Sayings to calligraphy
Calligraphy
2010.03.08 21:17 tribute Calligraphy
/Calligraphy is a community for people interested in the art of beautiful writing. Whether you've been writing for decades or are looking to pick up the pen for the first time, we invite you to join us! Check out the wiki & beginner's guide: https://www.reddit.com/Calligraphy/wiki/beginners
2017.10.28 22:10 MyOwnGuitarHero Brush Calligraphy: For All Things Related to Brush Lettering
A friendly and welcoming place for anyone interested in brush calligraphy, from beginner to pro!
2020.03.31 07:28 masgrimes Intro to Calligraphy
This is a community forum for students enrolled in CA100 of Dreaming in Script.
2024.05.21 03:55 travelling_witch Writing Scripts (cursive versions)
Hi,
I have my eye on a couple of amazing looking journals to be my Grimoire for a collection of my work and research to be put in, a passion project as I want to make it look really good with calligraphy and drawings.
Anyhow,
I really like the idea (still an idea mind) to use a script, I know it won't be Theban, mainly as it's very well known. But I have others I am contemplating.
(I say it's an idea in mind because as much as I love the idea of the Grimoire being fully in scripts, main, one for spells, runes, and alchemy symbols [I said it was a passion project XD but I also recognise it's going to take time, esp. not to make errors, I understand that no matter how well I memorise, it could take me time to translate what I wrote, reducing the efficiency.)
So to the actual point (professional rambler), I love the ones I've found, but I actually am interested in having at least one that's cursive friendly. Like the Theban alphabet I've failed to join them up, and I get it, practically, they look more like runes/ sigils, but does anyone know of alphabets that can be learnt to be cursive with examples, or how to potentially learn to make any cipher alphabet script to be cursive with a how-to guide & tips? I'd like to continue practicing before I can finally afford my Grimoire, to help be a step ahead skills wise.
I tend to generally write far more with cursive and it feels far more fluid and natural than just putting down each symbol without any linking, and for me it just looks really pleasing, and helps me get in the zone when I'm writing my notes. It feels faster to use cursive too, than writing letters out individually.
Thank you for reading (what surely could have been written more concisely.) ✨
submitted by travelling_witch to Grimoires [link] [comments]
I have my eye on a couple of amazing looking journals to be my Grimoire for a collection of my work and research to be put in, a passion project as I want to make it look really good with calligraphy and drawings.
Anyhow,
I really like the idea (still an idea mind) to use a script, I know it won't be Theban, mainly as it's very well known. But I have others I am contemplating.
(I say it's an idea in mind because as much as I love the idea of the Grimoire being fully in scripts, main, one for spells, runes, and alchemy symbols [I said it was a passion project XD but I also recognise it's going to take time, esp. not to make errors, I understand that no matter how well I memorise, it could take me time to translate what I wrote, reducing the efficiency.)
So to the actual point (professional rambler), I love the ones I've found, but I actually am interested in having at least one that's cursive friendly. Like the Theban alphabet I've failed to join them up, and I get it, practically, they look more like runes/ sigils, but does anyone know of alphabets that can be learnt to be cursive with examples, or how to potentially learn to make any cipher alphabet script to be cursive with a how-to guide & tips? I'd like to continue practicing before I can finally afford my Grimoire, to help be a step ahead skills wise.
I tend to generally write far more with cursive and it feels far more fluid and natural than just putting down each symbol without any linking, and for me it just looks really pleasing, and helps me get in the zone when I'm writing my notes. It feels faster to use cursive too, than writing letters out individually.
Thank you for reading (what surely could have been written more concisely.) ✨
2024.05.21 03:39 aloneisquiet Updated photos - WHAT DOES THIS BRACELET SAY? It could be Dutch
I mentioned in another post someone I loved dearly passed away and she wore this bracelet. I have had it for a year and a half and it’s pained me I can’t figure out what it says, the type of writing, so I could make sense of it or try and translate it. It almost looks like calligraphy. The photos I posted before weren’t as clear but this is the clearest I can get. Ring light and all. I know it’s hard to read and looks that way even to the eye. I was hoping with my health issues to use this as a support, and even the strangest meaning could use. If there’s even an app, website, or where I could go to figure this out. Any suggestions would mean a lot. I’ve gotten a few so far. And she was Dutch so that’s possible. Thank you
submitted by aloneisquiet to HandwritingAnalysis [link] [comments]
2024.05.20 22:56 Mean_Change189 A poem I made - feedback and comments welcome (yes it’s quite dark)
The man is now lost within himself. He can't find himself or the boy. The two are so close, yet miles apart. The boy seems familiar in his face, but the man does not know who he is, and so the boy is simply a mirage, a figure of something that once was.
He casts a shadow which the boy follows. The boy sees it shimmering in the light of night. Its illumination, bright enough to reveal itself, but dull enough not to permit the boy to know if his next step shall be on firm ground. The boy has as much sense as he does years—he's naive, and some might call him puerile. But he steps, guided by the voice of the man—ever distant in the yew.
Maybe the man could be a mirage too? Simply dreams, illusions of shapes moving in the figment of time. Maybe his family is an illusion too.
If the boy can create his future, albeit out of reach, maybe he too has crafted this nightmare for himself—his height doesn’t permit him to peer over the top to make sense of it all.
He knows that the mirage is different, yet it remains familiar—a motherly voice before bedtime saying dinner is ready. It’s not grossly disturbing, but he knows there’s something elusive about it—it feels unfriendly.
The boy knows that the hedgerows, though evenly trimmed, have been cultivated in poisoned soil, fertilized with unkind words, and watered with bleach—he mustn’t touch them. The absence of the sun makes them only grow taller; their roots contorting around themselves with barely enough room for his next step. They are too deep to be uprooted, but shallow enough that a gust of wind could knock them down carelessly, crushing him in the process.
The man is lost in the maze too. He wants to tell the boy that it will all be okay—after all, he did it, right? But the man can’t so much as find himself, and the boy is nowhere to be found. Lost somewhere far away, although the audible sound of the boy’s cries can be heard, the man cannot recognize them; they are foreign, spoken in another language.
The boy walks past the man in the street—a stranger, they pass like ships in the night, like a sentence half-finished, written in a language yet to be discovered. The man is fluent, but to the boy this tongue is unknown.
Maybe he’s telling the boy it’s not worth it and to give up, but the boy can’t understand these words. The boy doesn’t yet know what lies ahead on this journey, but he is told that the next page in his book is written in beautiful calligraphy that gives him hope. The man still looks for the page, chapters ahead in this novel, the pages feeling familiar against his fingers—divots deeper than the boy’s, of course.
They will continue to search the hedgerows.
submitted by Mean_Change189 to poetry_critics [link] [comments]
He casts a shadow which the boy follows. The boy sees it shimmering in the light of night. Its illumination, bright enough to reveal itself, but dull enough not to permit the boy to know if his next step shall be on firm ground. The boy has as much sense as he does years—he's naive, and some might call him puerile. But he steps, guided by the voice of the man—ever distant in the yew.
Maybe the man could be a mirage too? Simply dreams, illusions of shapes moving in the figment of time. Maybe his family is an illusion too.
If the boy can create his future, albeit out of reach, maybe he too has crafted this nightmare for himself—his height doesn’t permit him to peer over the top to make sense of it all.
He knows that the mirage is different, yet it remains familiar—a motherly voice before bedtime saying dinner is ready. It’s not grossly disturbing, but he knows there’s something elusive about it—it feels unfriendly.
The boy knows that the hedgerows, though evenly trimmed, have been cultivated in poisoned soil, fertilized with unkind words, and watered with bleach—he mustn’t touch them. The absence of the sun makes them only grow taller; their roots contorting around themselves with barely enough room for his next step. They are too deep to be uprooted, but shallow enough that a gust of wind could knock them down carelessly, crushing him in the process.
The man is lost in the maze too. He wants to tell the boy that it will all be okay—after all, he did it, right? But the man can’t so much as find himself, and the boy is nowhere to be found. Lost somewhere far away, although the audible sound of the boy’s cries can be heard, the man cannot recognize them; they are foreign, spoken in another language.
The boy walks past the man in the street—a stranger, they pass like ships in the night, like a sentence half-finished, written in a language yet to be discovered. The man is fluent, but to the boy this tongue is unknown.
Maybe he’s telling the boy it’s not worth it and to give up, but the boy can’t understand these words. The boy doesn’t yet know what lies ahead on this journey, but he is told that the next page in his book is written in beautiful calligraphy that gives him hope. The man still looks for the page, chapters ahead in this novel, the pages feeling familiar against his fingers—divots deeper than the boy’s, of course.
They will continue to search the hedgerows.
2024.05.20 20:48 Old_Discussion_1890 The Yellow Billed Cuckoo: Ichi-Go, Ichi-E by Richard Reishin Collins, Abbot
Kusen, Stone Nest Dojo, 19 May 2024
Yesterday, as I was reading in my study, I heard a thump against the glass of the outside doors. When I looked to see what had caused the noise, I saw a bird twitching on the bricks, but it didn’t twitch for long. It was a yellow-billed cuckoo, its long tail-feathers beautifully dappled, as though a painter had taken pains with each stroke. It was still warm with recent life and pliant, draped across my palm, head hanging down, and its white breast was plush and soft and still, its eyes black as glass beads and dead.
Sometimes we get caught up in the quality of our zazen. We want to make sure we are doing it right. If we have a bad day, if we are uncomfortable in body or mind, we wonder what we are doing wrong, how to make it better. But this is unnecessary, mistaken. Yes, we can make small adjustments, get our knees on the floor, make sure our butt is high enough on the zafu to assist the curvature of the lower spine, bring our shoulders back but not too far back so that our posture is erect, draw the collarbone up and the chin in, and stretch the backbone so that our head presses the sky.
But there the need for assessment ends. The focus need not be so inward or critical.
Every zazen is unique, you have heard me say it before. Every time we enter the dojo, the dojo is not the same as it was last time, and neither are we. It is warm and humid today, sunny after recent rain, and the windows are cranked open to let in the breeze (if there were a breeze) and the songs of the birds in the trees and the cicadas vibrating everywhere. But next time we meet here in the dojo there will be rain, or the trees will be bare, or it will be cold, or the birds will be on vacation or on strike, keeping their song to themselves, the cicadas done with their mating cycle and gone back to their underground lairs.
And next time we meet we will be different, too. As Heraclitus said, we can never step into the same river twice. Another way to say this is, the same person never steps into the river twice.
Ichi-go, ichi-e. This common calligraphy phrase found on so many Japanese tea scrolls means that we have one chance to make the most of our one meeting, whether this meeting is with another person, with the natural wonders, or with ourselves. How do we make meaning of our lives in the moment? How do we grasp the richness available to us in the chance of our one meeting, the one chance meeting that is the here and now? Not the one chance “of a lifetime” that is Frost’s road taken or not, I am not talking about that kind of moment, but rather the moment that comes to us in each moment, the moment we can grasp in its suchness, what is called the tathata: the ultimate inexpressible nature of things. This meeting is, after all, what Dogen meant when he set out to find the rationale for practice in light of the fact that we are all, after all, already enlightened. We all have the enlightenment experience available to us at every moment of every day of our unrepeatable (and inexpressible) experience of ichi-go, ichi-e. Do we pay attention through practice, through zazen, through grasping the chance? Or do we go on our way without giving our cuckoo lives our full attention?
It reminds me of Auden’s poem “Musee des Beaux Arts,” where he views the painting by Breughel in which Icarus has fallen from the sky into the bay where merchant ships go on their way, and even if they bother to look they won’t be able to see “something amazing,” a boy falling from the sky or what the significance of that wonder might be, since they are too preoccupied by the habits of their unconscious day, like the dogs who go on with their doggy lives.
If not for zazen, I might have been like those sailors on the merchant ships and ignored the yellow-billed cuckoo that swooped down from the sky and knocked at my door.
And yet this was a perfect example of ichi-go, ichi-e, one chance, one meeting, a moment to make some sense of our life. At least until we too take a wrong turn, or mistake a mirror for a window, or a window for a doorway, or a doorway for a way out. Until we throw ourselves against an invisible wall that we don’t see coming until it is too late. Until mujo strikes, or until we strike mujo.
Oh, but the beauty of the yellow-billed cuckoo!
submitted by Old_Discussion_1890 to Buddhism [link] [comments]
Yesterday, as I was reading in my study, I heard a thump against the glass of the outside doors. When I looked to see what had caused the noise, I saw a bird twitching on the bricks, but it didn’t twitch for long. It was a yellow-billed cuckoo, its long tail-feathers beautifully dappled, as though a painter had taken pains with each stroke. It was still warm with recent life and pliant, draped across my palm, head hanging down, and its white breast was plush and soft and still, its eyes black as glass beads and dead.
Sometimes we get caught up in the quality of our zazen. We want to make sure we are doing it right. If we have a bad day, if we are uncomfortable in body or mind, we wonder what we are doing wrong, how to make it better. But this is unnecessary, mistaken. Yes, we can make small adjustments, get our knees on the floor, make sure our butt is high enough on the zafu to assist the curvature of the lower spine, bring our shoulders back but not too far back so that our posture is erect, draw the collarbone up and the chin in, and stretch the backbone so that our head presses the sky.
But there the need for assessment ends. The focus need not be so inward or critical.
Every zazen is unique, you have heard me say it before. Every time we enter the dojo, the dojo is not the same as it was last time, and neither are we. It is warm and humid today, sunny after recent rain, and the windows are cranked open to let in the breeze (if there were a breeze) and the songs of the birds in the trees and the cicadas vibrating everywhere. But next time we meet here in the dojo there will be rain, or the trees will be bare, or it will be cold, or the birds will be on vacation or on strike, keeping their song to themselves, the cicadas done with their mating cycle and gone back to their underground lairs.
And next time we meet we will be different, too. As Heraclitus said, we can never step into the same river twice. Another way to say this is, the same person never steps into the river twice.
Ichi-go, ichi-e. This common calligraphy phrase found on so many Japanese tea scrolls means that we have one chance to make the most of our one meeting, whether this meeting is with another person, with the natural wonders, or with ourselves. How do we make meaning of our lives in the moment? How do we grasp the richness available to us in the chance of our one meeting, the one chance meeting that is the here and now? Not the one chance “of a lifetime” that is Frost’s road taken or not, I am not talking about that kind of moment, but rather the moment that comes to us in each moment, the moment we can grasp in its suchness, what is called the tathata: the ultimate inexpressible nature of things. This meeting is, after all, what Dogen meant when he set out to find the rationale for practice in light of the fact that we are all, after all, already enlightened. We all have the enlightenment experience available to us at every moment of every day of our unrepeatable (and inexpressible) experience of ichi-go, ichi-e. Do we pay attention through practice, through zazen, through grasping the chance? Or do we go on our way without giving our cuckoo lives our full attention?
It reminds me of Auden’s poem “Musee des Beaux Arts,” where he views the painting by Breughel in which Icarus has fallen from the sky into the bay where merchant ships go on their way, and even if they bother to look they won’t be able to see “something amazing,” a boy falling from the sky or what the significance of that wonder might be, since they are too preoccupied by the habits of their unconscious day, like the dogs who go on with their doggy lives.
If not for zazen, I might have been like those sailors on the merchant ships and ignored the yellow-billed cuckoo that swooped down from the sky and knocked at my door.
And yet this was a perfect example of ichi-go, ichi-e, one chance, one meeting, a moment to make some sense of our life. At least until we too take a wrong turn, or mistake a mirror for a window, or a window for a doorway, or a doorway for a way out. Until we throw ourselves against an invisible wall that we don’t see coming until it is too late. Until mujo strikes, or until we strike mujo.
Oh, but the beauty of the yellow-billed cuckoo!
2024.05.20 20:45 Old_Discussion_1890 The Yellow Billed Cuckoo: Ichi-Go, Ichi-E by Richard Reishin Collins, Abbot
Kusen, Stone Nest Dojo, 19 May 2024
Yesterday, as I was reading in my study, I heard a thump against the glass of the outside doors. When I looked to see what had caused the noise, I saw a bird twitching on the bricks, but it didn’t twitch for long. It was a yellow-billed cuckoo, its long tail-feathers beautifully dappled, as though a painter had taken pains with each stroke. It was still warm with recent life and pliant, draped across my palm, head hanging down, and its white breast was plush and soft and still, its eyes black as glass beads and dead.
Sometimes we get caught up in the quality of our zazen. We want to make sure we are doing it right. If we have a bad day, if we are uncomfortable in body or mind, we wonder what we are doing wrong, how to make it better. But this is unnecessary, mistaken. Yes, we can make small adjustments, get our knees on the floor, make sure our butt is high enough on the zafu to assist the curvature of the lower spine, bring our shoulders back but not too far back so that our posture is erect, draw the collarbone up and the chin in, and stretch the backbone so that our head presses the sky.
But there the need for assessment ends. The focus need not be so inward or critical.
Every zazen is unique, you have heard me say it before. Every time we enter the dojo, the dojo is not the same as it was last time, and neither are we. It is warm and humid today, sunny after recent rain, and the windows are cranked open to let in the breeze (if there were a breeze) and the songs of the birds in the trees and the cicadas vibrating everywhere. But next time we meet here in the dojo there will be rain, or the trees will be bare, or it will be cold, or the birds will be on vacation or on strike, keeping their song to themselves, the cicadas done with their mating cycle and gone back to their underground lairs.
And next time we meet we will be different, too. As Heraclitus said, we can never step into the same river twice. Another way to say this is, the same person never steps into the river twice.
Ichi-go, ichi-e. This common calligraphy phrase found on so many Japanese tea scrolls means that we have one chance to make the most of our one meeting, whether this meeting is with another person, with the natural wonders, or with ourselves. How do we make meaning of our lives in the moment? How do we grasp the richness available to us in the chance of our one meeting, the one chance meeting that is the here and now? Not the one chance “of a lifetime” that is Frost’s road taken or not, I am not talking about that kind of moment, but rather the moment that comes to us in each moment, the moment we can grasp in its suchness, what is called the tathata: the ultimate inexpressible nature of things. This meeting is, after all, what Dogen meant when he set out to find the rationale for practice in light of the fact that we are all, after all, already enlightened. We all have the enlightenment experience available to us at every moment of every day of our unrepeatable (and inexpressible) experience of ichi-go, ichi-e. Do we pay attention through practice, through zazen, through grasping the chance? Or do we go on our way without giving our cuckoo lives our full attention?
It reminds me of Auden’s poem “Musee des Beaux Arts,” where he views the painting by Breughel in which Icarus has fallen from the sky into the bay where merchant ships go on their way, and even if they bother to look they won’t be able to see “something amazing,” a boy falling from the sky or what the significance of that wonder might be, since they are too preoccupied by the habits of their unconscious day, like the dogs who go on with their doggy lives.
If not for zazen, I might have been like those sailors on the merchant ships and ignored the yellow-billed cuckoo that swooped down from the sky and knocked at my door.
And yet this was a perfect example of ichi-go, ichi-e, one chance, one meeting, a moment to make some sense of our life. At least until we too take a wrong turn, or mistake a mirror for a window, or a window for a doorway, or a doorway for a way out. Until we throw ourselves against an invisible wall that we don’t see coming until it is too late. Until mujo strikes, or until we strike mujo.
Oh, but the beauty of the yellow-billed cuckoo!
submitted by Old_Discussion_1890 to zenbuddhism [link] [comments]
Yesterday, as I was reading in my study, I heard a thump against the glass of the outside doors. When I looked to see what had caused the noise, I saw a bird twitching on the bricks, but it didn’t twitch for long. It was a yellow-billed cuckoo, its long tail-feathers beautifully dappled, as though a painter had taken pains with each stroke. It was still warm with recent life and pliant, draped across my palm, head hanging down, and its white breast was plush and soft and still, its eyes black as glass beads and dead.
Sometimes we get caught up in the quality of our zazen. We want to make sure we are doing it right. If we have a bad day, if we are uncomfortable in body or mind, we wonder what we are doing wrong, how to make it better. But this is unnecessary, mistaken. Yes, we can make small adjustments, get our knees on the floor, make sure our butt is high enough on the zafu to assist the curvature of the lower spine, bring our shoulders back but not too far back so that our posture is erect, draw the collarbone up and the chin in, and stretch the backbone so that our head presses the sky.
But there the need for assessment ends. The focus need not be so inward or critical.
Every zazen is unique, you have heard me say it before. Every time we enter the dojo, the dojo is not the same as it was last time, and neither are we. It is warm and humid today, sunny after recent rain, and the windows are cranked open to let in the breeze (if there were a breeze) and the songs of the birds in the trees and the cicadas vibrating everywhere. But next time we meet here in the dojo there will be rain, or the trees will be bare, or it will be cold, or the birds will be on vacation or on strike, keeping their song to themselves, the cicadas done with their mating cycle and gone back to their underground lairs.
And next time we meet we will be different, too. As Heraclitus said, we can never step into the same river twice. Another way to say this is, the same person never steps into the river twice.
Ichi-go, ichi-e. This common calligraphy phrase found on so many Japanese tea scrolls means that we have one chance to make the most of our one meeting, whether this meeting is with another person, with the natural wonders, or with ourselves. How do we make meaning of our lives in the moment? How do we grasp the richness available to us in the chance of our one meeting, the one chance meeting that is the here and now? Not the one chance “of a lifetime” that is Frost’s road taken or not, I am not talking about that kind of moment, but rather the moment that comes to us in each moment, the moment we can grasp in its suchness, what is called the tathata: the ultimate inexpressible nature of things. This meeting is, after all, what Dogen meant when he set out to find the rationale for practice in light of the fact that we are all, after all, already enlightened. We all have the enlightenment experience available to us at every moment of every day of our unrepeatable (and inexpressible) experience of ichi-go, ichi-e. Do we pay attention through practice, through zazen, through grasping the chance? Or do we go on our way without giving our cuckoo lives our full attention?
It reminds me of Auden’s poem “Musee des Beaux Arts,” where he views the painting by Breughel in which Icarus has fallen from the sky into the bay where merchant ships go on their way, and even if they bother to look they won’t be able to see “something amazing,” a boy falling from the sky or what the significance of that wonder might be, since they are too preoccupied by the habits of their unconscious day, like the dogs who go on with their doggy lives.
If not for zazen, I might have been like those sailors on the merchant ships and ignored the yellow-billed cuckoo that swooped down from the sky and knocked at my door.
And yet this was a perfect example of ichi-go, ichi-e, one chance, one meeting, a moment to make some sense of our life. At least until we too take a wrong turn, or mistake a mirror for a window, or a window for a doorway, or a doorway for a way out. Until we throw ourselves against an invisible wall that we don’t see coming until it is too late. Until mujo strikes, or until we strike mujo.
Oh, but the beauty of the yellow-billed cuckoo!
2024.05.20 13:54 ConsequenceSure3063 Best Civivi Pen
 | https://preview.redd.it/e6snvf3nlk1d1.jpg?width=720&format=pjpg&auto=webp&s=4cd4f6405c4f879117f5798d70a0698439bb6816 submitted by ConsequenceSure3063 to u/ConsequenceSure3063 [link] [comments] Prepare yourselves for a pen-tastic adventure as we round up the most outstanding Civivi Pens on the market! Whether you're a stationery enthusiast, a graphic designer, or just someone who appreciates the art of writing, we've got you covered. Get ready to discover the perfect writing companion that will elevate your note-taking, doodling, and creative endeavors to new heights! The Top 20 Best Civivi Pen
Reviews🔗Stylish and Durable Civivi P01B C-Quill Pen for Safety and Conveniencehttps://preview.redd.it/505kfw8yjk1d1.jpg?width=720&format=pjpg&auto=webp&s=20d5bead9e38d12e7a3d17042c2c09037153a345 I had the pleasure of trying out the Civivi P01B C-Quill Pen Black, and I must say, it's a real treasure. The moment I held it, I was impressed by its sleek, sophisticated design. The pen is lightweight yet sturdy, making it a great companion for daily use. One of my favorite features was the smooth, comfortable grip, which felt perfect for both right- and left-handed writers. The bold ink flow was impressive, and I appreciated the fact that it's refillable, meaning I won't need to buy a new pen anytime soon. However, there was one aspect that could be improved - the clip, which seemed a bit fragile and didn't hold onto my pocket as securely as I would have liked. But overall, this pen is a steal for the price, and it certainly stands out among other pens in the market. 🔗Civivi CP-02B Coronet Titanium Spinner Pen with Glass-Breaker Tiphttps://preview.redd.it/s5e3zhdxjk1d1.jpg?width=720&format=pjpg&auto=webp&s=a8f1428210f4960cc73b6a40bf1a5aeee85f5f05 Lately, I've been using the Civivi CP-02B Coronet Spinner Black Pen as my EDC (every day carry) pen. This sleek black pen is a true marvel for a spinner enthusiast. Its spinner feature is compact at 14.33mm, adding to its portability while still providing a satisfying fidget element. The main body is made of 6AL4V titanium, providing both durability and a premium feel. The pen is surprisingly lightweight at just 28.4 grams, which makes it comfortable to hold while writing. My favorite part? The glass-breaker tip on the end. It's not just a stylish addition - it provides a functional element that one can appreciate in this day and age. There's something almost comforting about having a pen that can potentially protect you in any situation. However, there's one downside to this pen: the clip. It's made of the same titanium material and seems a bit fragile compared to other pen clips I've used. Despite that, the Civivi CP-02B Coronet Spinner Black Pen still stands out as a solid choice for both daily use and as an emergency spinner. It's not easy to find a pen that combines both style and function, but the Civivi CP-02B does just that. 🔗Long-Lasting Civivi CIVCP01A C-Quill Pen, Greyhttps://preview.redd.it/owxrjv3xjk1d1.jpg?width=720&format=pjpg&auto=webp&s=c5c88d9f676170fc758df3466b1694ae31c19205 I recently added the Civivi C-Quill Pen to my daily essentials, and after using it for a while, I'm quite impressed with what it has to offer. The sleek grey anodized aluminum body gives it a modern look that's perfect for my urban lifestyle. It's not just pretty, though; it's also built to last, as I found out after subjecting it to a few rough encounters without any visible damage. One of the standout features of this pen is its practicality. Whether I'm scribbling notes at my desk, jotting down ideas during a brainstorming session, or signing documents at the office, the C-Quill Pen has proven to be a reliable and efficient tool. Its fine point ensures smooth and precise writing, and the strong clip makes it easy to attach to various surfaces, so I never misplace it. While I've had a positive experience with the C-Quill Pen, it's not without its minor drawbacks. It might be a bit too subtle for those looking for a pen with more vibrant colors. Also, there's one area that could use some improvement: the size of the pen might be a bit too small for some hands, making it slightly awkward to grip. Overall, though, the Civivi C-Quill Pen has earned its spot in my EDC (Everyday Carry) bag. It's a stylish, durable, and practical choice for anyone looking for a high-quality pen that won't break the bank. Just remember to tighten the snap closure properly to prevent ink leaks, and you'll be all set for a smooth writing experience. 🔗Affordable and Streamlined TWSBI Eco Fountain Penhttps://preview.redd.it/flmxgx1xjk1d1.jpg?width=720&format=pjpg&auto=webp&s=2c4afc2b088530e5a4e0187d639f1dc4eeabb9da A few weeks ago, I decided to try the TWSBI Eco Fountain Pen and let me tell you, it was love at first use! This pen is a sleek and stylish writing instrument that's perfect for those who appreciate a mix of functionality and affordability. One of the things that stood out to me right away was the clear, transparent barrel that allows you to see the inner workings of the pen and monitor your ink levels. The pen is a piston filler, which means you can fill it with your preferred ink color. Not only does it look great, but it also feels great in your hand thanks to its comfortable grip section. The pen has a cap that posts, and it writes wonderfully with its stainless steel nib. The highlight of the pen is its sleek design that combines style and functionality, as well as its affordability. The only downside is that it may not be the best option for those who prefer a thinner nib, but overall, I'm quite impressed with this pen. 🔗TWSBI ECO-T Fountain Pen: Saffron Extra Fine - Smooth, Lubricated Writing Experiencehttps://preview.redd.it/0w62neyhkk1d1.jpg?width=720&format=pjpg&auto=webp&s=03b192d4cb58ef05e719c20af50cf733ec03c812 I recently got my hands on the TWSBI ECO-T Fountain Pen in Saffron Extra Fine and it's been an absolute delight to use. The solid brass construction gives it a sturdy feel, while the piston-filling mechanism makes refilling hassle-free. I particularly enjoy the smoothness when writing, the pen flows effortlessly on the page. The pen also comes with a tool and silicone grease, which is quite helpful in re-lubricating the piston if needed. Another standout feature is the inner cap that ensures a perfect seal and prevents my ink from drying out. I love the fact that this pen is available in five different nib sizes, making it a perfect fit for everyone. The gift box it comes in is a thoughtful touch, making it a great present for any occasion. Overall, I'm very pleased with my TWSBI ECO-T and don't see myself putting it down any time soon. 🔗Luxury Brass Fountain Pen for Daily Writinghttps://preview.redd.it/bwt9avepjk1d1.jpg?width=720&format=pjpg&auto=webp&s=2a641c5baec374c2424157c9b20c1b13be696e98 The Civilization pen by IWI is a piece of history in the palm of your hand. Crafted from the same brass used in ancient civilizations, this pen oozes class and sophistication, making it an ideal writing instrument for daily use. Its hexagonal body, inspired by the strength and wealth of past eras, and the castle engraved at one end are both visually striking and a nod to the societal structures of yesteryears. The Civilization fountain pen, a product of German precision, comes equipped with a Bock Extra Fine nib, perfect for a wide array of tasks - be it note-keeping, daily writing, or even drawing and architecture. And it's as comfortable to use as it is beautiful to look at, ensuring your notes are taken in style. However, nothing in this pen is perfect. It does require the use of standard international cartridges or mini converters, which can be seen as an inconvenience by some users. Yet, it's a small price to pay for the elegant and historic pen design, making it a worthwhile addition to everyone's desk. 🔗Classic TWSBI Eco Black Fountain Pen - Stylish and Durable Writing Instrumenthttps://preview.redd.it/8eihevepjk1d1.jpg?width=720&format=pjpg&auto=webp&s=a6fa13e06bc083741b6fcd141bcf6304443bf339 I recently added the TWSBI ECO Stub 1.1 to my collection of fountain pens, and I've been thoroughly pleased with the experience. The clear acrylic body makes it easy to monitor ink levels, and the smooth-writing steel nib is a pleasure to use. I appreciate the piston filling system, as it only requires bottled ink and allows for ample ink capacity. However, I did encounter a small issue with the pen cap. It has a tendency to wobble slightly when posted onto the back of the pen. This wobbling made me concerned about the longevity of the pen, as it didn't seem to sit securely. Overall, the TWSBI ECO Stub 1.1 has been a welcomed addition to my daily writing routine. With its sleek, industrial design and reliable writing performance, it's a great pen for both beginners and seasoned fountain pen enthusiasts alike. 🔗Scrivi Luxury Fountain Pen Set - Unlock the Power of Meaningful Expressionhttps://preview.redd.it/oieppvepjk1d1.jpg?width=720&format=pjpg&auto=webp&s=1f2ab8550c310aaae11d455a728bf9b80211f7fd I recently got my hands on the Scrivi Pens Luxury Fountain Pen Set in a luscious blue hue. The first thing that struck me was its design; it's a subtle blend of timeless elegance and modern touch, with a wide-barrelled body that fits comfortably in my hand. The ink flows smoothly on the page, guided by an extra fine nib that glides effortlessly. I must say, writing with this pen feels like a luxurious experience. The balance is perfect, and while it exudes understated confidence, it doesn't scream 'look at me'. It's like a companion on my creative journey, extending itself to make every word I write meaningful and unforgettable. It's not just a pen, it's an extension of me. However, I did notice that refilling the ink can be a bit of a hassle. But considering the overall experience it provides, I'm more than willing to deal with a little inconvenience. Overall, the Scrivi Pens Luxury Fountain Pen Set is a beautiful fusion of classic craftsmanship and modern innovation, and it definitely lives up to its promise - unlocking the power of meaningful expression. 🔗Stainless Steel Vacuum-Filled Mini Fountain Pen - Smokehttps://preview.redd.it/3jwnpuepjk1d1.jpg?width=720&format=pjpg&auto=webp&s=3ca44ccc75c0782ec4255b9683bc8d46140a0356 If you're looking for a fountain pen that won't let you down, the TWSBI Vac Mini fountain pen in Smoke is the one for you. Unlike its larger siblings, this pen is a departure from the piston filler fountain pens typically found in the TWSBI lineup. The first thing you'll notice about the TWSBI Vac Mini is its clear acrylic body. It makes checking the level of ink a breeze, and the black grip section and turning knob adds a touch of elegance. The smooth writing stainless steel nib, silver clip, and trim accents make this pen a true workhorse. This vacuum filler pen holds a large amount of ink and fills by unscrewing the end cap, pulling it out, and then the pen fills on the downstroke. Be sure to hold the pen in the ink for several seconds after pushing the end cap in, and for best results, you should do this twice. The TWSBI Vac Mini fills with bottled ink only, and for best filling results, the TWSBI Vac 20A ink bottle is a fantastic option. TWSBI believes that users should be able to disassemble and reassemble the pen to fully experience the traditional aspects of owning and using a fountain pen. The pen packaging includes a wrench and silicone grease, although they are not intended for immediate use. Use extra care when disassembling the pen to avoid breakage or cracking. The TWSBI Vac Mini fountain pen in Smoke is a fantastic choice for those seeking a reliable, stylish, and easy-to-use fountain pen. Whether you're using it for everyday writing or for special occasions, this pen will not disappoint. Give it a try and see for yourself why it's a favorite among fountain pen enthusiasts! 🔗TWSBI Diamond Mini Stub Fountain Pen: Modern, Reliable, and Versatilehttps://preview.redd.it/y9c6yfgpjk1d1.jpg?width=720&format=pjpg&auto=webp&s=39e100b0624cb41df7b3a6df3db294b558ef3a81 I recently added the TWSBI Diamond Mini Classic Fountain Pen to my daily writing routine, and let me tell you, it's a game-changer. This pen is a perfect blend of affordability and high-quality craftsmanship, making it a great addition to any stationery enthusiast's collection. One of the most notable features of this pen is its piston filler mechanism. It's a feature typically found in much more expensive fountain pens, but TWSBI has managed to make it accessible to everyone. This system allows you to directly draw ink from the bottle without the need for cartridges or a converter, providing a seamless and mess-free experience. The pen's design is modern and eye-catching, with a transparent body that showcases its inner workings. The faceted barrel not only adds a touch of elegance but also helps prevent the pen from rolling away when placed on a surface. I especially appreciate the fact that it's about the same height as an iPhone, making it a convenient size to carry around. The pen's balance is impressive when posted, and the piston filling mechanism holds a decent amount of ink. However, be cautious when operating the piston while the pen is filled with ink, as it may leak. I do have one minor complaint, which is the clip on the pen. While it's secure enough to hold the pen in place, it has a bit of side-to-side movement when opened and closed, making it feel less secure. Overall, the TWSBI Diamond Mini Classic Fountain Pen is an excellent choice for anyone looking for an affordable and stylish fountain pen. The piston filling mechanism, modern design, and great balance make this pen a standout in my daily routine. 🔗Sleek Navy Blue Nib Fountain Pen with Durable Aluminum Griphttps://preview.redd.it/1u865iipjk1d1.jpg?width=720&format=pjpg&auto=webp&s=641077b019a41066712ef95dd3ae86f25b99c861 I've been using the TWSBI Diamond 580ALR Fountain Pen for a while now, and I have to say, it's been an interesting ride. The thing that stands out the most is the pen's capacity - I absolutely love it. It's not every day you find a pen that can hold so much ink, and it's been a game-changer for me. Now, let's talk about the grip. It's got a 10.4 mm diameter, which is pretty comfortable in my hand. The aluminum grip section is a cool touch, adding a bit of modern flair to this otherwise classic pen. However, the textured pattern of the grip did give me a bit of a hard time at first, but I eventually got used to it. The pen's filling mechanism is another highlight, with a piston-filling system that's smooth and easy to use. The nib size chart is a nice touch too, making it easy to find the right size for your writing needs. But, as with any product, there are pros and cons. The main downside I found is the inconsistency in the nibs. I've had some that are smooth and write beautifully, while others have been scratchy and hard to use. It's a bit frustrating, to be honest. Another minor issue I encountered was with the cap. At first, it was a bit difficult to remove, requiring a bit of effort. But, after a while, it got easier. Overall, the TWSBI Diamond 580ALR Fountain Pen is a solid choice for anyone looking for a well-made, stylish, and functional writing instrument. Just be prepared for the occasional inconsistency in the nibs. 🔗IWI Civilization Fountain Pen Brown - Brass Body, Bock Extra Fine Nib, and Standard International Cartridgeshttps://preview.redd.it/7i5ypqeqjk1d1.jpg?width=720&format=pjpg&auto=webp&s=1e5251c3754df3d79e69ef01f617fbde92c30d8f IWI's Civilization fountain pen is not just a pen, but a symbol of human history and civilization. Made of brass, this pen truly captures the allure and importance of past civilizations. Its sleek design, reminiscent of a castle under a sky of clouds, adds a touch of elegance and comfort to note-taking, daily writing, and even drawing. Despite its sophisticated appearance, the Civilization fountain pen remains practical and versatile, suitable for a plethora of uses. Thanks to the Bock Extra Fine nib, the writing experience is smooth and effortless. It is capable of producing precise strokes for architectural or artistic detail, as well as clear handwriting for day-to-day tasks. The Civilization fountain pen can be filled with either standard international cartridges or a mini converter, offering flexibility and convenience. Overall, this pen is an exquisite piece that combines beauty and functionality, making it a worthy addition to any writer's or historian's arsenal. While some may find the pen slightly heavy, its ornate craftsmanship overshadows this minor issue. In the end, the IWI Civilization fountain pen is a testament to the beauty and resilience found in the heart of past societies, inspiring awe and admiration in anyone who holds its pen in hand. 🔗Transparent Purple TWSBI Eco Fountain Penhttps://preview.redd.it/2rpoy5lrjk1d1.jpg?width=720&format=pjpg&auto=webp&s=bd6d843fe7b284f903923b287d3028f500a7cff7 I recently started my fountain pen journey, and one thing I truly appreciate is having the ability to disassemble and reassemble my pen. The TWSBI Eco Fountain Pen in Transparent Purple is a perfect fit for me in that regard. The traditional fountain pen design combined with modern aesthetics is a combination that I find quite captivating. The clear acrylic body not only showcases the ink inside, but it also adds a touch of elegance. The silver trim and piston ink-filling system ensure a smooth writing experience. The smooth-writing steel nib is definitely a standout feature of this pen, as it glides effortlessly across the paper. It's an ideal pen for those who enjoy lettering or for those who are looking to transition from a different nib size. One of the unique aspects of the TWSBI Eco is its disassembling feature. It is considered important by the manufacturer, as it allows users to experience the full aspects of owning and using a traditional fountain pen. The packaging for this pen is a thoughtful touch, as it includes a wrench and silicone grease for long-term care and maintenance. However, there are a few drawbacks. The nib and feed are quite fragile, so extra care is necessary to avoid any potential damage. Also, this pen may not be the best fit for those who prefer a removable nib unit or those who enjoy interchangeable barrels and nib units. Overall, the TWSBI Eco Fountain Pen in Transparent Purple is an excellent choice for those who appreciate the elegant combination of traditional design and modern aesthetics. Its ink-filling system, smooth-writing steel nib, and unique disassembling feature make it a valuable addition to any pen collection. 🔗Copper Finish BIGiDESIGN Ti Mini Pen with Included Refillshttps://preview.redd.it/sgtkwcqrjk1d1.jpg?width=720&format=pjpg&auto=webp&s=72a9a499b0acae272079feed427d282cfdcdc3ff The BIGiDESIGN Ti Mini Pen is a stylish and functional addition to your everyday carry. It's made with durable construction, giving you confidence while using it. The copper finish adds a touch of elegance to this pen, and the lightweight design makes it perfect for carrying around in your pockets. Refilling the pen is easy, and it takes D1 refills, with six included for your convenience. They come in both gel and ballpoint options, so you can choose your preferred writing style. The pen's mechanism is twist style, ensuring it's easy to engage and use as needed. The provided length of cord with a titanium bead makes it convenient to secure your pen and prevent it from getting lost or misplaced. Overall, the BIGiDESIGN Ti Mini Pen is a well-rounded choice for anyone looking for a reliable, eye-catching pen to add to their EDC kit. Buyer's GuideWelcome to our comprehensive buyer's guide for Civivi pens. This section will help you understand the essential features, considerations, and advice for choosing the right Civivi pen that fits your needs and preferences. Let's dive right in!Material and Durabilityhttps://preview.redd.it/jopz5v1tjk1d1.jpg?width=720&format=pjpg&auto=webp&s=91c1f21616c5c37bbce1cea23b90fcf5a6f97109 When it comes to Civivi pens, you'll want to consider the materials used and their durability. Civivi pens are typically made of high-quality materials such as aluminum, stainless steel, or brass. These materials not only offer a premium feel but also excellent durability for long-lasting use. You can expect your Civivi pen to withstand daily wear and tear without showing signs of wear and tear quickly. Design and BuildThe design and build of a Civivi pen are crucial factors to consider. A well-designed pen should be comfortable to use, with a sleek and ergonomic grip that fits effortlessly in your hand. The build quality should be sturdy and durable, with no loose or wobbly parts. Additionally, pay attention to the pen's overall aesthetics, as some Civivi pens feature unique designs and finishes.Ink and Refill SystemThe ink and refill system of your Civivi pen play a significant role in its performance. Civivi pens typically use standard ink cartridges, which are easily accessible and affordable. Look for a pen with a reliable and easy-to-use refill system – some models may require a special tool or technique to replace the ink, while others offer a simple twist-to-refill mechanism. https://preview.redd.it/vwlad8zujk1d1.jpg?width=720&format=pjpg&auto=webp&s=7671a5e011f356596fa93ae6f8beab5b3d0af7c2 Consider Your Writing StyleThink about your writing style and the type of pen you'll find most comfortable. If you prefer a smooth and flowing writing experience, look for a Civivi pen with a fine or medium-fine nib. On the other hand, if you prefer a more aggressive writing style, you may prefer a pen with a broad or calligraphy nib. Additionally, consider the length of your writing sessions, as some Civivi pens may be better suited for long writing sessions than others.Price and ValueLastly, consider your budget when shopping for a Civivi pen. While there are premium Civivi pens that can be quite expensive, there are also plenty of high-quality and affordable options available. Look for a balance between price and value, considering factors such as build quality, ink performance, and overall durability.By considering the essential features, considerations, and advice outlined in this buyer's guide, you'll be well-equipped to choose the perfect Civivi pen for your needs. Happy shopping! FAQhttps://preview.redd.it/ei2u940vjk1d1.jpg?width=720&format=pjpg&auto=webp&s=9e71f8fba6652780cec6df5d59a5d464b11eb56c What is the Civivi Pen?The Civivi Pen is a high-quality fountain pen manufactured by Civivi, a reputable producer of writing tools. It is designed to provide a smooth writing experience and is known for its durability and sleek design.What materials are used in the construction of the Civivi Pen?The Civivi Pen is made from a combination of metal and high-quality resin, providing both strength and style. The pen is available in various colors, allowing users to choose one that suits their personal taste. https://preview.redd.it/cpwwjzmvjk1d1.jpg?width=720&format=pjpg&auto=webp&s=65a98711dfd8647eb669e4eefd67c66fb2d64f2b What kind of nibs does the Civivi Pen come with?The Civivi Pen comes with a stainless steel nib that offers a smooth and consistent writing experience. The nibs are available in various widths, including fine, medium, and broad, to accommodate different writing styles.Is the Civivi Pen compatible with other ink cartridges?Yes, the Civivi Pen is compatible with standard international ink cartridges. This allows users to choose from a wide range of ink colors and styles to suit their preferences.What is the ink capacity of the Civivi Pen?The ink capacity of the Civivi Pen depends on the size of the ink cartridge being used. Generally, a standard international ink cartridge offers approximately 1.3 ml of ink, which can be used for an estimated 300-500 words of writing.How do I maintain the Civivi Pen?To maintain the Civivi Pen, it is recommended to clean the nib and body of the pen regularly. After each use, rinse the nib with water and gently blot it with a soft cloth. To prevent ink from drying out, store the pen with the cap off or use an ink reservoir when not in use.What is the warranty period for the Civivi Pen?The Civivi Pen comes with a limited warranty, covering manufacturing defects for a period of 12 months from the date of purchase. If you experience any issues with your pen during this time, contact the Civivi customer support team for assistance.Where can I purchase the Civivi Pen?The Civivi Pen is available for purchase from various retailers, both online and in-store. You can also visit the Civivi website or contact their customer support team to find a list of authorized dealers in your area.Are replacement parts available for the Civivi Pen?Yes, replacement parts, including nibs, ink cartridges, and pen bodies, are available for the Civivi Pen. Visit the Civivi website or contact their customer support team to inquire about the availability of replacement parts and how to order them.As an Amazon™ Associate, we earn from qualifying purchases. |
2024.05.20 13:12 MirkWorks Excerpts from Beautiful Fighting Girls by Saito Tamaki (Chapter 6 The Emergence of the Phallic Girls) I
6 THE EMERGENCE OF THE PHALLIC GIRLS
The Unique Space of Their Emergence
….
The Atemporality of Manga and Anime
Every form of visual media functions according to its own temporality. In the case of popular culture most of these temporalities are a matter of movements.
All forms of visual expression are marked by a form of movement particular to their medium. Manga, anime, and film each have their own “grammar” of movement. Lining up photographs of real people like frames in a manga, for example, would not produce the same effects as a manga. On the contrary, it would lack reality (riariti), and the only effect it could produce would be of kitsch. This is because the kind of movement specific to the photographic medium clashes with the manga form.
These techniques for expressing movement include everything from the macro-level of speed lines in manga. Used effectively, they produce the effect of realistic movement. Reality (riariti) in anime is produced not by naturalistic backgrounds or by imitating cinematic techniques but only by realizing the kind of movement that is unique to anime. Under these conditions even a character drawn with a single line can seem just as real or even more real than a person in a photograph or a film. Now let us consider the question of temporality in manga and anime while paying attention to how they express movement.
A comparison of the work of Ishinomori Shotaro and Nagai Go is useful in thinking about temporality in manga. Ishinomori and Nagai use very different methods for representing time. Simply put, one uses “cinematic time” and the other “gekiga time.”
As Kato Mikiro has also argued, Ishinomori’s work brought the representation of time in manga to an extremely sophisticated level. His techniques were then adopted as a kind of grammar unique to manga and eventually rendered even more sophisticated in the hands of artists like Otomo Katsuhiro. One can certainly see the influence of film in these techniques (Ishinomori himself was also a great fan of Western films). Even more than someone like Tezuka Osamu, Ishinomori intended his manga to be like films. In contrast to this, Nagai’s techniques are more specific to manga, almost as if he were taking a position against cinema. Because this point is very closely related to the emergence of the beautiful fighting girls, let us look into it in greater detail.
In Ishinomori’s work, time “flows,” as it were, at the mostly consistent speed. It is his well-known techniques for describing intervals in dialogue - for example, the kind of time produced by the contrast between the dialogue within speech bubbles and the handwritten dialogue outside the speech bubbles - that maintain the objectivity or intersubjectivity of time in Ishinomori’s works. It is a more chronological, measured time that flows straight and even, without slowing or faltering.
In Nagai’s work, on the other hand, time no longer flows. It contracts and expands along with the reader’s subjective viewpoint. Action-packed, high-impact moments are drawn with large frames and take up many pages. This way of representing time, hardly used by Ishinomori at all, has become the trademark of Japanese manga in general. Ishinomori’s Masked Rider (Kamen raidaa) and other works in the squadron genre have been more often adapted as live-action dramas than as anime. This is in stark contrast to Nagai’s works, which have almost always been adapted as anime. There are no doubt reasons internal to the industry for this, but that does not explain everything. It seems clear that Nagai’s work itself has a greater affinity for being adapted as anime. And one of the things that anime have adopted from manga is the kind of atemporality represented in Nagai’s work.
In an earlier essay I was critical of this sort of atemporality in the work of Miyazaki Hayao. Here, I would like to return to that earlier essay to reconsider the atemporality of manga and anime.
As Miyazaki himself points out, anime starts out as the stepchild of manga. Anime often borrow techniques directly from manga. The best known example of this is the use of so-called manpu (Takekuma Kentaro) but the atemporality of anime is also derived from manga. Miyazaki compares anime’s atemporality to a traditional Japanese form of storytelling known as kodan storytelling, in which time and space are grossly distorted and exaggerated according to the passion and expressivity of the characters. The kodan “Kan’ei sanbajutsu” (Horse riding in the Kan’ei era), for example, is a long and extremely detailed description of how Magaki Heikuro climbs up a stone staircase on a horse. This kind of unlimited extension of a single privileged moment is typical of the atemporality of kodan storytelling, and Miyazaki is extremely critical of it.
One sees this kind of temporality most often in gekiga comics like those of Kajiwara Ikki. The most extreme example is perhaps Nakajima Norihiro’s Astro kyu dan (Asutoro kyu dan), the climaz of which is a single baseball match between the Astros and the Victories, the description of which took three years in serialization and more than two thousand pages. Astro kyu dan was a groundbreaking work, but it was neither minor nor avant-garde. It was published in Shonen jampu (Jump), a leading manga magazine, and, with the exception of a few raised eyebrows here and there, readers had no trouble accepting it.
The media space of manga and anime clearly tends toward atemporality. Manga about sports inevitably favor these descriptive techniques. The time between the moment the ball leaves the pitcher’s hand to the time it is swallowed up in the catcher’s mitt, the moment when a long-distance runner speeds up just before the finish line, the time of a round of boxing: all of these extremely short periods of time are extended and rendered in elaborate detail. The impact of a particular scene is heightened in direct proportion to the time spend describing it and the density of the narrative. Such techniques have been used most effectively in manga and anime. There is nothing in films or even novels capable of rendering this sense of atemporality quite as naturally. This point may have to do with the particularity of “Japanese space” that I discuss later.
Of course, the imaginaire, the realm of the imagination and fantasy, is atemporal to begin with. Dead people, for example, do not age in this realm. This is very different however, from Sigmund Freud’s notion of the atemporality of the unconscious. The unconscious is atemporal by its very nature, while the Imaginary can accurately be said only to strive for atemporality. In the imagination there is often a striving toward unlimited experience, which leads to a frantic gathering together of privileged moments.
In an essay on schizophrenia, the psychiatrist Nakai Hisao writes about the distinction between chronological and kairological time. Chronological time, named after Chronos, the Greek god of time and the father of Zeus, refers to physical time that we can measure on the clock. Kairos, on the other hand, is the Greek word for “opportune moment” and refers to time as human beings actually experience it. When we feel as if a boring lecture will go on forever or the time spent with a lover is over in a millisecond, it is because we are experiencing the time of kairos. Nakai writers that at a certain point in the progress of schizophrenia, patients experience “the collapse of kairological time and the maintenance of chronological time.” If this is possible, then there is no reason to think that the opposite might not also happen. Chronological time might recede, and the individual might leap headfirst into kairological time. In borderline cases and hysterics, for example, kairological time is clearly dominant. The time experienced by these individuals is often marked by the “here and now” of narcissism.
There are several other ways in which anime and manga strive for atemporality, or the suppression of chronological time. Characters like Sazae-san and Doraemon never grow old, and their stories unfold cyclically, always in the same setting. The technique of the tournament form that anime borrowed from manga magazines like Shonen jampu is another example of an atemporal form, like an infinite musical scale. The way the ranks of the enemy grows infinitely stronger is nothing if not a technique for introducing cyclical atemporality even as it disguises the passage time. In anime there is also the issue of the voice actor. What does it mean that the voice actor seems ageless and immortal? Often we have no idea how old they are in reality, and they may play the same boy roles for years on end. They must be immortal as well: When Yamada Yasuo, who did the voice of Lupin, died, the role was taken over by a virtual vocal clone of Yamada’s named Kurita Kan’ichi.
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Philosophy of Care by Boris Groys (Chapter 10: Under the Gaze of the Charwoman part I)
Philosophy of Care by Boris Groys (Chapter 10: Under the Gaze of the Charwoman part II)
Becoming an Artwork by Boris Groys (Chapter 7)
<…>
American comics are fundamentally loyal to the techniques of cinema. In other words, they use chronological time in every respect. The flow of time from frame to frame is always even, and emotional prolongation and exaggeration is minimized. The characters’ subjective viewpoints are rendered through their monologues, and they do not demand readerly identification any more than necessary. In Japanese manga, on the other hand, particularly since kairological time was introduced by Tezuka, there has been a proliferation of techniques for rendering brief moments with high density and a very light touch. As these techniques were developed and further refined, they forced readers to identify with the characters even as they made it possible for them to read at a very fast pace. There is nothing else like this in the history of representational culture. It is very different from the way short time periods are presented in long novels such as the four days of the Brothers Karamazov or the single day of Joyce’s Ulysses. The high temporal density of these literary works derives from their indexical and polyphonic narrative structures. What they lack, moreover, is speed. The paradoxical combination of high-density and high-speed forms of expression is the unique quality of the media space of manga and anime.
The atemporality of manga derives from the screen effect whereby something looks as if it were stopped because it is moving so fast. Atemporality is not the only effect made possible by this copious description of instantaneous moments. I have pointed out that it also makes speed-reading possible. What does the copious description of instantaneous moments have to do with speed-reading? Here it would be useful to explain one of the most conspicuous codes that characterizes manga and anime.
Synchronic Space in Unison
Manga has its own very particular set of codes. As is well known, manga have multiple means for communicating these codes, both visual and verbal, as well as various supplemental onomatopoetic and mimetic expressions. Its methods of visual expression are far from simple. The background may be drawn in great detail, but the characters must be drawn using symbolic abbreviations. This is necessary to maintain visual continuity for the same characters from frame to frame. The characters’ emotions must also be expressed symbolically. This is the function of so-called manpu. Movement is expressed symbolically using various kinds of “speed lines.” I use the word “symbolic” here to indicate that these expressions directly transmit meanings as simple codes, leaving almost no room for multiple interpretations.
A frame from a manga chosen at random illustrates what I mean in greater detail. It is easy to see that multiple code systems coexist within even a single frame. We may begin by reading the text, but the shape of the bubbles that envelop the text are also expressive of emotions and situations. The manga as a whole consists of a very long list of codes, including the facial expressions of the characters, manpu, onomatopoetic and mimetic expressions, and speed and concentration lines. In manga it is almost impossible for a given mark, ln the paper not to carry any meaning. The brush or pencil strokes and the panel layout, as well as the empty spaces and the abbreviations, all contribute in some way or another to the meaning. The brush or pencil strokes and the panel layout, as well as the empty spaces and the abbreviations, all contribute in some way or another to the meaning. When we stop and think about it, it is quite surprising that we have read such huge quantities of manga without ever being conscious of all of these codes . How is it that a system of codes of this complexity has come to be shared as a common grammar so unconsciously - and accurately? Answering that question alone would make for a fascinating history of representational culture. But for now let us leave that aside and move on.
Some readers may be wondering whether there is really anything unique here about manga and anime. Don’t film and theater have their own complex systems of codes? What is unique about manga and anime is not the layering of codes on top of one another, or even the number of codes in use. What is important is that in manga and anime these codes do not create a polyphonic effect. Instead, they work in unison.
What do I mean by this? Even though multiple layers of codes operate in a manga or an anime, they express the same meaning, or the same emotion. Multiple code systems are synchronized to convey the meaning of a single situation. The more precise and rhythmic this synchronization is, the more rapidly we end up reading them. Speed-reading is an effect of this unison of codes, but at the same time the codes are brought into greater synchronicity by being read quickly.
One more crucial factor is that each of these codes that we have been discussing is highly incomplete on its own. No single manga code can convey meaning by itself. The text of the images alone do not relay sufficient meaning to be read in isolation. This means that all of the code systems must supplement each other. It is only this mutual supplementation that makes possible the synchronization and the unisonic effect of the whole.
For this reason the space of manga functions a representational space that is both excessively overdetermined in meaning and highly redundant. A related phenomenon is the rapid spread of those unsightly so-called telops that have become so irritatingly common on television programs in recent years. The words of the performers on variety shows are repeated for emphasis using subtitles, to which are added (in all likelihood synthesized) recordings of the laughter of the crew. Here also, you have multiple codes working in unison to ensure that the viewer was no way to react but to laugh. Some have pointed to this as an example of television becoming like manga. But I am more interested in considering what it is about our culture that makes us so found of these redundant and exaggerated forms of expression.
According to Frederik Schodt, who has also written about Japanese manga, the Japanese preference for combining visual with verbal expression has its roots in the kibyoshi picture books of the Edo period. Schodt’s thesis will of course require careful study before we can be certain. But at the present moment it does seem to be the case that Japan is the only country in which the fundamental grammar of popular culture can be described as the copious expression of multiple codes in unison. It is not that there are no examples of this in other countries, but nowhere else has it attained the widespread popularity and sophistication that it has in Japan.
This distinctive medium, which becomes meaningless when the codes are separated out and excessively meaningful when they are synchronized, brings to mind something else as well. It is very similar to how the Japanese language itself uses phonetic kana along with Chinese characters. As the anime director Takahata Isao has argued, anime and the Japanese language stand in a very intimate relation to one another. Takahata’s point is the anime is the Japanese language. Of course, there have been claims like this before, such as the one that suggests that manga resemble Japanese calligraphy. Misconceptions about kanji, particularly the idea that they are ideographic, and fascination with the refined look of the characters led even Jacques Lacan into thoughtless remarked that “the Japanese cannot be psychoanalyzed.” [*12. Jacques Lacan, “Avis au lecteur Japonais,” in Le seminaire de Jacques Lacan, ed. J. A. Miller, vol. 11 (Paris: Editions du Seuil), 497-500.] If we accept the distinction between the Symbolic and the Imaginary, we have to recognize that this is wrong. If there is something unique about kanji, it is not that they are closer to symbols than to letter. It is entirely possible to be attached to the visual appearance of writing, to treat it like a fetish, whether it be kanji or alphabetic letters. For the same reason we should avoid facile conflations of the imaginary function of anime and manga with the symbolic one of the Japanese writing system.
My sense is that the uniqueness of the two-pronged kanji/kana writing system employed in Japanese has less to do with its visual qualities than with the fact that reading it is a highly context-dependent process. And it is this fact that helps regulate the emergence of symbolic effects into the Imaginary. What we can say at this point for sure is that neither a Chinese character nor a phonetic reading on its own is sufficient to denote meaning. And it goes without saying that it is only with the addition, in synchronic unison, of katakana and roman letters that the full meaning can be gleaned. It is probably not a coincidence that the code systems of anime and manga work in a similar way.
The ease with which we enter into the world of a manga and the extraordinary speed at which we are able to consume them suggest that we may “read” them in the same way that we read Japanese writing. If this is indeed the case, we might make a further hypothesis about the Japanese writing system. We cannot claim that Japanese writing somehow blurs the boundaries between the Imaginary and the Symbolic. We can argue, however, that it provides us with a sophisticated mechanism for processing imaginary objects using symbolic operational forms.
This hypothesis helps explain a number of stranger phenomena. The first of these is that drawing ability is not the most important factor in assessing Japanese manga artists and anime directors. In fact we are strangely forgiving of their technical skills in drawing. The ability to draw certainly doesn’t hurt, but it is merely an added value. There are any number of Japanese artists who are considered “greats” but whose drawing ability is inexpert when judged by the standards of the West. Even Otomo Katsuhiro, for example, is not valued in the West for his ability to draw. Instead, his international reputation rests on his ability to tell a good story. This tendency to downplay drawing ability is also reflected in the fact that almost all critical writing on manga and anime to date focuses exclusively on narrative and character analysis.
It seems likely that we Japanese inhabit a cultural sphere that has experienced a rather distinctive development of technologies for the symbolic processing of imaginary things. This hypothesis has implications that are not limited to the theory of manga and anime. But because those implications would take us far beyond the scope of this book, we leave them for later and return to the main argument, bearing this hypothesis in mind.
The Space of Multiple Personalities
It should be possible to further expand on and generalize from these notions of the multilayered codes in manga and anime and the way they function in unison. It should be possible, for example, to think of a character in a manga as a kind of code. In my understanding, manga works have a structure that resembles a patient with multiple personalities. The better the work, the more occasions it provides for the multiplication of these personalities. To put it differently, the more perfect the manga, the more completely it succeeds in integrating the totality of its character into a single mutually supplementing system of partly personified characters.
In clinical practice it is well known that the separate personalities of patients with multiple personality disorder are highly incomplete in themselves. It is not uncommon for these individual personalities to be simple types whose entire nature can be expressed with a single phrase. In this sense it might be more appropriate to refer to them not as “personalities” but as individual “specs” (functions). This sort of incompleteness applies to many manga works as well.
It should be clear that what I am opposing to this space of multiple personalities is Mikhail Bakhtin’s notion of polyphony. Here is Bakhtin on the space of polyphony:
The space of manga and anime has virtually nothing to do with these characteristics. In fact that space is more like an even more extreme version of what Bakhtin describes as having come before Dostoevsky. In other words, manga and anime give us “a multitude of characters and fates in a single objective world, illuminated by a single authorial consciousness,” in which “a character’s discourse [can] be exhausted by the usual pragmatic functions of characterization and plot development” and made to “serve as a vehicle for the author’s own ideological position.”
It is a fact that is often misunderstood, but like many other subcultural productions, the degree of freedom of expression in manga genre is extremely low. Compared with the novel, the formal characteristics and the range of narratives and narrative perspectives in manga are much more tightly circumscribed. What manga have instead is a much greater diversity of styles than the novel. This is also typical of most subcultural forms. To put it in semiotic terms, manga are impoverished on the syntagmatic axis (i.e., the horizontal structure) but extremely rich on the paradigmatic axis (i.e., the vertical branch).
For this reason it is not possible for manga to convey narratives above a certain level of complexity. The personalities of characters in manga have to be simple enough to be understood at a glance. If complex personalities cannot be described, complex narratives are not possible. In manga, therefore, the individual personalities of characters are inevitably types. If many manga contain only characters that belong to identifiable types, this is because the characters have to be arranged according to a code in which each one of them carries a single meaning. But this is no reason to complain about the lack of complexity and depth in manga characterization. In manga, a single personality is often divided among multiple characters. In other words, an entire manga work in its entirety is the coordinated expression of a single personality - of, for example, the personality of the author.
If it seems like I am belittling manga and anime by making this argument, this is not my intention. But just to be sure, let me make my defense of them explicit. The characteristics of manga that I have described above are weaknesses in terms of their capacity for literary expression. But do we not live in a time when the authority of the literary has been considerably weakened and the exponents of so-called high culture are being banished to an ever-shrinking territory?
If the weaknesses of subcultural forms like manga fall under the category of what I have just described as the syntagmatic, their strength lies in their paradigmatic diversity. One example would be popular music, where a diversity of sounds and arrangements are applied to simple structures, making for virtually infinite repetition and renewal. These days, techniques like sampling and remixing are not limited to music. We can all remember quite clearly how refreshing and powerful we found the anime series Neon Genesis Evangelion (Shin seiki Evangerion), which was produced almost entirely using these technical refinements. Subcultural forms will surely continue to seduce and bewitch us with their uncompromising superficiality. They may not be able to portray “complex personalities,” but they certainly do produce “fascinating types.” The beautiful fighting girl, of course, is none other than one of those types. That she can only survive in a subcultural habitat is due to the reasons given above.
[To be continued]
submitted by MirkWorks to u/MirkWorks [link] [comments]
The Unique Space of Their Emergence
….
The Atemporality of Manga and Anime
Every form of visual media functions according to its own temporality. In the case of popular culture most of these temporalities are a matter of movements.
All forms of visual expression are marked by a form of movement particular to their medium. Manga, anime, and film each have their own “grammar” of movement. Lining up photographs of real people like frames in a manga, for example, would not produce the same effects as a manga. On the contrary, it would lack reality (riariti), and the only effect it could produce would be of kitsch. This is because the kind of movement specific to the photographic medium clashes with the manga form.
These techniques for expressing movement include everything from the macro-level of speed lines in manga. Used effectively, they produce the effect of realistic movement. Reality (riariti) in anime is produced not by naturalistic backgrounds or by imitating cinematic techniques but only by realizing the kind of movement that is unique to anime. Under these conditions even a character drawn with a single line can seem just as real or even more real than a person in a photograph or a film. Now let us consider the question of temporality in manga and anime while paying attention to how they express movement.
A comparison of the work of Ishinomori Shotaro and Nagai Go is useful in thinking about temporality in manga. Ishinomori and Nagai use very different methods for representing time. Simply put, one uses “cinematic time” and the other “gekiga time.”
As Kato Mikiro has also argued, Ishinomori’s work brought the representation of time in manga to an extremely sophisticated level. His techniques were then adopted as a kind of grammar unique to manga and eventually rendered even more sophisticated in the hands of artists like Otomo Katsuhiro. One can certainly see the influence of film in these techniques (Ishinomori himself was also a great fan of Western films). Even more than someone like Tezuka Osamu, Ishinomori intended his manga to be like films. In contrast to this, Nagai’s techniques are more specific to manga, almost as if he were taking a position against cinema. Because this point is very closely related to the emergence of the beautiful fighting girls, let us look into it in greater detail.
In Ishinomori’s work, time “flows,” as it were, at the mostly consistent speed. It is his well-known techniques for describing intervals in dialogue - for example, the kind of time produced by the contrast between the dialogue within speech bubbles and the handwritten dialogue outside the speech bubbles - that maintain the objectivity or intersubjectivity of time in Ishinomori’s works. It is a more chronological, measured time that flows straight and even, without slowing or faltering.
In Nagai’s work, on the other hand, time no longer flows. It contracts and expands along with the reader’s subjective viewpoint. Action-packed, high-impact moments are drawn with large frames and take up many pages. This way of representing time, hardly used by Ishinomori at all, has become the trademark of Japanese manga in general. Ishinomori’s Masked Rider (Kamen raidaa) and other works in the squadron genre have been more often adapted as live-action dramas than as anime. This is in stark contrast to Nagai’s works, which have almost always been adapted as anime. There are no doubt reasons internal to the industry for this, but that does not explain everything. It seems clear that Nagai’s work itself has a greater affinity for being adapted as anime. And one of the things that anime have adopted from manga is the kind of atemporality represented in Nagai’s work.
In an earlier essay I was critical of this sort of atemporality in the work of Miyazaki Hayao. Here, I would like to return to that earlier essay to reconsider the atemporality of manga and anime.
As Miyazaki himself points out, anime starts out as the stepchild of manga. Anime often borrow techniques directly from manga. The best known example of this is the use of so-called manpu (Takekuma Kentaro) but the atemporality of anime is also derived from manga. Miyazaki compares anime’s atemporality to a traditional Japanese form of storytelling known as kodan storytelling, in which time and space are grossly distorted and exaggerated according to the passion and expressivity of the characters. The kodan “Kan’ei sanbajutsu” (Horse riding in the Kan’ei era), for example, is a long and extremely detailed description of how Magaki Heikuro climbs up a stone staircase on a horse. This kind of unlimited extension of a single privileged moment is typical of the atemporality of kodan storytelling, and Miyazaki is extremely critical of it.
One sees this kind of temporality most often in gekiga comics like those of Kajiwara Ikki. The most extreme example is perhaps Nakajima Norihiro’s Astro kyu dan (Asutoro kyu dan), the climaz of which is a single baseball match between the Astros and the Victories, the description of which took three years in serialization and more than two thousand pages. Astro kyu dan was a groundbreaking work, but it was neither minor nor avant-garde. It was published in Shonen jampu (Jump), a leading manga magazine, and, with the exception of a few raised eyebrows here and there, readers had no trouble accepting it.
The media space of manga and anime clearly tends toward atemporality. Manga about sports inevitably favor these descriptive techniques. The time between the moment the ball leaves the pitcher’s hand to the time it is swallowed up in the catcher’s mitt, the moment when a long-distance runner speeds up just before the finish line, the time of a round of boxing: all of these extremely short periods of time are extended and rendered in elaborate detail. The impact of a particular scene is heightened in direct proportion to the time spend describing it and the density of the narrative. Such techniques have been used most effectively in manga and anime. There is nothing in films or even novels capable of rendering this sense of atemporality quite as naturally. This point may have to do with the particularity of “Japanese space” that I discuss later.
Of course, the imaginaire, the realm of the imagination and fantasy, is atemporal to begin with. Dead people, for example, do not age in this realm. This is very different however, from Sigmund Freud’s notion of the atemporality of the unconscious. The unconscious is atemporal by its very nature, while the Imaginary can accurately be said only to strive for atemporality. In the imagination there is often a striving toward unlimited experience, which leads to a frantic gathering together of privileged moments.
In an essay on schizophrenia, the psychiatrist Nakai Hisao writes about the distinction between chronological and kairological time. Chronological time, named after Chronos, the Greek god of time and the father of Zeus, refers to physical time that we can measure on the clock. Kairos, on the other hand, is the Greek word for “opportune moment” and refers to time as human beings actually experience it. When we feel as if a boring lecture will go on forever or the time spent with a lover is over in a millisecond, it is because we are experiencing the time of kairos. Nakai writers that at a certain point in the progress of schizophrenia, patients experience “the collapse of kairological time and the maintenance of chronological time.” If this is possible, then there is no reason to think that the opposite might not also happen. Chronological time might recede, and the individual might leap headfirst into kairological time. In borderline cases and hysterics, for example, kairological time is clearly dominant. The time experienced by these individuals is often marked by the “here and now” of narcissism.
There are several other ways in which anime and manga strive for atemporality, or the suppression of chronological time. Characters like Sazae-san and Doraemon never grow old, and their stories unfold cyclically
<…>
Philosophy of Care by Boris Groys (Chapter 10: Under the Gaze of the Charwoman part I)
Philosophy of Care by Boris Groys (Chapter 10: Under the Gaze of the Charwoman part II)
Becoming an Artwork by Boris Groys (Chapter 7)
<…>
American comics are fundamentally loyal to the techniques of cinema
The atemporality of manga derives from the screen effect whereby something looks as if it were stopped because it is moving so fast. Atemporality is not the only effect made possible by this copious description of instantaneous moments. I have pointed out that it also makes speed-reading possible. What does the copious description of instantaneous moments have to do with speed-reading? Here it would be useful to explain one of the most conspicuous codes that characterizes manga and anime.
Synchronic Space in Unison
Manga has its own very particular set of codes. As is well known, manga have multiple means for communicating these codes, both visual and verbal, as well as various supplemental onomatopoetic and mimetic expressions. Its methods of visual expression are far from simple. The background may be drawn in great detail, but the characters must be drawn using symbolic abbreviations. This is necessary to maintain visual continuity for the same characters from frame to frame. The characters’ emotions must also be expressed symbolically. This is the function of so-called manpu. Movement is expressed symbolically using various kinds of “speed lines.” I use the word “symbolic” here to indicate that these expressions directly transmit meanings as simple codes, leaving almost no room for multiple interpretations.
A frame from a manga chosen at random illustrates what I mean in greater detail. It is easy to see that multiple code systems coexist within even a single frame. We may begin by reading the text, but the shape of the bubbles that envelop the text are also expressive of emotions and situations. The manga as a whole consists of a very long list of codes, including the facial expressions of the characters, manpu, onomatopoetic and mimetic expressions, and speed and concentration lines. In manga it is almost impossible for a given mark, ln the paper not to carry any meaning. The brush or pencil strokes and the panel layout, as well as the empty spaces and the abbreviations, all contribute in some way or another to the meaning. The brush or pencil strokes and the panel layout, as well as the empty spaces and the abbreviations, all contribute in some way or another to the meaning. When we stop and think about it, it is quite surprising that we have read such huge quantities of manga without ever being conscious of all of these codes . How is it that a system of codes of this complexity has come to be shared as a common grammar so unconsciously - and accurately? Answering that question alone would make for a fascinating history of representational culture. But for now let us leave that aside and move on.
Some readers may be wondering whether there is really anything unique here about manga and anime. Don’t film and theater have their own complex systems of codes? What is unique about manga and anime is not the layering of codes on top of one another, or even the number of codes in use. What is important is that in manga and anime these codes do not create a polyphonic effect. Instead, they work in unison.
What do I mean by this? Even though multiple layers of codes operate in a manga or an anime, they express the same meaning, or the same emotion. Multiple code systems are synchronized to convey the meaning of a single situation. The more precise and rhythmic this synchronization is, the more rapidly we end up reading them. Speed-reading is an effect of this unison of codes, but at the same time the codes are brought into greater synchronicity by being read quickly.
One more crucial factor is that each of these codes that we have been discussing is highly incomplete on its own. No single manga code can convey meaning by itself. The text of the images alone do not relay sufficient meaning to be read in isolation. This means that all of the code systems must supplement each other. It is only this mutual supplementation that makes possible the synchronization and the unisonic effect of the whole.
For this reason the space of manga functions a representational space that is both excessively overdetermined in meaning and highly redundant. A related phenomenon is the rapid spread of those unsightly so-called telops that have become so irritatingly common on television programs in recent years. The words of the performers on variety shows are repeated for emphasis using subtitles, to which are added (in all likelihood synthesized) recordings of the laughter of the crew. Here also, you have multiple codes working in unison to ensure that the viewer was no way to react but to laugh. Some have pointed to this as an example of television becoming like manga. But I am more interested in considering what it is about our culture that makes us so found of these redundant and exaggerated forms of expression.
According to Frederik Schodt, who has also written about Japanese manga, the Japanese preference for combining visual with verbal expression has its roots in the kibyoshi picture books of the Edo period. Schodt’s thesis will of course require careful study before we can be certain. But at the present moment it does seem to be the case that Japan is the only country in which the fundamental grammar of popular culture can be described as the copious expression of multiple codes in unison. It is not that there are no examples of this in other countries, but nowhere else has it attained the widespread popularity and sophistication that it has in Japan.
This distinctive medium, which becomes meaningless when the codes are separated out and excessively meaningful when they are synchronized, brings to mind something else as well. It is very similar to how the Japanese language itself uses phonetic kana along with Chinese characters. As the anime director Takahata Isao has argued, anime and the Japanese language stand in a very intimate relation to one another. Takahata’s point is the anime is the Japanese language. Of course, there have been claims like this before, such as the one that suggests that manga resemble Japanese calligraphy. Misconceptions about kanji, particularly the idea that they are ideographic, and fascination with the refined look of the characters led even Jacques Lacan into thoughtless remarked that “the Japanese cannot be psychoanalyzed.”
My sense is that the uniqueness of the two-pronged kanji/kana writing system employed in Japanese has less to do with its visual qualities than with the fact that reading it is a highly context-dependent process
The ease with which we enter into the world of a manga and the extraordinary speed at which we are able to consume them suggest that we may “read” them in the same way that we read Japanese writing. If this is indeed the case, we might make a further hypothesis about the Japanese writing system. We cannot claim that Japanese writing somehow blurs the boundaries between the Imaginary and the Symbolic. We can argue, however, that it provides us with a sophisticated mechanism for processing imaginary objects using symbolic operational forms.
This hypothesis helps explain a number of stranger phenomena. The first of these is that drawing ability is not the most important factor in assessing Japanese manga artists and anime directors. In fact we are strangely forgiving of their technical skills in drawing. The ability to draw certainly doesn’t hurt, but it is merely an added value. There are any number of Japanese artists who are considered “greats” but whose drawing ability is inexpert when judged by the standards of the West. Even Otomo Katsuhiro, for example, is not valued in the West for his ability to draw. Instead, his international reputation rests on his ability to tell a good story. This tendency to downplay drawing ability is also reflected in the fact that almost all critical writing on manga and anime to date focuses exclusively on narrative and character analysis.
It seems likely that we Japanese inhabit a cultural sphere that has experienced a rather distinctive development of technologies for the symbolic processing of imaginary things. This hypothesis has implications that are not limited to the theory of manga and anime. But because those implications would take us far beyond the scope of this book, we leave them for later and return to the main argument, bearing this hypothesis in mind.
The Space of Multiple Personalities
It should be possible to further expand on and generalize from these notions of the multilayered codes in manga and anime and the way they function in unison. It should be possible, for example, to think of a character in a manga as a kind of code. In my understanding, manga works have a structure that resembles a patient with multiple personalities. The better the work, the more occasions it provides for the multiplication of these personalities. To put it differently, the more perfect the manga, the more completely it succeeds in integrating the totality of its character into a single mutually supplementing system of partly personified characters.
In clinical practice it is well known that the separate personalities of patients with multiple personality disorder are highly incomplete in themselves. It is not uncommon for these individual personalities to be simple types whose entire nature can be expressed with a single phrase. In this sense it might be more appropriate to refer to them not as “personalities” but as individual “specs” (functions). This sort of incompleteness applies to many manga works as well.
It should be clear that what I am opposing to this space of multiple personalities is Mikhail Bakhtin’s notion of polyphony. Here is Bakhtin on the space of polyphony:
- A plurality of independent and unmerged voices and consciousnesses, a genuine polyphony of fully valid voices is in fact the chief characteristic of Dostoevsky’s novels….a plurality of consciousnesses, with equal rights and each with its own world, combine but are not merged in the unity of the event…not only objects of authorial discourse but also subjects of their own directly signifying discourse…. The consciousness of a character is given as someone else’s consciousness, another consciousness, yet at the same time it is not turned into an object, is not closed, does not become a simple object of the author’s consciousness. In this sense the image of a character in Dostoevsky is not the usual objectified image of a hero in the traditional novel….He created a fundamentally new novelistic genre.
The space of manga and anime has virtually nothing to do with these characteristics. In fact that space is more like an even more extreme version of what Bakhtin describes as having come before Dostoevsky. In other words, manga and anime give us “a multitude of characters and fates in a single objective world, illuminated by a single authorial consciousness,” in which “a character’s discourse [can] be exhausted by the usual pragmatic functions of characterization and plot development” and made to “serve as a vehicle for the author’s own ideological position.”
It is a fact that is often misunderstood, but like many other subcultural productions, the degree of freedom of expression in manga genre is extremely low. Compared with the novel, the formal characteristics and the range of narratives and narrative perspectives in manga are much more tightly circumscribed. What manga have instead is a much greater diversity of styles than the novel. This is also typical of most subcultural forms. To put it in semiotic terms, manga are impoverished on the syntagmatic axis (i.e., the horizontal structure) but extremely rich on the paradigmatic axis (i.e., the vertical branch).
For this reason it is not possible for manga to convey narratives above a certain level of complexity. The personalities of characters in manga have to be simple enough to be understood at a glance. If complex personalities cannot be described, complex narratives are not possible. In manga, therefore, the individual personalities of characters are inevitably types. If many manga contain only characters that belong to identifiable types, this is because the characters have to be arranged according to a code in which each one of them carries a single meaning. But this is no reason to complain about the lack of complexity and depth in manga characterization. In manga, a single personality is often divided among multiple characters. In other words, an entire manga work in its entirety is the coordinated expression of a single personality - of, for example, the personality of the author.
If it seems like I am belittling manga and anime by making this argument, this is not my intention. But just to be sure, let me make my defense of them explicit. The characteristics of manga that I have described above are weaknesses in terms of their capacity for literary expression. But do we not live in a time when the authority of the literary has been considerably weakened and the exponents of so-called high culture are being banished to an ever-shrinking territory?
If the weaknesses of subcultural forms like manga fall under the category of what I have just described as the syntagmatic, their strength lies in their paradigmatic diversity. One example would be popular music, where a diversity of sounds and arrangements are applied to simple structures, making for virtually infinite repetition and renewal. These days, techniques like sampling and remixing are not limited to music. We can all remember quite clearly how refreshing and powerful we found the anime series Neon Genesis Evangelion (Shin seiki Evangerion), which was produced almost entirely using these technical refinements. Subcultural forms will surely continue to seduce and bewitch us with their uncompromising superficiality. They may not be able to portray “complex personalities,” but they certainly do produce “fascinating types.” The beautiful fighting girl, of course, is none other than one of those types. That she can only survive in a subcultural habitat is due to the reasons given above.
[To be continued]
2024.05.20 05:20 aloneisquiet WHAT DOES THIS BRACELET SAY? WHAT TYPE OF WRITING? DOES IT EVEN MEAN ANYTHING?
Someone I loved dearly passed away and she wore this bracelet. I have had it for a year and a half and its pained me I don’t know what this says, or can’t figure out the type of writing so I could make meaning or it or translate it. It almost looks like calligraphy. I know these pictures are shit don’t come for me lol. It looks like mush to the human eye too. Though my health is deteriorating and if I knew what this meant maybe it could be a support. This was my one wish I have. If anyone even has an app, website, or knows where I could go to figure it out. It would mean a lot
submitted by aloneisquiet to HandwritingAnalysis [link] [comments]
2024.05.20 03:33 WeyardWiz Salafist TV host, Saber Mashhoor (top) says shias hang up calligraphy that "emphasizes" Ali in "larger" font size compared to "Allah" in (Ashhadu anna Ali wali Allah) thus shias "worship" Ali! Ok, what say you then with Salafis like Uthman Khamees (below) who have "Omar" in larger font as well?!
 | Ridiculous 😂 Salafis have no more arguments it seems and have to now resort to low level disses submitted by WeyardWiz to shia [link] [comments] |
2024.05.18 21:32 Confident_Fish6282 25 [M4A] looking for long term good mates for similar vibe
About me, although I've a full time job, I don't have friends (coz yk as you grow up people move away for jobs and things happen in life). So, I'm here to make new friends. I don't have much expectations but honesty is what I strive for.
I'm interested in linguistics, calligraphy, paleontology, astronomy, geography, cartography, travelling, hiking, trekking, camping, talking about current relevant stuff like pop culture, politics and just daily work & social life. I currently don't go to the gym because of work and studies. I prefer pop music (regardless of region and language) and reggae. I like sci-fi, rom-coms, comedy (also stand-ups), horror, crime thriller genres (both movies and sitcoms). Currently learning Japanese, German and Chinese. For sport, I'm into F-1, badminton, tennis and cricket. Huge foodie (personal favourites are Indian, Italian and Mexican cuisines).
I am really looking for a long lasting friendship. Doesn't matter where you are from, what time zone you have, your sexualities, relationships or whatever, if you can be a good mate to me, we're good. My flaw is that I can be impatient and can have a little prejudice (or say I can be a little judgemental). I'll be there with you if you can put the same efforts.
If you think we can vibe, then do hit me up.
submitted by Confident_Fish6282 to snapchat [link] [comments]
I'm interested in linguistics, calligraphy, paleontology, astronomy, geography, cartography, travelling, hiking, trekking, camping, talking about current relevant stuff like pop culture, politics and just daily work & social life. I currently don't go to the gym because of work and studies. I prefer pop music (regardless of region and language) and reggae. I like sci-fi, rom-coms, comedy (also stand-ups), horror, crime thriller genres (both movies and sitcoms). Currently learning Japanese, German and Chinese. For sport, I'm into F-1, badminton, tennis and cricket. Huge foodie (personal favourites are Indian, Italian and Mexican cuisines).
I am really looking for a long lasting friendship. Doesn't matter where you are from, what time zone you have, your sexualities, relationships or whatever, if you can be a good mate to me, we're good. My flaw is that I can be impatient and can have a little prejudice (or say I can be a little judgemental). I'll be there with you if you can put the same efforts.
If you think we can vibe, then do hit me up.
2024.05.18 18:39 Left-Pick-3143 Help what does this say?
 | I inherited this copper platter from my mom. I know she had this for at least 50yrs. My reading Arabic is very limited when it comes to calligraphy. Please let me know what it says. Thank you submitted by Left-Pick-3143 to ArabicCalligraphy [link] [comments] |
2024.05.18 16:43 Amazing_Magician_352 Fighter Archetype: Standard-Bearer - A full support subclass
 | submitted by Amazing_Magician_352 to UnearthedArcana [link] [comments] |
2024.05.18 14:26 juliaakatrinaa0507 Tylee Memorial Piece
 | I've seen a few posts recently asking who is there for Tylee, who is in her corner, etc. Her aunt (Lori's sister) Summer Shiflet did a memorial piece for her and I thought it was really beautiful. Say what you want about Summer, I don't know what I even think about her myself, but I did enjoy reading this and learning more about Tylee. Here it is: submitted by juliaakatrinaa0507 to LoriVallow [link] [comments] Tylee Ashlyn Ryan was born Sept. 24, 2002. Making her my almost birthday twinner, as I was born Sept. 23 at 11:55 p.m. She was a tiny baby, just over 5lbs, and had beautiful dark hair. I lived in a different state, so I didn’t get to see her nearly enough, but when I did see her, she was a happy baby with beautiful pink cheeks, fierce blue eyes, and her hair had lightened to a soft golden blonde. Tylee was extremely bright and learned how to do everything: rolled over, walked, talked, read, and many other things earlier than expected. She was a darling bright baby who laughed easily but hardest at Colby, who entertained her 24/7! Tylee was a little mermaid. I remember visiting her at the age of 2, almost 3, and she got in the pool with no floaties and swam all around the pool. She was amazing!! I have never seen another child swim that early. But she loved the water, and she and Colby would swim as early as February when the water was too cold for everyone else, and swim into the later winter months. Later in life, Tylee also patiently helped JJ learn to swim when they lived in Hawaii. Tylee was extremely clever, witty, and hilarious as a little girl, even from a young age. She adored her older brother, Colby like no other. Tylee’s mother had a hair salon built into the house, and Tylee saw her mom working on lots of clients. Tylee loved to get into her mother’s chair and get her hair done like a big girl. Tylee had a happy life and a hard life. She was adored by her immediate family, especially her big brother, Colby, who saw her birth as the first step to “Texas sizing” their family! Her hardships included her father’s abuse of her and 7 episodes of pancreatitis — an extremely painful disease. Each time she had an attack, she was in the hospital for 10 days and would have been longer if Lori had not advocated for Tylee with her doctors. We all went to visit her through each attack and did all we could to show her love and support. Lori did the most. She spent every night with her each time and would not eat in front of her since she could not eat or drink for at least 8 days of her stay. Tylee loved Lori more than anyone and Lori was right there helping her with schoolwork so she wouldn’t get behind, coming up with fun things she could do and arranging visits from school friends, church friends and family. Lori’s dedication as a mother was undeniable…Tylee was a straight A student most of her life. She did a science project that won a prize on tsunamis! She had a beautiful singing voice and was a very talented dancer. It was easy to see that she was a natural-born performer and we loved watching her shows. Tylee learned to do expert makeup and loved trying new hairstyles. On a side note, I will forever miss hugging Tylee and smelling her hair, it always smelled so good and was so soft. Tylee was very artistic. She could draw, design, do calligraphy and also had an incredible eye for photography! Her photographs are some of our most precious treasures, especially the beautiful pictures she took of little JJ. Tylee was funny, kind, but could also be bitingly sarcastic. She really came into her own when she turned 16. She tested out of high school at college-ready levels in every subject; she got her driver’s license, and she took a job with my husband’s chiropractic office for her first job. She had a great interest in physical therapy and enjoyed her short time working with patients. She was so cute wearing her scrubs proudly every working day! To celebrate and honor all of these accomplishments, we did an all girls big celebration for her. We had so much fun and we were thrilled to celebrate her. One of the most precious memories I have is the night Tylee spent at my house when Ryley was born. I will never forget her beautiful little face and the huge tears in her gorgeous blue eyes that rolled down her slightly pink cheeks and watching her shake with emotion when Colby texted her a picture of her first little niece. She said “she is the most beautiful thing I have ever seen.” It was instant love. It hurts my heart so much that Ryley and Ava will be deprived of being spoiled and played with by the most loving aunt they could ever have. I know how much Tylee adored Colby and JJ. I wasn’t able to witness her relationships with her step brothers Cole and Zach as much, but I know her love and respect for them was present. When Charles was shot, Tylee was the one who pushed her mother to tell them. Tylee was also responsible for tracking down the kennel that Charles had placed Bailey in when he left Houston so that they could bring him home. Tylee was a devout member of The Church of Jesus Christ of Latter-day Saints. She had great faith in her Savior Jesus Christ. She loved the Young Women’s program. She went to the temple frequently. The first time my daughter went through the temple, Tylee walked her through everything and was so sweet and patient with her. Tylee and my oldest son were only a year apart and had so much fun together. They both spoke sarcasm fluently and were such good friends. My youngest son, Tylee’s name sake, loved to banter with Tylee. My children also loved JJ and will ever be deprived of their special friendships with their cousins. Tylee was sensitive, thoughtful, considerate, humble, generous, caring, and tough. She would have been the best mother, as she loved children. Her favorite color was a bright blue, she called it the color of Hawaii. Her favorite dessert was a no-bake cheesecake. I have yet to be able to make one without completely breaking down in tears as I think of that precious girl!! Tylee loved the shows ‘The Office,’ ‘Friends,’ ‘The Bachelor’ and others. She loved music. She loved her friends and had so many fun times with them. Her friends truly loved Tylee and will have to live with this enormous hole in their hearts, and confusion as to why they had to lose their friend. Tylee loved her mother above all and was protected by her mother most of her life. We know that only the severe mental illness that her mother has would be stronger than a mother’s love. Tylee and JJ both wanted to be with their mother more than anyone else. But after Lori met Chad Daybell, Tylee and sweet little JJ were served up on a platter like a lamb to the slaughter. There is no sense, logic, or explanation that will ever be satisfactory in their murders. The world would have been a better place with Tylee in it. The world would have been a better place with JJ in it. We will always be grief-stricken over their untimely deaths and are beyond sad that they were betrayed by the very mother they loved. There are no excuses for Lori’s actions regarding Tylee and JJ; but we do see that she is mentally ill. It’s such a tragedy that this beautiful bright girl and most precious little boy were murdered but that in no way reflects on the wonderful people the were and the many contributions that they were poised to make in this world. ** this was found on East Idaho News |
2024.05.17 23:37 Amazing_Magician_352 Fifhter Archetype: Standard-Bearer - Support Martial
 | submitted by Amazing_Magician_352 to DnDHomebrew [link] [comments] |
2024.05.17 14:15 OrlonDogger A Witch at Midnight - Chapter 15
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For a moment I am shocked. If I had expected anyone to be here, aside from the Librarian herself, it would be Ricardo! But I guess the world is trying to surprise me today? Then again, considering the rumors, miss Pelafina wasn’t that much of an outrage either.
Then it hits me. What does she mean ‘took you long enough’, huh!?
“She was waiting for y—”
Yes I get that part! Was this whole deal a game for her?
I take my first steps towards her, a little indignant and I feel it is justified, but then I notice something in the corner of my eye. Movement. I immediately turn on my heels to face it: there’s shades of black in the darkness, at least in one spot. Soon, a figure steps up from the corner of the room, dressed in a long black cloak, dressing pants and elegant shoes. The hood covers their head and some magical darkness obscurs their eyes, but I can see a few locks of green hair slip from underneath the shadow.
The figure lifts a hand, they are even wearing black gloves! That’s some commitment to the bit.
“Yo. The name is Lucía. Sorry for skulking around but it is kind of my job; I assume you already know Overseer Pelafina?” She smirks. “She gets around! She said she was waiting for a Bastard to arrive but, Hell, we thought it was just an excuse of hers to skip work!”
“I am very responsible, excuse you.” Pelafina frowns, shaking her head softly. “Ignore Lucy, dear. She’s just my assigned guard, here to keep me safe!”
Her assigned guard? So she IS with the Cloaks after all! I mean, if the cloak she’s wearing wasn’t indication enough. I don’t like her, not one bit. She’s smiling too much, just balancing on her heels and toes while I stand there. I don’t wanna say I hate her, we’ve barely exchanged words… but I don’t like her. Not one bit.
I decide to take Pelafina’s words to heart and ignore her, when another thing hits me.
“Overseer Pelafina!? But you’re just the lady from the bookstore!” I think my eyes are going to jump right out of my skull like in one of those old cartoons.
“A girl has to move up in this world if she wants to survive.” The old lady chuckled, just a little bit. “You know my name, but I never truly caught yours though. How do we call you, dear?”
Fuck, here we go with names again… but hey, maybe this is a great chance to build a new identity for myself!
“People call me Tav.” I say, trying to puff up my chest a bit.
“That was not what she asked though!” Lucía intervenes with a singsongy voice.
“Oh let her have her own nom de guerre, Lucy. It’s adorable!” Having these two messing with me is really going to be bad for my health. I’ll have to endure it though. “Alright then, Tav. If you’re here, I assume you managed to read through the book at least a bit?”
I flinch. Just how much does this woman know? Did she know the contents of the book from the start? Is this a weird ‘Hero’s journey’ situation? A mysterious adventure she has sent me into so I grow as a person?
Or is she just fucking with me.
“Well? Don’t keep me waiting! It’s been days!” Pelafina insists with a twinkle shining in her eyes.
“... I have a few words translated.” I managed to say.
“Oh great! So Humiko left you hints. That’s great.”
“Miss Pelafina–”
“Please, just call me P.”
“Uhm. Miss P.” I gulp. “Just how much do you know of the book, exactly?”
“Well, Humiko asked me personally to keep it safe, so that’s one thing.” The overseer counts with her fingers. “I know it is written in Magic Runes, which… shouldn’t be possible, and yet, there it is! I trust Humiko enough to know it has to be real.”
“Wait.” I blink. “What do you mean ‘shouldn’t be possible’?”
“Magic is not a language, or at least it hasn’t been understood as one until… well, right now.” The old lady smiles a bit wider. “If you manage to make more sense of it than a few phrases, you’d be making history, boy!”
Again with the damn gendering… I frown a little bit but, try not to make it too visible. I gotta focus.
“Yeah, get it together. This is not the time for your ridiculous whining.”
Sigh.
“So you know what the book is, but you don’t know what it says.”
“To be honest, I am not really sure what it is either.” Pelafina admits with an embarrassed grin. “All I know is that it is a project Humiko had for a long time already, and according to her express instructions, the hints could only be read by a sleeper.”
I haven’t really checked if I can no longer check Humiko’s note in the book, so there’s homework for when I return.
“I am sorry we put this on you with deceit and all, but would you have really believed me if I said ‘You have to study magic’ just like that?” The old lady shrugs. “It was necessary, and if Ricardo could see the potential in you, then this was surely the correct choice.”
“Is Ricardo an Overseer too?” I feel like that is a sensible question.
“Oh heavens no, he’s a Sleeper. Not a word of this to him, you hear me?” P’s gesture grows severe for a moment. “I don’t want him involved in such things at his age. He had enough adventures already.”
I guess the rumors of Ricardo being a world-trotting adventurer are also true. Huh.
“So. Tell me, what did you learn?”
She’s very eager… I can notice Lucía’s gaze on me, too. They are both very, very eager.
“This doesn’t make sense.”
Right? It’s all wrong.
The book’s first warning was to avoid the cloaks, and yet here’s P! Just hanging out with this one, talking about the book like it’s nothing!
Well, if it’s true that she doesn’t know the contents, I can lie through my teeth!
“Well… I’ve learned a few characters. Do you have somewhere to write?” My body suddenly relaxes, my demeanor tightens. I may be bad at many things, but lying? I was born lying in this world and I can keep it up no matter what.
“Ah, sure. Lucy!”
The guard walks up to me casually, offering me a fancy black leather notebook decorated with a golden apple and a silver arrow piercing it. She even opens the yellow pages for me, and provides a cheap plastic pen.
I nod, and quickly begin scribbling.
I scribble ‘Tlo’i’, ‘Golthoi’ and ‘Thako’ with their respective symbols.
“There. These are the ones I’ve learned.”
Lucía looks at me dead in the eye for a moment. I can feel the sharpness of her wit, she’s trying to read me… but it will be useless. I am in a dissertation now, bitch. I’ve been doing these for years, it’s my one skill.
“Interesting.” Lucía nods.
“So, what do these mean?” Pelafina approaches us to check on the symbols. “Terrible calligraphy, by the way.”
“Yeah, I know.” The confidence abandons me for a moment, before I puff up my chest again and begin talking. “The first one is the word for ‘Butterfly’. The second one is a word for the action of turning something on, the third one… I am not sure yet.”
“When used on a spell, it makes the effect happen upon touching the glyph.” Lucía knows. “It’s a very common one.”
“Glyph?” I tilt my head.
“She means a combination of Runes, dear.” P smiles warmly. “Alright, so ‘Butterfly’, ‘Ignite’ and ‘Touch’, then?”
I never said ‘Ignite’ for Golthoi, but I guess that is a interpretation of it?
… Interesting. That these things have different meanings in different contexts, would that affect casting?
“Ah, I also found this.” I draw ‘Jo’ in the book. “Does this mean anything?”
“That one is used to counteract spells. If you draw this in a Glyph, it cancels its effect.” Lucía seems happy to provide the knowledge I lack.
I actually appreciate it, for it immediately made something click in my brain.
“It means ‘No’.” A voice whispers in my head, my own voice.
Yes. It’s a negative. That’s why it isn’t so common on its own. When added to another symbol, it negates it. ‘No-Light’ must be a way to say ‘Darkness’ or such… or… backwards, ‘No-Darkness’ equals ‘Light’.
Would this be dependent on the culture?
I smile a little bit to myself. This knowledge I will keep up my sleeve for now.
“What’s that smile for? Did you see something new?” Lucía is way too sharp to keep that smile from. I have to make something up quick.
“I realized I now know how to counter spells. That’s so cool…” I whisper to myself, channeling some of that wonder into my lie.
She seems to buy it, for she immediately focuses on correcting me.
“Knowing the Counterspell Rune is not enough, there are other factors to consider, so don’t go around trying to counter every spell so quickly.” She give me a smile I really dislike.
“Hmmm… well, that’s plenty for now,if that is all.” Pelafina shrugs softly. “It is quite late already… go back home for now, Tav.”
“B-But. I have so many questions!” I immediately pout. Saints damn it, so close to learn actually useful stuff!
“Yes, but sadly I cannot teach you. As the Overseer, I am bound by oath to remain neutral and not show favoritism for anyone.” The woman shrugged. “So, I can’t really teach you much. But, if you identify more words, I can definitely give you a few more pointers!”
“Fine…” A defeated sigh escapes my lips. So I’ll have to buy knowledge with knowledge, hmm? I look at Lucía for a second.
“Nope. I am too young to teach.” She immediately denies me.
“Tsk.” I look down… but then, an idea comes to me. Just a confirmation I need to get. “Can I check more stuff online? Maybe there’s resources out there…”
Pelafina frowns, looking at Lucía and waiting for her to explain. She eventually does, with a sigh.
“The process of getting on the internet as a mage is hard. You need a special router and everything, it’s honestly not worth it.” The guard shakes her head. “If you want, we can provide you one next time. But really, there aren’t many resources online for this… mages are isolationists, usually.”
Ah hah! So they don’t know of the forum! Alright then, that’s another point to my advantage.
“I don’t think I’ll need that, I have enough with mundane internet thank you very much.” I chuckle a little bit.
“I never got the so called ‘interwebs’ to be honest.” P grins. “Now, off to bed you go. Shoo, shoo. Remember coming back here at night, alright? That’s when it is nice and empty.”
Honestly, a nice and empty place to try and translate sounds fine to me. But I can just do that at home…
Besides. These people are dripfeeding me the information I need, so they are probably not trustworthy in the slightest.
I feel a little bad for not trusting Pelafina immediately, but…
“She threw you into this mess without consent.”
“Yeah, fuck her.”
Right.
“Alright then, I am going. Thank you again for everything, miss P!” I fail to hold back a yawn as I turn around and stand on the stairs. They… are still going up. “Uh.”
“The other stairs dear, there’s a magic escalator down.” Lucía tries not to laugh at my face, and fails.
“A-Ah, thank you.”
With a heavy sigh, I take the right escalator this time and disappear down the stairs. Looking at my clock, it’s already three in the morning…time to sleep for sure.
With some luck, the pillow will make this all make much more sense.
As Tav finally disappeared from the Elysium, and the sound of a closing door echoed through the room, Pelafina let out a little sigh, shaking her head.
“This isn’t going to work.” She commented, crossing her arms. “This girl is no good.”
“She seems smart enough. The type to keep notes….” Lucía suggested, her smile growing slowly.
“What are you suggesting?”
“Well. If we give her a few months and turns out she doesn’t make any breakthroughs, we can always… you know.”
“I don’t.”
“We can take her stuff.” Lucía finally said. “Just erase her memory and take the book and the notes back! With some luck, she probably took notes of the hints.”
“...Lucy, you’re diabolical.” The old crone chuckled loudly. “Ohhh, I guess we will get our chips back no matter how this gamble goes, then!”
“Of course! But I still don’t know why we can’t just go to a family of Mages and put this on their sleeper child!”
“That bitch Humiko probably thought of something like that.” A grumble escaped from the old lady. “This is our safest bet.”
“Well, I am just saying. If this experiment of yours doesn’t pay up, I may have to talk about this with the rest of the Coven…~” Lucía’s eyes were, for a moment, fully visible under that hood, brightly green. “And you know the captain wouldn’t like you skulking around with unapproved knowledge.~”
“Oh shush, you won’t.” Pelafina seemed quite confident of this. “Not after coming this close to finally finding that bitch…”
The overseer sighed, looking up to the fake stars for a moment while rubbing her hands together. What was this she felt? Anxiety?
“... It has to work, Lucía.” She finally said. “It has to.”
“What if it doesn’t though?” The guard tilted her head.
“It has to… it is our only way to free our King from his cell.”
“Welp, let’s hope this girl works fast!”
“I know. After all, King Hamil isn’t a patient man.”
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For a moment I am shocked. If I had expected anyone to be here, aside from the Librarian herself, it would be Ricardo! But I guess the world is trying to surprise me today? Then again, considering the rumors, miss Pelafina wasn’t that much of an outrage either.
Then it hits me. What does she mean ‘took you long enough’, huh!?
“She was waiting for y—”
Yes I get that part! Was this whole deal a game for her?
I take my first steps towards her, a little indignant and I feel it is justified, but then I notice something in the corner of my eye. Movement. I immediately turn on my heels to face it: there’s shades of black in the darkness, at least in one spot. Soon, a figure steps up from the corner of the room, dressed in a long black cloak, dressing pants and elegant shoes. The hood covers their head and some magical darkness obscurs their eyes, but I can see a few locks of green hair slip from underneath the shadow.
The figure lifts a hand, they are even wearing black gloves! That’s some commitment to the bit.
“Yo. The name is Lucía. Sorry for skulking around but it is kind of my job; I assume you already know Overseer Pelafina?” She smirks. “She gets around! She said she was waiting for a Bastard to arrive but, Hell, we thought it was just an excuse of hers to skip work!”
“I am very responsible, excuse you.” Pelafina frowns, shaking her head softly. “Ignore Lucy, dear. She’s just my assigned guard, here to keep me safe!”
Her assigned guard? So she IS with the Cloaks after all! I mean, if the cloak she’s wearing wasn’t indication enough. I don’t like her, not one bit. She’s smiling too much, just balancing on her heels and toes while I stand there. I don’t wanna say I hate her, we’ve barely exchanged words… but I don’t like her. Not one bit.
I decide to take Pelafina’s words to heart and ignore her, when another thing hits me.
“Overseer Pelafina!? But you’re just the lady from the bookstore!” I think my eyes are going to jump right out of my skull like in one of those old cartoons.
“A girl has to move up in this world if she wants to survive.” The old lady chuckled, just a little bit. “You know my name, but I never truly caught yours though. How do we call you, dear?”
Fuck, here we go with names again… but hey, maybe this is a great chance to build a new identity for myself!
“People call me Tav.” I say, trying to puff up my chest a bit.
“That was not what she asked though!” Lucía intervenes with a singsongy voice.
“Oh let her have her own nom de guerre, Lucy. It’s adorable!” Having these two messing with me is really going to be bad for my health. I’ll have to endure it though. “Alright then, Tav. If you’re here, I assume you managed to read through the book at least a bit?”
I flinch. Just how much does this woman know? Did she know the contents of the book from the start? Is this a weird ‘Hero’s journey’ situation? A mysterious adventure she has sent me into so I grow as a person?
Or is she just fucking with me.
“Well? Don’t keep me waiting! It’s been days!” Pelafina insists with a twinkle shining in her eyes.
“... I have a few words translated.” I managed to say.
“Oh great! So Humiko left you hints. That’s great.”
“Miss Pelafina–”
“Please, just call me P.”
“Uhm. Miss P.” I gulp. “Just how much do you know of the book, exactly?”
“Well, Humiko asked me personally to keep it safe, so that’s one thing.” The overseer counts with her fingers. “I know it is written in Magic Runes, which… shouldn’t be possible, and yet, there it is! I trust Humiko enough to know it has to be real.”
“Wait.” I blink. “What do you mean ‘shouldn’t be possible’?”
“Magic is not a language, or at least it hasn’t been understood as one until… well, right now.” The old lady smiles a bit wider. “If you manage to make more sense of it than a few phrases, you’d be making history, boy!”
Again with the damn gendering… I frown a little bit but, try not to make it too visible. I gotta focus.
“Yeah, get it together. This is not the time for your ridiculous whining.”
Sigh.
“So you know what the book is, but you don’t know what it says.”
“To be honest, I am not really sure what it is either.” Pelafina admits with an embarrassed grin. “All I know is that it is a project Humiko had for a long time already, and according to her express instructions, the hints could only be read by a sleeper.”
I haven’t really checked if I can no longer check Humiko’s note in the book, so there’s homework for when I return.
“I am sorry we put this on you with deceit and all, but would you have really believed me if I said ‘You have to study magic’ just like that?” The old lady shrugs. “It was necessary, and if Ricardo could see the potential in you, then this was surely the correct choice.”
“Is Ricardo an Overseer too?” I feel like that is a sensible question.
“Oh heavens no, he’s a Sleeper. Not a word of this to him, you hear me?” P’s gesture grows severe for a moment. “I don’t want him involved in such things at his age. He had enough adventures already.”
I guess the rumors of Ricardo being a world-trotting adventurer are also true. Huh.
“So. Tell me, what did you learn?”
She’s very eager… I can notice Lucía’s gaze on me, too. They are both very, very eager.
“This doesn’t make sense.”
Right? It’s all wrong.
The book’s first warning was to avoid the cloaks, and yet here’s P! Just hanging out with this one, talking about the book like it’s nothing!
Well, if it’s true that she doesn’t know the contents, I can lie through my teeth!
“Well… I’ve learned a few characters. Do you have somewhere to write?” My body suddenly relaxes, my demeanor tightens. I may be bad at many things, but lying? I was born lying in this world and I can keep it up no matter what.
“Ah, sure. Lucy!”
The guard walks up to me casually, offering me a fancy black leather notebook decorated with a golden apple and a silver arrow piercing it. She even opens the yellow pages for me, and provides a cheap plastic pen.
I nod, and quickly begin scribbling.
I scribble ‘Tlo’i’, ‘Golthoi’ and ‘Thako’ with their respective symbols.
“There. These are the ones I’ve learned.”
Lucía looks at me dead in the eye for a moment. I can feel the sharpness of her wit, she’s trying to read me… but it will be useless. I am in a dissertation now, bitch. I’ve been doing these for years, it’s my one skill.
“Interesting.” Lucía nods.
“So, what do these mean?” Pelafina approaches us to check on the symbols. “Terrible calligraphy, by the way.”
“Yeah, I know.” The confidence abandons me for a moment, before I puff up my chest again and begin talking. “The first one is the word for ‘Butterfly’. The second one is a word for the action of turning something on, the third one… I am not sure yet.”
“When used on a spell, it makes the effect happen upon touching the glyph.” Lucía knows. “It’s a very common one.”
“Glyph?” I tilt my head.
“She means a combination of Runes, dear.” P smiles warmly. “Alright, so ‘Butterfly’, ‘Ignite’ and ‘Touch’, then?”
I never said ‘Ignite’ for Golthoi, but I guess that is a interpretation of it?
… Interesting. That these things have different meanings in different contexts, would that affect casting?
“Ah, I also found this.” I draw ‘Jo’ in the book. “Does this mean anything?”
“That one is used to counteract spells. If you draw this in a Glyph, it cancels its effect.” Lucía seems happy to provide the knowledge I lack.
I actually appreciate it, for it immediately made something click in my brain.
“It means ‘No’.” A voice whispers in my head, my own voice.
Yes. It’s a negative. That’s why it isn’t so common on its own. When added to another symbol, it negates it. ‘No-Light’ must be a way to say ‘Darkness’ or such… or… backwards, ‘No-Darkness’ equals ‘Light’.
Would this be dependent on the culture?
I smile a little bit to myself. This knowledge I will keep up my sleeve for now.
“What’s that smile for? Did you see something new?” Lucía is way too sharp to keep that smile from. I have to make something up quick.
“I realized I now know how to counter spells. That’s so cool…” I whisper to myself, channeling some of that wonder into my lie.
She seems to buy it, for she immediately focuses on correcting me.
“Knowing the Counterspell Rune is not enough, there are other factors to consider, so don’t go around trying to counter every spell so quickly.” She give me a smile I really dislike.
“Hmmm… well, that’s plenty for now,if that is all.” Pelafina shrugs softly. “It is quite late already… go back home for now, Tav.”
“B-But. I have so many questions!” I immediately pout. Saints damn it, so close to learn actually useful stuff!
“Yes, but sadly I cannot teach you. As the Overseer, I am bound by oath to remain neutral and not show favoritism for anyone.” The woman shrugged. “So, I can’t really teach you much. But, if you identify more words, I can definitely give you a few more pointers!”
“Fine…” A defeated sigh escapes my lips. So I’ll have to buy knowledge with knowledge, hmm? I look at Lucía for a second.
“Nope. I am too young to teach.” She immediately denies me.
“Tsk.” I look down… but then, an idea comes to me. Just a confirmation I need to get. “Can I check more stuff online? Maybe there’s resources out there…”
Pelafina frowns, looking at Lucía and waiting for her to explain. She eventually does, with a sigh.
“The process of getting on the internet as a mage is hard. You need a special router and everything, it’s honestly not worth it.” The guard shakes her head. “If you want, we can provide you one next time. But really, there aren’t many resources online for this… mages are isolationists, usually.”
Ah hah! So they don’t know of the forum! Alright then, that’s another point to my advantage.
“I don’t think I’ll need that, I have enough with mundane internet thank you very much.” I chuckle a little bit.
“I never got the so called ‘interwebs’ to be honest.” P grins. “Now, off to bed you go. Shoo, shoo. Remember coming back here at night, alright? That’s when it is nice and empty.”
Honestly, a nice and empty place to try and translate sounds fine to me. But I can just do that at home…
Besides. These people are dripfeeding me the information I need, so they are probably not trustworthy in the slightest.
I feel a little bad for not trusting Pelafina immediately, but…
“She threw you into this mess without consent.”
“Yeah, fuck her.”
Right.
“Alright then, I am going. Thank you again for everything, miss P!” I fail to hold back a yawn as I turn around and stand on the stairs. They… are still going up. “Uh.”
“The other stairs dear, there’s a magic escalator down.” Lucía tries not to laugh at my face, and fails.
“A-Ah, thank you.”
With a heavy sigh, I take the right escalator this time and disappear down the stairs. Looking at my clock, it’s already three in the morning…time to sleep for sure.
With some luck, the pillow will make this all make much more sense.
As Tav finally disappeared from the Elysium, and the sound of a closing door echoed through the room, Pelafina let out a little sigh, shaking her head.
“This isn’t going to work.” She commented, crossing her arms. “This girl is no good.”
“She seems smart enough. The type to keep notes….” Lucía suggested, her smile growing slowly.
“What are you suggesting?”
“Well. If we give her a few months and turns out she doesn’t make any breakthroughs, we can always… you know.”
“I don’t.”
“We can take her stuff.” Lucía finally said. “Just erase her memory and take the book and the notes back! With some luck, she probably took notes of the hints.”
“...Lucy, you’re diabolical.” The old crone chuckled loudly. “Ohhh, I guess we will get our chips back no matter how this gamble goes, then!”
“Of course! But I still don’t know why we can’t just go to a family of Mages and put this on their sleeper child!”
“That bitch Humiko probably thought of something like that.” A grumble escaped from the old lady. “This is our safest bet.”
“Well, I am just saying. If this experiment of yours doesn’t pay up, I may have to talk about this with the rest of the Coven…~” Lucía’s eyes were, for a moment, fully visible under that hood, brightly green. “And you know the captain wouldn’t like you skulking around with unapproved knowledge.~”
“Oh shush, you won’t.” Pelafina seemed quite confident of this. “Not after coming this close to finally finding that bitch…”
The overseer sighed, looking up to the fake stars for a moment while rubbing her hands together. What was this she felt? Anxiety?
“... It has to work, Lucía.” She finally said. “It has to.”
“What if it doesn’t though?” The guard tilted her head.
“It has to… it is our only way to free our King from his cell.”
“Welp, let’s hope this girl works fast!”
“I know. After all, King Hamil isn’t a patient man.”
2024.05.17 10:09 elch077 Fighter Archetype: Standard Bearer (Support Martial)
 | submitted by elch077 to ElchRPGFantasy [link] [comments] |
2024.05.17 04:37 CoffeeKow 1 week old 24 Santa Fe Hybrid Calligraphy completely dead in garage (no working)
 | Wife’s Santa Fe was completely dead this morning. It hadn’t been driven in over 24hr. She left the mechanical backup keys inside of the center console so we had to have Hyundai roadside send AAA to pop the door open and jump start it. It’s been working fine ever since. I will say, my local Hyundai and the broader roadside support team were fantastic about the whole this, that was reassuring. I’m still flabbergasted how the battery was completely dead on a brand new car with less than 400 miles. We confirmed nothing was left on (interioexterior lights, etc). My only conclusion is it had something to do with Bluelink (which I’ve disabled for now) or the car itself was accidentally left on and we didn’t catch it. submitted by CoffeeKow to HyundaiSantaFe [link] [comments] Seems fine now but if anyone knows what could’ve been the issue I’d love to know. Maybe this will help someone else in the future. 2024 Hyundai Santa Fe Hybrid Calligraphy Forest green / grey interior <400miles Purchased 05/09/2024 |
2024.05.16 05:36 Cute-Jicama8115 Alcohol Marker brand/setup recommendations for a beginner who's planning to become a long-term user?
Hello. I am still a beginner and recently, I found myself enjoying alcohol markers. I want to get serious focus on this medium but with my limited budget, I am at a loss about which brand/option is the best starter. I hope I can hear your opinions here, especially the ones from long-term alcohol marker artists. Here where I live, the choices are not as many and so far, here are my options after researching:
Deli Finenolo Markers - So far this is the cheapest yet decent brand I've found. The largest set is 80 colors which costs more or less $18. There's a brush tip which makes it a good option compared to other cheap brands like Touchnew/Touchfive/Touch but the downside is they're non-refillable. The skin tones included aren't much & seem on the orangey side (based on the videos I saw). The reviews online aren't much of a help since most I found either don't respond in the comments, use the marker for calligraphy, or are just straight-up promoting the product with not much review going on (just swatching).
Ohuhu Markers - Probably the collectively agreed alternative to Copic. There are like 2 sellers in my country but both of them don't sell refills. If I choose this, my problem would be they are always sold in sets here. I have yet to find individual markers for sale. The reviews say Ohuhu is good though.
Croma Markers - I can't find enough reviews online but the colors look good. The few ones I found said that their set of colors is close to Copic. Their price range is close to Ohuhu but a bit lower. I checked their official website & the refills are still WIP by the company.
Copic Sketch Markers - The biggest con is that they're expensive but they and their refills are more available here. I bought a few secondhand before from a decluttering mom who told me their kid made an impulsive request when she was abroad & it was a good deal (20-30% of the original price). I practiced with what I bought & I kinda realized it gets frustrating in the long run coz of my limited color choices. However, I recently found a local online shop that sells Japanese surplus items & Copic markers occasionally appear in their products. And it was always a battle during these times because of how cheap they were selling those.
I'm honestly kind of considering the Copic option but I'm also hesitating not just because of the costs but also the energy to decide which colors to choose. Buying a cheaper brand set seems a good option as well but my worry is not being able to use all colors, not to mention that there are no refills. I was thinking that maybe I could invest in Copic (or maybe another good brand) for skin tones and greys and then find a cheaper brand for other colors but I am also worried about how the colors from different marker brands would blend or how it would look overall.
Thank you very much for taking the time to read my post and a bigger thanks to everyone who will leave a comment.
submitted by Cute-Jicama8115 to AlcoholMarkers [link] [comments]
Deli Finenolo Markers - So far this is the cheapest yet decent brand I've found. The largest set is 80 colors which costs more or less $18. There's a brush tip which makes it a good option compared to other cheap brands like Touchnew/Touchfive/Touch but the downside is they're non-refillable. The skin tones included aren't much & seem on the orangey side (based on the videos I saw). The reviews online aren't much of a help since most I found either don't respond in the comments, use the marker for calligraphy, or are just straight-up promoting the product with not much review going on (just swatching).
Ohuhu Markers - Probably the collectively agreed alternative to Copic. There are like 2 sellers in my country but both of them don't sell refills. If I choose this, my problem would be they are always sold in sets here. I have yet to find individual markers for sale. The reviews say Ohuhu is good though.
Croma Markers - I can't find enough reviews online but the colors look good. The few ones I found said that their set of colors is close to Copic. Their price range is close to Ohuhu but a bit lower. I checked their official website & the refills are still WIP by the company.
Copic Sketch Markers - The biggest con is that they're expensive but they and their refills are more available here. I bought a few secondhand before from a decluttering mom who told me their kid made an impulsive request when she was abroad & it was a good deal (20-30% of the original price). I practiced with what I bought & I kinda realized it gets frustrating in the long run coz of my limited color choices. However, I recently found a local online shop that sells Japanese surplus items & Copic markers occasionally appear in their products. And it was always a battle during these times because of how cheap they were selling those.
I'm honestly kind of considering the Copic option but I'm also hesitating not just because of the costs but also the energy to decide which colors to choose. Buying a cheaper brand set seems a good option as well but my worry is not being able to use all colors, not to mention that there are no refills. I was thinking that maybe I could invest in Copic (or maybe another good brand) for skin tones and greys and then find a cheaper brand for other colors but I am also worried about how the colors from different marker brands would blend or how it would look overall.
Thank you very much for taking the time to read my post and a bigger thanks to everyone who will leave a comment.
2024.05.14 23:27 TwistRepulsive6518 [OG] [NB] If the characters had in-game hobbies
![[OG] [NB] If the characters had in-game hobbies](https://b.thumbs.redditmedia.com/Tge5_CZRGkzTHqqnijWPmnai_Lqrq4rMPI-tJ3zYpNE.jpg "[OG] [NB] If the characters had in-game hobbies") | This is my second time writing this because I lost the first draft even though I saved multiple times. submitted by TwistRepulsive6518 to obeyme [link] [comments] Anyways, this is (Maybe) part 2 of stealing features from other games and incorporating it into the mechanics of 'Obey Me!' While writing the shops for each character, my mind wandered and I had a thought, what if there were hobbies like in 'Blush Blush'. Leveling up these hobbies would give rewards such as intimacy multiplier, icons, bonuses, and cards. I'm a yapper, so this is going to be long. Not proof-read firstly, i'll talk about the hobbies mechanics and what it would do: There should be 4 types of hobbies:
Common:
Now onto the characters: https://preview.redd.it/bi64gfk8ug0d1.png?width=861&format=png&auto=webp&s=5d0c39689c58259faf179e627ce8f485141c004d Lucifer: Common:
"I'd love to share a glass with you. Meet me in my study in 20 minutes" "Careful, i wouldn't want to drink too much, who knows what I might do"
"Hold on tight to my waist, I'll keep you safe" "Let's take a trip together, far from my brothers"
"There's a piano in the music room, you're the only one i trust to use it" "Lets play a duet, naturally I'll take the lead"Character Specific:
"Come to my room, i want to show you a new record I acquired" "I used to have more records but Mammon is holding some hostage for money"
Mammon: Common:
"YOOO! THE GREAT Mammon wants to hang out with you! lets go paint the town" "WHA! I CANT HEAR YA OVER THE MUSIC FROM YESTERDAY"
"You can look but ya cant touch... well, i g-guess i wouldnt complain if ya did" "Did ya see the new edition of Devucci? Top cover baby"
"Hey my favourite human, my first, my number one... ya really wanna pay for me today, don't ya?" "YES! I just stole Goldie back from Lucifer! let's go before he finds us!"Character Specific:
"Hey MC... whats your favourite number? thats gonna be my lucky number today" "MC you have to come to the casino with me! you're my good luck charm"
Leviathan: Common:
"Luke befriended me in Mononoke Land... who knew he was so good" "Can you come to my room later? i brought a new game"
"Henry 2.0 is my friend... sometimes i think i should get him some siblings" "Once Belphie drifted out to sea... we didn't see him for a week"
"Wanna make a Ruri-chan doll with me? It's n-not like i wanna hang out with you or anything" "I'm just a Yucky otaku who likes knitting"Character Specific:
"H-Henry? y-your dressed as Henry? E-eh d-dont taunt me like that" "Can you be the Azuki-tan to my Ruri-chan? BEST FRIENDS FOREVER!!!"
Satan: Common:
"Don't talk, im concentrating... okay, now continue." "I wrote your name on your book for you... i know you'll enjoy it"
"whats your favourite song? ill play it for you" "My heart is fluttering... your notes are really doing something to me"
"I learnt how to knit from Raphael... he's a good teacher... maybe i can teach you some tricks" "Want to knit some scarfs for each other?"Character Specific:
"MEOW" "Sorry about that- i accidentally cursed myself again"
Asmodeous: Common:
"hi <3 lets go out tonight!" "I can dance all night long! join me?"
"Why does Mammon have to be attractive? he's an idiot" "I'm ready for my close-up <3"
"You should wear an outfit i choose for you" "Lets go to the new lovers' Cafe, my treat"Character Specific:
"Hehe! i have the cutest face-mask for us to try" "You have soft hands, lets join them..."
Beelzebub: Common:
"Lets play Fangol together... you remember the rules, right?" "Here... hold the stick like this... good, thats good."
"We could both ride on one horse... I'll hold you tight, I promise." "I'm not letting you ride a horse until you wear a helmet"
"You, me, Levi and Belphie should all play a game together sometime; its more fun with more people" "Lets play an easy game this time..."Character Specific:
"Woah! There's a human world sport that involves eating?" "MC, lets eat a whole pile of hot dogs together! I'll let you have the first bite"
Belphegor: Common:
"The last time i played with Simeon, i slept through 'DevilKart' and still won when i woke up" "Sleep is like life's pause button"
"I only started knitting because i wanted a new blanket, but its actually fun" "I can knitt in my sleep y'know... maybe i can trap you in one of my knitted blankets... heh."
"Can you play me a lullaby?" "You really have a lot of time- huh?"Character Specific:
"You remember THOSE stars? Those are the one's Beel and I gave you" "I wonder if you think about me when you look at the stars... just like how i think of you"
Diavolo: Common:
"Lucifer, Mephistopheles, and I like to take leisurely strolls on the Horse ranches... those two are like best friends" "I wonder if Barbatos will allow me to take the day off to entertain you with a ride on my horse?"
"Lets have a contest! Who can play better?" "I'll play a tune for you at the next Devildom festival... as our guest of honour"
"Lucifer says the funniest things when he's drunk" "'I love you, now clean your room' such fun! Do i sound like Lucifer?"Character Specific:
"I've never been beat before... you really want to play against me" "If you win, I'll be your 'pawn' for the night"
Barbatos: Common:
"The Young Master is lazy when it comes to learning calligraphy" "Its refreshing to see someone so young taking an interest in calligraphy"
"Knitting was something i didn't pick up for thousands of years, who knew it was so... amusing." "I created a quilt, a patchwork of human history as a side project"
"It's only logical to learn about the human world sea-life," "In another timeline, we are all fish."Character Specific:
"It's piping hot... be careful." "Does it taste familiar? it contains ingredients from your home country"
Luke: Common:
"I LOVE ALL THE CUTE FISHIES" "Barbatos likes teaching me about fish when we cook together"
"Simeon made me a sweater! its so cute! i wear it when i go to the human world!" "MC, can you help me start the row for my knitting?"
"I just sent Levi a friend request on Mononoke Land! he accepted immediately" "Simeon said I'm no longer allowed any more time on my DDD today!"Character Specific:
"Someone get Solomon out the kitchen. PLEASE!" "Can you reach the mixer for me? Simeon put it on the top shelf to hide it from Solomon."
Simeon: Common:
"Being an angel means i have to be in top shape!" "Lets do some exercises together... i'll help you do some stretches."
"A company called 'Majolish' asked me to be their model." "Mammon and Asmodeous gave me tips on how to pose; i could show you later if you want."
"I made Luke a little sweater... Raphael helped me with the design" "Solomon took a picture of me knitting... I'm hunched over."Character Specific:
"Leviathan keeps begging me for a new TSL novel... he really is an avid fan, huh?" "Luke said i should use a computer... i kept pressing the wrong keys..."
Solomon: Common:
"This is how we used to write in 'ye olden days'" "Hmm... who else can i taunt with my writing?"
"Let me dream a little dream of you ♩" "I wonder what the others would say if i played your faverouite song?"
"I still cant believe I'm exiled from the sea" "do you think if i put Leviathan and Barbatos in a tank, they'd fight?"Character Specific:
"Get ready for the elusive Solomon-dini" "And for this trick, I will take your heart."
Thirteen: Common:
"I only model so that Solomon has to see my face everywhere!" "Do you... want to do a photoshoot with me?"
"Yoooo! Lets go party, i'll sneak you outta RAD" "Lets set fireworks! hahaha!"
"When i first came to the Devildom, i didnt understand Demonus, now i totally get it!" "I wonder how a drunk Barbatos acts like..."Character Specific:
"If you ever need help, just text me... I'll send one of my traps over" "This is 'Spider-squid v4', i made it for you..."
Raphael: Common:
"You want to see my writing, why?" "I could write you a poem, I guess..."
"I remember playing this tune in the Celestial Realm" "Could you do me a favour? Could you gather Lucifer and his brothers... i wanted to play a song for them"
"I made you a sweater... i heard this design was 'hip' with the humans" "Knitting is easy and repetitive, its addictive that way"Character Specific:
"I remember sewing the brother's clothes in the Celestial Realm" "You know some new sowing techniques? You humans are incredible"
Mephistopheles: Common:
"Calligraphy is a forgotten art" "I wish to write your name in as many fonts as i can"
"I can play a multitude of human songs I heard from the past" "Lord Diavolo once told me a story of a young boy, but he expressed it through the medium of piano... that was a long hour."
"Lord Diavolo takes Lucifer and I to ride horses sometimes, its always so... awkward" "I like racing horses, I've known how to ride horses since i was a mere boy"Character Specific:
"i think you should be on the front page of the school newspaper" "You enjoy spending time with me?"
|
2024.05.13 21:29 Big-Manufacturer1845 Replace tires in 2024 calligraphy?
I dont care about 21inch wheels, and only ride comfort matters. Is it possible to replace the 21 inch ones with 18inch/ones with max rubber width say those used on the sel or xrt? What are the drawbacks?
Edit: dont own a calligraphy, need to know about this first.
submitted by Big-Manufacturer1845 to HyundaiSantaFe [link] [comments]
Edit: dont own a calligraphy, need to know about this first.
2024.05.13 14:34 Agreeable-Net-7063 DarkSouls 4
I (m/18) have recently been just very bored and sometimes I like to just draw random stuff, and I started drawing sort of like a map you could say. But the more i drew the more i got invested into what i was actually drawing and started fantasizing. Side note I am a huge soulsborne enjoyer, I haven't yet had the chance to play any souls game other than Dark Souls Remastered and Dark Souls 2 due to my... Not too good PC. But I'm very well versed in the lore of all of FromSoftware's games and have watched plenty of speedrun and ranking videos on YouTube. And the more I fantasized about this little "project" of mine the more I got actually invested into this whole thing and made up lore and purpose to all these places I was creating, and with time I started taking things very seriously and started revisiting areas I drew at the start to improve things amd stuff like that. All that to say I don't know anymore if I have just gotten too invested and thus a little delusional or if I should continue taking this seriously and taking a path of working at FromSoftware in the future into consideration. The main reason as to why I'd even post this on here is because I know that the whole conversation of another DarkSouls game was very much talked about after the release of DS3 and in general the popular opinion was that DS3 was a masterpiece for finishing the franchise. I also held that opinion to be quiet honest up until now, though I don't know if I am just biased haha. But yeah, I have even started looking into FromSoftware as a company, whereas until now I've only ever seen them as my favourite game-developer. I funnily enough generally have a very high interest in learning Japanese anyways, as east Asian calligraphy is a hobby of mine and I've seen that it would be a requirement to learn Japanese and work in Tōkyō if working at FromSoftware. So I guess I just wanna hear people's opinions amd feedback on my situation, as I really am completely unsure about how I should go about this haha, since on one hand it's kinda just a little fantasy of mine, but I also sort of started having faith in it :) So yeah be open to express your ideas and opinions :)
submitted by Agreeable-Net-7063 to darksouls [link] [comments]
2024.05.12 00:22 FloofySkuntank Total Drama Not-Stars ep.16
 | Another tie vote! Suggestions by both Cosmic_Light_Patch and Proofracer: Last time on Total Drama Not-Stars! The top eleven hunted for keys to open chests containing rewards. submitted by FloofySkuntank to TDEliminationTierList [link] [comments] Beardo has to get his key from the bear cave. Sammy has to get her key from Chefs fridge. Trent has to get his key from the communal washroom. B has to get his key from a shark infested lake. Bridgette has to get her key from a skunk pit. Harold has to get his key from a flaming hoop. Katie has to find her key in a tree somewhere. Anne Maria has to get her key from a beehive. Dawn has to get her key from a snake. Rodney has to get his key from some crocodiles. Amy has to get her key from a bunny. The contestants leave and start their challenges. Trent, figuring the septic tank wouldn’t be worth it, catches up to Katie, he helps her look for her key and talks to her. He says he’s sorry for the rejection and hopes they’ll still be cool when this is all over. Of course Katie is thrilled… at first. In a confessional Katie says that if Trent knew the truth she’d lose his friendship. Katie weakly thanks Trent and grabs her key with his help, making her guilt skyrocket. Dawn is alone, she mumbles to herself that there’s an unusual amount of animal guardians today. She already has her key and is petting the snake. Bridgette arrives asking Dawn for help with the skunks. Dawn reminds Bridgette that she voted for Brick last time. Bridgette says that she could get Dawn in on the girls plus Trent alliance as an apology. After learning who the members are Dawn tells Bridgette that Katie’s aura was once a vibrant pink that has been getting grayer with guilt. When Bridgette asks what that means Dawn is gone. While looking for her Amy discovers a producers tent, looking around she snatches a camera and later uses it to stun the feral bunny. While walking back to camp she sees Rodney guarding the kitchen. Rodney tells Amy to back off and to leave Sammy alone. Amy tries to tell him off but freezes. She runs around to the other side of the kitchen. In a confessional Amy says that she’s never had a guy tell her off before. She is so used to getting what she wants! Amy looks mixed, feeling frustrated and flustered. Sneaking her way inside she sees Sammy being chased by Chef. Amy takes the chance to grab Sammy’s key and runs off. Beardo asked B and Harold to leave him so he can go into the bear cave quietly. While walking through the dark cave Beardo slams his foot into a rock, causing him to let out a loud noise that shakes the cave. He immediately runs out with several bears chasing after him. B and Harold work together. B grabs the flaming hoop and dunks it into the lake for Harold to get his key. The fire scares the sharks and allows B to get his key too. The two high-five as Dawn bumps into them. B waves to Dawn and heads off, leaving Harold and Dawn to talk. Harold asks Dawn if she’s here to join the friend alliance! Dawn frowns and says some of your alliance votes for Brick. Harold apologizes and admits he’s been there whenever his lady love has been eliminated before him. Dawn believes Harold, and wanting to stick with her friend B, agrees to help Harold, but also tells him about her worries with Katie. Harold says he’ll try and help Katie. B bumps into Anne Maria who is running away from a swarm of angry bees, B grabs Anne and runs into the kitchen where Chef is searching his fridge. Rodney and Sammy are gone. Anne Maria in a rare moment of softness thanks B for helping her maintain her beauty. B shrugs and says eliminated players should stick together. Amy is watching Rodney and Sammy try to get Rodney’s key from the gators. Katie, and Bridgette find Amy and asks what’s up. Amy realizes what she has to do and begins to cry, saying how she told Sammy how much she likes Rodney and now Sammy is on the verge of stealing Rodney from her! Katie isn’t sure Amy is telling the truth but has to obey. Bridgette falls for it and comforts Amy. Rodney then announces he got his key. Bridgette remembers she needs help getting hers only for Chris to call time. Chris says that anyone with a key can now claim their prize. Trent, Sammy, Bridgette, and an injured Beardo take seats on the bench. In a confessional Beardo says he’s in so much pain before falling over. Katie opens her chest and gets a guitar. Trent calls her lucky. Katie just mumbles a weak thank you. Dawn opens her chest and receives a calligraphy set. Dawn admits she loves it and takes a seat. Amy walks up and opens her chest that has an expired coupon. Amy then opens a second chest using the key she stole and holds up the immunity basket. Sammy asks Chris if she’s allowed to open two, but Amy counters and says there’s no rule against finding others keys. Chris says he’ll allow it, much to Sammy’s annoyance. Harold gets a candy bar and chips out of his. He shrugs. In a confessional Harold says it’s some food that isn’t Chef’s cooking. He’ll take what he can get. B gets two bottles of carbonated soda. B gives a shrug and sits down. Anne Maria opens her chest and gets an accordion, she looks at it in confusion, she has no idea what it does and tosses it away, saying she already has a trailer anyways. Rodney gets the sexy leg lamp and blushes. He says thanks but no thanks and tosses out the leg lamp. Chris tells them to vote but that Amy is off limits. Thanks to Amy’s lie Katie and Bridgette are able to talk to Anne Maria and Trent about what Sammy is doing with Rodney. Beardo pulls Harold over to talk about something as well. At elimination Chris gives marshmallows to Amy, Rodney, Harold, Bridgette, Trent, Anne Maria, B, Dawn, and Beardo. The final marshmallow going to Katie. Amy cheers and berates her sister, saying she finally proved she’s better and more liked! Accidentally showing her insecurities. Beardo clenches his fists and stomps over. Handing his marshmallow to Sammy. Beardo turns to Chris and talks to everyone. Beardo announces that due to his injuries he would like to volunteer to take Sammy’s place. Everyone is stunned, especially Amy and Sammy. Chris shrugs and lets Chef lead Beardo to the dock of shame. Harold says that he’ll contact Beardo once the game is over. Beardo is hugged by most of the cast, showing just how many friends he’s made. Votes for Beardo: Beardo and Harold Votes for Katie: Rodney, B, Dawn and Sammy Votes for Sammy: Amy, Katie, Bridgette, Trent, and Anne Maria Beardo voted himself due to his injuries. He asked Harold to do the same. Dawn voted for Katie and convinced most of the alliance to do the same due to Katie’s growing guilt. Amy voted for Sammy to have Rodney all to herself. She convinced her alliance to vote with her. Anne Maria was told to do so as well. Trent did so to seem trustworthy. Next up is hide and be sneaky! The final ten will hide from chef and must either reach the lifeguard chair, find another camper, or be the last hider. With so many ways to get immunity who and how many will be safe? Will Amy get Sammy next time? Will Katie crack? But most important of all, who has reached the end of their game? That’s for YOU to decide! |