What If The Wizarding World Used A Ranking System Like In Welcome To Demon School Iruma-Kun?

OKAY, but based on the raws for daiya no b, the instruments they chose for the main characters so far, are REALLY fitting. I was in band in highschool, and and anyone else who else played instruments in a band would agree with me (hopefully)

Source: hyoubuqueen

Based on what i see so far:

Clarinets: (Tanba, Nori)  They are  the ones who are the base noise but they make a huge difference. They’re not sharp sounds BUT a good clarinet tone is hard to attain and takes many years of practice. They’re very mellow but they’re important to the underlying sound of the whole song. Hence Tanba and Nori’s humble/shy personalities yet they make all the difference to the team and often try the hardest.

Percussion: (Jun) Percussion encompasses all the rhythm instruments like drums, timpani etc as well as embellishments like cymbal/triangle. They’re extremely imperative because without percussion there is no mood or pace and the song sounds bare. Jun is the tempo of Seido, he sets the rhythm AND THAT’S EXTREMELY FITTING. They also have to have a good ear for tempo.

French Horns: (Zono, Nabe) They have to have a really large lung capacity. They’re the melody that is really deep but the sound resonates. They’re kind of like a mask, a huge layer that arcs throughout the song. There are often not too many french horns because they’re an instrument that isn’t as popular. But the sound is very unique.  They’re also an underlying layer, but they cut through all the other sounds as very profound parts of the music.

Flutes: (Ryo, etc.) HIGH PITCHED NOISES;  THEY’RE SUPPOSED TO BE REALLY ESSENTIAL  and are often the “topping”. They have fast riffs; if a flute makes a mistake IT’S REALLY OBVIOUS–also the flute section has a much harder time to stay together so some talent/practice is needed.  Because of this they have to be detailed and careful and really know their job. HENCE RYOSUKE. Along with the trumpets they have many solos and ALWAYS play. 

Saxophones: There are two types shown in Daiya no B– Alto or Tenor Saxophone: (Kuramochi) This is the saxophone that is higher in sound, and usually the one throughout the saxophone group that has solos. Baritone Saxophone: (Tetsu) The lower end of the saxophone, and the instrument itself is larger. Together, the saxophone sections blends together the harshness of brass sounds. Saxophones are huge in supporting the music and the brass section. They’re like caramel, and when they have a solo it adds flare to the song.They have to be reliable support HENCE MOCHI AND TETSU. 

Trumpets: (Eijun, Masuko, Chris) Oh my goodness the trumpets. They’re usually dubbed as the more hot headed of the band, the ambitious ones, the mood making ones. They are the more brash instruments in the band, yet they are the FIRE. Especially in fast paced, cool,  songs they really bring the blaze. They make the music exciting. HENCE EIJUN. They’re as important as flutes, because first there’s so many and hard to connect, and second, their sounds are quite evident. They also have a sense of pride because a piece often rests on their sound.  Basically, they’re entrusted with one of the most important jobs, and are usually the center of attention because you can ALWAYS hear them. They also have to have large lung capacity.

Trombones: (Furuya) Trombones require a lot of technique and are a leading instrument of the lower brass section. They can make the most resonating sound, so dynamics are this instruments forte. While having lots of single notes, this instrument needs consistency and determination because learning to breathe during the music is really difficult. SO STAMINA as well as strength and lung capacity. The instrument that isn’t dubbed cool at first but is essential to a song’s volume. The trombone sound reverberates and makes the rest of the band excited to keep pace. It’s perfect for Furuya.

In general, this post is nothing but my excitement for an official band au ( I hope im not missing anything or anybody) and my band history crying out. So i wanted to share lol BUT I AM SO EXCITED FOR THIS. 

*****Bonus: THE CONDUCTOR AKA MIYUKI KAZUYA (idk if he’s staying as a student conductor or the actual conductor). I’m sure that ones pretty self-explanatory–the conductor has to have all eyes throughout the band. He has to know and hear all the parts as well as anticipate what comes next and predict potential difficulties in music. He has to be the expert and gauge everyone’s level to make them work with the rest of the team. Also, he has to be able to mend the bald spots and some lack of skill in order to connect all different parts in the music as well as the people. He’s in control, cues everyone into their jobs, and in the end, if he hiccups then the whole thing falls apart. He  has  to be crazy and passionate about his job. He’s pivotal, and that’s Miyuki Kazuya for you.

I’m pretty sure no one’s going to read this.

kafka

Re-reading Karneval after Kaiju no. 8 is kind of wild. Every time the Circus crew talk about defeating their enemy, Kafka, I just think about Hibino Kafka and the face he'd make if he could hear them, lol.

In total agreement of this~

Plenty of pairings and plots I prefer in fanfiction but I still think the canon stuff is OK.

I feel fandom would get along a lot better if there was mutual understanding that liking a character, agreeing with a character, and thinking the character is well constructed/executed are all separate (if often overlapping) positions, each with their separate tastes and subjectivities. Also: character portrayals are intended to make the audience feel things; this is separate from (if often overlapping with) analyzing/appreciating their actions and role in the story.

Trirat?

Trirat.

Okay, I found more info on the article where it says that Vash stays away from people so he doesn’t fall in love, and some highlights (translated by Google)

The discussion about the typhoon’s non-killing and anti-killing is actually not aesthetic. At first, I just thought it would be very interesting for the main character, who is obviously a strong shooter, to solve problems with a gun instead of a gun, But sure enough, when it comes to the issue of life and death, it will become heavy, and as a result, it has been confronted with the story. At the end of the confrontation, I came to a conclusion that people can hurt each other because they don’t understand each other. If they understand each other, the weight of life will become completely different. The typhoon has lived on this planet for so long, and through the interaction with people, everyone’s life is engraved in their hearts. In the end, the fact that human beings recognize, communicate and connect with each other will become a force to restrain violence, which is also the meaning of the word “family” (inside the body) in TRIGUN.

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The setting that the pastor’s appearance does not match his actual age was decided on the way. I felt it after reading the pastor’s side comics, but this setting is still great, especially when I think back to the pastor’s childish behavior in the early days, like deliberately taking chili sauce. If you pour it on the wound of the bad guy, you will feel like he is a big boy XD

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The typhoon in the ending seems to have completely black hair, but there is still a little golden part, so he will not die immediately at the end of the time.

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Typhoon finally made friends after living 150 years, will there be lovers in the future? Mr. Naito’s answer is that the typhoon has been avoiding this matter because the time axis (PLANT and human) is too different. The person who wants to fall in love with him must be quite big.

Trigun: Stampede, Wolfwood, and Food

So, I think a major part of any worldbuilding should always involve food, and where it comes from. The worldbuilding around No Man's Land in Trigun: Stampede is a little tricky in this regard, since there's shown to be no real agriculture or plant life (Meryl's utter shock at the "flora" on Ship Three as a total foreign phenomenon suggests it's more rare than in the manga) so sustainable human-friendly food sources are rare and not really addressed. We see characters eating worms, and presumably there's whatever it is worms eat, and beyond that, it's suggested that pretty much all of humankind's nutrition comes from plants.

The desert dudes living off worm meat refer to "plant-based food" as an "extravagance" in the opening scene of episode 4 (aptly named "Hungry"). Meryl, by contrast, is grossed out by the idea of eating worm meat -- I think we can infer then, that Meryl, being a college-educated city girl, probably had regular access to Plant-generated food, while Outlanders are more dependent on alternative sources of nutrition.

Wolfwood, I think, falls closer to the latter category -- He's very used to eating worms, as we see in this episode, not even flinching at grabbing and devouring a whole worm, and even smoked dried worm legs as a kid in a later flashback, so supplementing his diet and other aspects of his life with worms is probably something he's used to doing for survival:

And I gotta say, the way Wolfwood antagonizes the others about eating worm-based food?

Yeah, it's a power play in some respects -- he's making a point to Vash about 'kill or be killed' to survive when he catches and throws a worm at him, and he's taunting Meryl to get a rise out of her with the roasted worm meat at the end of the episode.

But there's something very "Gross Big Brother" about it -- he's antagonizing them, but there's also some underlying level of care in it. He is showing Vash how Wolfwood thinks it's necessary to survive; he's bullying Meryl into eating the food that's available, because Wolfwood probably grew up with the understanding that you couldn't afford to turn your nose up at whatever food you got.

It's food, it's there, it's a valuable and scarce resource, and as much of an asshole as Stampede!Wolfwood is, he has those ingrained big brother instincts to look out for those around him. And food is an important part of that, because when you live with scarcity, food is life.

The whole bit with Zazie in disguise might be a charade (assuming Wolfwood already clocked Zazie from the get-go and it didn't take the worm devouring them for that card to be revealed) but it still pulls from Wolfwood's characterization in the '98 anime where he gives two of his last pieces of food to a couple of hungry-looking kids:

And the sentiment of "you still deserve to eat" as an expression of care is still real for him, especially given his smile when Vash repeats his words, finally eating some of the worm meat at the end of episode four:

Our worldbuilding implication is that food is scarce and rare in the Outlands, and Wolfwood is someone who knows how to survive by any means possible -- including eating whatever is available -- which is something he's nonetheless willing to share with others, because at his core he's a decent person who isn't as selfish as he may pretend to be.

And food is one hell of a love language.

I wonder what would happen if Victor Nikivorof ate a pork cutlet bowl cooked by someone from Shokugeki no Soma? Would he take a bite and suddenly picture Yuri skating?

Okay guys, for writing/general reference, a bit about what a ‘blacksmith’ is and isn’t:

A blacksmith is a generalist, a person who uses tools and fire to work iron.  Some blacksmiths work more specifically, so you get, say, an architectural blacksmith, who focuses more or less exclusively on things like gates, rails, fences, or an artist blacksmith, who makes wacky sculptures or what have you.  These days, though, that’s a pretty blurry line.  ‘Blacksmith’ is a pretty damn broad term, but it’s nowhere near broad enough to cover everything encompassed in ‘metalworker’, which is how I often see it used.  There are a LOT of different skills for working metal, and no one knows them all.  Some other terms:

A farrier shoes horses.  They may make the shoes, or they may buy them and then size them, but they actually do the shoeing.  Unless the blacksmith is also a farrier, they don’t know shit about horses’ hooves and are not qualified to deal with them and probably don’t want to.

A blacksmith works IRON, usually almost exclusively.  They might work with bronze or do a bit of brazing, but those are really separate skillsets.  If you work, say, tin and/or pewter, you are in fact a whitesmith.  You could also be a silversmith or a coppersmith, and so on.

Knifemakers and swordsmiths have their own highly specialized and fairly complex specialties, and usually a blacksmith wouldn’t mess with that unless they want to pick up a new skillset or if they’re really the only game going for a long way around.  By the same token, a swordsmith might never have learned the more general blacksmithing skills.  They’re not the same thing is what I’m trying to say here.  Likewise armorers.  There’s overlap but it’s not the same thing.

If you make metal items via molds and casting, you work at a foundry and are a foundryman.

Look, when metalworkers and individual shops and masters were the height of industry, this shit got REALLY specific.  There were people who spent their whole lives making pins.  Just pins.  Foundries specialized and made only bells, only cannon, only cauldrons, etc.  This is scratching the surface, I just wanted to make the point that ‘blacksmith’ is not the same thing as ‘magical muscly person who knows how to do everything related to metal’.

I would like to see more discussion about the differences between fiction with dark topics that can be harmlessly enjoyed without making you a bad person and fiction that perpetuates harmful stereotypes and misinformation, because there is media out there that causes harm that way, but this doesn't mean that all media with 'bad' stuff in it is bad, you know?

I really think everyone needs to truly internalize this:

Fictional characters are objects.

They are not people. You cannot "objectify" them, because they have no personhood to be deprived of. They have no humanity to be erased. You cannot "disrespect" them, because they are not real.