Fortress of Perpetual Midnight

The other night, I noticed that I had a tennen tate-roll (just one, on the right). This reminded me, I don't know where the stereotype that such a 'do is sported by rich ladies (as exemplified by the source for the subject line, which applies just as well to me as to Ms. Azumano; also includes three-point ellipses, which are somewhat half-assed according to the Yuri Dōjō in a recent issue) originated. The only support that comes to mind is Ms. Daitokuji from PROJECT "A" KO, which was itself a parody (in her case, of a character from the original Macross, if memory serves; I never saw it anyway).

Closer to my heart is the much more commonly obvious trope of the character with a lot of melanin in the skin but not in the hair. (I call it a trope because it doesn't seem to appear in real life, except where darker hair has gone gray/white or has been artificially changed. I've never encountered any accounts of such localized albinism. It's probably also popular because of the abstraction needed to differentiate characters when all but one human race in the real world seem to have the-same-colored hair, a point that the Japanese unsurprisingly have a tradition of stylistically avoiding. Incidentally, I also have found myself unable to find reference information about races' physical characteristics on Wikipedia, which makes it difficult for me to check the authenticity of my work. On example that I don't plan to use but that has bothered me for a while: I don't recall having ever seen a man of American descent with facial hair. Is this genetic or cultural?) As far back in time as I've traced it (through idle thought, not actual research, as I don't know any good places to look for such information on Japanese media), there are two main possibilities:

1. Ms. "Storm" Munroe of Ame-comi fame. As Watsuki's liner notes often illustrate, these are well known in Japan (although not enough that she influenced him to use a similar character design in Ruro-Ken, even though, despite the fact that all but five of the characters in the 28 books are native Japanese, he goes quite far in variety, including at least a 1,000% range in height of grown men; maybe he was just too lazy to cut all that tone). Unless we can find someone way back there who was so direct about his influences, it would be pretty impossible to pin this one down.

2. The Dark Elves from Lodoss-tō Senki (an island whose name, despite the official Romanization, is spelled exactly the same as "Rhodes"). In case you were living under a rock in the '80s as I was, this series was a thinly veiled retelling of a Basic D&D campaign, as illustrated by the fact that the starting lineup consisted of six of the seven classes from the original "blue box" (excluding only the one that was stolen entirely from Tolkien's creation). Even back in those days, there was already the policy that the dark-skinned subraces of the good peoples are the evil ones, but D&D avoided some flak by saying the drow were actually black-skinned, not a human skin tone. Whether it's because they hadn't made that point yet or because of creative differences, that safety was not present in Lodoss, so (other than the being evil part) it translates just fine to humans in versions of the real world. This one could be easily confirmed or denied by asking someone who's actually watched the major Japanese animation and read Japanese comics from before that whether or not there were any examples then, but I don't think I know any such person.

By the way, in one of the extra stories from Sapphism, Ms. Lee (Ley?) tries to talk Ms. Yang down by telling her that her loss would devastate all the dark-skin fetishists. Of the examples given, I recognized only Akamatsu (no doubt due to my lack of attention to mainstream stuff), but all were called "-Sensei," so I imagine the other two are of the same ilk. But from what I've read of Akamatsu's, he's less so than I am: no major character in his first work, one who starts ranking at fifth-most-important then is displaced further by new ones in his second. As if it's not maniac enough already, my taste is mostly restricted to the illustrated versions, as in real life I'm more narcissistic, preferring my own two races (now that I've been out of high school long enough to break down my prejudice against non-white blood). I feel as if I don't much like real-world African features, which is a hell of a generalization considering that they're thought to be the oldest and thus now most diverse human race. (The aforementioned Ms. Munroe looks good, particularly with the 'do in the third movie.) I don't seem to have any such preconception about ladies of South Asian or American descent, probably because I don't see as much of them in American TV and movies.

In terms of more general tropes, is there some name for the one where the hero thinks up a clever plan but keeps it a secret from his friends in order to maintain audience suspense? I'd look around on the eponymous wiki, but from what I've seen it just seems to be a bunch of people typing whatever they feel like typing, so I'm not bothering to learn how to find things there.

On the topic of possible entries for the Ichijinsha Comic Taishō (YuriHime Bumon):

I forgot in the last paragraph that there's also one in S that has a drag queen (thus, the subject clipped from the same quote as before) as pretty much the most important character after the protagonist and heroine. I guess these guys are more palatable than big, hairy gits like the ones in "Spaghetti Western." There have been various men who've appeared in the numerous sad one-shots throughout the years, but those are the only two major ones whom I remember in serials.

Meanwhile, there may be another problem if I have to give up my ownership of the intellectual property as with the contest for my other half, which would mean that it would have to be thrown out if I couldn't get it published. If so, I'd want to make sure that I have the best chance I'll ever have of winning before I risk it. It would be better, of course, if I could instead become an established author/illustrator and thus be considered for publishing without having to take that risk in the first place. I'll have to take a closer look at the rules when I get back to those issues as part of my other stuff I'm supposedly doing. (I can also use that opportunity to look over the previous winning entry and the judges' comments for that and the runners-up to get a better idea of what they want.)

Another consideration is the problem of graphic novels. I've seen that Japanese author/illustrators often have problems getting one-shots that have been published in periodicals printed in more permanent form as they're not enough to make up a full compilation. A common solution is to put them in as extras in volumes of series by the same person, but that wouldn't work very well in my case, because these ones would read right-to-left, while my projects are left-to-right. YuriHime Comics dealt with that through Yuri-Hime Selection, but I don't know whether they'll do that again or how long it'll be in print. Authors sometimes publish sequels/spinoffs/side stories of their own works as dōjinshi, as you may have noticed (also mentioned here), but I don't imagine they're allowed to do that with the stuff that's been licensed by professional publishers.

Speaking of which, I hear that Zettai×Roman actually has quite a lot of stuff that wasn't published in the mooks, including a short from a long-out-of-print anthology, two from another magazine, and further explanation on the one from YuriHime whose details I found quite incomprehensible (also, incidentally, the only one I remember where one of the main characters is anywhere near as promiscuous as in mine). I haven't been bothering to buy the graphic novels as I already have all of the serials, but I suppose I should be checking their introductions to see whether the extras are worth it.

By the by, as I was grabbing links for this post, I found there was a tachi-yomi (reading without buying) page in case you want to try any of the publications.

As you may have noticed, I made a tag and a database for my shorts.

Expanding on my comments on the first one, I'm not sure why I claimed that I would learn better, as that doesn't seem plausible. Also, I likely misremembered the character limit. In yuri shimai (which I've been rereading for other stuff), at least, it was far dinkier than 400. I may just end up posting all my comments on the Web and just say 「こちらではスペースが足りませんので、下のURLへどうぞ」 or some such.

Meanwhile, the fact that I've been using plurals should tell you that I've thought of another one, even if you can't access the database. I just thought I might make a spaghetti Western for the hell of it, and it happened to be in relation to the YuriHime Bumon that I thought up an actual story for that genre. (At this rate, I oughta call it "Project Ichijinsha Taishō" or something.) Of course, I've barely even seen any Westerns (probably less than the number of space Westerns), and I'd require a hell of a lot of research to make it historically accurate. This is also my only chance to use 19th-century firearms, so the ideas I can only use there bring more clutter to the plot.

Incidentally, it's interesting that Clint's famous line is not actually from a Western, just from a character who acts like he's in one. It doesn't seem to be listed on Wikiquote, but as you can see here, the line is completely changed in Japanese. Fortunately, I was planning on wording the official translations to convey my messages and to sound good, not to be exact translations of the English (or vice versa).

Also, it occurred to me that even Project AnthraXX has much more focus on male characters than anything published in YuriHime Comics (unless you count the one with the transsexual), so maybe that wouldn't be such a good place for it either. Maddie's Maids might work, but considering it takes place after the events of AnthraXX, there's no need to be thinking much on that anytime soon.

We were hiding out in some Japanese school.

I remember almost nothing from this one, but it was a combination of Raki☆Sta (particularly the bit starting here) and another school series. (It's been so long, I've forgotten what the latter was.) I've never even read or watched the former, but it's one of the ones blitzcon told me he was going to show me long, long ago (but not early enough that I could actually get the videos), so I've been breaking my usual rule in its case. Consequently, most of my knowledge of it is from Ms.?† Maitake's illustrations and comics (although I haven't actually been reading the posts since I haven't even started the series yet), which is undoubtedly skewing my preconceptions of its content.

†You may remember that I fouled up a while back and that I later decided not to worry about it. I neglected to mention that Ms.? Maitake replied the very next day and pointed out that it was clearly stated on the site that duplicating things without permission was prohibited, which rather scuppered a post I'd made.

Meanwhile, when I contacted her/him to ask whether I could post direct links to individual posts, I decided to ask about her/his gender so I could address her/him less awkwardly, but she/he declined to say. (Japanese writers/illustrators sometimes take PNs that would suggest genders different from their own, but I've never seen anything proving that any have made false claims about this. Then again, nor do I have any proof that any Japanese comic writer/illustrator has ever been captured on camera (with the exception of Akamatsu, whose mug I do not fondly remember seeing, particularly considering that he's actually married to a lady who's more than 13 years his junior now), so that's hard to say with certainty, either. You can take this into account for my generalizations in the next paragraph.) I would tend to assume that she/he's a man like me due to the demographics (?) of what she/he seems to find interesting, but that's a bit of a disservice to Ms. Hayashiya, Ms. oneirotsai, and many others. Of course, in English, there aren't any honorifics‡ except title prefixes, so it doesn't make much difference; in Japanese, I've just been using speech patterns somewhere in-between.

I do find it interesting that I see ladies who draw stuff aimed at male audiences all the time (with Ms. Takahashi being the classic example), but never confirmed examples of men drawing stuff for ladies. (The fact that ladies draw lots of yuri, yet I never hear about men drawing much yaoi, is less surprising.) The closest I've seen is Fujieda, who has been suppressing his style (judging by Iono Sama Fanatics, his only independent work I've read) in various YuriHime Comics mooks (and of course the compilations), but although they always use feminine second-person pronouns, the content of even the main series is more moe than shōjo, so he's still a bit short of Jack Nicholson.

‡In my research for Projects Abdiel and Homuncupunk, I was surprised to find that in modern English, the one language I've encountered that has almost no ways of showing respect, we have retained the plural/formal singular objective from the early modern variety as our sole (before conjugation) second-person pronoun.

I didn't end up having enough time for a crunchier post, but here's a simple meme, modified so I can do it:

- Comment[,] and I'll give you a letter.
- You'll then have to list 10 things you love [like] that begin with that letter.
- You may choose to do it at your journal or leave a comment here.
- Afterward, post this in your journal and give out some letters of your own.

My answers (I):

. Iconoclasm
. Independence
. Information
. Inhumanity
. Inquisitor
. The Internet
. Invention
. Iron
. I-TAMA
. Ms. Iwami Shōko's works

I'll fill in the links later.

When I first saw this, I assumed from the single star and the color scheme that he was drawing a comparison to other red republics, such as Union of Soviet Socialist and People's of China (in which case I'd point out that communism sounds good to me if it's what it takes to have freedom of religion), but it turns out that it's actually the California state flag. Now I don't see if he's actually saying anything, other than fact. Still, this did lead me to read a couple of other things that I had missed before on the same page (locally):

1. The First Amendment was quoted directly. Other than the fact that it's a crudely written run-on sentence, it brought to my attention the fact that I'm not clear on how the wording works. It says that "Congress shall" not do these things, but does that protect us from laws on regional levels, or regulations for individual institutions (like public schools) as well? Obviously, it should, but there are plenty of people who claim that we should always follow what the Constitution says, regardless of whether it's right or wrong.

2. Good point. It's important to be able to see who the bigots are.

On the original topic again, I noticed something not quite accurate about Ms. Morishima's comments in her first Yuri-Yuri Kembunroku about YURICON, where she was excited thinking "if ○○ and ×× went to America, they could get married!?" or some such. The problem is that such a marriage would only be valid in the place where it's legalized. According to my research, the only place where they say it's valid globally is Canada, and I don't see what difference it makes, since it would be odd if a place where it was illegal would recognize marriages granted by some other country. Of course, the point is rather moot, since Ms. Morishima is (as usual) talking about yuri; fictional characters don't need real-life legal status. I can only assume that no First-World country will stop you from having ceremonies and vows, although some people there will grumble about them.

As was the case with Spanish back when I thought I knew it, I'm planning also to publish official Japanese versions of my projects. (Of course, as I've noted here, my first one might be a bit heavy on the English even in the Japanese version.) I'm far from fluent, of course, but this way I can provide translations that are much truer to the author's intent than most. The expanded exposure this should provide would also give me a chance to come into contact with people who are fluent, which means I could have a chance to actually learn the language, and perhaps impose on someone to correct my work. (I think I'd have more trouble bothering to make the rest of the appropriate site bilingual to cater to these people.)

Another thing that I've pondered at times is that, since I'm going to have to learn to draw anyway, it would be really nifty if someday I could get one of my works published in my belovèd YuriHime S (not the main Comic YuriHime, as I don't imagine I'll ever manage to write works appropriately feminine or comedic for there—with Ms.? Natsuneko's work there, I might have hope, but it's nothing compared to Picard's, as I'll note later). If I did manage to achieve widespread popularity as noted above, they might let me do it cold turkey, but the more likely way is through the Ichijinsha Comic Taishō （「大正」ではなくて「大賞」） or other yomi-kiri (the comic equivalent of a pilot episode). The problem with that is that, as I've no doubt mentioned before, I don't think of many good one-shot ideas lately, as I'm so absorbed in crafting intricate webs of full-sized projects. (Even Project Cow Level, which was pre-planned to be a short, simple "practice" project, is expected to run to about one graphic novel's worth.)

And yet, oddly enough, I happened to think of an interesting one-shot idea yesterday. Although it relies on a lot of tropes, it has a major setting element that I haven't seen used for this before, and unlike some, the premise is distinctly yuri, not just a romance that happens to be between two ladies. (Oddly enough, the unusual setting for a yuri story may have caused me to have a dream last night about sleeping with a man (don't remember for sure). If so, at least I was the seme. . . .) Of course, as a short story, it doesn't have much to reveal without actually writing it, and I'd rather keep the good parts to myself just to avoid anyone else stealing them. (Yes, that's my delusions of grandeur talking again.)

If this somehow did come to pass, there's the problem that the format only allows 400 characters of commentary, much less than I'd normally use. I'd probably put most of it (and the official English translation) on the Web as a supplement to the published part, as Ms. Miyahara does. For the actual printed version, I'm thinking the essentials are along the lines of 「男で申し訳御座いません。いつか必ずレディーにもよろこんで頂けるまんがを描ける様になりますから、今は違った味でがまんして下さいませな。」 (although I haven't bothered to boot up Word to get a character count).

The "chigatta aji" bit overlaps with the question of how predisposed these Japanese folks will be to publishing stuff by some American git. I can't do much about that, but I might consider working in a more Japanese style than my own. For some reason, it seems to be coming out with a larger-than-usual proportion of pseudo-comical elements despite the fact that I don't have a sense of humor (perhaps to make up for the fact that romance is an alien concept to me), so it'll be an outlier in my portfolio in more ways than one (hey, more dovetailing with the post subject).

By the way, in the excessively megalomaniacal mōsō situation that I actually got to do a serial, Project AnthraXX seems at this point as if it would actually be palatable. Of course, it would be helluva Webcomic time in a quarterly mook. . . .

AZUMANGA is torrented. I'd download it myself while I had the chance, but I don't have enough disk space or a DVD-ROM burner. (There is, on the other hand, a DV-R, which we unsurprisingly never use.) Obviously, the category is incorrect, so it may not even be actual raws either, but whatever.

David Morgan-Mar recently posted about Webcomic time and RPG time, both concepts with which I'm quite familiar. The former is of course just as prevalent in other media, including print comics. For instance, in Nana-Misu, the characters have passed through seasonal events several times (including, for instance, two Valentines) but still seem to be the same year in school as they were when they started. In a more extreme example, Ramma 1/2 ran for nine years without any of the characters aging. Less dramatically, STRANGERS IN PARADISE strongly shows the author's changes in style and purpose over the 14 years of writing and drawing, while the characters only aged about eight years. Also amusingly, the kaki-oroshi in CHIBI DEVIL! 2 shows Ms. Satō and Ms. Tōdō in their high school uniforms, despite the fact that the former graduated a couple of years ago in the show, meaning it must have been earlier than that in the original source material (which is confirmed if you look at the publication date of the compilation).

All of this explains why I'm very vague about the temporal setting of Projects AnthraXX and Maddie's Maids, which are set in an approximation of the real world. I'd like them to be generally contemporary, but I don't know whether circumstances will allow me to release them correspondingly (if at all).

Continuing from before:

1. In a way, I've actually been following the mook for years before it was created. . . .

2. Ms. Hayashiya says that the first edition (?) of the latest dmara CD will contain bonus tracks, so I'm pretty sure I'm going to put one in next month—anyone else want in? Still, I haven't been able to find any information on this on the official site, amazon, or TORANOANA, so I don't know the details. I assume that I just have to buy it before the first production run runs out or something.

Meanwhile, we'll see if I ever get around to posting about the current order either. . . .

And the order's away. In similar news, I may be putting in the next order in May instead of June [July] depending on how the limited edition package for Aoi Shiro looks compared to the price. Hopefully, my exceptionally speedy source will be able to review the special contents before they run out.

Edit (2008.04.07): I've been following this magazine for its full more-than-two-year run, and I still can't remember when the issues come out. Bloody 'ell. It's fixed above.

Japan has almost no devoutly religious people, but they love ceremonies, so they take the best holidays from wherever they can get them (mostly Shintō, Zen, and Catholicism). One example that I find amusing is that they go to Shintō shrines to celebrate the Chinese zodiac's changing of the guard on the Gregorian New Year. Of course, I don't follow any of those, so I'm more interested in entertaining traditions such as the hatsu-yume. For those of you who didn't watch AZUMANGA, there's apparently something significant about a dream that you remember on the night of the new year, often something to do with hawks and eggplants.

I was reminded of this by the extra booklet included with the January issue (despite amazon's numbering scheme) of Comic YuriHime, which included a lot of supernumerary stories with new-year themes. (The previous issues of it and S haven't arrived yet, so I decided to save those for later, but I'm not buying Wildrose, so I read the ones related to that. Only one of them had sex in it.) Unfortunately, I hadn't remembered at the actual time, so I've missed it this year as well. The night after Chinese New Year, I just had something about a bunch of humans traveling to an arboreal land of monsters.

Meanwhile, another benefit of this, as well as the fact that they don't have this weird Western idea that comics are supposed to be commentary on real life, is that they can write stories were organized religion is the bad guys without getting in trouble. Oddly, I don't seem to remember many that would be well known on this side of the pond, just FINAL FANTASY TACTICS and ~X, but my bookcase alone has a good half-dozen or so.

I was lucky enough to receive something Japanese from Ms. mizuno_youko, but somehow it turned out to be a crude scanslation.

This was undoubtedly brought on by this and the rare gem here. I've been thinking about stopping sharing bootlegs of published material (although I can't resist using such sources myself), but I'm less worried about such limited edition things, a system that I never liked. Comic Yuri-Hime and its predecessor have had free giveaways since the beginning, but I never bothered reading through the rules because I assumed I was ineligible for being overseas; just as I hear things to suggest differently, I've gotten a mailing address in Japan. Oh well. At least this quarter I'm getting my issues reasonably promptly, so I may check those out.