He's Got Some Premium Nike Hard Court Shoes Even Light's Just Wearing The Basic Version

He's got some premium Nike hard court shoes 😭 Even Light's just wearing the basic version

How come no one was talking about the fact that L was wearing this pretty badass shoes with PROPERLY tied laces during his tennis match with Light

Have you given any thought to the fact that perhaps a Japanese stage showing in Japan for a Japanese audience will perhaps not be a complete and totally faithful match to the English translated interpretation of the series and characters? 10k words and yet most of your critiques are nitpicks based off your personal interpretation and vision for the project, when you have seemingly no context as to what this type of Japanese stage production usually entails. I'm not sure what exactly your vision was, but I don't believe it's anywhere close to the reality of stage productions in Japan. You bring up Takarazuka which is yet another indicator you have absolutely zero clue about what you're criticizing, as it is entirely separate from this type of stage in not only genre but also production, direction, and budget. I also don't think you have any concept of what the adaptation process actually entails; very frequently unnecessary characters and details are removed, glossed over, or combined. This doesn't equate to a "character assassination". A visual gag in a stage based off a manga which is primarily a comedy before anything else, especially in the early chapters, is not going to single handedly destroy the characterization of a character who, in the original work, is not even present. And bringing in an actor's age and physical acting choices in reference to a character you had never previously seen actually move? I'd like to see your ideal production of this work, though I'm not sure I'd have the time or patience for what would surely be a 3+ hours long, terribly unfunny and boring action play, based off your ideas of what have been done "wrong." Having your critiques is entirely valid, but waiting to drop a 10k word essay into the main tags while having absolutely zero cultural context for the genre of production you're speaking on while the stage is actively running and fans are attending just makes you seem like an overly negative, disrespectful elitist, sorry. Things will simply differ from a 10+ year old English translation when the story is presented in its source language to an audience of native speakers who will pick up on language specific comedy and tones. Really, I'm sorry, but you and the alleged others who dislike this stage play are not and will not be the target audience. Maybe Japanese 2.5d musicals are just not for you.

Hi!! Thanks for taking the time to ask me a question, I love how passionate you are about my rant. Really really appreciate the fact that you've spent god knows how long reading it making a thoughtful response 💖

One thing I'd like to clear away is that I read the manga in its original Japanese, the Showa Japanese so to say. I put the English translation here and there for people who might not read Japanese but still want to understand the screenshot. But sorry to everyone that I was not consistent.

Regarding my opinions on the musical I want to clarify that personally speaking I still believe Eroica could very well work as a musical. And like I said, I do not mind characters being different, Dorian was a bit different and he did good. I also wouldn't have minded if they wrote a new story while keeping the spirit of the OG work. However this particular production stripped it of whatever energy and humor it's got which is a real shame because Eroica is ... well, Eroica.

And thanks again btw, for wanting to see an Eroica musical staged by me. I'm sure it's not likely because licensing is such a bitch but good faith good faith 🤞🏻 It will be 12 hours long and everyone will be singing in avant garde made-up language wearing hooded capes

Hopefully most fans will be able to catch the show this second run around, it's an experience for sure, whether you think it's good or bad

Forfeit my collection of stuffed animals and cool looking cards

Near had to switch safe houses in a hurry and leave behind all of his toys! Will you help gather some new ones for him?

(Reblog with a picture of a toy to put it into the box, and if it's cute, I might just draw chibi Near playing with it! ♥)

Written for Near’s birthday party 2024 @nearsbday​

Chapters: 5/19 (Part I) - Day 3: Comfort

A selected compilation of letters exchanged between Near and Corrin - close friends since Wammy's days, now young adults with vastly different callings in life.

Death Note AU where everything is the same except instead of Kira, the culprit is referred to as "Murderer McMurderFace"

I know L was itching to do it

[Eroica Musical Rant] Wanna talk about media-mix?

(Series masterlist)

So, now the question I want to attempt to ask is: why? Why is this a thing? Why did somebody decide to produce, write and direct this musical even though they lack the textual understanding needed to know how?

And perhaps the answer lies in a phenomenon that’s been under fire in the recent years called: media-mix. Which, instead of consuming one piece of media contained in its medium, i.e. manga, we now live in a world where industries are creating an ecology of media with the same piece appearing in different mediums. In describing media-mix in the context of cinema, Andrew Zahlten wrote:

“[I]magine that in 1958 one entered a theater to encounter a double or triple bill that might include a comedy from the Company President series or a special-effects film such as The H Man, then returned home or continued on to food and drink. This was cinema proper, defined by a specific mode of production and, importantly, a specific space and practice of spectatorship. By the 2010s, audiences might watch the ninja character Naruto in the anime series on tv while drinking Naruto soda and browsing the Naruto website or playing the online game on their phones. In the morning they could read the manga on the train and receive tweets generated by a Naruto kyara-bot while chatting with other fans online. […] What was once cinema now entered into a less localizable space of media woven into the fabric of everyday life. […] On top of a bounded media text for consumption we find constellations of characters and worlds that are accessible via multiple, multidirectional engagements. […] Such a relation is not entirely new—just as film has always entailed connections to other media—but increasingly obvious and consequential.” [1]

The manga and anime industry has an extensive history of media-mixing their properties. From Tezuka Osamu’s Tetsuwan Atom (Astro Boy) appearing on chocolate and children's goods [2], to Kadokawa Haruki’s “dilution” of pure cinema through adaptations. Kadokawa, if you’re familiar, is one of the leading publishing houses in Japan, owning LOTS and LOTS of manga and anime properties.

And while Zahlten did not mention them, some of the most common products of media-mix are live action film adaptations and theatrical musicals. Zahlten seems to argue that the purpose of media-mix’s is to weave media into every corner of everyday life, creating more media exposures to the images of the text being promoted, letting it diffuse into the public conscious.

Hence, if someone isn’t a reader, they can always watch the anime adaptation. And if they don’t want to watch 54 episodes, then there’s always a 1.5-2-hour-long film adaptation where your favorite fictional characters are usually played by new upcoming actor or famed idol. And if you’re a fan of the stage? We got you covered too. You are sure to receive the whole experience just by sitting through this one production hahahahahahahahahaha …

On another hand, I would argue that these adaptations target the already existing community of fans in a similar way that merchandizes do. It promotes consumerism relating to a property they are familiar with, and perhaps may feel obligated to participate in this aspect of fan culture. A great example of an intellectual property being heavily media-mixed into many aspects of everyday life, if you recall in my short video a while ago, is The Rose of Versailles, created by Ikeda Riyoko – Aoike’s contemporary.

It is likely that during the past year as Aoike Yasuko celebrates her 60th anniversary as a mangaka – an amazing feat – her team might have decided to use the opportunity to boost exposure to her works. And I stand by that, more Aoike Yasuko exhibitions, books, prints, merch, GIMME ALL OF IT. But in this age of media-mix, and an adaptation of some sort is sure to garner some kind of attention – positive AND negative – and since the anime industry is kind of difficult to barge into with a 50-year-old work right now, a musical seems to be their next choice. (I would not have mind if they gave it to Guy Ritchie and so we can have another Man From UNCLE type film, but that’s just me.)

So, after everything, what have we learned from the lukewarm adaptation of From Eroica with Love?

Is it that perhaps each medium has a specific language, and when one seeks to adapt them into another, one has to translate the tone from the original to the target medium, and not just copy down every line and call that a script? Yes.

Is it that perhaps decently good actors does not necessarily a good production make? Yes.

Or is it that perhaps certain properties don’t need to be media-mixed … at all?

References

[1] Andrew Zahlten, “Introduction,” in The End of Japanese Cinema: Industrial Genres, National Times, and Media Ecologies (USA: Duke University Press, 2017), 1–2.

[2] Marc Steinberg, “Candies, Premiums, and Character Merchandising: The Meiji–Atomu Marketing Campaign,” in Anime’s Media Mix: Franchising Toys and Characters in Japan (Minneapolis: University of Minnesota Press, 2012), 40, 45, 59–63.