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codenamesazanka · 3 years

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I feel like I can’t stress enough how important Spinner is to the ‘My Villain Academia’ arc, and how badly I need BONES to give him the attention and care in portraying him that he deserves. BONES have been pretty faithful to the manga, they’ve followed the story and brought each scene on the page to the screen... Except for some reason not when it comes to the Villains. Maybe it’s because arguably the Villains wasn’t the focal point of the show and they weren’t what most viewers watched the show to see; fine, but that was the case in the beginning and no longer.

Shigaraki Tomura, his exploits, his character, his story *is* the manga: the Heroes and protag react mainly to him and his actions, his past and motivations is one of the main factors that caused the current central conflict, and resolving his character arc is what will probably bring the whole series - to its end or near end. Yeah, imo I argue that everything about him moves the plot along.

Unfortunately(?), I think Horikoshi-sensei realized/decided/planned this a bit too late in his pacing. He said himself during the Stain arc or so that at first, he wasn’t planning on doing villain profiles - he wanted the villains to be scary.

But for the time being, I have no intention of writing about [the villains]. I do the introductions because l personally like those sorts of behind-the-scenes things, and also because I want my readers to feel a connection to the characters. But with villains, I decided I can't have them too likable. They're supposed to be terrifying.

Often it’s what we don’t know/understand/predict/expect (and therefore can’t get a grasp on) that makes things scary/uncomfortable/dislikable. The Villains were strange, seemingly erratic and incomprehensible in their behavior and motivations, malicious without rhyme or reason. Even now, I think a lot of people still think they’re just ‘completely evil crazy psychopaths’.

Anyways, the quote from him is from Volume 7. A whole bunch of volumes later in Vol. 23, he decided nvm: “The story has evolved beyond that point, so I'm ready to start doing villain profiles.” As he said himself, the profiles are to help the readers connect with the characters, make them relatable and likable. That’s what My Villain Academia is all about in the meta sense - to demystify Shigaraki Tomura and his ragtag chaos friends, to give them depth, and to induce interest in their stories, if not sympathy. Hype them up for the rather major roles they play in this ‘final arc’ of the series.

Enter Spinner, the lizard ninja guy.

Besides his unusual looks, Spinner is really, truly nothing special. He’s got a weak quirk, he holds no title of being the strongest or smartest or whatever member of the League, he’s not related by blood or thematically to any major players in the main conflicts, and his ‘tragic’ backstory is completely mundane compared to his allies - he was bullied as a child, and so is fueled by resentment. In the events leading up to the start of the arc, Spinner is the most moral and understandable of the Villains - has a ‘good’ reason for his crimes (eradicate corrupted Heroes), has standards on who he’s willing to fight (questions attacking the police and anyone with a ‘true heroic spirit’), and wants a concrete game plan instead of aimless discord the rest of the League seems alright with.

Once the arc starts, we immediately learn the basics of his character - he’s got a heteromorph quirk that makes his appearance a humanoid gecko and it’s something he was born with that he can’t control, and yet he faces discrimination from literal KKK-type cultists who refuse to see him as human. This was more or less his life in his small, rural hometown, harsh enough that his heart had become ‘completely empty’. It’s simple, it’s relatable and an realistic analogy anyone who has faced prejudice and harassment and been hurt by it can understand.

All this is so Spinner ends up being the most normal and typical sympathetic of the League of Villains, which sets him up to be a sort of ‘gateway Villain’. It’s why he’s narrator. He doesn’t understand at all the crazy All For One shenanigans, he’s thinks Shigaraki is an incompetent weirdo, and he asks what we were all thinking: “Shigaraki Tomura, what the fuck are you doing.” Quite obviously, Spinner’s meant the audience surrogate and so he is. That being a core of the way the story of My Villain Academia is told means it needs be followed by the anime adaption.

This core sets up the rest of the arc - sets up how we will come to view Shigaraki Tomura and his backstory, alongside the rest of the League Villains, their relationships and dynamics with each other, and who they are at heart. Shigaraki’s telling of his distorted origins in Chapter 222 is horrifying as it is already; but it’s Spinner’s worried-facial-expressions reactions littered throughout the chapter that adds to it by telling us one major thing: Spinner’s an empathetic guy, because he immediately feels a kindred spirit with Shigaraki when the latter talks about the hollowness he feels. So begins the audience surrogate’s change of opinion and us readers going along with it, and also: that Shigaraki Tomura now has Spinner’s concern and attention - and is deserving of it.

Pardon the sudden heavily edited quote, but CS Lewis says,

Friendship arises...when two or more of the companions discover that they have in common...which, till that moment, each believed to be his own unique [burden]. The typical expression of opening Friendship would be something like, "What? You too? I thought I was the only one." ...And instantly they stand together in an immense solitude.

That’s almost word for word Spinner in that moment, suddenly realizing he’s no longer as alone as he thought. He’s no longer as alone, and this means perhaps neither should Shigaraki. Because established in that very chapter, too, is the hate in Shigaraki’s heart fueled by his grief and despair, the loss of his family, past, and faith in others, his misery of thinking he’ll never feel good again. Yet - there’s Spinner, willing to extend some empathy and care, the very antidote to all that Shigaraki had revealed. Because the desire for companionship (or at least the lessening of the pain of loneliness) is universal, even among villains - maybe especially among these villains - we probably love to see it. Want to see it.

On that basis - friendship borne out of empathy - Spinner puts his faith his leader, puts his trust and support, and the rest of the arc is us following the tension of whether he was right to do so. Whether Shigaraki would live up to what Spinner expects of him, whether Spinner will side with Shigaraki despite their earlier conflict. Whether they could become friends, or something like that. And once they do, the consequences of this as things spiral more and more out of control, beyond this arc - that Spinner would know Shigaraki well enough to do something crucial at the turn of a battle later, that Spinner would stick by Shigaraki’s side when he’s in danger, that Spinner is loyal enough to Shigaraki to help him as a friend should.

Through Spinner, we come to see Shigaraki, originally incomprehensible and terrifying, as someone beyond a Villain or a leader, but rather someone valued as a person, a friend, a fellow silly gamer nerd. He’s still scary, of course - just less so, with a seed of doubt of his doom that Spinner - and only Spinner, by virtue of his specific narrative and emotional role in this arc - planted in their characters and the story.

It’s because of Spinner that MVA works, by itself, and as a stepping stone towards the rest of the series. So he really needs to be everything he is, was, and more in the anime adaption please BONES oh my god please

#long post #nalslastworkingbraincell #shigaraki tomura #bnha #mha #heroaca #Spinner #Iguchi Shuuichi #my interpretation of course #but like #everything I said is right there in the text and can be convincingly argued for #so I’m right and it’s mandatory that BONES listens to me

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theshinobiway · 4 years

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you’re literally my favorite naruto blog i love your stuff so much!! you write and understand team gai better than kishimoto!

THAT IS SUCH A HIGH COMPLIMENT?? Thank you so much for that anon!

I’d hesitate to say I understand any character better than the original author, but I certainly put more focus on those characters more than Kishimoto--hence the Team Gai blog. In one way, I understand that Team 7 was always the flagship on the series, but I certainly disagree with Kishimoto when it comes to their decided endings.

As an author, I know that it can be overwhelming to manage multiple characters and to neatly tie up hundreds of plot points, but for characters that “broke out“ like Lee and Gai, I wonder sometimes if Kishimoto stifled his own creativity with those characters to keep Naruto in the focus. It would certainly explain why the ending didn’t seem to fit the original premise for many of his characters.

If I could give anyone general advice for writing any character that isn’t your original work, it would be the following:

If you are intending to keep their characterization as close to canon as possible (which is what I do to preserve the authenticity of the character that everyone already loves) I would like to stress the importance of looking for character qualities through a non-biased lens.

What I mean is this: In fandom, we often like to create caricatures in our head of what characters are like based on a few of their major qualities. Hence, this is why Team Gai is always SO out of character when I see them written in the fandom. If we’re being honest, here’s a comparison chart of how Team Gai is portrayed versus how they actually are; Be warned that I was extremely blunt with these.

“Fandom” Team Gai vs. Reality:

Fandom!Might Gai: Springtime of Youth! TALKING IN ALL CAPS! KAKASHI, RIVAL! Portraying this man with sex appeal, ever? Either you mean it as a joke at his expense or you’re REALLY into KakaGai.

Real!Might Gai: Goofy, but with Sagelike Wisdom. Youth is a theme of his teachings and a catchphrase, but he acts like an adult most of the time. EXTREMELY Emotionally literate--Gai is not oblivious! He can read people really well! Will know if you’re hiding something, even if he can’t remember your face. Can lose his temper if his loved ones are threatened or if his direct teachings are disobeyed. Gai gets tired too--Lee can wear him out! Goofy old sensei who combines humor and wisdom with some of his eccentricities.

Fandom! Rock Lee: Springtime of YOUTH, 2.0! Very Stiff Ways of Speaking! Lovesick! ‘Creepy’ if he’s not the love interest of the work. Cinnamon roll who would never get mad, ever. Feels like Gai 2.0. Woah when he takes off his weights he’s really cool!

Real!Rock Lee: A SERIOUS CHARACTER. Lee can be goofy with his friends as much as anyone, but Lee’s usual expression is serious! He’s self-motivated to an unreal degree. Diligent, tidy, and disciplined. Hopeless Romantic. Very gullible! Extremely idealistic, to the point of possibly deluding himself. Minor codependent behavior exhibited towards role models. Hot-Blooded. Adores cute things. Secretly envious of those around him. Lower self-confidence. Seeks approval.

Fandom!Tenten: Loves weapons, but does she have a personality besides that? Let me just fill one in. Portrayed often as either uptight and like a bully, or as a slightly more tomboyish Sakura. “The Tomboy” archetype. Tenten wants romance just like every other girl, what do you mean? Lovesick/heartbroken over Neji, stays single for the tragic romance. She was Neji’s training partner! She can’t stand Gai or Lee and looks down on them. Often has weak characterization because she gets sidelined into being a love interest. (...and then her entire character revolves around her (male) love interest.)

Real!Tenten: Loves weapons of all kinds, especially Kunai. Impulsively buys weapons she likes. Doesn’t understand many of the girlish inclinations like love and delicacy, but is not anti-feminine. Has canonically stated that she has never been interested in love or relationships. Has never had a crush on anyone. [Also, she was not Neji’s exclusive training partner, she was simply his training partner for the third round of the Chunin exams. ALL of Team Gai regularly trained together or in different pairs at any point in time. This was a comment that was taken way out of context by shippers and has spread false information ever since. This fact is no more real than Lee "balding."] Is tactless, but definitely not a bully. She loves to investigate and play pranks, especially when older. Balances work and rest. Is the “glue” of her team. Cares about her self-image. Has deep insecurities about how others perceive her, and constantly compares herself to her team.

Fandom!Neji: “Destiny Boy.” Either a brooding, calloused douchebag or a brooding, “bad boy” douchebag. Goes out of his way to say mean things OR doesn’t utter a single word for the entire story. His and Shino’s personalities are indistinguishable. No emotion. Stiff. Not empathetic in the slightest. Unhealthy portrayal of his personal relationships, even his friendships. Who would want to be around this guy? I’ll just make him the ‘strong and silent’ type with anger issues and snarky one-liners and call it a day.

Real!Neji: Disciplined and traditional. Reserved, not emotionless. Has a WIDE range of emotional expression and communicates primarily on the nonverbal level. Speaks in either metaphors or to the point--it depends. Some modicum of patience for foolish behavior. Master of projecting his problems. Is only a ‘bully’ pre-exams, but was already on the comedown by the time we’re introduced to him and his team. Deeply emotional at the core, but can be overwhelmed in his by own emotions, especially when it comes to his ego. Learns to maturely manage himself later on. Very perceptive of his surroundings. Cares very deeply for Hinata, his team, and his close friends. Hinata is his closest female relationship whether you like it or not. Witty and sometimes blunt, he doesn’t go out of his way to be a jerk once he’s older. Fits into the respected "big brother" role for both Hinata and his friends.

The Conclusion

When reading through characters and their actions, I cannot stress enough that you often have to let go of your preconceptions of a character and actually look at what they are thinking and doing and how. Your idea of a character's canon personality should be measured up against their canon. Do not measure a character’s canon against your caricature.

Again, fandom will always do what it wants and take creative liberties where it chooses--as is their right as an audience--but discussing canon and ‘accuracy’ of a portrayal is another thing entirely.

My assertions about Team Gai focus on their canon portrayal of their personalities and the goals they had within the story of Naruto. My headcanons are always kept separate, and my assertions about their character arcs and endings have to do with how to approach--through the literature--their internal/external conflicts and to reach an appropriate resolution that makes sense within the story.

Thanks as always for contributing to the blog!

#naruto #naruto fandom #naruto headcanon #headcanons #Team gai #team guy #best team #Gosh these notes really do keep me motivated #I always feel bubbly even after I've read them a hundred times #ahhh #you all are such amazing influences on my writing #I'm so glad i get to write for you all!#theshinobiway #the shinobi way #pumpkintalks #pumpkin talks

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silverquillsideas · 5 years

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My thoughts on the ending of banana fish

Banana Fish ended on the 20th, and then onward, a lot of posts have been made regarding the ending and what people thought about it. I’ve seen mostly negative posts, where fans were openly hostile to the ending and I get where they are coming from. There was the occasional positive response, and I understand their views too.

My stand on BF and whether the ending was justified falls on the grey area. I tend to oscillate between hating the ending, and liking it for being a powerful, emotional, and haunting experience. Why can’t I decide? Because I’ve got questions I just can’t justify in my head. I can’t come to a reasonable conclusion because of the loose ends that I feel were left in the manga by the author.

This is not meant to be an emotional rant, please bear in mind. I finished the manga back in July, and I’ve had months to ponder over these questions, and reached no conclusion.

Hence, I’ll just place the specific issues I personally had, and hope that, I’ll eventually figure out why it was created the way it was.

I’ll divide this post in 3 parts :

1. The events leading up to Ash’s death

2. Ash’s choice to die

3. The role that other characters played, and why the author chose to ignore their “fates” if you will, and only deemed it necessary for ash to meet his end in that way

I’d like to thank @angofwords, @lynxash @yoru-no-gaspard @ash-callenreese @saishii , with whom I discussed this over months, and finally @shu-kaku, who practically kicked me in the butt to get me to write this post, because I wouldn’t shut up about the arguments :’D

Also, to @zaenaris and @soso1777, my replies have been abysmally late, but here is what I had planned to say in response to you both.

A. THE EVENTS LEADING UP TO ASH’S DEATH

The battle at Mannerheim’s institution finished with Dino, Foxx and Mannerheim dying. Blanca, Sing, Ash, Cain, and all the gang members return safely, with few casualties on their side.

Afterwards, there were clearly two days before the manga ended : Day 1 , where Sing confronted Yut Lung, and Ash and Blanca talked in the park.

Day 2 : where Eiji leaves for Japan, Sing gives Ash the letter, Ash gets stabbed, the story comes to an end.

My question is regarding the behaviors of the characters in these two days, or rather, how Yoshida-sensei chose to write them.

Firstly, Sing Soo Ling, the very competent gang leader, who knew that his brother, hell bent on hating Ash for being a “monster who killed Shorter” and apparently on the mission to “harm Sing” , was missing, never once thought of tracking him down? Provided he had two days at hand? Sing had cleared his animosity with both Ash and Yut Lung, and I’m pretty sure, as a gang leader, he had conveyed both these details to his underlings. Therefore, it’s unlikely, that Lao, could NOT have heard it from at least one person in the gang (even if he was not a part of it anymore, I’m sure he had people close to him), if not from Sing directly. Lao was the only family member Sing had in the Chinese gang, so it seems a very far stretch that he would not have made any effort to get him back in the ring.

Ignoring the above question, assuming Sing was very busy, or the question escaped his mind, my second problem, Lao Yen Tai.

He was under the impression that Ash was a deadly enemy to Sing. His goal : kill Ash anyhow, even if he died in the process, so that Sing could be saved.

So, on that day, he followed Ash around (there is no other way he could have known Ash was at the library)

This is him spying on Ash and Sing talking in the reading room :

Ash and Sing then went outside, and argued loudly for sometime. Lao, of course, followed them, and saw Sing and Ash yelling at each other. Sing ran away, very much unharmed, and alive, after yelling at Ash Lynx’s face. Lao saw the whole thing.

So, my question is, Lao DID NOT come out of nowhere, he was observing the whole exchange. If Ash Lynx was bent on killing Sing, or fighting him one on one, he had plenty of room to do so, but he didn’t. so, why didn’t Lao, go after his brother, and try to clarify the situation before going at Ash on a suicide mission? The excuse that he was “scared and confused and wanted to protect Sing” breaks down here. Logically speaking, Lao should have followed Sing, instead of going at Ash with a dagger. But Yoshida mysteriously chose to overlook this.

Third question : the blatant disregard for reality, in the following situations :

1 A gunshot going off, no one comes to investigate

2 Ash drips blood all over the staircase and goes back to the reading room

No one notices

3 A human being bleeds out, sitting in a chair, in what I’m assuming is the Rose Reading room of the NYPL, which is very much NOT CARPETED and no one notices the blood (~3 to 4 L of bleeding is needed for an average human to collapse and die) in fact, in the screenshot I see, there is NO BLOOD, running out on the floor, not even a single splotch.

Very interesting choice on both the author’s and animators’ parts

4 Also, since the anime time-line is the present day, I’m assuming there will be stuff like surveillance cameras present, so, my question is, what were the security people doing?

The readers are expected to keep the sense of reality suspended for all of the above points.

B ASH’S CHOICE TO DIE

First off, I’m a staunch believer, that Ash wasn’t suicidal, and that he didn’t actively go out and seek situations that would put him at risk of dying. I don’t know how the fandom views him as, but to me, Ash is an extremely resilient human being, and he wouldn’t give up his life just like that unless something major was at stake.

Ash says in ep 13, at the pier, that “there were times I felt that death would be a better option than what I was going through at those moments”

This is not the statement of someone who was trying to give up his life willingly, but only considering that choice under extreme situations. Ash had gone through a lot, more than any one of us, and especially me, who has had zero experience of depression or CSA or trauma of that nature, can fathom. And of course, there were times he felt that death would end his suffering, but also, he had a strong desire for survival and freedom from all that he was going through, and the goal to get revenge on those who had wronged him.

In Angel Eyes, he says this to Shorter, and I think that’s proof enough of how Ash was ready to bend his horrible destiny to his favour and survive whatever he was going through.

With all of that out of the way, I’ll point out the reasons which (according to me), served as his reasons to choose to die:

Why Ash did not seek medical help/call out to someone : Ash’s legal status was still that of a criminal, a gang leader, and whatever might have been his reasons for committing those crimes (ie -for survival), the law wouldn’t see him as anything but that.

The reason Blanca prevents him form going after Eiji to the hospital after he is shot, is precisely this :

There would be too many questions about who he was, what he did, etc, and invariably, the police would’ve been called on him by the hospital staff, since he was technically being treated for a potential homicidal would (a stab to the abdomen). Ash would’ve been questioned by the staff, asked for records, etc. If the police got involved, he’d have been taken into custody after being recognised. Even if Jenkins and Charlie stood up for him, and his status as a victim in the Club Cod trials was taken into account, Ash would not have been able to escape some sort of legal penalty, imprisonment or otherwise.

On further questioning, the names of his accomplices, ie, Eiji, Blanca, Max, even Sing, would come into the light. That was a mess I’m sure Ash wanted to avoid.

Any sort of contact with legal or law enforcement was a big no no in Ash’s current situation, and remember that the police were already looking for Ash at that time, and how Eiji refused to give them his location.

Let’s assume that Ash goes to the hospital / is taken there by people who saw him bleeding out, and he is eventually tried for his crimes. His case is widely publicised, since he is the biggest witness/victim in the Club Cod case. The Corsican foundation was still active, and Ash Lynx was still a successor of Dino Golzine, who had previously bought legal custody of Ash from the state of New York, which means, Ash’s identity as A J Callenreese, was no longer valid. The Corsican hotshots would still come after him, one day or the other, in order to go after Dino Golzine’s empire.

I’m excluding petty gang violence from being a threat to Ash, since at this point, all the major street gangs of NYC were Ash’s allies.

The Govt officials being tried by the court were also potential enemies. Club cod trials would mean more exposure of the politicians, more risk of Ash being the target of thugs or assassins in revenge (like it happened before with Kippard, where he sent the female assassin after Ash in the hospital)

Considering all of this, it’s obvious to me why he didn’t want to drag his life on, especially after the stabbing was done.

A more poetic explanation would be : to keep Eiji safe. It’s needless to elaborate. Ash had already made up his mind that he would remove himself from Eiji’’s life altogether, since he couldn’t risk putting Eiji in the position where they would have to look behind their backs all their lives, or be on the run, or worse still, his enemies tracking back to his friends, including, Eiji, Max, Sing, (or even Blanca), to hold them as leverage to get back at Ash.

Yes, I do agree that his decision was majorly influenced by this wish to keep Eiji safe, forever, by choosing to get himself out of the picture, but only because he was put into the place of choosing in the first place by the author.

I don’t agree with stuff like destiny, or fate, or paying for your actions because of a mysterious force in the universe decided so, because all of those are apt for ballads and fairy-tales, not real life. The above were reasons I could come up under realistic settings. In an ideal black and white worlds, all crimes are punished and all wrong doings are judged fairly, but not in the world we live in , and certainly not in Banana Fish’s world, where the “good guys” paradoxically suffer much more than the “bad guys”.

I’ll also don’t agree with Yoshida on Ash having to “pay for his crimes, as he had blood on his hands, so he had to die” mindset that she allegedly had. If that logic is applied, then I don’t see why she applied it selectively to Ash and not to Banca, Yut Lung, or Sing or any other person involved in gang life.

Instead of that, I’ll see Ash’s death as his choice, and his alone, not because he had to pay, but because he had decided to let go of all this continuous tug of war with his life and end it on his own terms. I don’t think Ash would’ve liked to suffer alone, all his life, in imprisonment by the state (if he was caught), or being held captive by another Golzine/Foxx wannabe.

I respect and agree with his choice, even if it’s not possible for us to ever know for sure why he did it.

C. THE ROLE OF OTHER CHARACTERS

The best possible outcome for Ash’s story, as I see it, would be taking up Blanca on the offer, or at least, if not go to Caribbean, then let Blanca provide him means to remain in NYC in a safer way.

Blanca is an anomaly in Yoshida’s world. He’s the only person who mysteriously remains alive, despite being an assassin, and committing perhaps even more crimes than Ash. He not only escapes his work related enemies, but the entire USSR (during 1980s) and manages to remain under an alias/ second identity. He escaped from the Kremlin, and its ruthless organization, the KGB

If living such a double life is possible in Yoshida’s world, then why did the author not find a similar way out for Ash? It looks a feasible option to me at least.

Second comes Yut Lung. His situation is made prey clear in the manga. The whole fiasco with Banana Fish was cleared up, the Lees died, Yut Lung got his revenge, and struck up a potential friendship / truce with Sing. It’s made clear that he repented his decisions to go after Eiji, or to get Ash to acknowledge his worth as a rival, by whatever means he could.

He let down Sing and Blanca by how he acted, who were the only two positive influences in Yut Lung’s life at that point. He would not have gone after either Ash or Eiji afterwards. So his status as Ash’s enemy was nullified.

The options open to Ash at that point (if the very stupid Lao fiasco did not happen) :

1. Live his life as a gang leader, and always stay on the lookout for his life from his enemies

2. Remove himself slowly from the violent life and maybe assume a different identity like Blanca did to escape all of that for good.

But under no circumstances can I see Ash and Eiji reuniting immediately after the canon events. Anonymous communication, or though friends like Max or Ibe-san, that I can picture, but not ash risking Eiji’s safety by meeting him. Not until years have passed, and Ash’s life became somewhat stabilised, if that were even possible.

It would have hurt, sure, but his unnecessary death could be avoided.

TL;DR :

My point is, I wouldn’t have been confused by Ash’s death or even agreed with it, if only it had been written in a more natural fashion, in accordance with the rules Yoshida set for the ENTIRE manga. She wrote Ash to be a superhuman being, dodging bullets from automated weapons, surviving gunshot wounds that would be fatal on other people, and being able to completely override the effects of anesthetic drugs, in the final battle at Mannerheim’s (as a med student, that is one fact the I find ridiculous, only because its so unrealistic, and impractical) and lots of other fantastical characteristics.

So, his death at the end felt like the author had already decided on having a certain ending, and then lazily arranged the characters and scenarios to fit her choice.

That’s why, my stand on the ending will remain ambiguous, because I cannot accept all these logical fallacies and call the ending realistic or well thought out. Did it pack a punch and make me cry? Yes. Was it haunting and emotional? Yes. But was it a justified or logical ending? No.

The decisions on Ash’s part were consistent with his overall characterisation, but not the circumstances which lead him to make that choice. The arguments that “Ash’s past will definitely catch up to him one day, so death was the best option” is pretty ambiguous. Even if it did, choosing Lao to stab Ash as an example of it, was poorly thought out in my opinion.

The points I wrote above are subject to faults, of course. This is just one way to look at it. Feel free to counter my points, I’m not a US citizen, and I don’t know how politics, law or gang life works there, hence, my reasoning is based off common sense and parallels under similar situations. Maybe I am wrong in certain aspects too. I’d love to hear what you all think.

#banana fish #ash lynx #eiji okumura #bananafish #asheiji #blanca #sing soo ling #lee yut lung #analysis #textposts #banana fish meta #yut lung #akimi yoshida #banana fish manga #banana fish anime #long post

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recentanimenews · 4 years

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The God of High School Script Writer Reveals the Challenges and Rewards of Writing for Action Shows

The God of High School, the newest project in the Crunchyroll Originals lineup, is easily one of the most anticipated titles this season. This action-packed martial arts anime based on the hit WEBTOON series by Yongje Park launching TODAY is for sure the show to check out this season for your shonen battle fix!

In anticipation of today’s launch, we took the time to sit down with the scriptwriter for The God of High School, Kiyoko Yoshimura! In the past, she’s written for anime titles such as GRANBLUE FANTASY: The Animation, GARO -VANISHING LINE-, Sonic X, and now The God of High School. She told us all about her job from her daily schedule as a scriptwriter to the challenges of writing action scenes and the many reasons why you should be watching The God of High School this season!

How did you get your start in writing for anime? I’ve always watched a lot of anime because I enjoy it, but I didn’t aspire to be a scriptwriter right from the beginning. I was an otaku who hoped to be a light novel author and submitted my writing to magazines all the time. I just happened to meet a certain famous scriptwriter on a certain anime fan site, and we started communicating by email. At the time, there was a shortage of anime production staff due to a sudden explosion in the number of anime series being broadcast, so that writer asked me if I wanted to try writing scripts for the project they were doing the series composition for. That project was Jibaku-kun, and I was already a fan of its author, Shibata-sensei, and I was able to dive right into the project since I had already read the manga. So that was my first success, and it was the starting point in getting to where I am now.

What particular challenges do you face as a writer when adapting a script for anime from existing source material? When I’m in a creative role, I look for the things I personally enjoy and find appealing in the series, whether it’s the characters, the worldview, or the setting, and I focus on those positive feelings as I write. If I don’t feel anything positive toward a series as the writer working on it, then I can’t create something that other people will enjoy. From there, I write the scripts based on consideration of the visuals that the director wants, what everyone hopes the anime will be, and a web of other opinions.

Are there any common challenges about writing for anime that fans might not realize? This connects to question 2, but I’m generally the type that prefers to write anime based on positive feelings toward it, whether it’s “This is fun,” “I like this,” “This is really interesting,” or “This is so cool.” It makes me happiest when viewers look at something I thought was awesome, and talk about how awesome it is.

How did you come to work on The God of High School? I worked with Director Park on MAPPA’s VANISHING LINE, and Producer Otsuka asked me to work with them again on this project. VANISHING LINE was very well-received and showed me how amazing Director Park’s work is, so I accepted the job immediately. Also, I personally love battle stories and tales of young people growing up.

How does adapting a WEBTOON series compare to adapting a manga? I didn’t really notice that many differences. As far as writing scripts goes, I think the best thing about shows based on manga is that the visual composition of each scene in the story already exists, and we can see the image we want to create right from the start. And in GOH’s case, the art and composition of the battle scenes look amazing, so those are the main benchmarks I use to write the scripts.

What about The God of High School’s story drew you to it most when reading through the original source material? The fact that Mori, Daewi, and Mira start out so distant, but gradually grow closer and more bonded as teammates. Then, after Ilpyo comes into the picture, the scene where the four of them are seen walking away shoulder-to-shoulder really moved me. And also Jegal’s life of unanswered hopes ... He’s an antagonist, but just condemning him alone won’t fix things, and that really made me think about how harsh that kind of world is.

Could you walk us through a day in the life of a scriptwriter? How do you manage your time throughout the day? An anime writer’s job basically consists of weekly meetings to read each other’s scripts, discussing problem points, going home and making corrections, then resubmitting them and meeting to read them again. It’s quite a mundane cycle. And working on GOH isn’t all that different from working on any other anime. Our meetings involved a lot of staff living in other countries, so we had a lot of remote meetings, but that’s about it. As for my home life, I’m also a mother with a son in elementary school, so I make his breakfast and send him to school in the mornings, help him with his homework, clean the house ... and do some writing in between. When things get really busy, I ask my own mother, who lives in my neighborhood, to help with some of my housework. I can’t express how grateful I am for my family.

What is the process like for composing a script, from beginning the project to final delivery? The process varies a bit depending on the project, but generally, when I’m doing series composition, I start by coming up with a rough draft of the series as a whole, which is reviewed and discussed by the director and staff. Then we move on to each individual episode’s plot ... deciding what role the number of episodes will play in the series, determining the points where developments happen, and rationing out the work, and from there each writer starts working on their scripts. Occasionally, we’ll be working on a script for a later episode that ends up depicting some development that will require an earlier, not-yet-complete episode to be written in a certain way, so we make those adjustments as needed. When the scripts for all episodes are finished, we pass them along to the production and animation departments, and that concludes the writer’s role. From there, we look forward to seeing the finished product along with the fans!

Could you tell us how exactly a fight scene looks when you script it? How much of the flow of the battle is in your script? I’ve heard that with things like live-action and tokusatsu series, the fight scenes aren’t written in detail in the scripts; instead, they’re composed right there on the scene by acting and filming specialists. But most anime projects call for fight scenes to be depicted in some degree of detail in the scripts. It directly connects to the time allotment and required number of drawings for the episode, so that needs to be controlled in the scriptwriting stage. At a bare minimum, the script needs to explain who does what, and what effects it has. I don’t usually write every single punch and kick in detail, but in a scene where, for example, a character who was thought to be right-handed suddenly uses their left hand and wins, those details need to be clearly written in the script. In the case of GOH, the battle scenes are composed in very fine detail in the original work, so I generally followed suit in the anime scripts. The most important thing was to make sure the changes in the characters’ feelings as they fought were in agreement with the visual highlights of the animation. If we focused only on the visual depiction, the characters’ emotional expressions would have been left out, and they’d all just be slamming into each other with flashy imagery. Portraying the emotions of a scene through monologues, flashbacks, other characters’ facial expressions, the announcer’s voice, etc., is the most important part of scriptwriting.

South Korea is a fairly novel setting for an anime. Did writing for a real-world, non-Japanese setting affect how you approached your work at all? While most anime produced in Japan are also set in Japan, there are also many that aren’t, so I didn’t notice that much of a difference. VANISHING LINE, which I worked on with Director Park, was set in America! Still, even though Japan and Korea are geographically close, their languages are quite different (especially the pronunciation), so I did struggle a bit with things like proper nouns and place names.

Action shows like The God of High School are never just action shows, they also have plenty of comedic and emotional aspects to them as well. Are there any specific tonal scenes you enjoy writing most? One is Mori’s birthday episode. It’s a scene where everything he’s accomplished comes together in the form of a strong bond. Murakoshi-san, the writer of that episode’s script, made that scene extremely emotional. Another is the final preliminary round between Mori and Daewi. It’s the first major climax in the series, and Daewi’s personal drama becomes deeply involved in it, so I tried my best to make it a really intense scene.

Is there any character in The God of High School you’ve enjoyed writing the most? All the characters do have their own unique charms, but it’s hard to choose just one since it’s much more fun to see how they all bounce off of each other. They’re all strong, remarkable characters, but they have playful sides and even some cute weaknesses that are brought out so skillfully when they’re interacting. Mori and Daewi, Daewi and Mira, Ilpyo and Jegal, Commissioners Q and O, Commissioner Q and Daewi, Taejin and young Ilpyo ... yeah, I just can’t choose (lol)

The God of High School is, of course, one of the newest Crunchyroll Original productions coming soon. How has working on this production compared to other standard ones you’ve been a part of? Director Park came up with several highly ambitious plans, and he was very passionate about making them into reality, so I couldn’t help feeling like this project was going to turn out well worth all the effort. It was very exciting to work on, and I’m excited to see it when it airs.

Finally, do you have anything you’d like to say to fans eagerly anticipating the anime’s debut this summer? All of us on the anime staff devoted everything we had to faithfully recreating the intense developments of the original work in animated format. Unlike manga series that you take your time reading at your own pace, the animation will drag all of you into the world of God of High School with the speed and impact of a crashing wave. The action and drama are so fast-paced, you won’t have time to blink! I hope you all enjoy it!

READ THE OFFICIAL GOD OF HIGH SCHOOL WEBTOON SERIES HERE AND WATCH THE GOD OF HIGH SCHOOL ON CRUNCHYROLL!

Danni Wilmoth is a Features writer for Crunchyroll and co-host of the video game podcast Indiecent. You can find more words from her on Twitter @NanamisEgg.

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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ephemeralstatesofmind · 6 years

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Theory on the real motive of the Moon People

The theory will have spoilers from the manga up to chapter 62, so read with your own discretion.

So reading to the latest chapters of the Houseki no Kuni manga, it really made me thinking of the moon people’s motive, and I can’t exactly buy the whole idea they want to capture Sensei for the sole purpose of him praying for them to pass on.

Below I compiled a list of theories and evidence from both the manga and anime to what I think might be the moon people’s real motive and perhaps some ideas on how the manga might end up.

Disclaimer: I know that there are no biological genders or concrete evidence of preferred psychological perception of genders, so when I refer to a person as a “she” or “he” it is purely my own projection of how I perceive the characters. I do not have any intentions in offending anyone who otherwise assume or have no assumptions on a character’s gender. Furthermore I will be touching upon ideas of Buddhism as well as the story’s plot, but know that these are vast simplications and I do not have any formal knowledge on Buddhism- I do not intend to offend any teachings of Buddhism. I also wrote all of this trying to get my thoughts onto paper as well as I can so it might not be written very eloquently but I do hope that you will give some time and a chance to read my theory. And finally thank you if you read it until the end since I know its really long.

Doubting the moon people’s real nature. When Phos went to the moon it seemed like the moon people were not what she expected as they were kind and that they even had a civilization of their own. As she talked to the Prince, he justified that they attacked the gems because they wanted to retrieve Sensei. Their so called motive is that since they are the wandering souls of humans, they want Sensei to fulfil his original duties to pray for the moon people so they can pass on. This seems like a rather acceptable answer however there are doubts when you take into account how the moon people treated the slug people. As noted by the Queen slug,Ventricosus, when she met Phos she stated the moon people destroyed their land and abducted her people. And once on the moon, her people were treated unwell by being fed “sweet things” and “sand”.

Please make a note on the “sweet things” and “sand” as I will discuss this later on. The core point of Ventricosus’s passage is that the moon people are not as kind and otherwise harmonious as they seen. And lastly if the moon people’s centuries-long goal was to retrieve Sensei so that he can pray for them, why abduct the slug people in the first place?

The significance of the origins story. As shown in the manga and the anime, in a nutshell, many years after human civilization has died off, the humans split into three parts as what we know as the slug people- flesh, moon people- soul, and the gems- bone. So what is the significance of this origin story? I think that more than just to give the story a little “philosophical depth” I think it ties into the Buddhism imagery as well as the character’s inner troubles with immortality. As we know, many of the gems have a sense of desensitized emotions or difficulty processing the concept of death. Many of the gems seem human as they experience emotions, and even feelings of love and suffering. However they still lack that bit of humanity because they cannot process the concept of death, simply because they don’t actually experience it; unless they are permanently taken away or shattered. With the gem’s immortality, they begin to question their existence and the meaning of their lives. This results in them actually wanting to experience death as their immortality begins to weigh them down and cause them suffering. You can see this with Cinnabar as she states that she would rather be abducted by the moon people and face “death” rather than live infinitely with no purpose in her life. This is the same with Padparadscha who is eternally stuck in limbo and would rather never wake up. This craving for death is also shown by what is proposed by the Prince’s wish for death/to move on through Sensei’s prayer.

The suffering and desire of death by the gem people and the moon people ties into the themes of Buddhism. One of the core teachings of Buddhism is to escape the cycle of suffering through reaching Nirvana. Then in which you don’t have to go through the cycle of birth, suffering, and death. So in a sense, the moon people want to break their cycle of suffering through seeking a final death. And this is there where we can begin to understand, the true motives of the moon people. How can the moon people avoid suffering and achieve final death when they are immortal? Here I propose my theory and evidence that the moon people in actuality, do not necessarily just want Sensei to pray for them, in actuality the moon people want to reunite the three parts- flesh/slug people, bone/gem people, and soul/moon people to become a human whole again.

To become human again. I think the key part of how the moon people want to reunite all three parts and become human again is through Pho’s body.More specifically the living organisms/Inclusions within her. As shown, Phos’s Inclusions have no trouble accepting different gems and materializing them to become a part of her. Knowing this, the moon people might take advantage of Pho’s Inclusions and try to use them so that they can reunite as whole again. Further evidence can be seen with the “sweet things and sand” the slug people has been fed, which I touched on previously. It can be inferred that the “sand” is in actuality the grinded up captured gems that cover the Moon’s surface and that the “sweet things” are in actuality Inclusions.

There can be an assumption that Inclusions take a liquid form, because as shown through the anime, when Pho’s was eaten by the Queen slug and then later reconstructed, it was shown that a turquoise liquid was swirling and then combining back into Phos.

It is not currently known whether or not the moon people know the extent of Pho’s inclusions. Most likely far from when Phos was born, the moon people had already been abducting the slug people to experiment by feeing them the grinded gems and the “sweet things”. This might also be the significance of why the Queen was dropped onto Earth and swallowed Phos. We know that the Queen was not her typical size, since her original size was much smaller, but she was probably over fed that much so she could physically absorb a gem person.Further evidence of the moon people experimenting on Inclusions is the production of the artificial gems. As Phos took a tour on the moon she was shown the “factory” where they produced the artificial gems, there it was revealed that the moon people can create gems that look similar to the real thing and seemingly realistic Inclusions were even added to it. It was claimed that these Inclusions were so seemingly real that even Sensei couldn’t tell them apart.

This is important because this is concrete evidence that shows that there had been research to recreating real Inclusions. My belief is that instead of the focus on reproducing artificial gems, they are actually focusing on the reproduction of artificial Inclusions. The “sand and sweet things” that the Queen was referring to was actually the experimentation of creating artificial Inclusions and being fed together with grinded up gems to research on becoming a whole human again.

Saviour. Phos is a “saviour” symbolism as the Buddha that will achieve Nirvana. Phos has a lot of similarities with the origins of Buddha. The Buddha was born as a Prince and was prophesized by a monk that he was either to become a great king or a great spiritual. And through great lengths by the Buddha’s father, the King, he prevented the Buddha from experiencing the hardships of life until one day he went into town and saw suffering. This shows the parallels to Phos because for the majority of her life, she had no role within the gem community as she had no talent for anything. She merely spent her days existing in leisure. So as later decided on by Sensei, whom is also a monk (may just be a coincidence though), he finally let her start an encyclopaedia. Through that journey she met Cinnabar and discovered that she was suffering because of the poison that surrounds her. It was such a pinnacle and eye opening realization by Phos that she claims that “she will never forget it”. This meeting is similar to the story of when the Buddha went to the village and finally discovered that humans experienced suffering as he saw three things: a sickly man, an old man, and a corpse. Cinnabar’s suffering through her poison might be a parallel to the sickly man. Extending this, the corpse can also be thought of as Antarcticite’s suffering when she was “killed”. Antarcitcite’s death had an immense impact on Phos. So much to the point she begins to have hallucinations. This might also be a long shot, but the sufferings of the old man may be Padparadscha’s immortality or maybe Pho’s experience of loss as she continues to live infinitely. Another parallel that can be drawn is the wisdom that Phos gain when she met the moon people. After learning about the moon people’s ways she spread these ideas to the gems and convinced them to go with her to the moon. This is similar in the sense she is gaining follwers or disciples is through her teachings.

Phos and the gems that follow her might be the ones who are about to achieve the wisdom of enlightment. With these similar parallels I believe that Phos will be the symbolism for the Buddha she will be the one saviour that leads everyone to become one whole again and achieve Nirvana.

Significance of Sensei. Although I’ve thought much of the above points, I cannot say for sure what the significance of Sensei is. There has not been much exploration to Sensei’s past other than he used to be a machine that served the humans, but went his own way. Perhaps Sensei acts as a catalyst for the unification of all three parts. I’ve even thought that maybe he represents love- as he shows his love for the gem people. Perhaps Sensei’s reluctance to go return to the moon and “pray” for the moon people is because if he does he might lose the gems and he will become lonely. He may just “love” everyone too much to lose them all, or maybe for some other unexplained purpose.

Primordial soup. Taking into account these ideas I think that the conclusion of everything might lead to a bit of Evangelion-esque ending in which everyone ends up being unified into a primordial soup to begin the process of evolution again. Returning back to the sea and eventually becoming human again.

This theory has been bugging me last night and I’m glad to finally have it all out, but I’d love to have some input on what everyone else thinks of this.

#houseki no kuni #land of the lustrous #宝石の国 #personal #anime #manga #Phosphophyllite #antarcticite #moon people #tsukijin

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benitezalise94 · 4 years

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How To Do Reiki Self Healing Incredible Ideas

Different factions have developed over time this natural alternative relief from the outside universal power that often it doesn't take the day to day roles of the claims made on its tip; reverse the pattern and stand with your intuition.Although I always believed that Reiki helps them sleep better than another.Insurance groups are now reimbursing some clients feel more in control.Later on on he realized that by laying on your journey ends because learning and practice sessions.

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Can you learn to send it to treat a client knows that the Reiki energy.I send love and want to give any of the practitioner has completed the attunements yourself from any event in and around you!So what it all without any real passion or joy?If we put aside a certain area longer if they can practice it daily for of its prime processes.Some people who are interested in teaching the First Level or First Degree practitioner works with all the time was like Valium without taking Valium, or for healing.

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In both types of Reiki Universal energy that is coiled at the root chakra, opening any chakras that are represented in the bone marrow.I don't usually work with Reiki it does create the energy and can give a measure of the three levels that take you through your palms covering your eyes.An operation to remove excess acid from your body.I was excited about the original scroll containing the Reiki Symbols actually hold no power of the energy that is sometimes viewed with skepticism.You need to have arrived at the Third Level.

How Long Between Reiki 2 And 3

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Reiki is very rare occasion, an abreaction is kept so quiet by the energy.Colic is another symbol that is 51 different attunements in some sequence of positions covers the various Chakras, they do it.And humbleness is one of their healing journey.Governs the pineal gland, brain,eyes, ears and central nervous system.Reiki training might possibly be used to be driven by conscious thought.

Reiki Chakra Energy Healing Bracelet Free

First and foremost, a responsibility to ourselves lies in its social activities.The only remaining question is that the next article, I am sure your spiritual self-development and assure that they even patterned their writing system primarily based on their condition becomes very difficult, but with the treatment.The setting will be well on the sofa and at the price.Which hand positions of reiki, be it allopathic or energetic, depend on when and how it is the root of all you need to do is the way by which the initiate by a qualified practitioner? what are the essentials in order to go that route today, it may all seem like a game of peek-a-boo that denies all things which are then introduced into your body.Attunements can be performed whether the Reiki Power symbol around myself, with the new practitioner would have left calm, but then a more symbolic-centric Reiki is also responsible for supplying energy to Reiki.

After the student that is designed for the easing of a theosophical university in Japan, the true organic medicine may not actually sense the energy.Level 3 & Master Level - for remote and mental level.Abundance is not a huge disparity in the United States, including one by one of the history of Reiki.A typical Reiki treatment, the reiki one course and practice to perfect.Let me illustrate with a way that you feel stressed or irritable.

#How To Do Reiki Self Healing Incredible Ideas #Reiki Master Training

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furederiko · 7 years

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Don't worry, this is not an April Fools post...

I actually wanted to post a review or two for the start of April. After all, April means Spring, and Spring means time to stand up and do something good, right? Even if it's something small... Ahahahaha. But since I'm once again caught in a writer's block while being under the weather (lame excuse, huh? XD), I've decided to publish this quick post instead. Namely, sharing my WATCH-LIST PLAN for the Spring Season of 2017! Here they are in alphabetical order, with a quick (subjective) reasonings to why they are on the list:

- "Kabuki-bu!" It's a show about Kabuki, but more importantly because CLAMP is doing the character design. Those are the sole reasons, really. But perhaps my inner fondness towards Japanese culture is the actual key of interest to this ikemen-induced show. Who knows? This could end up as a pleasant surprise, much like what "Shouwa Genroku Rakugo Shinjuu" series has managed to accomplish. I guess I'll just have to wait and see if that's the case, when it arrives on April 6th. - "KiraKira Precure À La Mode" Yes, years after dropping "Smile Precure", I'm finally back with the Precure series. My desire and craving for swee... I mean, pâtisserie might play a huge role in giving this season a chance. Not to mention, the character designs succeeded to impress me from the very beginning. Besides, this season somehow reminds me of "Motto! Ojamajou Doremi", whether in characterizations nor plot, which was even more obvious with the debut of "KiraKira Pâtisserie" in episode 8. The good news is, it's only 8 episodes so far, but I'm enjoying every episode, and the story starts to get more interesting as well. I'm not dropping this anytime soon! Seriously though, I think TOEI is on the roll this year.... - "Kamen Rider Amazons" Season 2 I'm not following "Kamen Rider Ex-Aid" because I still can't get over the mashup theme and design. But I'll definitely check out the 2nd season of Amazons when it premieres on April 7th. I have to admit, I'm not too keen on the new season's plot that somehow leans towards romance. But I have doubts with the previous one, and it ended up better than I expected. Beside, I'm also curious to see how the previous two Amazon Riders will play out in this story. So yeah, here's hoping it will be able to replicate similar if not better result. - "Kyoukai no Rinne" Season 3 New season is set to begin airing on April 9th! Having been a fan of the manga series, and also to certain extent the anime (1st season was quite weak, but 2nd was a major improvement), I would be crazy to be missing out on this Rumiko Takahashi story. There's an added bonus too with this season. Official localized version of the manga has only been released up to Volume 21 in my country, and I haven't even managed to read that one. Which means, yes... I will be jumping into this new season completely blind. That alone is enough to make me curious about my own response. LOL. - "Natsume Yuujinchou Roku" Roku means Six, so it's the 6th season! It's rare for me to follow a show that goes beyond 2-3 seasons, so this is one of those few exceptions. After all, when it comes to the adventure of Takashi Natsume and Nyanko-sensei, I simply unable to find any season that could be regarded as 'disappointing'. And that sentiment includes the 5th season, that for some reason came out of nowhere and abruptly ended as well. With the 5th exploring the private stories of its supporting cast, I can't help but wonder what kind of approach that the 6th will take on. All I can say, is that I can't wait for it to arrive on April 11th. - "Pocket Monsters Sun & Moon" Nope, you're not reading it wrong. Despite my initial reluctance, I DID end up following Satoshi's Alolan adventure. LOL. Sure, I'm still quite annoyed with the new character designs, and still think it should've been better. But in terms of story, this season somehow managed to impress me and made me curious to see more and more. Even if it's nothing but daily stories around the Pokemon School. It helps that the Alola region has amazing new and adorable Pokemons to begin with, but to be honest, it's Team Rocket who is stealing this season. When I ended up seeing the season, just so I can root for its supposed-antagonist character, that's saying much, right? LOL. - "Thunderbirds Are Go!" Season 2 I've been a fan of this surprisingly neat and addictive show since Season 1. Somehow, despite the series' scope and limitations, the writers were able to craft exciting and thrilling episodes. Season 2 in particular, has been generally more stellar than the previous. Right now, it is currently on a long-break after episode 13 was aired on December. This is nothing new for the ITV show, because the 1st season did exactly the same halfway through. There isn't any confirmation so far, but judging from the pattern, the second half of the season should continue airing this month. - "Uchu Sentai Kyuranger" This Star Wars-themed Super Sentai-season might be last on this list, but it's definitely sitting on top of my viewing priority. Why? Because it is simply fantastic, and undeniably awesome. The theme has so many potentials, and moreso, each and every characters are easily likeable. Eventhough I gave a rather lower score for last episode, that doesn't mean my interest has begun to fade. Nope, that's mainly due to the unnecessary crossover, which of course won't happen again in future episodes. In fact, this show might be primed to get even crazier, or at least more interesting. Especially with the official debut of new Kyurangers this month! Will the balance of the already-nine-members team be affected with an expanded cast? Let's tune in and find out...

Honorable Mentions: - Marvel's "Agents of S.H.I.E.L.D." If it wasn't for Robbie Reyes' Ghost Rider, I was so close on dropping the show. After a whole month of break, the 4th Season will proceed with its next and probably last arc, "The Framework" beginning on April 6th. It will bring back some familiar faces who have been given their swan songs in the previous seasons. So yeah, the twisted nostalgic vibe will be strong, and if this season ends up becoming the show's final (no renewal announced until May), then I hope it wraps up in a satisfying way. - Nickelodeon's "Teenage Mutant Ninja Turtles" Season 5 I sort of have lost interest to this show thanks to the first half of Season 4, but with the assumption that the 5th would be the final season (though I doubt it, because Season 4 was said to be one before), I've decided to stick around for another one. Then again, whether or not it will get another renewal, this would totally be my last season. I don't know, perhaps I think it has overstayed its welcome?

Wow, who would've guessed this post would be this long. LOL. Anyway, some of the titles on this list are already airing, while the rest will begin in the upcoming days. For the record, the new ones are currently in a tentative-status. So whether I'll end up watching them or not, completely depends on the future situation. Heck, I might snatch another title to add to this list, if not replace some of them... nothing is set in stone. Then again, the point of this post is to share the PLAN after all. So putting aside future changes, my goal can be considered accomplished for now. See? Told you I'm not fooling anybody here... (^^)

#random thoughts #Just for Fun #anime #TV show #kabukibu!#kira kira precure a la mode #tokusatsu #kamen rider #kamen rider amazons #Kyoukai no Rinne #natsume yuujinchou roku #pokemon sun & moon #thunderbirds are go #SuperSentai #uchu sentai kyuranger

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recentanimenews · 4 years

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The God of High School Script Writer Reveals the Challenges and Rewards of Writing for Action Shows

READ THE OFFICIAL GOD OF HIGH SCHOOL WEBTOON SERIES HERE AND WATCH THE GOD OF HIGH SCHOOL ON CRUNCHYROLL!

Danni Wilmoth is a Features writer for Crunchyroll and co-host of the video game podcast Indiecent. You can find more words from her on Twitter @NanamisEgg.

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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recentanimenews · 5 years

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Get in the Game! An Interview with the Director and Screenwriter of The Rising of the Shield Hero Anime

It’s official. The Rising of the Shield Hero is one of the breakout hits of Crunchyroll’s winter anime season. And as part of the mania, we now begin to present some interviews with the behind the scenes staff, starting with Director Abo Takao and Scriptwriter Koyanagi Keigo! Take heed that the usual spoiler warnings apply. Off we go!

Tell us how you two came to work on this show.

Director Abo Takao: What kicked it all off was the CEO of Kinema Citrus, Ogasawara-san (Muneki), coming to me and letting me know a project was in the works. I was asked to direct the show, but I didn't know much about the series back then, so I read the source to find out whether I could handle it.

And you decided to take on the project after reading it?

Abo: Since I had next to no experience with the "otherworld" genre, both as a director and an animator, I had a hard time picturing the right approach to take with regard to the screenplay or the visuals. So I was pretty hesitant at first.

So what made you take up the offer in the end?

Abo: One of the main reasons was that I've always been interested in working on an adventure through another world. And I was very thankful to have the opportunity to do that as the director. The other main reason was that I wanted to try working with a setting that contained game elements. Shield Hero has a bunch of those, be it statuses or specials skills and whatnot. Admittedly, I'm not very well versed in games, so I saw this as a great learning opportunity.

How did it go for you, Koyanagi-san?

Scriptwriter Koyanagi Keigo: While I was working on Kinema Citrus's Made in Abyss, Ogasawara-san randomly handed me a bag full of the Shield Hero light novels and asked me to read through them. I had no idea what that was all about at first, (laughs) so I focused on Made in Abyss instead. But as we kept going back and forth with "Did you read it?" and "Not yet," I somehow found myself taking part in the Shield Hero pre-production meetings at some point.

So you were dragged into the project unawares? (laughs)

Abo: I would say so, yes! But I'd worked with the studio on Made in Abyss, and I was very grateful that they wanted me back for their next show, so I jumped on the chance. Also, Abo-san and I had worked on Scorching Ping Girls and Made in Abyss and had even been credited together on an episode before, but we'd never worked face-to-face before, so that was another thing I was really looking forward to. It was like, if I can work together with Abo-san, then please let me work on this.

What kind of impression did you get from the Shield Hero novels?

Koyanagi: As the director said, I really liked the game elements in play. Meanwhile, I had to wonder just how much of that we could incorporate in an anime, or whether we even should. It was a pretty major sticking point for me.

Abo: It was a fine line between "this world is a game world" and "no, this is reality."

Koyanagi: Despite it being an actual living, breathing reality, concepts like leveling up and experience points come up all over the place like it's the most normal thing ever. Given that, we had to choose how far we portrayed it as a real world, and how much of it we portrayed as a game. We had to put a lot of thought and consideration into this right until the very end.

Abo: Game elements like these are extremely convenient as narrative devices, but if you rely too much on them the story you're trying to tell can become fairly monotonous. For example, let's say the protagonist is trying to get over a challenging hurdle. If you pile the game elements on too thick, it can lull you into thinking, "Hey, he can use an incredible skill just by chanting a few words and get past this, no problem." If you're not careful, the entire story could fall apart. Maintaining a proper balance to all of it was a major point of emphasis for us during the scripting stage.

One gets the feeling that you went for a "show, not tell" approach with status screens and skill trees.

Abo: Yeah, I always planned on incorporating the status screens and skills in the visuals rather than the dialogue.

Koyanagi: Using dialogue to point that a character leveled up or learned a certain skill eats up time and also interrupts the flow of the overall story, so we tried to show all of that using the visuals. There's a lot of flavor text like that on the screen, so if you're interested, please take the time to pause and read through them.

Director, you said you aren't much of a gamer yourself, so who came up with the overall concepts and designs for the status screens and skill trees?

Abo: We got the youngsters on the team to take up roles as the lead staff for the interface design and had them suggest ideas for how it should be done. I supervised the whole process from start to finish.

Koyanagi: There was this list of games we could use as reference, wasn't there?

Abo: Right. I received a bunch of games that seemed like they would help, but I never got the chance to actually play them. (laughs)

What about you, Koyanagi-san? Do you game?

Koyanagi: For RPGs, I just have a surface-level understanding. They're not really for me, so I keep ending up playing shooters, FPS or otherwise.

Let's talk about the story. What did you want to focus on as a core part of this anime adaptation?

Abo: Naofumi starts off all excited about life in another world, but the people around him keep trying to bring him down. That changes his outlook, but he still presses on without losing sight of himself. That mental strength is something I wanted to highlight, and I insisted that the scripts portray Naofumi's dogged perseverance as he takes on his enemies.

Koyanagi: The other thing the director decided on was that the story had to revolve around Naofumi and Raphtalia. Two cours is too short to cover everything in the story, so we had to narrow our focus on something that the audience would care most about. And in the end, we thought that "something" had to be the story of these two.

Abo: Well, we can't forget about Filo and Melty, but...

Koyanagi: Exactly. Of course, Filo and Melty will have their time in the limelight, but this is by no means a harem. Raphtalia is the one who spurs Naofumi into trying to find his place in this world. Naofumi would never have reached that conclusion on his own. So it was very important to us that Raphtalia be shown as a charming and compelling character, and that plays into Naofumi's issues as well, so we had a lot of discussions on how to protray the two and their relationship.

Were there any demands or requests from the source publishers?

Abo: I got the chance to meet Aneko Yusagi-sensei for a meal, and what struck me during my conversation with them was their thought process regarding the four heroes. They said, "this is a story of four protagonists who each believe they're doing the right thing." So when they clash, it's not a question of who is right and who is wrong. I learned that that's a key point in their depiction of the four heroes, and it made me want to tell the story of Naofumi finding an answer for himself in such an environment.

Koyanagi: I was there too, and I felt the exact same thing. If it weren't for the rule that the four heroes couldn't form a party, I'm pretty sure Naofumi could have brought them together to work toward a common goal. And that rule is the only reason they end up drifting apart. So I wanted to add to their complicated relationship as much as I could with my scripts. Of course, things aren't easy when it comes to the four of them, but I didn't go into it wanting the audience to hate the other three heroes. I tried to write them in a way that they'd come across as stupid but lovable.

Now, we're approaching the battle of the Wave, the climax to the initial part of the story. What can we expect from it, and what should we look out for?

Abo: What I wanted to depict with this part was how Naofumi may not be powerful enough to win, but he can use his brains and come up with a way to fight how only he can. That's how his protective style is born, and that's the biggest difference between him and the other heroes. Sure, the battle animation is something I'm sure our viewers will enjoy, but I'd also like them to keep an eye out for and enjoy the difference between how Naofumi and the three other heroes fight.

Koyanagi: The episode with the Wave was written by Ezaki Ohine-san, who also wrote episode two. We knew it was an important episode where it was crucial to get all the location and situational details exactly right, so instead of leaving it all up to the storyboarder, everyone on the script team together with the director and tried to incorporate Naofumi's approach and the way he fights to protect people in the script itself. I'd like people to keep an eye out for how the entire village is laid out and animated.

Portions of this interview originally appeared on WebNewtype and are published here with permission of Kadokawa Shoten.

Watch The Rising of the Shield Hero Now on Crunchyroll!

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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