Literary Analysis - Blog Posts

hey did you know that uhh

i. the monster's body is a cultural body

ii. the monster always escapes

iii. the monster is the harbinger of category crisis

iv. the monster dwells at the gates of difference

v. the monster polices the borders of the possible

vi. fear of the monster is really a kind of desire

vii. the monster stands at the threshold… of becoming

Princess Tutu and Grand Narrative

Once upon a time, there was a clumsy school girl granted the power to transform into the magical ballerina Princess Tutu.

“Once upon a time” is a familiar phrase used to connect stories that take place in lands distant and times different from one another into the same fairytale world. Each episode of the anime Princess Tutu begins with this familiar phrase and then proceeds to tell a story both known and new, where Hans Christian Anderson’s Ugly Ducking becomes Odette, the Swan Queen, from Swan Lake, thanks to the magic of the mysterious Drosselmeyer, who bares a striking resemblance to the character of the same name from The Nutcracker. Princess Tutu is not just a retelling of a handful of fairy tales, it’s an adaptation of stories across literature, ballet, opera, and of course, anime. Each piece of Princess Tutu’s narrative belongs to worlds larger than its own. The series challenges paradigms about typical narrative creation by weaving together multiple “grand narratives”.

While working as an editor for Kadokawa Shoten in the late 80s, Otsuka Eiji wrote a paper called “World and Variation: The Reproduction and Consumption of Narrative” in which he explains the idea of the grand narrative. An individual story only gives the audience a small glimpse into that wider world that the story is set in. This wider world is full of countless narratives told from countless perspectives that make up the grand narrative. Eiji uses the Gundam franchise to illustrate this concept where any given episode of the anime is a small snapshot of narrative within the larger universe(s) Gundam takes place in. Eiji explains, “Countless other [stories] could exist if someone else were the main character.”

Everyone is the main character of their own story. But most of these stories that make up the grand narrative of a world are hidden from view. It’s impossible to tell every story at once and have it be comprehensible. Instead we can only consume small bite-sized narratives that give us a snapshot of the (hopefully) interesting parts of a protagonist’s life. But who, exactly, is controlling these smaller narratives? This is a question faced by the characters of Princess Tutu.

The concept of shifting protagonists and expanding the audience’s view into the grand narrative heavily ties into Princess Tutu’s premise. The anime’s story is catalyzed by Drosselmeyer, the author of a fictitious book called The Prince and The Raven. The book’s ending is a stalemate between the titular characters so Drosselmeyer decides to promote the minor character of Princess Tutu to the role of main character to help the story move forward.

As you can probably tell by the name, Princess Tutu is heavily influenced by ballet. One of the show’s more significant influences is Swan Lake. Through the anime’s re-purposing of Swan Lake’s Odette as a magical girl, Princess Tutu continues to uphold ballet’s tradition of adapting the story for its own purposes.

Princess Tutu and Odette

The basic story of Swan Lake is about a prince falling in love with a girl cursed to be a swan from sunrise to sunset by an evil sorcerer. The sorcerer tricks the prince into confessing his love for his daughter, Odile, instead of the swan girl thus dooming the swan girl’s chance at true love and breaking the curse.

Amanda Kennell, an American scholar, outlines in her paper “Origin and Ownership from Ballet to Anime” Swan Lake’s production history and the evolution of the ballet’s narrative. The original staging in 1877 had the story end with the villain going unpunished and the two lovers drowning in a flood. In a revival staging from 1895 the villain was defeated and the two lovers reunited in heaven after throwing themselves into a lake. In a single scene production called The Magic Swan from the 1940s, the iconic “black swan” was introduced setting the precedent for the same ballerina to play the role of Odette and Odile in striking white and black costumes. And finally, another staging in 2006, not only adopted the White and Black Swan motif, but also changed the ending once again so that the prince kills the villain and he and Odette live happily ever after.

Despite each staging of the classic having significant differences, none of the variations are cast away as counterfeits. The value of the production isn’t in how close it is to the original Swan Lake but instead in the relative merit of each variation. In fact, it doesn’t really matter which you consider “the original” where the additions made by each carry their own merit and add to Swan Lake’s grand narrative. In this same regard, it would be acceptable to consider Princess Tutu another variation on the world of Swan Lake’s grand narrative.

There is terminology for this phenomenon in Kabuki theater. Eiji points out in his paper the similarities between the concepts of Sekai (world) and Shukou (plot) from Kabuki theater and his ideas of the grand narrative and the smaller narratives.

In Kabuki, Sekai represents the world a story takes place in and Shukou represents the story that is a product of that world. Each staging of a Kabuki play is its own Shukou derived from either a single Sekai or the mixing of Sekai. What matters in creating a good performance is not necessarily conveying the Sekai but instead the relative merit of the Shukou’s take on things. No performance is exactly the same and different actors bring different strengths to a performance and in turn provide a different experience for the audience’s entertainment. This of course carries over to more art forms than just Kabuki, classic ballet is in a similar position where entire songs are sometimes re-choreographed just to match the strengths of an individual ballerina. Ballet in particular has a long tradition of making minor and major changes to suit an individual performance. Whether it be tweaking choreography or straight up giving the story a different ending. The evolution of Swan Lake’s production is an excellent example of how productions of what are considered to be the same story can dramatically vary.

But Princess Tutu borrows from more stories than just Swan Lake. This brings us back to Kabuki and the idea of mixing Sekai in order to create another Shukou.

Princess Tutu takes pieces of classic stories and rearranges them to create something simultaneously familiar and completely new. Princess Tutu is not forging a new Shukou from only Swan Lake’s Sekai, but instead is connecting the canon of European literature and performing arts together into an even more extensive grand narrative.

Just look at the series’ opening for example, where Swan Lake and The Nutcracker are intertwined with one another as the anime’s titular character is dressed in the ballet costume of Odette and dances to The Nutcracker’s Flower Waltz to simultaneously combine the worlds of two ballets while producing an entirely new moment unique to the Princess Tutu anime.

The anime ends on the implication that if one person tries to control a story and the grand narrative it’s connected to, that person will fail. Princess Tutu is an excellent reminder of how stories are dynamic. Stories end up taking on a life of their own evolving, expanding and being reworked by both creators and consumers.

Eiji explains that once the consumers feel they have a grasp on the grand narrative they are free to produce their own small narratives from it. This is exactly how its creators forged Princess Tutu from the grand narrative of classic literature and performing arts. Just as mangaka can’t help it if a doujinshi adds to the narrative of their original story, Travosky can’t control the new life his ballets have taken on in Princess Tutu. Stories will take on a life of their own, abandon the need for an original and become a part to a larger grand narrative to be consumed and reworked over and over.

“Romantic Gothic deals with the tormented condition of a creature suspended between the extremes of faith and skepticism, beatitude and horror, being and nothingness, love and hate - and anguished by an indefinable guilt for some crime it cannot remember having committed.”

— – G. R. Thompson: from “Romanticism and the Gothic Tradition”

i think chuuya nakahara is truly the most human charavter in asagiri shows this purposfully in many mnay ways, ostof the time he is a stark contrast of dazai, bursting with energy and emotion and care. And he is the human light, the sun or the beaty of destruction that dazai finds so comforting, and that dazai teases him so chuuya can make dazai feel morw alive. since chuuya and dazais reuion during the guild arc that dazai hasnt tried to kill himself and thta througjout their shared past there has been a theme of dazai stopping his genuine attepts on his own life, and rather doing them to manipulate people like mori or to feel alive.

.... Sorry felt like yappin

Guys please ask me more questions i havent gotten any... I want someone to ask me what i think ab characters or series... :/

https://www.tumblr.com/join/3SN97yGM

Join.

Anyone have any ideas for a name? I cant figure one out rn...

I do definitly have to admit the anime has its moments - like in dark era, dead apple and the guild arc. However i dont think the current style of animation properly potrays the theme and moods of most shows. from my pespective, bungo explores mental illness and the lines and burrness of morality. I really would like if the animation potrayed that in its style like Evangelion or lain, but instead its smooth and sharp, a stark differnce to how most of the characters view the world around them.

Idk if im the only one who thinks this, but the Bungo anime wouldve gone so much harder if it was animated in the 90s style of animation, specificly the evangelion style. Or even like the Dadaroma, NANA, or Paradise kiss style of animation. I have a lot of issues with the current anime, and most are animation related...

When i say i relate to dazai on a extreme level i mean *this* dazai, not whatever nilistic bullshit the 99% of fandom thinks he is. Like We both yern to experince all corners of life and death to prove to ourselves that we are human. To prove to ourselves and others that are people, that we feel. If you think about it, dazais ache to feel the arms of death while in the ada does nothing to aid him in this, and i think he knows that.

I think he hopes while in the ada, he will feel he has finally expernced both sides of death and life to a point that will prove to him and others that he is human. he will never achive this feeling and will forever chase after it. deep down inside his doubt of his own humanity will always stand within his heart, it will boil in his head on rainy days and on sunny mornings; It will ask if he belongs amoung those around him, if he is truly a human, or simply some thing perfectly acting like one - to fool others and try to fill that abormally large hole in his heart that he knows will never fill.

Dazai Osamu will forever be greedy for proof of his humanity.

I need more people to read this page, PLEASE PLEAS UNDERTSNAD DAZAI ISNT JUST SUICIDAL PLEASE STOP MIS CHARAVTERIZING HIM

R*wling shows throughout the series that she believes that bad things are only bad when they're done by the Bad Guys. However, if one of the designated Good Guys does the same thing it's not bad.

For example, use of the Unforgivable Curses. When the Bad Guys use them it's horrific, evil, one of the Worst Things Ever. But when Harry uses them, with alarming frequency, it's fine. He's not a Bad Guy, so the things he does can't be bad.

Then there's Snape. He's awful. Just awful. He's an incel creep. He's racist. He bullies young children just because he can, and is outright abusive to them if he didn't like their parents (even when said parents died when the kid was an infant). And oh yeah, he's an incel creep who became obsessed with a girl who did not return his feelings, called her slurs, and was a-okay with her husband and infant son being murdered. You cannot tell me that he wasn't hoping to swoop in and try to manipulate her into a relationship when she was vulnerable due to extreme grief. But, because she for some bizarre reason unwilling to stand aside quietly during the murder of her family, he started working for the Good Guys, which totally means that he's a Good Guy and none of the horrible things he did actually matter.

And then there's Dumbledore! Oh boy, I could write at least an Order of the Phoenix sized book about all the terrible things he did. But I'll keep it short here. He knowingly left a particularly vulnerable child in an abusive situation, and didn't even bother to actually check in on him now and again to make sure that he wasn't being, you know, abused or anything like that. He also left the baby in a basket, outside, for hours, because that was for some reason better than knocking at the door? He then manipulated a young child into basically becoming his private soldier against an evil wizard so powerful that the entire magical world pissed themselves at the mention of his name. But all this gets glossed over and is forgiven as easily as if he had just lost a pen someone had lent him. Because, after all, he's the ultimate Good Guy. And a Good Guy can't do bad things. Therefore, none of the things he did were actually bad.

This got a lot longer than I intended it to be. The views on morality in this series really bother me.

Sometimes I just sit around and think about ways to improve the Harry Potter books. Not even in a fix-it fic way. Just like...there are some seriously dropped threads in Deathly Hallows especially.

Do y'all ever think about the thing with Griphook? Harry choosing to deceive him about the sword of Gryffindor? Well, I do. It bothers me that there are no negative consequences for this. Because oop- Griphook double-crossed them too! So we never have to think about Harry making that choice. And the characterization of Griphook is squicky, man. He relishes the idea of weak creatures suffering, he's obnoxious. We can't even REALLY examine wizard/goblin relations because Griphook is such an uncomplicated little asshole. Did Gryffindor steal the sword from the goblin king??? Harry is uncomfy about it for like two seconds and then oop--guess we never need to think about it again. It's a bad writing choice and when I think about a book like Terry Pratchett's Feet of Clay--a book that complexly and carefully and humanely examines racism--i feel super disappointed in the way the Harry Potter series just like...lets some things go.

This is, I think, one example of a handful of moments when Harry does a Bad Thing: lies, uses unforgivable curses etc. But there's no real examination of it. She nods at it a little like "harry was becoming as reckless a godfather and Sirius was to him" but then it just gets...dropped. There isn't even a "this is war; there is no moral high ground" moment. R*wling just seems to have no plan at all to examine any moral complexity in that final book. It makes me nuts.

I guess this is just what I do on this website now... 

Ok lets Go! 

One Piece, Law, and Femininity

Preface: Three warnings and a Request

Warning!!!

Let's get this out the way. I do ship Law and Luffy. That doesn’t matter to this particular theory/analysis but it's better to be upfront about one's personal biases. I don't think it's canon nor do I think it ever will be. But if anyone wants to use this for their own ship theories, have at it. 

This writing “theory” I have doesn’t apply to children because they kind of inherently fall into a third category. Their age tends to naturally make them more vulnerable and in need of assistance. When it comes to gendered writing children tend to get a pass. There are many reasons why but that's not what this is about.

Sanji is a newer and only other expectation to this “theory”.  More on that at the end. 

Request: If you don't think Yamato is a dude, this is not for you. The whole point of talking about feminism in this regard is to talk about how femininity is performed and perceived. Gender is a social construct and how we construct it is important to the feminine conversation. If you cant accept and understand that... read a few essays and come back later. Seriously I am talking about roles, behavior and presentations of gender here. Also I want to support my son (he’s older than me but, still). 

Part 1: Oda Writes the Backstories of Female Characters the Same Way he Draws Them.

A lot of people push back on the idea that Oda only knows how to draw the same female character by pointing at characters like Big Mom or Dandan. So I would like to change the phrasing. Oda only knows how to draw attractive women characters one way. When they're old hags, he's got options. But if they’re even supposed to be mildly attractive then he’s got one option in a variety of colors and accessories. He writes their backstories in roughly the same way. They have a lot of big differences. I can honestly say most important people in one piece have unique and interesting back stories and goals. But the skeleton of almost all the women are the same. I only say almost because One Piece has a stupid amount of characters and there is a 10% chance that some minor character from some obscure island in East Blue somehow flew under my radar. But this rule does apply to all the main women characters. Let's talk about it. 

1a. Oda Loves Taking Away Women's Autonomy. 

Seriously Oda cannot resist putting women in positions where they are either slaves, or working in a group that they are opposed to, or living under constant threat of imprisonment, or some combination of those. Nami was enslaved at a young age by Arlong, Robin had to join CP9 because she needed protection from the world government and then almost got imprisoned by enies lobby. Vivi joined Cp9 to save her country. Hiyori spent years living with and presumably fxcking a man she hated hoping that one day someone else would be strong enough to defeat Kaido to get revenge. There are countless cases of women, specifically women, being sold to Celestial Dragons for the sole purpose of sexual slavery. Like shows up so fxcking often. Aces mom had to hold her child in her stomach for an extra 15  months to him from the marines and probably died because of it.  If Oda is writing an important woman character who is relatively young you better believe she spent years of her life not being in control of it. And if she's older, she either a mom of some kind or was a badass and settled down because some man in her life died, or both. 

1b. Women Need to be Saved in Order to Achieve their Goals and Men Need to be Supported. 

This is gonna be a little hard to explain but it all comes down to how problems are solved, who solves them and why. Kinda. I think the best way to explain it would be to give an example. Lets look at the first two members of the Strawhat Crew. Zoro’s goal is to be the strongest swordsman. Simple enough. He tries to fight Mihawk the moment they meet, he loses and swears to grow stronger and defeat him.  Nami has two goals, or more accurately she needs to accomplish one goal in order to achieve her true goal. Nami needs to get out from under Arlongs control in order to achieve her goal of mapping the whole world. She also wants her family to be able to live in peace and not be broke. Unless she accomplishes that first goal, she cannot accomplish the other two. She needs to be saved in order to continue her story. Because she’s  unable to save herself. Which is reasonable. She's just a person and Arlong is a super strong fish demon man. So Luffy saves her. He punches her problem away real good and she is now finally free to do what she wants. If you know anything about Laws character I'm sure you can see where this is going . Robin is the same, Luffy punches away the people that want to control her real good and declares that he will fight the entire world to let her have the chance to live freely.  

I brought this up with my dad and he brought up a great point. Marineford. He said well Luffy lost pretty bad in the paramount war and needed to be saved by many people. Even costing him Ace. But, I would like to point out that the people who did that, Akainu and Blackbeard are still roaming free. Luffy needed to be saved in the moment but he’s still going to be the one to resolve the issue. Like Luffy, Zoro, Franky, Jinbei, and Brook have all needed saving at some point during a fight. But they always get to square up and finish the ones that are important to them. And their goals don't require them to be saved before trying to achieve them. The point comes down to who's allowed to deal with the finishing blow to their main goals/ problems. Luffy isn’t going to punch Mihawk for Zoror, or make Ussops dad respect him, or whatever the fuck Jinbei wants. But he did fight Arlong for Nami, Cp9 for Robin and Doffy for Law. 

1c. Girls got to College to Get More Knowledge, Boys Go to Jupiter to Get More Stupider

The women of One Piece are objectively smarter than the men. Emotionally and Intellectually. Women in One Piece are normally more patient, less stubborn and willing to retreat when they have to. They also don’t get as love sick as the men. I mean Boa lets her feelings for Luffy get her into insane shit, but that's the joke. Like One Piece women aren’t really known for having someone's looks  affect them. There's a reason there is a most Beautiful Woman in the world with no male counterpart. Like Smoker is Zaddy and no one cares. Most of the guy characters who are overly sneaky and plotting are villains or assholes. That's not to say there aren’t smart men characters, Franky is a genius at his craft. But being smart and careful isn’t part of his character or reflected in his behavior. 

 Part II: Trafalgar D. Water Law,  The Saddest Little Uwu 

I haven't loved Law since the first time I saw him. I have loved him since punk hazard though which is pretty fxcking long. His strong Emo vibes and general refusal to go along with any of Luffy’s bits seemingly for the sole sake of keeping up an image that not one present cared about really endured him to me. I’m pretty trad goth and he reminds me of those emo kids that refused to wear pink or be nice just because they thought it wasn’t hard core enough. Then as the show goes on he develops into one of those healthy goths who know that being an outsider is about showing vulnerability, kindness and maybe dressing in a lil pastel. I really like Law and his weird role in the story so far. Ok, my I love Law rants are done let's get to what we need to get to.

Law before One Piece:

Trafalgar D. Waterlaw was born in Fleavance. He lived a pretty happy normal life, a doctor father, nurse mother and cute baby sister. Until he was about 7 or 8? Around that time the town of fleavance started experiencing some unknown illness. I will say in our real world it is pretty similar to what silicosis actually does to you. Minus the Vitiligo and some other symptoms.  In the world of One Piece its called amber lead poisoning and its almost completely fatal if not properly treated Which is hard to do on its own. But it's even harder in Law's case since the neighboring towns and probably the world government didn't really know what amber lead poisoning was or how it spread either. So they said fxck it, burn it down, kill everyone and call it a day. Problem solved!

So yeah, Law's family is dead, he escaped Flevance by hiding among corpses, and now he is slowly and painfully dying. 

Then it gets worse, it gets so much worse before it gets better. He pulls a Tim Drake and forces his way into the DonQuixote Family by threatening to kill himself and everyone else with a bomb. Because seeing everyone you know and love die painfully and then have the government cover that up will do that to you. Doffy sees a lot of himself in Law and decides, “yeah, this’ll do”. 

Doffys’ nicer but objectively less cool younger brother Corazon also sees a lot of Doffy in Law and decides to immediately put a stop to that shit. He slowly and secretly teaches Law how to enjoy at least some aspects of life. Shows him the first and true affection he’s been shown since his entire village died. It ‘s great. And then, TLDR, Corazon decides to betray Doffy, gets caught, stuff the Ope- Ope Fruit down Law's Throat so he can cure himself and then get shot to Death after saying I love you to Law for what is seemingly the first and last time. Also Sengokou was there.

We don’t really have a clear idea what Law did after this but we do know a few things. 

He became a pirate with the sole purpose of taking down Doflamingo 

 He seems to have chosen a submarine as a pirate ship in order to better hide from Doflamingo and also make it harder to attack him. Because Doffy is a devil fruit user. Even though Law is also a devil fruit user and this puts him in extreme danger. Especially since...

 He made a crew of people who are seemingly doctors 1st, friends 2nd and fighter 6th. Like none of Laws crew members appear to be even mildly good at fighting. I’m pretty sure Chopper could take most of them. 

He names his crew the Heart Pirates after Cora. Which implies that Spanish, just like real world Spanish, is canon in One Piece. And that also reminds me that Law is talking like a nun in his flashback. Is Law catholic? Or was he raised catholic? Either way it adds to the uwu and the trauma of it all. If you know, you know.

 He started working with Caesar Clown, a man he fxcking hates. In order to get closer to Doflamingos secrety secrets.

Pre-time  Skip Law

I’m skipping when we see him in Sabaody because all we learn is that he's edgy and has a bear. When we see him again after Marineford it's actually kind of interesting because we learn he’s also first and foremost a doctor before being a pirate. He saves Luffys life because that's what doctors do and Luffy doesn’t seem like a bad dude. 

Now the good shit.

Post Time Skip Law 

My booooyyy! Love of my life, my sad lil uwu. Law is introduced as one of the coolest, coldest, scariest Warlords. He will literally rip your fxckin heart out. Evanescence playing in the background and all. Luffy immediately undermines thats by not thinking he’s any of those things and tying chopper to his head. But we got a whole episode and a half of thinking he was actually too cool for school. Like we all thought he Shanks when he’s actually just Mihawk. Like his cool but also pretty easy to bully if he likes you even a lil and will let you get away with a lot. It’s just hard to get him to like you, at first. So we get through punk hazard, see what a glass canon Law is and move to Dressrosa. 

In between those two points we also see how sad Law is and how similar he is to both Robin and Nami in behavior. He was Robins darks sense of humor (from the trauma)  and general introvertedness (trauma!?) with Namis greed (did i mention trauma). Which makes sense for the back story we learn about. 

Dressrosa: The Holy Grail of Uwu Law 

Law, Luffy and Doflamingo in Dressrosa is what happens when you put Nami and Robins backstory in a blender with crack cocaine and Katya (the drag queen). It’s just this sad tired uwu man,that came to commit murder suicide, trying and failing to accomplish that goal. Only to be figuratively and literally dragged along by a lunatic that barely knows him. Like Law went to Dresrosa not hoping he would die but assuming he would and not really caring. He didn't have an exit strategy because he didn’t think he was exiting. His plan was to use Luffy as a shield, Ceasar as bait and then murder suicide himself and Domflamingo out of existence. He was so desolate by the time his second fight with him ended. He had no hope, his plans had failed and he even dragged a bunch of innocent people into the crossfire. He would die, the people of Dressrosa would die, the Strawhats would suffer and maybe die and all for Laws’ fruitless revenge. Then Luffy stopped that foot. And Law decided to stay. And Luffy beat up Doffy. And Law was free. For the first time in over ten years Law was free. 

Wano: Then He Stayed

Because he didn’t plan to make it this far. I laughed out loud when Law said they were enemies after Wano ended. Motherfxcker who? Law you don’t want to be pirate king. You barely want to be a pirate! Frankly at this point I think the only thing keeping Law from a non-deadly early retirement is Luffy, his bounty, and pride. And he can get rid (ignore) of two of those things (you won’t guess which!).  Law fought and almost died in Wano to fulfill the deal he made with Luffy. Even though Luffy would not have begrudged him on reneging on that deal. Law told him it was made in bad faith and he had fxck all to gain from fighting Kaido. But he did it, he believed in Luffy and Luffy punched the problem away like always. 

And this ends the story of the Saddest Uwu Boi, Trafalgar D. WaterLaw. 

Part III: You Have to See What I’m Getting At. 

Law’ backstory and character development is just that of any main woman character. Sad thing happened when he was a kid, putting him on the radar/ partially in debt to a bad man. He spent most of his life running from this bad man by working for/ with people he hated. He met Luffy. He tried to fight the bad man and system but didn’t have the strength of heart and/ or body to defeat him. Luffy punched the bad man real good and told Law he was pretty without makeup, he didn’t need it. Law was finally able to move freely as a person and decided to support Luffy in his immediate goals (and probably his long term ones too. Let's be honest he has nothing else to do)  even though that puts him and his crew in even more danger. But now he knew, Luffy would punch that danger just as good as the previous bad man. 

Honestly I don't know what this means or what purpose this knowledge serves. Like, this doesn’t change my opinion that lulaw will never be canon. This doesn’t change how I view Law as a character. This doesn’t change how I view Oda as a writer. This only serves the purpose of excising these thoughts from my head and putting them permanently on a website filled with people who will call me horrible things for even admitting I ship Luffy with anyone. So that's something I guess. 

About Sanji:

Sanji is going through a weird, unexpected but good character transformation right now. His writing is becoming more Law/Robin-esque. Which is weird and unexpected but very good. I have thoughts on that but its for a different post. I don't think it undermines my point though because this shift is relatively recent, only happening in the Whole Cake island arc and not fully forming until near the end of Wano. This either means a shift in how Oda choses to write male characters or a shift in how he views Sanjis’ role in the narrative. Only time will tell. 

*This unrelated but I’ m realizing Law shows just as much tiddy as Robin and Nami too.*

I owe you an apology Hokazono, I wasn't familiar with your game...

Kagurabachi's Popularity: Familiarity Through Structure

Having a degree in writing and media is so fun because I can write an essay on why Kagurabachi can be defined as well written through craft standards and attribute its popularity overseas to its structure, which is framed similarly to western movies.

And I am!

After this interview confirmed that Takeru Hokazono, author of Kagurabachi, is a huge fan of western films, I went back to this idea I was playing with in October when KB had less than ten chapters. I had been reading since day one, and I knew it was good, and other overseas fan knew it was good. But what made it so good to us, overseas?

I made a quick thread on it on my Twitter account (that I never posted) where I mentioned Blake Snyder's Save the Cat book on script writing and story structure. I also brought up characterization and how it would've been really popular in my comic book class from undergrad. This thread discussed both Chihiro and Sojo, and the quick yet steady pace of the manga has given us more characters and moments to pinpoint. To not overwhelm myself, I'm not going to discuss the craft of characterization (maybe another time), and I'm not going to do a beat sheet for Sojo. For now, I'll try to stay under the first arc to map out why Kagurabachi has so far moved like a high budget film in manga form. So, spoilers ahead!

A quick lesson on Save the Cat, its three main characteristics are: Three act structure Fifteen plot beats Mostly applied to American Hollywood films

One of the biggest things I noticed right away was the resemblance a lot of the chapters, even the story as a whole, had to Snyder's beat sheet. This beat sheet that comes from Snyder's book is somewhat of an industry standard, so a lot of movies, even those that preceded Snyder, go through this structure of Act 1, 2, and 3. Snyder just identified the parts and broke them down to fifteen beats. Plus he dubbed the save the cat moment:

A decisive moment in which a protagonist demonstrates they are worth rooting for. Having the protagonist save a cat can be literal or figurative.

This was something KB needed and did have to have us warm up to Chihiro who post time skip, just gave gloomy orphan energy in the previous chapters. Here, Char would be our cat. Chihiro chose to save Char and chose to protect her, and continued to fight for her until she was rescued. He made this choice even before it's revealed that Char's mother died for her, something that would parallel Chihiro. This is what got readers to see him three dimensionally after being introduced to him. He's still the caring little 14 year old we saw at the start, who continues to take care of the innocent despite the tragedy he's been through. It is only natural for us to care for him, too.

Above are the fifteen beats of Save the Cat and although KB on occasion doesn't hit all fifteen exactly as specified, especially final image as it's continuing, the song and dance is quite similar. Here are examples of The Dark Knight (2008) and Inglourious Basterds (2009), two movies that have inspired Hokazono's work.

Before Chihiro meets Char, we get his opening image of him and his dad forging which is works well as the entire story revolves on the consequences of them creating weapons. We get the set up to his world where he lives with his dad who made famous katanas that wield the power to end a war. The theme is stated, and it's not kept a secret: The katanas they make are weapons made to kill people. Are they willing to carry the burden? In another variation of this question, is Chihiro willing to carry the burdens unintentionally passed down by his father?

The catalyst is his father's murder that catapults him into seeking revenge and recover the katanas.

Now, for the rest of the story, this structure can be applied to the first 18 chapters or even 1-3 chapters at a time which in my opinion, is kind of insane. There's story telling inside the story telling, and these moments are both subtle and grand, signs of a strong and captivating writer. Hollywood would kill for a script like this these days. In order to get you to believe me how prominent these beats are, I'm going to do arc one and Daruma's story. The main story line should be around act one and two right now as of chapter 20, if we want to get down into it, but if anything, this feels like it's moving like a second "movie."

Overall, this structure that comes from Hollywood movies can be identified in multiples parts of Kagurbachi's storytelling. I was going to do beat sheet's for Char and Sojo's stories as well, but I think this is enough of an example of a bigger picture versus smaller. Although other mangas also fall into three act structures, as most story telling does, KB masterfully uses the 15 beats to its advantage. I believe the familiarity of this pace is what hooked oversea audiences, and aside from that, the characters that quickly capture us.

Very quickly, because I don't want to make this about characterization, Chihiro is well written through his past, who he chooses to kill and save, his dialogue that can be surprisingly vulnerable at times, and his cool façade that melts because of how hot he truly runs. He is also straight up a badass. We get handed Char's background in an "all is lost" segment as well as some lore that can present her as a resource for the main cast. We see Azami's phone background photo that's minimum 3+ years old- a government employee with a soft spot for his friends, one who he is still clearly grieving. We get one tiny yet so fucked up bit of Sojo when we see him get a flashback where he's a child and his single dialogue of "I truly love Kunishige Rokuhira," that launched his type of villainy in the maniacal fanboy category. Who does it like that? Nobody but Takeru Hokazono.

Thank you for reading this essay! I do have two other essays drafted, one on Sojo's possible return (I'm a delusional Sojo fan) and just his overall significance and impact as the first villain even if he doesn't return, and on Hiyuki plus servant leadership versus self service.

Yeah maybe the curtains are just blue but maybe the author likes that you see that as symbolism for sadness. Have you ever thought of that? Maybe writers like when you find meanings in their works that they didn't think of. Just because it wasn't intended doesn't mean it can't be true.

Over analyze everything. Find meaning where there was nothing before. We found God in the stars, we can find meaning in the curtains.

1 like for me to write an essay about Ted Lasso Season 3 Episode 6: Sunflowers.

1am thought of the day: "The Lorax is a christ figure."

Goodnight everyone.

Do we think the duffer brothers did this consciously or do they just default to music when writing characters in sync / out of sync? I wonder if there could be other parallels similar to this.

“The Chemistry Test” Theory

(How the Duffers demonstrate romantic AND platonic chemistry in Stranger Things’ relationships)

When one character starts singing, how does the other react? Are they in harmony?

(alternatively: do they match each others freak?)

“Chemistry” describes the emotional connection between two characters in a relationship. This can be either romantic, platonic, both, or neither.

We know that the Duffer brothers highlighted the importance of music in Stranger Things 4, so let’s look back on it’s uses in earlier seasons.

I’ve noticed a lot of parallels between scenes that focus on the relationship between two characters. One of these two characters will sing, and the other has one of two reactions:

Indulge in the fun

Try and shut it down

Depending on their reaction, we can conclude a lot about what the Duffers want to communicate about the chemistry between two characters.

So let’s look at 6 examples:

Exhibit A: Dustin and Suzie

https://youtu.be/ehtsmxu1w10?si=CGnKM5PubO5lC-V4

This - I think - is the most glaringly obvious example of how the Duffers like to demonstrate chemistry between two characters. Mostly because this scene is purposefully very memorable.

Dustin and Suzie have clearly sung this many times before, we know this because Dustin immediately knows what Suzie wants from him just from her saying “I want to hear it”

At first, he’s embarrassed - all of his friends are listening, friends who didn’t believe until now that Suzie even existed. He doesn’t want to sing it in front of them.

But when Suzie joins in, he’s actually able to forget about the danger they’re all in, he’s doesn’t care everyone is listening, he’s able to indulge. Because he loves Suzie, these moments bring him joy. They bring Suzie joy, too. Just look at this shot of them together, despite being states apart. Because they are in harmony, the distance between them doesn’t matter.

These two cutie patooties pass the chemistry test with flying colours.

Exhibit B: Max and Lucas

(Max and Lucas are presumably also in a relationship at this point in the series, and they don’t break up until after.)

As another couple, the two are mocking Dustin for his relationship - making kissy faces at him and calling him “Dusty-bun”.

However, whilst doing so, they are demonstrating their own chemistry - synchronous clapping, smiling at each other, holding eye contact. When they start singing the second time, they need nothing more than a look from the other before they start again from the same lyric.

Max and Lucas may not have the same romantic dynamic as Dustin and Suzie, after all no two couples are the same, but they will sing to make lighthearted fun at their friend.

It should also be noted that Max didn’t even hear Dustin’s original rendition, she had to hear about the whole ordeal from the others, I’ll wager Lucas sang it enough to Dustin that she picked up on it and joined in. She indulged in the fun.

If Lucas and Max did not have chemistry, Max would’ve been at most only slightly amused in Lucas’ mockery, but she would not have joined in on it (similar to Mike) and might have even told him to knock it off during the time skip if he continued doing it.

These two pass the chemistry test.

Exhibit C: Mike and Eleven

Might be time to start contrasting these examples to other scenes in the same season.

This is our first look at Mike and Eleven as an official couple - and what I would label as the start of their downfall.

(may make a whole post dedicated to this one scene because it speaks volumes about Mike and Els relationship and what the Duffers want us to take away from it in retrospect)

This scene is special because it’s not like the writers are trying to make it glaringly obvious that Mike and El are not a compatible couple. Rather, this scene is disguised as a cute (albeit slightly awkward) scene, hell - i thought it was cute when i first watched it (I was also, you know, 12, but whatever, I’m now 17 I have a very different idea of what romantic relationships actually look like).

It’s only later when we gather the other examples in this post and compare them we can start to see that somethings not quite right with these two cutie pies.

Even whilst they’re still kissing, Mike is pushing Els hands away from him - already not a good sign.

When he pulls away to sing, it’s because he wants a break from constant kissing. From my own experience, I can tell you that making out is very exhausting (especially when you don’t have a lot of chemistry with the person you’re locking lips with).

El reacts very quickly by covering his mouth, she calls his name to grab his attention, she tells him to stop, she gives him a look that just says “What are you doing?”. This is her trying to shut him down. She is not indulging in the fun, even though Mike is trying to make her - he shakes her and her arms, he maintains eye contact. He asks her if she likes it, and she says “No!”.

If the Duffers wanted to portray Mike and El as a couple with chemistry, a better way to portray that could have been to have them just sitting and reading their own respective magazines, when Mike sings, El could have smiled and bopped her head along despite likely not knowing the words. They could have demonstrated that the two enjoy each others company even when they’re not making out, that they are still close, and a kiss goodbye to make it clear to the audience they still have a romantic dynamic.

This scene doesn’t just not do that, it does the opposite. Mike and El are only interested in kissing. When they break up later, it’s for comedic relief.

These two unfortunately do not pass the chemistry test.

Now, due to the very thick romantic tone of this scene, we can conclude that Mike and El do not have romantic chemistry, but we cannot make any conclusions about their platonic chemistry.

What does platonic chemistry look like with Eleven, you ask?

Exhibit D: Max and Eleven

This example is slightly less noticeable, but this scene starts in Elevens room, a parallel to the previous example with Mike.

Max is singing along to the radio, much like Mike was, the only difference is Els reaction. Instead of trying to shut her down, she is bopping her head along to the music. She may not be singing along, but she is still indulging in Max’s behaviour, she’s having fun.

Max and Eleven have platonic chemistry.

Exhibit E: Steve and Nancy

Let’s now look at the very first example of this Chemistry Test the show gives us, way back in season one. It’s so small you may have missed it.

I think this is a very good example of how interactions like these are a two way street.

(For context, Steve is apologising to Nancy for his lack of empathy towards Barbs disappearance, and tries to invite her to a movie to take her mind off it all - note that Nancy is yet to verbally forgive Steve in this scene)

Nancy goes through a lot in the first season, I don’t doubt that even if her and Steve shared romantic chemistry, that she still wouldn’t be in the mood for a little sing song. But Steve still sings to her anyway, he hasn’t picked up on how distraught she is over Barbs disappearance, and how “pretending everything is normal” is not something she wants to do.

What she wants is to go out and look for Barbara with Jonathan - Steve later misinterprets this as them hooking up, completely ignorant to the fact that they both have lost someone they care deeply for when they both feel they could have prevented it (Jonathan was not supposed to be working that evening and Nancy convinced Barb to come to Steve’s even though she didn’t actually want to)

It’s clear Steve is genuinely trying to make amends with her in this scene, but there is still a glaring disconnect in their emotions because Steve does not apologise proportionally to the distress Nancy is in. When he sings to her and tries to make her laugh, he is demonstrating this lack of understanding of her needs and emotions. Of course she doesn’t laugh, she looks away awkwardly and eventually shuts him down.

The lack of chemistry between these two is demonstrated by Steve singing in the first place, then confirmed when Nancy does not indulge.

These two, unsurprisingly, do not pass.

Exhibit F: Steve and Robin

(Skip to the end of this video for a refresher)

This is a very intimate conversation. This time, Steve appreciates that it takes a lot of trust for someone like Robin to talk about what she just has. It takes a lot of love from Robins end to be honest with him as to why they can’t be a couple.

Trust and love that didn’t come from no where, I’ll remind you.

He reacts the way he does because he values Robin as a friend, and as friends do, he picks apart and judges her crushes.

Steve doesn’t have to grasp at straws for something to say, despite having never been in this situation before, despite having never even thought about being in this situation before. He just talks. The right words come out of his mouth because they have that shared love and trust. He just talks and says the right thing because he feels and thinks the right things.

He sings because it’s appropriate for their dynamic and his approach to this conversation as her friend, she indulges to confirm that they are in harmony now their relationship is defined as platonic.

These two have undeniable chemistry. Id argue this is the best example of this Chemistry Test because it’s such a raw and real interaction, even if it only demonstrates a strong platonic bond.

(I would love to see some sort of parallel with Mike and Eleven in S5)

“Great! We have a theory about how the Duffer brothers have previously demonstrated Chemistry, with evidence to support it! … Now what?”

Now we apply it to Season 5 Speculation!

I bring to you a whole three possible applications of this theory.

Number 1: Robin and Vickie

Crucial detail that loads of people overlook about Robin and Vickie - they’re both in band.

We’re constantly reminded of it, too.

Steve to Robin: “You’re worried about a high school pep rally, you expect me to believe that? […] This is about Vickie!”

Our first look at Vickie is during said pep rally, we see Vickie and Robin standing side by side, sharing a glance during the band performance.

We see them interact later that night, during band (again), whilst Tammy Thompson sings the national anthem.

Dustin to Eddie s4 e02: “You know Robin! From band!”

Vickie to her boyfriend when he asks who Robin is: “Someone from band.”

Robin and Vickie are in harmony, even in their limited on screen interactions, because they both play music together.

It’s also worth noting that both of their instruments are wind instruments. We know that the both of them struggle to stop themselves from rambling, so their best interactions are during band, they do not have to worry about finding the right words because they literally cannot talk.

According to the Duffer Brothers, Robin and Vickie have chemistry. Rovickie endgame - next please!

Number 2: Steve and Nancy

Let’s be so fr they are not getting back together.

This post is one of many arguments as to why they should not and will not become a couple again in s5.

I said “next, please!”

Number 3: Will and Mike

Stay with me, now.

Small throwaway scene? Maybe, yeah, but i’ll add that the exact frame Will sings here is the thumbnail for this episode.

Do with that information what you will.

In this scene, Mike is making a plan to find El by getting help from Suzie. Will is the only one who picks up on Mikes plan, and sings the Never-ending Story theme to remind the others who haven’t yet picked up on it. Basic example of show don’t tell.

Contrary to Steve and Nancy, Will sings because Mike and him are already in harmony. They’re on the same page about “Utah” meaning “Suzie”.

This is one of the many examples in season 4 alone where Mike and Will do not need to communicate with words to pick up what the other puts down.

You could say that these two have quite a good rhythm, their interactions seem to flow seamlessly, and when they don’t ( *cough* airport reunion) it sticks out like a sore thumb.

I cant find a clip of the scene I can link here, but think of that scene where they’re formatting a lie for Suzie in her room as to why they need these coordinates, and it’s complete improv and such a natural flowing lie despite the fact they’ve never discussed it before.

And if we’re defining chemistry as a measure of emotional connection, well, which two characters have the most heart-to-heart, ‘lethal dose of emotion’ interactions this season?

yeah…quite a few more than average.

And that’s just season four! Mike and Will share emotionally intimate moments like these throughout the seasons.

So, will we get to see some more musical interactions this next season? If we do, i’ll place my bets on these two getting fed a version of our Chemistry Test.

Love to hear other people’s thoughts!

Oooh this is inspiring me to write some poetry about Mike's love for Will and how El feels like a momentary placeholder after Will disappeared

The Cyrano Trope & Byler

The byler painting lie is such a clear example of a literary trope where a character receives some form of courtship that makes them feel "in love", however the character does not know the true identity of WHO they got it from. 

This trope has a full fledged name called "Playing Cyrano". It comes from a famous french play from 1897 about a character named Cyrano, who felt that the love of his life, Roxane, would never love him back because he was not good looking enough. Still, he tries to find the courage to convey his love to Roxane through a love letter (think~ painting) and this is what happens: 

(link to full article)

Will is the one "playing Cyrano" here for El, as a means to make Mike happy, help Mike and El's relationship, and also to secretly convey his own feelings for Mike in the process. 

This trope very obviously ends with Roxane (Mike) falling for Cyrano (Will) upon learning the true identity behind the letters (painting/van speech). 

And it's also precisely why Mike makes the expressions he makes at Will in the van; why his eyes shine with awe, why he takes breathless gulps as Will speaks, the whole nine yards. 

I've spent a long time wondering why Finn Wolfhard acted the way he did in the van scene (the expressions he makes are VERY distinct and emotive, he was given clear acting directions for it), and this is the most concrete reason why: The writers/directors here were trying to show us how Mike is perceiving Will's gift and words, and what it's making Mike feel. The van scene is not ONLY about Will, but about Mike's feelings too!!!

Mike's expressions in the van scene clearly tell the audience that he feels like he's falling in love all over again. It's giving him hope for his relationship with El. It's making him forget about his insecurities with her, and making him feel needed and loved. 

And the obvious catch here is that it's all Will doing that. Not El. And that's the missing piece to how they're going to segue into byler in season 5. 

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Beyond Stranger Things, obviously the idea of 'Playing Cyrano' has been adapted for literally over a hundred of years, into hundreds of stories, cementing it as a trope in romance plotlines. Here are just a few other examples:

Ben and Beverly from It

Ben gives Beverly a poem, but she thinks it's from Bill and ends up with Bill in the first movie. In the second movie she learns who the poem is really from and rightfully ends up with Ben.

Olivia and Sebastian from She's the Man

Olivia quickly falls for Sebastian while reading a sheet of song lyrics he wrote. But she thinks the lyrics are written by his twin who is disguised as Sebastian at the time. She spends most of the movie chasing after his twin, but eventually finds out the truth and ends up with Sebastian. 

Ellie and Aster from The Half Of It

Ellie agrees to help a jock named Paul write letters to his crush Aster. Ellie is in love with Aster and communicates it through the letters under Paul's name. This helps Paul and Aster's relationship a lot and they begin to date. Eventually Aster finds out the real person behind the letters, which leads to Ellie and Aster ending up together.

I especially love how the Cyrano trope is used in this story, because it shows how easily the trope can be molded to fit the queer perspective: in the original, Cyrano believes his love will never be reciprocated because he's not attractive enough. While in the Half of It, Ellie believes her love will never be reciprocated because of her gender.

Otis and Maeve from Sex Education 

Otis plays Cyrano for Jackson who is hooking up with Maeve at the time. Otis is in love with Maeve and knows everything about her, and essentially meshes with her perfectly. But he's too insecure to confess to her. Meanwhile, Jackson doesn't mesh with Maeve super well, and gets Otis to play Cyrano (eg. Otis telling Jackson Maeve's favourite books) . Maeve and Jackson end things when she finds out the truth about Otis's involvement, and her/Otis are the main couple of this series. 

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Overall the moral behind Cyrano's story is about how love at first sight is foolish and that appearances are not the basis of true love. 

Reading about this trope struck me with the thought that maybe this is why the writers forcibly shoved El and Mike into the love at first sight trope— even when it doesn't totally fit Mike's behaviour or words in S1E2 (after he sees El the first time, he does not behave like someone "in love" at all and plans to send her away). 

In most cases of the Cyrano trope, the love that exists between the "wrong" pairing is mainly based off of physical appearance and cyrano's masked courtship. There is little else holding them together. So by writing Mike declare that it was "love at first sight", it makes me question the whole basis of his love for El and how superficial it might be. I mean sorry Mike, how did you know you loved her the moment you saw her? You didn't even know anything about her. Meanwhile there's an undeniable depth to byler's bond— their friendship deepened and evolved over the course of many years, and it's anything but superficial.

(Side note: this trope sometimes involves Cyrano actively aiding the other love interest -Christian/El- but sometimes does not. In byler's case it does not. Will does not directly plan with El to woo Mike, and instead uses her name to an unknowing Mike to help their relationship. This trope can be executed a million different ways, but the main point is: the one in Roxane's role doesn't know who is causing their feelings of love)