... ungainly, and I wanted to note that. Set the record straight, as it were. But I will admit it is better than it probably would have been a decade ago, it does reflect growth in the discourse. And it isn't like it has some straight up nonsen—

After the original series [Neon Genesis Evangelion] aired, his most passionate followers, disappointed with the final two episodes, pressured Anno to redo the ending in a subsequent film trilogy.

Are you FUCKING KIDDING ME there are practically storyboards for End of Evangelion in the show broadcast next episode previews oh sure fans had to pressure Anno to fulfill the dream of every anime creative to get a big movie budget and make millions of dollars doing what he wanted to do for the TV show anyway before they collectively shot the production schedule in the head what kind of ADV Films 90's mistranslated rag interview garbled by a 2000's Reddit post bullshit is this the NEW YORK TIMES is LYING ABOUT THE PRODUCTION HISTORY OF EVANGELION I will BREAK INTO YOUR GOD DAMN HOUS—

[achemicalmess]

“Ash Wednesday” with Father Gerard

a mini comic

Inspired by a tiktok 🤪

#ashwednesday #priestgerardway #minicomic #unholyverse #unholyversefanart #gerardway #frankiero #frerard #mychemicalromance

[aha-my-villainous-thoughts]

Ash-O-Ween continues with possibly the dumbest thing I've ever drawn... but it is (kinda) a mini comic so yay?

Ed only agreed to go to the Revenge FunRunSunday as Stede's cheerleader, he is not planning to run anywhere, particularly with these gumboots on. Playing the rubber ducky to Stede's raincloud is no problem, until he sees the cartoon mascot head Stede got him... now, that's going to be a problem.

Close up:

That duck is fucked. (And it's definitely a duck, he's not dressed as a chicken Lucius, fuck off)

Text speech bubbles lined up to indicate a conversation between Ed and Stede:

'Aw Ed! Where's the rest of your costume?'

'Its cursed Stede. That duck is fucked.'

'It's cute, Ed! It's like a funny cartoon!'

'Nah, hella cursed. Trust me on this.'

'Aww... :( - well alright love, if you say so'

Next panel:

A drawing of a yellow cartoon duck head with large black blank eyes, with the caption 'Meanwhile, at home'

The next panel shows the linework of the duck's eyes closer with a strike of red running through them and the word SOON inside the black eyes.

[banditblvd]

I've found the quickest way to get out of art block is to try something new :-)

Lineless art!!!! Animation!!!!!!!