This Game Is Fuckin RAW Man

Bro Mandarin is such a fun language to learn but I be having trouble trying to think outside of english. Like, theres a disconnect between when I hear a phrase and can mentally parse it cause im still converting the words to my native language instead of understanding it outright without the extra step, if that makes sense at all. I wonder if other people who are new to learning a second language experience this and how they practiced to get over it. Also I should probably start learning hanzì already but I been lazy since I found out Chinese citizens learn pīnyīn, my ass gotta kick the procrastination habit.

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

Kagurabachi's Popularity: Familiarity Through Structure

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

And I am!

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

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

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

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

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

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

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

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

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

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

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

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

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

mha would have been peak fiction if endeavor was burned alive I think

i think that collective human culture has produced enough media where the protagonists forgive their abusive parents and from now on every abusive parent sublplot should end with their kid killing them with hammers and everyone telling them 'wow it was so cool and awesome of you to kill that bitch with hammers'

Baylan Skoll is one of the best Star Wars characters in a long time, I'm very much one of those people that has only really been able to get enjoyment out of Andor and TLJ as far as live action sW goes these days, but there are some things I've really been enjoying about Ahsoka. First of all, the choreography is actually GOOD. It feels like there's a different rhythm to each battle due to various fighting styles being shown, we see guard switches in tense standoffs like with Ahsoka vs Baylan and its dope and reminds me of this series' kurosawa roots. Baylan is super interesting and I love how the mercenaries bounce off our main two chars. And I am Shin Hati's strongest soldier just on account of her being really cool I love and support evil women

I do not know how to use this fucking website dawg

Minato teleporting is taking me the fuck out lmaoo

happy testament tuesday

Its been years since a nintendo direct made me feel anything