#moderately interesting japanese

[journeytojaburo]

Okay now this title discrepancy is just funny

[tamayula-journal]

Ominis and Japanese!MC when intimate...

There are many different cultures between Japan and the West, but when I started reading and watching smut created by people from overseas when I first started participating in HL fandom, I was surprised to find a particularly big cultural difference: the way women behave during sex!

In Japan, there is a tendency to think that it is sexy for women to behave moderately shy during sex without being too aggressive. In Japanese pornographic manga and novels, it is very common for women to say "嫌/駄目（no)" while panting, with a pleasant look on their faces. (⚠This is just to say that such a tendency is more common than in the West, and not all Japanese men are looking for women who are shy in bed! It depends on the individual 🤣)

Having spent 30 years in Japan with such values, when I read porno novels in HL fandom, I was very surprised to see f!MCs(f!OC) behaving so aggressively in bed! 🙈

From what I have read, there are not many f!MCs who are overly shy or use negative words such as "no" as a moan. This is a very interesting cultural difference for me as a Japanese!👀

I didn't get used to the behaviour of these MCs at first, but now that I've read a lot of international smut, I'm very attracted to MCs who are sexually active and Seb and Omi who enjoy sex with her to the fullest 🥵💞

And when I draw smut, I try to imitate the behaviour of the MCs in those from abroad, without making them too overly shy or negative.

In the Japanese version on the right, the MC says: "No. Don't thrust deep inside me!" In terms of Japanese values, she is far-fetched: 'I feel so good when you thrust deep inside me!' in Japanese, but a direct translation as it is would probably be considered strange by Westerners, so the English version adopts a more positive language for clarity. (I'm a complete novice when it comes to translation, so I don't know if this is the correct translation 😂)

In making smut about the sexual behaviour of Westerners such as Sebastian and Ominis, I try to portray the MC's behaviour in bed as positively as possible, but I cannot erase my Japanese values, and perhaps I may be depicting MC behaviour that looks strange to Westerners at times. I hope you don't mind the details 🤣 But it's fun to think and learn about the cultural differences between countries while watching, reading and making various smut in this fandom! I'd like to draw more smut when I'm free in real life after the move 😌

On a side note, When I first read smut in this fandom, another thing that surprised me, besides the differences in MC behaviour, was that both men and women often say 'F*CK' during sex! 😮 In Japan, we are taught that F*CK is a very bad word that should never be used, so for Seb and Omi to use these words was surprise to me as a Japanese person! I have been wondering for about a year now if it is actually common in the West to use these words during sex …👀

[red-hot-kick]

Theory: Ryuji was popular, before.

I'm not entirely sure if anyone has really talked about this but I maintain my interpretation that, in the canon of Persona 5, Ryuji used to be very (or at least moderately) popular prior to the events of the story.

This is something I've gotten into before when talking to friends who like the game and the character, but I haven't really considered writing it down until now. The main argument I have is based on three things:

Things Ryuji alluded to in canon (but no one believed him on)

The deliberate choice of making him a track athlete

Typecasting for voice actors

1: "There were girls all over me!"

I don't really have the time to go on a deep dive through all the instances in which he hints at his reputation before the Kamoshida incident, but I think the most clear-cut representation of this was during the scene where he and Ann spend the day with Futaba during her post-palace social rehabilitation:

So here's the thing...I don't think he's lying about this. Nobody in the room would be that impressed to find out whether Ryuji was popular since they are already friends (or in Mona's case, he really just doesn't care), so it wouldn't make sense for him to lie.

Regarding everyone's reactions though, here's my impression: Ann was simply not aware of what was going on with the track team, being predominantly focused on dealing with rumors, her friendship with Shiho, and her modeling career (and eventually Kamoshida's advances once he started doing that shit) and she mentions a few times that she and Ryuji weren't actually close before joining the PT; they were just in the same class in middle school. Futaba hasn't interacted with anyone her age in years and isn't the most reliable source when it comes to what people generally find attractive; just because she doesn't have any interest in Ryuji doesn't mean that nobody her age would. And Morgana is a cat that brags constantly about how cool he is, so he shouldn't be throwing rocks.

There are many other times in the game when you get little glimpses of his social savvy, and from my understanding of Royal (I'm an OG vanilla P5 player and haven't done 3rd-semester yet, so don't kill me) when the track team returns to "how it was", he is getting along extremely well with everyone. Not only was he the team's ace: this kid was also expected to become the captain by his senior year (as briefly mentioned when he bumps into his former senpai at the gym, iirc). That's huge! If his team held him in such high regard, then the general student body of Shujin surely had a similar opinion. This brings me to my next point:

2: Girls like boys that run fast(???)

This is honestly something that baffles me. It's also really difficult for me to substantiate; any source material on this is obviously in Japanese and if I could find any of it, I sure as hell can't read it. The only English-language source I know of I cannot find anymore; I think it was an old Tofugu article? However. If you've watched any romance anime set in a high school during the last 20 years, you might have seen this trope at some point: the school sports festival is happening, and the relay race is kind of a huge deal (it's the final event! a make-or-break moment for the class!). The boy thinks to himself "If I win this race, I'll be able to win her heart/ask her out/etc." Low-stakes drama ensues. Maybe a confession happens.

This is (from what I've been told) based on a long-standing trend of girls and women self-reporting in surveys about how, oftentimes, their crushes in junior or senior high school were simply "the boy who ran the fastest in the races". I have no idea what this means in a broader cultural context. It makes no goddamn sense to me at all. Do not cite me on this. But I think it's worth keeping in mind, even if it's almost entirely speculative (and possibly outdated) information. And even if it's just based on rumors, don't you think it's pretty in-character for Ryuji to go for a track scholarship—despite being adept at other sports like baseball and football/soccer, as mentioned in P5 and P5D—because he was aware of the potential of being more popular with girls? Of course, his priority would be getting the scholarship and paying his way through school to lighten his mother's burden, but hey, getting a girlfriend on the way up wouldn't be half bad!

I think this could also inform us as to why Kamoshida (as a predator who wanted attention from high school girls) felt so threatened by the track team in particular, and why he felt a need to specifically knock Ryuji down a peg and sought out a weakness to do so (as opposed to targeting any of the probably just-as-popular boys on the many other athletic teams and clubs in the school). Just some food for thought on this one! Also, if anyone can find a source or has any insight on the relay race thing, please share. I am so confused about it.

3: Typecasting

So this is something that you really only notice if you are very into keeping up with seiyuu in Japan. I am not one of those people. But I do have some favorite voice actors! One of these being Mamoru Miyano.

So I freakin' love this dude. He's voiced a lot of my favorite characters, sings incredibly well, and has an unreal sense of comedy. He's stated in interviews that his acting inspiration is Jim Carrey, and let me tell you: it shows. He is also quite consistently typecast into certain roles, predominantly as princely pretty-boy types, Coolguys, or complete fucking nutcases. Sometimes all three at the same time (shoutout to my boy Ling FMA!)

ATLUS definitely cast him for P5 because of his comedic chops. But I think they also cast him because having him voice someone like Ryuji is a great way to subvert expectations for the player. I think it's supposed to give you whiplash—"what do you mean the voice of LIGHT FUCKING YAGAMI is coming out of this guy's mouth?" "why does the delinquent character sound like king of the host club Tamaki Suou?" "isn't that Rin Matsuoka's voice?" etc. etc. etc.

(here's a quick list, just to really get the idea across. maybe you recognize a few.)

This is obviously a non-comprehensive list, but something that a lot of the characters he's voiced over the years have in common is that they were considered cool, handsome, or popular. Not just for fans, but within the canon of their stories! So...what does that mean? What does that say about how we should see Ryuji?

I think players are supposed to expect that he will fall into one of those categories too, and then be surprised to find that it's not the case—that he's been isolated and made bitter and resigned by what happened to him the year before.

Speaking of his tone, I think it's very telling that Ryuji actually forgets to keep up the delinquent act a lot in the original JP audio, which unfortunately doesn't really carry over in the ENG translation. The delivery of his JP lines sounds a bit more subdued in comparison too—yeah he's got a lot of energy and is very hotheaded, but when he gets to talking about serious shit, he sounds a lot more regretful and melancholy as opposed to the EN delivery which depicts him as more resentful and outwardly angry. I think before Shit Went Down, he probably had the Coolguy vibe. Still a bit of a rowdy idiot and a showoff, but I think he probably came across to most people as a very friendly, sincere, and popular guy.

So yeah, the girls probably were all over him, at least for a short while.

[cococharm]

hii I noticed that you write for psychic fever and I was wondering if you could write headcannons for tsurugi like how he would treat his s/o and how he would be as a bf?

(If not it’s okay!!)

(I’m sorry if it’s worded poorly my English isn’t the best😭!!)

Boyfriend Psychic Fever

Pairing: boyfriend!pschic fever x reader Genre: fluff, romance Warnings: this is really long. (15-20 bullets for each member) Characters: 11576  Summary: Things the members would do in a relationship with their s/o. AN: I decided to do all member instead of just one so it’s a little different from the request. Thank you for requesting this, I hope you like it! I apologize in advance if they are OOC. I'm sorry it's taken so long!!!

✧.*: TSURUGI

❒ Acts of service, He loves doing little things for his s/o. He often massages you during your period. ❒ He loves to cook for them and often makes meals mixed with Japanese and (your culture) cuisine. ❒ On a day in, they enjoy watching movies, cooking together and playing games. ❒ However, they prefer getaways like beach vacations or visiting scenic locations. ❒ Tsurugi believes in grand gestures and small, meaningful moment, always finding ways to express his love romantically. ❒ "You are the calm in my chaos." ❒ He loves his s/o's eyes, finding them expressive and captivating. He spends hours just looking into them. ❒ They have matching tattoos behind their right ear. ❒ He prefers moderate PDA, like holding hands or quick kisses on the cheek. ❒ Tsurugi is more protective, always looking out for his partner and ensuring their well-being. He would step in immediately if they were in danger or uncomfortable. ❒ Definitely has papa bear vibes, he is a big giant teddy bear. ❒ He loves to big spoon, holding his s/o close as they fall asleep. When alone, he tends to sleep on his side, hugging a pillow. ❒ They enjoy going for walks and having deep conversations. ❒ Tsurugi is saved as "My Cowboy" in his s/o's phone, while he has them saved as "My muse." ❒ After tours, they celebrate Tsurugi return by having small dates and him giving his s/o small gifts. ❒ Tsurugi is often surprised by his s/o's spontaneous surprises, like weekend getaways or surprise visits to his work. ❒ He loves it when his s/o encourages and supports him, attending events, or showing genuine interest in his music. ❒ Unexpected compliments and sweet, spontaneous gestures from his s/o makes him blush. ❒ When he realized he was in love, he became more attentive and affectionate, always finding ways to express his feeling through actions and words. ❒ Tsurugi says 'I love you' regularly, especially in intimate moments or when he feels it's important to remind his s/o of his feelings.

✧.*: RYOGA

❒ Physical touch, He always need to be close, whether its holding hands, hugging, or a simple touch on the shoulder. ❒ He loves his s/o's ability to make him feel at ease and understood. ❒ On a day in, they enjoy cuddling on the couch, watching movies, and cooking together. ❒ "In your arms, I have found my home." ❒ Whenever he can't sleep he messages you. ❒ Ryoga loves his s/o's smile, finding it incredibly captivating. It's contagious and brightens his day. ❒ He can't help but smile when he sees you. ❒ They have matching rings, engraved with each other's initials. ❒ He loves PDA, often holding hands, hugging, and stealing kisses in public. ❒ They often go to the park, where they sit and talk for hours. ❒ Ryoga loves to cuddle by wrapping his arms around his partner, often spooning. Without his s/o, he still clings to their pillow or blanket for comfort. ❒ He enjoys long walks and dancing together in the living room. ❒ Ryoga is wrapped around his s/o's finger. If you call him to hang out he tries to find time around his schedule. ❒ He is saved as "My World" in his s/o's phone, while he has them saved as "My Sunshine." ❒ He constantly stares at his s/o. He can't help but gaze at them. ❒ Ryoga enjoys playful teasing, often using it as a way to bond and make his s/o laugh. ❒ He is whipped, from the way his eyes sparkle when he looks at you to the way he can't shut up about you.

✧.*: REN

❒ Words of affirmation, He constantly reassures his s/o of his love and appreciation through heartfelt words. He often writes sweet notes for his s/o. ❒ Ren enjoys cooking and often prepares comforting meals with a homey feel. ❒ They enjoy playing video games, binge-watching their favorite shows, and trying out new recipes together. ❒ They love adventurous trips like road trips, camping, and exploring cities. ❒ "Adventure awaits, but together, it's even better." ❒ Ren loves his s/o's personality, particularly their sense of humor. They enjoy every laugh and joke they share. ❒ They have matching hoodies with fun designs that they wear on casual outings. ❒ Ren is quite comfortable with PDA, often holding hands, hugging, and giving kisses in public. ❒ Ren is more protective, always looking out for his partner and making sure they're safe. ❒ He loves to cuddle, usually lying on his back with his partner snuggled into his side. When alone, he tends to spread out, taking up the whole bed. ❒ He enjoys spontaneous adventures and trying out new activities with his partner. ❒ Ren is saved as "Fun Guy" in his s/o's phone, while he has them saved as "Adventure Buddy." ❒ Ren gives fun, creative gifts that reflect their shared interests. He loves receiving surprise gifts that show his s/o has been paying attention to things he likes. ❒ He's often surprised by his s/o's spontaneous plans and unexpected romantic gestures. ❒ He loves when his s/o joins in on his jokes and teases back, making their reactions playful. ❒ He stares at them frequently, especially when they are doing something they love. He loves seeing them happy and in their element. ❒ He is a hopeless romantic, always coming up with new ways to show his love and makes his s/o feel special. ❒ Ren enjoys being loved, finding comfort and inspiration in the affection he receives from his s/o.

✧.*: JIMMY

❒ Quality time, He cherishes every moment spent together. ❒ Jimmy is headstrong, but he has a soft spot for his s/o. He'll eventually give in to their wishes, espeially if it makes them happy. ❒ Jimmy can be romantic in his own way. ❒ Playful teasing and affectionate gestures from his s/o makes him blush. ❒ He's comfortable with PDA, enjoying the opportunity to show his affection openly and proudly. Often showing this through playful touches and kisses. ❒ Jimmy isn't much of a cook, but he loves ordering takeout and having fun learning how to cook with his s/o. ❒ Jimmy expresses his love through playful teasing, witty banter, and spontaneous gestures. ❒ On a day in, they enjoy watching comedies and having karaoke sessions. ❒ They love going on fun, activity-filled trips like theme parks, arcades, and escape rooms. ❒ "Together, we find joy in the little things." ❒ Jimmy loves his s/o's laugh. It's music to his ears and he can't get enough of it. ❒ He wraps his arms around your waist and stops his head over your shoulder. ❒ They have matching grills with each other's initials. ❒ When it's raining, he holds the umbrella, often making jokes about being the "protector" before pulling his s/o close. ❒ He loves to cuddle in a tangled mess of limbs, enjoying the closeness. When alone, he sleeps sprawled out, taking up most of the bed. ❒ Jimmy is saved as "Trouble Maker" in his s/o's phone, while he has them saved as "Partner in Crime." ❒ Jimmy celebrates coming back after tour with an over-the-top welcome, complete with jokes, hugs, and a planned surprise date. ❒ He's often surprised by his s/o's ability to out-tease him or come up with clever pranks.

✧.*: KOKORO

❒ Gift giving, He loves finding thoughtful gifts that show how well he knows his s/o. ❒ Kokoro loves to cook and often prepares traditional Japanese meals, putting great care into each dish to make sure it's perfect. ❒ He loves his s/o's compassion and the way they make him feel understood. ❒ On a day in, they enjoy reading together, having long, meaningful conversations. ❒ They prefer peaceful, relaxing vacations like hot spring retreats or visiting quiet countryside locations. ❒ "In your arms, I've found peace" ❒ Kokoro loves his s/o's hands, finding them comforting and warm. He's always holding them and marveling at their warmth and beauty. ❒ They have matching keychains that Kokoro bought as a symbol of their relationship. ❒ Kokoro is reserved with PDA, preferring subtle touches and occasional handholding in public. ❒ He loves gentle cuddles, often holding his partner close with their head on his chest. When alone, he sleeps neatly on his side. ❒ Kokoro is saved as "My Calm" in his s/o's phone, while he has them saved as "My Heart." ❒ He loves it when his s/o listens attentively and shows genuine interest in his thoughts and feelings. ❒ He is very giving and would go to great lengths for his s/o, rarely able to say no to their request. ❒ He's protective in a caring way, always making sure his s/o feels loved and secure. ❒ When shopping together, he holds shopping bags for you. In clothing departments he holds clothes you pick out in his free hand. ❒ He finds beauty in their every move and expression. ❒ He enjoys giving compliments, especially focusing on his s/o's inner beauty and their impact on his life. ❒ 3AM Dates with him.

✧.*: RYUSHIN

❒ Physical touch, He's always close with a hand on his s/o's back or their fingers intertwined. ❒ Ryushin can be stubborn, but his s/o's happiness is his top priority. ❒ He is very romantic, often expressing his love through meaningful actions and words. ❒ He enjoys loving his s/o, finding purpose and joy in making them feel special and cared for. ❒ He likes using your hair and skin care products. ❒ Deep, intimate conversations and heartfelt conversations from his s/o makes him blush. ❒ Ryushin enjoys cooking and often experiments with different cuisines and learning to make your culture's national dishes. ❒ On a day in, they enjoy dancing around the living room and playing video games together. ❒ "Together, we can conquer any adventure." ❒ Ryushin loves his s/o's voice, whether it's their laugh, whispers, or just hearing them talk about their day. ❒ They have matching bracelets from a local market they visited together. ❒ He is very into PDA, often holding hands, giving hugs, and sharing quick kisses in public. ❒ He loves to cuddle in a tight embrace, often holding his partner close. When alone, he sleeps sprawled out. ❒ He is saved as "My Baby" in his s/o's phone, while he has them saved as "My Rock." ❒ He gives exciting and thoughtful gifts that reflect their shared experiences. He loves receiving personalized gifts that shows his a/o's thoughtfulness.

✧.*: WEESA

❒ quality time, He values every moment spent together, making sure they're meaningful and memorable. ❒ Weesa loves his s/o's kindness and empathy. ❒ He expresses his love through quality time, gentle touches, and thoughtful gestures like preparing their favorite meals. ❒ They prefer quiet, nature-filled getaways like retreats in the mountains, beach vacations, or staying in a cozy cabin. ❒ "In you, I've found my balance." ❒ Weesa loves his s/o's heart. He admires their kindness, compassion, and the way they care for others. ❒ They have matching necklaces with a small, meaningful pendant. ❒ Weesa is reserved with PDA, preferring subtle touches like holding hands or a gentle kiss on the cheek. ❒ Their usual date spot is a charming cafe where they enjoy quiet afternoon togethers. ❒ They love building Legos with each other. ❒ Weesa is saved as "My Hubby" in his s/o's phone, while he has them saved as "My Light." ❒ He is often surprised by his s/o's spontaneous acts of kindness and creativity in expressing their love. ❒ He sees his s/o as his greatest supporter and the person who believes in him unconditionally. ❒ He's always there to support and defend his s/o without being overbearing. ❒ Weesa is incredibly romantic, always thinking of new ways to show his love and make his s/o feel special. ❒ He enjoys being loved, finding strength and comfort in the affection and support of his s/o. ❒ When he realized he's in love, he becomes more attentive and dedicated, always looking for new ways to deepen their connection and show his affection.

[the-fandom-is-now-my-life]

The Nya-rtists of hotarubi

Hotarubi as cats

Wc:800

Subaru

I actually don't know what to imagine him as! But I guess a brown Scottish fold would fit, his little face looks like he is ready to apologize for breathing too loudly.

A cat that appeared in a few movies and shows as a kitten but stopped featuring around the time you got him. He is incredibly well trained, jumping between platforms or hoops or meowing when you do a small sign with your hand. He does seem to dislike giving the paw though.

Your merienda pal! Your tea time mate! When you sit down at 4 or 5 to drink some infusion and eat something he will sit down on the chair facing you. He looks so cute and looks at you with his big beautiful eyes that makes you give him a little treat to share with you. (Seemingly cats can drink moderately herbal tea so he would like that!)

The other two sometimes join you but Haku just splays down on your lap and will hold your hand as you handfeed him treats, Zenji doesn't seem too interested in treats and just wants to make you hear his horrid song.

Even though he is quite well behaved and never hisses at visits or you, he will paw and bite at you or any cats who attempt to kill a bug or hurt them. Little anomaly bug protector.

You are unsure if Subaru likes Zenji, maybe it's because he appeared out of nowhere or how he enjoys being sticked to someone else who sometimes happens to be the touch adverse cat, either way whenever Zenji starts singing he runs away to your room and burrows under your bed -his unofficial hideout with a cat tatami mat you bought him- or under your pillow to drown the noise out. When you attempt to pull him out his little face makes you leave him be.

Haku

He is a japanese bobtail cat that was raised in a shrine to hunt mouses but got sold because he wasn't catching any.

He is so quick to jump on your lap almost as soon as you get him home, purring and asking for scratches. He is such a loving boy to every visitor.

He likes music with flutes, he will loaf down on the middle of your sofa -preferably on a blanket too- and close his eyes.

Even though he is quite a chill and quiet kitty who loves to laze around and sunbathe, whenever Subaru is in trouble he will pop in to aid him. He it helping him out from a space that was smaller than he expected or meowing at you and waking you up when Suba lingers around your bed waiting for you to wake up and feed them.

The cat that will stand up straight and still suddenly as if he saw something on the middle of the night to freak you out and then fall asleep, he almost seems to enjoy making you nervous about ghost in your house.

Zenji

a Bombay cat His eyes bright and sleek body beautiful enough to be in a poem

For a nice while you thought you had only Haku and Subaru but it isn't until one night a horrible meowing wakes you up and you find a black cat in your living room. You rolled with it and introduced him to the other cats in the morning. When Subaru saw him he jumped back and ran back to your bed, but Haku just looked at him and walked to his food bowl.

You think Haku actually snuck him in, given how familiar he seemed to be with him. It also explains why he was so thin, the thing must have been sharing food with Zenji, though you never see him eat or drink.

Loves music! Not like Haku, who will lie down and vibe, his tail moving at most; Zenji will start scratching pillows and anything with threads, find him a scratch ball or anything. It's even worse if you yourself play the instruments, he will meow acting as the vocalist whenever you practice.

He is always hanging by Haku's tail! Whenever you look for one of them the other is close by. There are a few instances where he will take it to stalk you rather than Haku and will be surprised when you speak to him, as if he thought he was invisible.

One day he brought a cat plushie from the streets, you guess. it was all dirty and you had to stitch its underbelly so the stuffing wouldn't spill out. At night he hangs on the windowsill and licks it as if it was his brother.

A very vocal kitten! He does speak for all two of his brothers yelping and vocalizing at the minor (if any at all!) reason.

[zooophagous]

Tuunbaq is really cute, im excited to see what his future holds :) i never heard of kishu ken before you got him, what got you interested in the breed?

Honestly I saw one on tumblr and went down the rabbit hole reading about them lol. I've always been interested in spitz breeds and "primitive" dogs that are more cat like, as cats are my background and what I'm more used to.

But the kishu seemed to be different. A spitz type primitive but one that actually wasn't standoffish with strangers, and that enjoyed being trained, that wasn't quite so stubborn while retaining enough independence to not be directly on top of me all the time and be able to think for itself for a bit. A hunting breed but one more into large targets like deer and hogs but soft on small animals like cats. A coat that's easy to keep clean and a flexible temperament that's up for anything.

Once I got to meet a couple of them in person it was all over and I needed one lol. Tuunbaq so far has perfectly fit into the description that got me intrigued. He's eager to learn, bold enough to try new things without much convincing, moderately obedient without being fawning and up for anything as long as he gets to be with his people.

The one stand out bit of the breed standard that stuck with me is that kishu are described as being unflinchingly loyal. Which, all dogs typically are, but they amp it up by a few degrees.

And I do see it. He won't shove his entire body into mine and sit on my foot like Egon, but if I close a door he waits behind it for me to come out. He will follow me into a room and lay down at my feet patiently until I stand up and it's time to go. When he sees something new and can't decide if it's good or bad he looks back at me to decide what to do next.

He's moderate energy and fairly low drive, even less so than Egon who's much older. He loves to train but won't go bananas and destroy my house if we skip a day.

They're just great all rounders and it's truthfully baffling to me that these relatively easy, medium sized dogs with wash and wear coats aren't as popular as other Japanese breeds like akitas who will eat your neighbor's arms off if you don't hammer them with training from puppyhood and even then they won't like everyone.

[scummy-writes]

Chev didn't agree to this photo

∘₊✧──☾ Bloody Simps is an Ikevamp/Ikepri Discord server thats moderated by me and @krys-loves-otome! It is an 18+ space for fans to just chill out and have fun, whether it’s talking about the game itself, or just wanting to meet and chat with others who enjoy cybird games (and not just ikevamp/ikepri!)

Some features of the server are:

╰❧ Designated spaces for talk about the English and Japanese versions of Ikevamp and Ikepri

╰❧ Route release voice chats and bingo cards when new routes are dropping- we usually meet an hour before the route drops and then read the first few chaps on call

╰❧ Encouragement to talk about other cybird games, as many server members play multiple. There is a focus on ikevamp/ikepri due to the roots of the server, but we love discussing cybird games in general.

╰❧ Lucky Time reminder channels where we have bots that alert you five hours before a lucky time begins, when it starts, and an hour before it ends. (This is for Eng Ikevamp and Ikepri events only)

╰❧ Channels to share your own work that you’ve created, or to share some you’ve found and thought others would enjoy

╰❧ A space for those who write in the fandom to go on writing sprints alone, or with other writers who are available at the moment

╰❧ Spaces to share information/art about Ocs you have created

and more!

If you’re interested, please send me an IM or an ask (off anon) to get an invite link!

Please do NOT send a reply because I don’t always see them!

The Comte and Chev somes from Jean's route release comic- I drew over Jean's cheeb to make Chev.

[mysticode54]

I stumbled across a Japanese article where Fumito Ueda, Yoko Taro, and Keiichiro Toyama had a publicized discussion about their careers and the video game industry as whole. This discussion was organized primarily to celebrate ICO's 20th anniversary in late 2021. So the folks over at Den Faminico Gamer requested concept art from all across ICO's development cycle to present throughout the 3 pages of conversation. And I don't know who was responsible for the task of transferring that, but they gave them A Lot of concept art. Many of these sheets have not been shared by genDESIGN's twitter, or really seen on any other site to my knowledge. There's some exclusive stuff in here. And even if they were seen somewhere before, I still want to translate them to the best of my ability and share the info. So I'm going to guide you through the sheets I found the most interesting. I'll also try to provide context for any cut content and musings on the lore elements being spelled out on the page. [Spoilers for ICO under the cut]

CUT AREAS

Jail

[I've decided to leave the original page untouched in all my translation images, and keep all added text to the black bars at the sides. I'm also including plain Japanese text in dark grey, just so everyone is clear on how I am interpreting the handwritten notes.] This area is titled "Jail" or "Prison" and it was to be put on the second story of the East Arena. This means that, in early designs, the leftmost door was meant to be opened on arrival. It seems you would navigate the diagonal water slope, make it up to this area, and briefly move outside for the sake of slipping into one of these locked cells. After doing so, you move a shelf aside, find the sword, enter a fight, and then use the sword on the rope holding the far right arena door. Having a jail cell next to the arena is very intriguing from a narrative standpoint. Were the cells for those who broke the rules set in place by the arena's organizers? Or was the arena always intended to be sparring matches between criminals and outcasts? Why is the only way onto the balcony found through one of these cells?

Boatshed

[In the black bars, text relating directly to the contents of the sketch will have drawn elements next to them, so you can better see what translation is paired with what part of the drawing. If it ever gets confusing, shoot me an ask and I'll clarify/edit the post.] The day after drawing up the concept for the Jail area, the team sketched the Boatshed, which was also cut. This area is reflective of an earlier, less bombastic ending to ICO, which Ueda briefly mentioned during Sony's "Great Scene Sharing" campaign in 2011.

Also, to be honest we weren’t planning to have the castle collapse entirely like that. We were originally thinking to have the ending of ICO be much more modest, but somehow it didn’t give you a feeling of resolution that way. And so we decided “Ok, let’s make everything crumble into the sea then.” (laughs)

The most intriguing aspect of this cut concept is a kind of Idol Fence Gate that reacts to Yorda in the same way as the Idol Doors, only in this case it is powered by a mask. The mask's face shape is somewhere between a man and a bull, with the moderately sized horns completing the animal resemblance. There seems to be a gem or circular marking embedded into the forehead as well. The text makes mention that the gate 'listens' to the mask (assuming I'm translating that correctly), so perhaps it had a specific auditory or musical cue planned for when it reacts to Yorda? But perhaps not. A concept page like this would be the perfect place to write that idea in clear detail, after all.

Heroine Room Connection

This is not exactly a cut area, but it is certainly a heavily altered one. This spot would later become the floor of Spiral Staircase, where Yorda is held prisoner in the first act of the game. We can see this intention by its proximity to 'The Heroine's Room' and the series of Idol Doors set up as the introduction to Yorda's unique power. (There's even a sketch detailing how this arrangement of four idols are supposed to part when opened, and it matches up with the movement of the idols in Spiral exactly.) The most notable feature of this area seems to be a set of stairs leading up into a small room with a trench in it. In the trench is a box and a small crevice in the wall. The crevice is labelled 'Heroine', which, to me, implies that Ico might have been able to see or hear Yorda through this crack in the wall. But since this room is a dead end, I imagine you use the box in some way to activate the other set of stairs, which seem to have both a upward and downward status depending on whether you've solved the puzzle or not. This is very similar in concept to a puzzle presented elsewhere in the final game. At either ends of the room are two doorways. One direction is labelled 'Ko Building', which we will discuss later in this post. But the entrance to this room is through the Ritual Room... which we also have concept art for!

Ritual Room

Similarly to the last sheet, this sketch depicts elements that would end up placed elsewhere, but the overall design of this room was cut. The Ritual Room was seemingly designed before the team had come up with the final design of the Altar Room. The Ritual Room bears many of its elements, but has a much larger scope and seems to serve as a junction between several parts of the building.

Common elements include:

The floor raising and lowering to open a path to the Stage 13 Elevator. The notes even clarify that this will only occur in the game's "2nd act". In this version of the mechanism, a handrail rises up when the floor lowers.

Capsules in which to place sacrifices. Though they aren't clearly depicted, they seem to be embedded into the ground, rather than standing up.

Restricted access to the high up Idol Doors. In the final game, they lead to The Queen's throne room. Here it leads to Proto, the earliest room designed in the game. It's unclear how you earn access to the doors, but the 'OFF' label indicates that the stairs must rise, or else it remains a vertical wall.

But one big difference that stands out is the palanquin-like structure at the center, which reminds me of the structure that surrounds The Queen's throne. Given the title of the room, we can infer this was meant to be the spot where the Queen's ritual would be held.

Notes in the margins indicate two innocuous, but fascinating things: - The note regarding what might open the Idol Doors for the village men likely marks the conception of The Queen's Sword. - Yorda's voice was meant to be heard from this room, and she would've been singing. She doesn't get to sing to herself in the finished product, though I think that characteristic fits her well.

Flowchart of the Second Half

Once it became clear to Ueda that the ending had to be more resolute and bombastic, they devised the Main Gate Event and laid out a plan for all the places you would traverse on your journey to the throne room. You might notice that locations like Cliff Cage, Cogwheel, and Pipe have different prototype names and some visual differences. The first location on the journey back, later known as Cage, is titled 'Ruins'. It seems to feature a series of overhang structures jutting out from the cliff-side. Presumably, these would catch Ico after his fall. The titular cages of the present incarnation seem to be absent, but we can see them close by, in the area that will become known as Cogwheel. Instead named 'Subterranean Lake' in this document, Cogwheel seems to lack any of its characteristic mechanisms. In this sketch, one of the cages seems to have fallen from the ceiling into the water below. In the final game, we move from Cogwheel to the outer edge of the island, where Ico clings tightly to the ridges of the cliff-side. But in this concept art, all of that distance is spent on a new area, completely cut from the final release, called 'Trolley Jump'. It seems the trolley would make a second appearance in the game's puzzle design and Ico would have to build up momentum to make it over a huge gap in the tracks. The Pipe area is named 'Ravine' instead. And the metallic platform is set far lower than it is in the final game, where you can just walk across it to make it to the elevator. Here, you must descend onto it and then climb up into a cavern, once you make it to the other side. You might've also seen that the the Old Bridge is titled 'ICO Bridge' in this document. This is especially interesting to me, as the name ICO seems to serve a different purpose here than you would expect.

What is “ICO (イコ)”, really?

Kenji Kaido has stated in the Japanese Guidebook for the game that the name 'ICO' was just the title, and initially, was never attributed to the boy protagonist (Page 82). He was nameless and only referred to as 'Boy', much like the protagonist of The Last Guardian is currently. The game's filenames, the concept art, and even Kaido's own presentation of the E3 2000 demo to PlayStation Underground, back this sentiment. The term 'ICO' is never attached to the boy before June or July of 2000, when US gaming publications reporting on E3 2000's demo started conflating the title with the protagonist's name. Seeing as this is dated in March of 2000, it's safe to say the use of 'ICO' here has nothing to do with the boy. So what is it about? Ueda did also say that the name was a shortening of the term ICON... but I have additional evidence suggesting that in this specific instance, it was not serving as an abbreviation for 'ICON Bridge'. Take a look at this rough overview sketch from the margins of a different concept art page.

Aside from the points that indicate land and sea, the labels that plainly stick out are "イ棟" and "コ棟".

"I Building" and "Ko Building". We saw that last label earlier in the Heroine Room Connection section.

Knowing this, we can safely infer that it's called イコ Bridge because it connects the イ and コ buildings... But then why are they split in that way and labelled イ and コ? I still don't have an answer for this, though I do feel like the divide is related to the separation of class. The イ building is dedicated to The Queen. It contains both her daughter and the sacrifices she needs to complete her ritual. It's where her throne is. It's where she resides and does her work. Meanwhile, everything on the other side of this bridge seems to have been built for a larger populous.

Benches, recreational areas, spectated arena matches, a waterfall, a courtyard, a ballroom with a massive chandelier! You don't build a front gate and a bridge to the mainland if you never wanted people to enter... This place undeniably once had people who lived and worked here. They were all designated under the コ building. I have to imagine this is why a distinction is being made, but beyond that, the reasoning for the titles remains a mystery. If someone has further insight into Japanese linguistics or culture, and have additional guesses as to why, please let me know.

Cut Boss Fight

In the West Arena (labelled 'R' for 'Right' in early development), there was going to be another raised cage event. Only this time it would take the form of a boss fight with a massive shadow that overtakes the floor and splays black tendrils through the air. Interestingly, there is already an overhead bridge in this image, but rather than magically appearing in stone segments, it's instead an ordinarily constructed wooden bridge. Here, the notes detail a different kind of puzzle element: Wire. Which, unlike ropes, cannot be cut by the sword. The same note indicates that wire is holding the left and right doors in place. While the concept art doesn't detail it plainly, I believe the only way past this room would be to pull on the "Idol Handle" that the boss is covering. Wire is also presumably being used for the zip-line running across the arena, which is an interesting component to say the least. The vision I'm gathering is that you'd ride the zip-line, hit X at the right time to drop down onto the overhead bridge, run over to the balcony where the 'Cage Switch' is labelled, and activate it to impede the boss. How it is then defeated is less clear. It's also unclear where Yorda would have been throughout this encounter, or if there would be additional enemies trying to drag her into a nest. Its possible the boss itself would be programmed to capture her with a tendril, and itself act as a nest by dragging her into the depths of itself. But we have no evidence one way or the other. [Ok, that's all the stuff I have to present for now. Keep in mind that there's more to see and translate in the article I linked at the very start. This post was only scratching the surface, despite the amount of material we covered. With that in mind, thank you for making it this far.]

Support

Now is as good a time as any to mention I've started up a Ko-Fi, so people can choose to support the work I do to uncover and present obscure info like this. There is, of course, no obligation to give me anything. The tips just help me get a bit of financial security in return for my efforts.

[unhinged-simp]

I love the perfume HCs you did for Romeo and Subaru!! What specific colognes do you think they'd use? I was looking at perfumes the other day and now I can't imagine Romeo wearing anything other than Jazz Bar by Maison Margiella, for obvious reasons lol. He would wear the hell out of oriental notes too though, I bet he has different colognes for every season and they're all really complex (but only moderately intense) blends from high-end brands. Whereas Subaru seems like he'd the type to support more niche scents from local stores, but he 100% for sure has at least one scent that smells mainly like wisteria, considering it's his favourite in Hotarubi- or maybe, that means he wouldn't actually want to wear it too often, since he wouldn't want to desensitise himself? Either way, from what I've read, traditional perfume is a rly big thing in Japan comparable to tea ceremony and flower arrangement (it's really fascinating so I recommend searching it up if you're interested) so it's entirely likely that he even comes up with his own combinations! He probably has a few nioi-bukuro too, which are these really cute mini embroidered scent pouches that are kept inside clothes. Sorry that this is so long, there's just so much to think about :')

What perfume I'd think they'd wear(Romeo and Subaru)

Ooh this was interesting! I'm don't know much about perfume/cologne but this was fun. I did do some research of my own and picked out some that I'd think they'd wear. Romeo has actual perfume since I'd think he'd wear high brand/popular scents. Since I believe Subaru would shop/commission smaller stores, I put more about what kinda scents he'd wear rather than a specific brand. I do see him making his own nioi-bukuro, and he uses it to make his favorite scents.

(Not x reader, no reader mentioned)

I do think he'd wear bold scents, and those high brand cologne and perfumes. 

Like you said he'd probably mostly wear Jazz Bar.

I could also see him wearing Armani Code by Giorgio Armani. It's an oriental perfume with a more citrus note, but it also has smokey and wooden undertones.

I feel like he'd wear Touch by Burberry occasionally. It’s more of a blend between spicy, aquatic, and woody scents.

Dylan Blue by Versauce is another one I’d see him use, though every once in a blue moon. It's a bit more in the aquatic scent but it also has a bit of spice and woodyness.

He'd also wear Obsession by Calvin Klein. It's another citrus scent that uses woody and spice undertones. I’d think he'd wear more often than some.

I’d see him wearing a softer scent. He'd wear Japanese style scents rather than any other kind. He also seems like the character to prefer floral or nature scents.

He'd occasionally wear wisteria, definitely doesn't want to be desensitized. 

He probably commissioned a smaller store to make a cherry blossom or wisteria perfume. 

On the days he'd want to do a tea ceremony, he'd wear a aloeswood or sandalwood scent.

Since nioi bukuro is often scented with incense fragrances, he'd probably have a sandalwood or aloeswood one.

He’d probably also make his own nioi bukuro with floral scents, like wisteria, lotus, or cherry blossoms.

[delawaredetroit]

was reading some of your analyses and imo pikahlua (bkgo positivity warning(?)) did a compelling write up on what the philosophies of saving vs winning embody within mha’s narrative! the way they delve into it links to the self-sacrifice vs self-preservation themes that you mentioned could've been established /post/743885232524197888

and after searching the phrase(s) win to save & save to win on their blog to see if there was anything else of interest, these other posts also came up as an amalgamation of various aspects of the concept as referenced in chp 322+285 /post/659102230778183680 and /post/658912695886790656

ik you’re not super into the whole WtS/StW thing, nor izk-bkgo’s rship (which is fair! still appreciate your dissection of the story even if i disagree with some stuff) but i do find these posts to be a nice bit of insight to possibly consider re: hrksh’s intentions, if you ever have the patience/energy to look over them. just wanted try sending this in since you’re on the dkvbk2 chapters currently, apologize if i’m overstepping anywhere

Uh, if you want me to read a specific post, perhaps use the full link next time. Luckily, pikahlua's blog is pretty organized and I think I found at least the chapter based posts you were trying to send. Also, it's fine, I don't need a trigger warning for anyone's opinion on a shounen manga.

I'm not convinced. Unless there is some sort of nuance in the Japanese where there was something less self aggrandizing in that winning concept, it really doesn't work. Coming up with a balance between Izuku and Bakugou's approaches makes sense. I can see that was the intention here. But victory has no moral weight; it is not the equal and opposite to saving in heroism. Self respect, self-preservation, self-confidence, etc. - any of those overexaggerated traits in Bakugou could be morally righteous in more moderate doses. Izuku could find some improvement in his heroism by incorporating any of these into himself.

Maybe I'm a bit spoiled by other series that handle this concept of two characters who represent opposite extreme ideals finding balance from each other with far more grace than BNHA.

[cursedvibes]

My days for the past weeks have consisted of going on twt, retweeting a dozen TakaKen fanarts and leaving. I also noticed that quite a few people don't seem to be aware that this ship is actually moderately popular (for a Kenjaku ship) on the Japanese-speaking side of the fandom, so I'd like to shout out some artists I really like.

新井 (really adore their art style and especially Takaba looks really good)

豆

maw (also does nsfw art on pixiv)

ハドロ… (pixiv, nsfw so you need an account to see, but I love their horny little domestic scenarios)

ボー (appreciate them so much for making an original Kenjaku design)

There is much much more. If you're interested, I'd recommend to search for 髙羂 or 羂髙 on twitter or pixiv and go from there.

[hexpea]

Ch. 3 - Parents

After checking into your hotel, the two of you were undoubtedly weary from the day's travels. Seiko, however, displayed an unwavering enthusiasm to explore the vibrant streets of the city. 

You made a promise to give Seiko a tour of the city as soon as the two of you settled into your room. Tokyo held a special place in your heart despite the memories, and you were excited to share its wonders with your partner.

As you strolled down the busy city streets, Seiko turned to you with curiosity in their eyes. "So, you mentioned that the school isn't far from here?" They inquired about your alma mater.

"Mhm," you affirmed with a nod.

Once you had your fill of sightseeing, the aroma of street food and the sounds of conversation drew you to a small eatery nestled amidst the growing sunset. The fragrant offerings of takoyaki and yakitori beckoned to you and you decided it was the perfect opportunity to take a break from all of your walking. The two of you sat at a corner table in the tiny restaurant, cramped nearly elbow to elbow with other patrons. Starving from a day of walking, you didn't hesitate to begin scarfing down your delicious meal. 

"So," Seiko started the conversation between bites, "if I remember correctly, you said your family deals with...cursed objects?"

"Yep," you confirmed before shoving another bite in your mouth.

"And what are those again?" They asked for a reminder, listening intently.

"Essentially, it's like a bulk of cursed energy, the stuff that comes from our negative emotions, which makes the object more powerful -- like cursed tools or cursed corpses," you began, still chewing that last bite. You didn't think about how Seiko likely didn't know what a cursed tool or cursed corpse was but continued anyways. "Sometimes the objects contain the bits of a sorcerer that can be reincarnated if the object is consumed by a vessel."

"By vessel, you mean..." Seiko trailed off, now completely engrossed by what you were talking about. You were a little thrown off considering they were never that interested in it before, but you were too tired to ask any questions. 

"Like a person," you shrugged, taking another bite from your meal. 

"I...see," they seemed a bit confused but nodded anyways. "So out of these objects that have these...sorcerers in them, who's the most powerful?" 

You thought for a moment, your brain almost fried from fatigue. "I think that'd probably be...Sukuna," you confirmed with a single nod. 

"Sukuna?!" They smiled at you as you spoke. "Sounds powerful."

"Very much so," you widened your eyes and looked down. Seiko didn't know the half of it. "He was the most powerful sorcerer alive, like, a thousand years ago. He's trapped in his current form, hopefully for good."

"Wow, so there's a lot more to this jujutsu stuff than I thought," Seiko smiled with a look of thought behind their eyes. "I definitely want to know more."

"I'll tell you whatever you wanna know," you shrugged. Their sudden interest was different, but you felt loved having a partner interested in your family. Though things were strained, they were still important people to you, their actions not always so questionable. 

The two of you finished up your meal and paid, heading sleepily back to your hotel for the night. The next day, you planned to meet with your parents, their happiness evident in their tones. 

After a long, well-deserved sleep and a little bit more sightseeing throughout the afternoon, the two of you took a taxi out to where your parents lived in the evening. 

Though your family was powerful, they weren't Gojo powerful; so that meant your family wasn't paid like the Gojo family. The estate you grew up in was of moderate size, still in the traditional Japanese style just like most of the buildings near the school which was only a block or so away and protected by Master Tengen's barrier. The area was just outside of Tokyo, just enough to see its beautiful lights and hear some of its late night sounds. It was humble and it was home.

Lanterns illuminated the path up to the front door of your parents' home, casting a warm and welcoming glow over the front garden. The small rocks that lead the path to the door crunched under your feet as you made your way up the front porch and opened the front door.

As you approached the genkan to remove your shoes, you couldn't help but feel a barrage of emotions. It had been three whole years since you had seen them, the last time being a few weeks after your divorce to Gojo as you moved your things into a moving truck. Because the marriage was arranged and divorce followed, there was a certain tension on your relationship with them. Not to mention it felt weird just being back in your childhood home after so many years. You hoped that time had softened the awkwardness of the situation. 

Seiko maintained a respectful and composed demeanor, this being the first time they met your parents in person. Though they appeared cool and collected, you could also sense their curiosity and anxiety. At the same time, their presence was a source of comfort, a reminder that you weren't alone.

"Y/N! And..." your mother quickly hugged you but her smile awkwardly faded when she forgot the name of your new partner you had talked about over the phone various times. By the smell of her, you could tell she was already a bit drunk, likely to quell her nerves about seeing you again.

"Seiko," they bowed lightly with a smile, "it's a pleasure to meet you both. I've heard a lot about you, and the work that you do."

"Wonderful," your father's deep voice sounded as he appeared in the doorway behind your mother. His arms were sternly crossed over his chest but the look on his face was softer than expected.

Their smiles had "unease" written all over them. They weren't sure where they stood with you and you didn't know with them either. They hated that they had to push you into the marriage to begin with let alone that it ended in divorce. They felt horrible for having put you through that pain unnecessarily. 

The four of you sat down for dinner, a beautiful display from the cooks your family employed for occasions such as this. You exchanged the usual pleasantries: "How are you?" "How's your job?" "Have you done anything fun recently?" You obliged their questions, attempting to keep a positive face as the tension slowly began to ease. 

At some point during the meal, your father brought up the elephant in the room when he could no longer stand it. He had been the most quiet so far that evening. "I'm sorry about your divorce, Y/N," he sighed and placed his chopsticks done. He had a look of sincerity. "And I'm sorry that it's come back to haunt you with this...this awful paperwork situation."

"Y-yeah," you nodded and looked back down toward your meal. You really wished the topic could have been avoided, but then again you needed to ask about Gojo anyways.

"But you're getting married again?" He continued, inquiring about your relationship with Seiko. Both of your parents glanced at the ring on your finger, a simple, diamond-studded band with a larger diamond at the center. "And you...didn't want to tell us?"

"Of course not, Dad," you scoffed, feeling your face heat up with embarrassment as you hid your ring by putting your hands in your lap rather than on the table. You somehow felt like a child again, getting scolded or punished. "After what happened..." you almost couldn't finish the sentence. "Marriage is a sensitive topic between us," you cut your thought short, not wanting to ruin the atmosphere which was already hanging on by a thread. 

"Well, Seiko, you're lovely company," your mother complimented with a warm smile, shifting the topic to a more lighter one with ease. "I'm happy you're happy, dear. It's well-deserved," she turned to you. With a few sips of sake in her system, her mood had quickly eased even further than it already had been. 

"Thanks, Mom," you smiled with a giggle at her slightly tipsy demeanor. "I wanted to ask...do you know if Gojo is still in the area? I don't...have his number anymore, so I'm not sure how to reach him to get this paperwork signed."

Your father took another swallow of his beer, smacking his lips awkwardly. "Yes, he's still active in the community, but he's moved to an apartment downtown rather than staying at his family's estate. I can get you the address later."

"Gotcha', thanks," you nodded, voice trailing off and unsure of where to carry the conversation next. The air around you felt incredibly heavy.

"Y/N," your father started again, always being the more direct of your parents, "we understand this situation with Satoru was not easy for you. Is not easy for you. We've always wanted the best for you, but we realize now that perhaps our past decisions weren't the right way to achieve that."

Your mother, looking at you now with a mixture of concern and regret, added, "we want you to know that we support your decisions and that we're happy to see you moving forward."

Their words were heavy with a sense of apology and you appreciated their acknowledgement of the past. The worries you once had about being there had ceased as things suddenly took a turn for the better.

"Thank you," you said sincerely, feeling a weight lift from your shoulders. "I know you wanted what was...an attempt at the best for the family and I really appreciate your support now. It means a lot."

Seiko offered a reassuring smile of their own. "Your support means a lot to both of us. I'm just happy to be here and get to know you better."

The evening continued with lighter conversation as you shared stories of your time living in Hokkaido with Seiko. Seiko went on and on about how they proposed to you just a few months prior. Your parents really seemed to like them and felt that you were in safe hands. The atmosphere in the room gradually shifted from awkward to warm and you found solace in the understanding and acceptance of your family. You considered one part of your mission accomplished.

The dinner had been a significant step in mending your strained relationships caused by the arranged marriage. You were grateful to reconnect with your parents, the whole thing going far better than expected. You hoped that your visit to Gojo's would go just as smoothly, but the likelihood of that happening was slim to none. 

Before leaving for the night, you made sure to get Gojo's new address from your father. The plan was set for you to make the visit to Gojo's the next day, leaving Seiko to venture around Tokyo on their own. They had an eagerness to them that you hadn't seen before. It pleased you to know that they'd be okay on their own while you did your business. You couldn't believe that the day you'd have to confront the menace that was your ex-husband was upon you, your relationship with him always being either hot or cold. You could only hope that his manners as you knew them had gotten better and for your sake he'd sign the papers without another thought.

[randomfoggytiger]

David Duchovny's Face: an Aesthetics Study

(Courtesy of: Deborah Feingold)

Wanting to learn more about fashion and knowing I retain information better by mapping it onto areas of previous interest, I've decided to craft a post analyzing David Duchovny's face-- specifically, its Masculine vs. Feminine dynamic.

In this incredible video by dear peachie (whose research is far superior to and more knowledgeably vast than most other beauty or fashion sources out there), the Masculine vs. Feminine attributes of the face are examined to highlight physical traits and others' perceptions; and how that balance shifts and changes with personal styling, colors, techniques, and ultimately age.

**Disclaimer**: I am a noob.

MASCULINE AND FEMININE AESTHETICS

dear peachie begins Part 1 by stating:

"Our face is inarguably the first thing people notice."

The video then explains the Japanese method of identifying one's overall "vibe" by Masculine or Feminine attributes to the face, and specifying up front that Masculine does not equate to a "manly" appearance (and leaving the audience to assume the same rule applies to Feminine and "womanly" respectively.)

The screenshots below illustrate the basics of this concept; but know that I'm just scratching the surface because of the "only 30 images per post" Tumblr mandate.

COMPARING MASCULINE AND FEMININE VISUAL AESTHETICS

Masculine Aesthetics have angular or prominent bone features to their cheekbones, jaw, or nose bridge while Feminine Aesthetics have fleshy or less prominent bone structures.

Masculine Aesthetics have eyes likely positioned higher on the midface ratio whereas Feminine Aesthetics have eyes likely positioned lower.

Masculine Aesthetics have a long lower face ratio with a longer chin compared to the Feminine Aesthetics short midface and shorter lower chin ratio.

Masculine Aesthetics sports sharper corners to their eyes, mouth, or nose; and usually accompanies this well-defined structure with closer set eyes. Feminine Aesthetics, meanwhile, have no particular structure to their rounded eyes, mouth, or nose; and usually have moderate or farther set eyes.

A simple and easy comparison of the two main (we'll get to that) Aesthetics:

Tzuyu on the left has a Feminine Aesthetic: eyes positioned lower on her facial ratio, a shorter lower face ratio, and softer, rounder, "fleshier" contouring to her cheekbones, eyes, and jaw.

Liu Wen on the right has a Masculine Aesthetic: eyes positioned higher on her facial ratio, a longer midface ratio, and sharper contouring to her cheekbones, eyes, and jaw.

OUR SUBJECT

If we divide David's face into thirds, four facts become swiftly clear:

His bone structure-- cheekbones, jaw-- is softer and less prominent overall, a Feminine aspect.

His eyes sit on the lower half of his midface ratio, a Feminine aspect.

His nose-to-chin ratio is small (shortening his midface ratio as well), a Feminine aspect.

His eyes, mouth, and nose have rounded or softened corners, a Feminine aspect.

(Curtesy of @scullyblues's edits here)

With these facts in mind, it makes perfect sense why David was able to use his softer features fluidly between Denise Bryson and Fox Mulder within a few, short years.

Changing with Age?

An interesting note: personal styling can temporarily disguise the dynamics of one's face aesthetic, but aging might do so more permanently-- the Masculine Aesthetic becomes more prominent with the loss of the natural, youthful facial fat; and shifts a potentially Feminine Aesthetic into a more Masculine one.

As you can see, David hasn't changed all that much as he's aged; but the youthful plumpness to his face has winnowed, exposing more of his cheeks and jaw and adding a touch more Masculine Aesthetic as the years ticked by.

HOW DAVID CAN SHIFT BETWEEN THE VISUAL AESTHETICS

It's possible for a person to shift their Masculine vs. Feminine contrast.

To enhance his Feminine Aesthetic, David (or his stylist) must pinpoint his most Feminine feature and build upon it: since makeup isn't DD's style, cutting and styling his hair into softer, rounded edges highlights the softness present in his facial features.

To shift his Feminine Aesthetic, David's most Feminine feature must be identified and shifted to a Masculine one. Makeup is the easiest way to do so-- applying eyeliner to "sharpen" a rounded eye shape, drawing straight brows into arches to "lengthen" the midface ratio, etc.-- but since that's not DD's style, cutting his hair into shorter or more jagged edges brings more sharpness to his appearance, tipping the balance a little more favorably in the Masculine Aesthetic direction.

High and Low Visual Weight

Technically, the Masculine vs. Feminine Aesthetic doesn't end there, breaking the classification further into four subcategories.

Visual weight is a popular point of discussion in Asian beauty and fashion, trickling over to the West via Tik Tok and promptly getting butchered by the well-intentioned but misinformed masses. Visual weight has nothing to do with a person's weight gain or loss nor an ability to tell their future or fortune based on those features-- it simply maps the regions of one's face where the most "weight" rests, i.e. the "sturdiest" or most prominent part of the facial region. Visual weight is how heavy or light and delicate the facial bones appear.

High Visual Weight has more prominent facial features: higher cheekbones, higher-positioned eyes, and a natural "lift" upward to the face as if the skin were being gently pulled back by a high ponytail. Low Visual Weight has less prominent facial features: lower cheekbones, with the widest point of the face settling down in the lower facial region near the lower cheeks, jaw, and mouth. Neither is more beautiful than the other, of course.

Besides personal styling aesthetics, High Visual Weight and Low Visual Weight affect how others perceive or judge a person's overall "personality": High Visual Weight exudes a charisma that easily attracts attention, seeming more magnetic or vibrant or alluring. Low Visual Weight exudes a lighter, calmer, and refreshing aura, seeming more down-to-earth, mellow, and welcoming or friendly to others.

We need only to look at David with longtime costar and friend Gillian Anderson to see the contrast between High Visual Weight (Gillian) and Low Visual Weight (David.) With age, Gillian's Visual Weight became more prominent-- revealing her sharper cheekbones and chin-- while David's Visual Weight stayed relatively the same (thanks @slayerbuffy for the original comparison here.)

How does this combine with Masculine and Feminine Aesthetics?

Well, Masculine and Feminine combines with High Visual Weight and Low Visual Weight to create four subtypes: Low Visual Weight, Feminine; Low Visual Weight, Masculine; High Visual Weight, Feminine; and Low Visual Weight, Masculine.

How to both High Visual Weight and Low Visual Weight types change back and forth from Masculine to Feminine Aesthetics?

Low Visual Weight types do not have prominent features to counterbalance, meaning their primary visual weight needs only to be enhanced by a personal touch here or there-- the "Maximize" method. Like a chameleon, one feature at a time can be is focused in and amplified to shift an Aesthetic.

However, maximizing High Visual Weight types prominent facial features would create an "overkill" or excessive appearance; therefore, these types need to introduce a contrast in their overall look-- the "Counterbalance" method. For example, if a High Visual Weight Feminine Aesthetic wants to achieve a more Masculine Aesthetic, dyeing their hair a darker color would be a quick way to add more "heaviness" to the visual weight, directly contrasting the lighter, more delicate features they naturally have.

How does this apply to David Duchovny? Because David has Feminine Low Visual Weight, it is easy for him to enhance his more feminine features to skillfully pull off the role of Denise Bryson.

Short but Fun Aside: Exploring David's "Personal Types"

I've heard or read (or both) here and there that David is attracted to women that look like himself; and, whether those conjectures were meant maliciously or affectionately, it piqued my curiosity.

So, in the name of science, I've pulled up his past girlfriends, ex-wife, and current girlfriend to compare and contrast.

An important note: these are respectful comparisons, and are not meant to shame, demean, or unfairly juxtapose these women against each other. Unfortunately, this world is such that I must put a preface up first.

The conclusion? Might surprise you.

While David does have an aesthetic type, he's actually drawn to women with predominantly Masculine Aesthetics, the opposite of his own Feminine Aesthetic.

Maggie Wheeler, Lisa Loeb, Perry Reeves, and Lucy Liu-- and more, but I'm not spamming this post with too many examples-- were his 80s and 90s love interests, respectively. Not only do they have prominent bone structures, higher-set eyes, and sharper corners to said eyes, mouths, and noses, but they also have longer midface and lower face ratios.

Tea Leoni and Monique Pendleberry also have all of these aspects, as well as the close-set eyes typified by the Masculine Aesthetic.

Fun Fact from dear peachie:

"Feminine Visuals are usually selected as the main girl in Asian drama series while the Masculine Visuals are frequently picked as the supporting character due to the unique charisma and individuality of their looks. They can give a strong impression on their audiences."

Conclusion

While none of this information is too surprising, it was a nice little walk down Fashion Lane. Hope you had fun as well!

Thank you for reading~

Enjoy!

[jeannereames]

Dr. Reames, a simple question from someone interested in history but who is not part of the academic world: in order to study Alexander the Great and Ancient Greece in general, how much Ancient Greek does one have to learn? Would you need to learn Demotic Greek or the many other dialects, such as the one from Macedonia? As in, you’d need to learn one or more versions of Ancient Greek?

Thank you in advance! I always enjoy your responses!

How Much Greek Do I Need to Read about Alexander?

It depends on how far you want to go…what’s your end-goal?

If you’ve no desire to make it a profession, the good news is you need very little Greek.

Most ancient Greek and Latin texts are available in translation in the major languages of (European) Classical studies: English, French, German, Italian. Now, if you want them in Polish, or Japanese, or Bengali, you’ll have more of an issue. But the Loeb Classical Library (and LOEB ONLINE) has English translations of virtually all extant (still existing) Greek and Latin sources, and if you’ve got access to a (larger) college library, they probably have them, even if you have to ask them to get things out of storage. Latin is red (PA6156); Greek is green (PA3612). Budé is the French version of Loeb, btw.

Loeb texts also have Greek and Latin on the facing page, but I mention them because they’ve got translations of (almost) everything. One can find cheaper versions without the Greek/Latin from Penguin, Oxford, et al. But those don’t have, say, Aelian, or Athenaeus, or the obscure texts of Plutarch’s Moralia. Loeb does. That said, the Alexander histories (Arrian, Curtius, Plutarch, Diodoros, and Justin) are all available in relatively cheap translations. Much earlier, in answer to a different ask, I listed our main sources on Alexander, extant and lost. It’s a longer read, but perhaps of interest.

(See below for more online sources in translation.)

So, no, you don’t need Greek. But, if you’re at least moderately serious about reading beyond pop history, you will want to learn a few Greek words to better “get” Greek sensibilities. Say, timē (τιμή), which means honor/public standing/esteem, but has all these attendant connotations. If you start reading the Serious Stuff (articles and academic books), authors will throw these around so it’s useful to know them, as they tend to carry an entire freight of meaning we don’t want to explain every time we use them. These are words I make my students learn in my intro to Greek History class (2510), so there aren’t many. (Undergrads put up with only so much, ha.) For Alexander, it’s also useful to know the Greek names of some units, such as the Somatophylakes (the royal Bodyguard of 7), or the Hypaspists (the specialist hoplite phalanx, not the same as the Foot Companions), or even the name of the long pike (sarissa). But you can make do quite well with a vocab of maybe 30± Greek terms.

It's only if you want to pursue research at the advanced (graduate) level that you’d need Greek. Even then, it’s mostly Attic Greek. The only time you’d need dialects is for quite specific study and/or epigraphy (inscriptions). Epigraphers are language specialists. Most of us, even the “pros,” don’t work at that level. But yes, if you’re getting into extensive examinations of passages, it’s good to understand the language for yourself, not have to trust a translation. Translations are, by definition, interpretations.

I hope that encourages some folks to embark on reading the original (primary) sources. Of more import for these is to understand HISTORIOGRAPHY. Even those who can read the Greek, but lack historiographic training, tend to take stuff at face-value when they shouldn’t.

Go HERE for a discussion of historiography (with regard to Alexander). Again, it’s part of a specific ask, but I explain why we need to know something about the historians who are writing our texts, in order to understand those texts. It’s another longer read, but essential.

Almost forgot! If you prefer video, I've also talked about the sources on TikTok: Part I: Intro & Lost Alexander Sources and Part II: Extant Alexander Sources

Some Useful Online Sources to Bookmark:

Perseus (at Tufts.edu): clunky as hell because it’s old (in internet years), but indispensable. English/Greek/Latin/other texts in translation and original language, plus all sorts of other tools, including an image bank. Pitfall: these are translations outside copyright, so old and sometimes problematic. Still, it’s free, and so-so much stuff here. Every person dealing with the ancient Med world has this one on speed-dial. (You can find other online sources with various texts, but Perseus has, again, almost everything; it’s the online Loeb.)

Stoa Org Static: a version of the original where you don’t have to sign in. Takes you to various super-helpful pages, including the Online Suda (a Byzantine encyclopedia you can search: look up “Hephaistion” there. *grin*) Bunch of other helpful links.

Wiki Digital Classicist hypertext list of topics ranging from the Beasley Library (of pottery) to the Coptic Gnostic Library and various online journals. Just click around, see what’s there.

Topos Text: clickable map of places which includes all references to them in ancient sources. So if, say, you want to know where X places is, mentioned in Arrian, you can find it on the map.

PHI Searchable Greek Inscriptions: I have used the tar out of this. It’s much easier than Inscriptiones Graecae, and comes with English translations.

More Online Resources: more links. This is just one of various collections out there.

Again, ALL this stuff is free. Even when you may have to pay (like Loeb Online), the amount of material you can now lay hands on even without a uni library is fantastic.

JSTOR: requires a subscription, but, if you’re a college student or can get access via a uni library, you can look up material for free. Problem: JSTOR has different subscription packages, and only the really big Class-A Research schools have large holdings for Classics. I’m regularly foiled in things I need, as my library is smaller. I use ILL (Interlibrary Loan) a lot. If you can’t get what you want via your school JSTOR or ILL, sometimes you can purchase a solo copy of an article via JSTOR Google Scholar. But (hint) always check the journal’s website itself. It might be cheaper there! (The Ancient History Bulletin, for instance, is super-cheap; check their archives. Karanos [Macedonia only] is FREE.) Same thing sometimes with books. Certain publishers have rental options, Open Access, etc.

Also Academia.edu first: Your savior…if the author is a member, and has uploaded the paper you want. We frequently face restrictions on what we’re allowed to upload, and when. Yet we may list an article we can’t yet release publicly. That doesn’t mean we won’t send it to you privately via email if you message us and ask nicely. 😊 Especially if you’re not providing an entire wishlist, or asking for a book for free. It depends on the person, and whether they have a PDF.

[guardsbian]

The full "Contact Us" message I wrote to FR staff (regarding the initial phrasing of "Lolita-inspired fashion" can be found under the cut. In the end I think most of my concerns were heard and addressed, considering the contents of the revised rules.

My message was resolved with a "thank you" message and a link about an hour and a half after the revision was released. Even though everyone who submitted feedback likely received the same message, I do, at this time, genuinely believe that my feedback was read and understood by staff. (So, thank you, if any happen to catch this post!)

Drakessis

May 16, 2024, 19:35 PDT

I am concerned about the use of "Lolita-inspired fashion" as a catch-all term for subject matter it does not represent. As it stands, the term's usage implies that dressing a child-analogue in the equivalent of Victorian doll's clothing or Hello Kitty-inspired accessories would imply "that the hatchling is an adult in a child's body." The underlying concern, of course, being that ill-intentioned users may use this implication to sexualize the subject. However, this is not a fair representation of what Lolita fashion actually implies, and feeds into misconceptions which individuals within the subculture are constantly attempting to combat.

At its simplest, Lolita fashion is a subculture influenced by Victorian and Rococo stylings— two eras which FR regards as lore-compliant. The fashion puts an emphasis on cuteness, such as the type illustrated by Sanrio characters and the whimsical worlds of works like Alice in Wonderland. The subculture's purpose for many is the same counter-cultural self-expression seen in the Goth subcultures, Steampunk subcultures, Scene subcultures, and many more (many of which the community of FR often embraces). There is very little to set Lolita fashion apart from the existing, accepted aesthetics showcased on Flight Rising; which is what makes the specification of the subculture as something inappropriate all the more unexpected and discouraging.

The rule creates the impression that an adult engaging with any fashion, items, or interests more commonly associated with children is inherently sexual, which— given the teenager-friendly rating of the site versus its adult playerbase— I am sure FR does not intend to do. In that case, however, what differentiates the Japanese "Lolita" subculture from the American "kidcore" or "pastelcore" subcultures? Both cases have their potential for misuse (by those who would attempt to skirt the rules regardless of what is written), but only one is explicitly prohibited in these guidelines.

(It's not difficult for one to, perhaps, interpret this disparity as the fetishization or alienation of East Asian individuals and subcultures. Which, granted, may be in response to existing behavior within the community— however, justifying this attitude via the written guidelines only hurts those victimized, being given less opportunity to speak up about a community-wide issue without being labeled as "discussing moderation.")

Even if no changes are made in the process of moderation, then at least a change in language should be made. People who participate in the Lolita subculture already face a constant stigma labeling their fashion choices as being "sexual" or accusing them of romanticizing Nabokov's work. There are existing topics/"styles" which would undoubtedly, without exception, sexualize young characters and exceed Flight Rising's rating, and their conflation with safe for work subcultures does nothing but harm those who are mislabeled as accessories to or derivatives of these groups.

The crux of my message is that Lolita fashion is NOT the same as the "loli/lolicon" genres which sexualize children, much in the way that kid/pastelcore fashion is NOT the same as "DDLG" or associated fetishes. I am sympathetic to the fact that Flight Rising would likely rather not call out these topics by name, but instead referring to an ENTIRELY unrelated subculture is not the way to sidestep the issue. In the end, it will only alienate well-intentioned players.

Thank you for reading my feedback. I hope it can contribute something of use to this discussion.

[righthonyakutranslations]

Please, Jeeves - Translation Proofreaders Wanted!

Update: We've got the proofreaders we need! Thank you so much, everyone!

Hello, all! You may have heard tell of a fan translation project for Please, Jeeves - the Japanese manga adaptation of the Jeeves and Wooster short stories by P. G. Wodehouse! Well... we at Right Honyaku Translations (yes, it's a group started solely for this project) are quite happy to announce that the translation of the first chapter is complete!

However, while I (Red, the translator and moderator of this tumblr) may have a lot of dedication and enthusiasm, as well as several years of Japanese under my belt, in truth I am not entirely fluent in the language and still make mistakes. As such, we are looking for proofreaders for the translation! It may be a long shot, given that there are a lot of moving parts and the whole thing is a volunteer project, but in a perfect and ideal world we would love to have the following:

A Japanese speaker, preferably fluent, with experience editing English-language texts. This is in order to make sure the translation of the original Japanese has no mistakes. (Familiarity with the Japanese translation of Jeeves - specifically, Morimura's translation, as it differs in many respects from the newer translation by Iwanaga and Koyama - is not a requirement but would be a great bonus.)

A British English speaker, preferably with some knowledge of old British literary style, and P. G. Wodehouse's writing in particular. This is in order to make sure the English translation does not dip into any non-British pitfalls we as Americans are unaware of, and sounds suitably Wodehousean.

However, if you don't fit those descriptions, but think you can lend a hand, let us know! We'd appreciate all the help we can get.

There are also two things to note, so the translation doesn’t look utterly strange. I'll stick those under the cut if you're interested.

Firstly, since much of this manga is taken from Morimura’s Japanese translation of the original Jeeves canon, a good deal of this is back-translation i.e. rather than literally translating the Japanese, I am often replacing it with its original English line as written by Wodehouse. This will only change if a scenario in the manga is extremely dependent on the Japanese wording over the original, which I have not yet encountered. One thing this manga does a lot is have partial alterations made to Morimura’s translation in its dialogue, in which case I translate it by combining the original Wodehouse line with some changes of my own.

Secondly, given that Japanese is a radically different language from English, it does not really possess equivalents for all of the broad, hyper-specific Edwardian slang as used in the original stories - for example, you end up seeing “cove” being translated simply as 「男」or “man”. So I have endeavored for my translation to be not just a translation, but also something of a Wodehouseification - in short, making the translated dialogue sound as if it would fit into the written world of Jeeves, even if it means putting extra Edwardian flair in the dialogue that wasn’t present in the Japanese original. A bit like a localization, what? I’ve done something similar while translating Japanese fan comics of The Great Ace Attorney (since the official English version adds a great deal of Victorian flavor in its structure and word choice and I thus wished to mimic that), and I’ve written fanfiction in the world of Jeeves before, so I hope that I am reasonably up to the task.