How Tf Do People Write Fics?? Like I Really Have The Ideas In My Head And Then I Pick Up A Pen Or Open

Hanako as a representation of abuse

This is an extensive post of how abuse afflicted Yugi Amane and even Hanako's behavior well into afterlife. Of course, emotional abuse is directly related to physical abuse, so I'll be talking about them together for the most part.

1. Behavioural Signs in Yugi Amane

We don't know why or who is behind this, and I won't particularly talk about it since it's not the focus anyway. We know his abuse started somewhere during his first year and was repeated until his suicide, july of his 2nd year. According to Tsuchigomori, he was badly injured every single day, so that's at least around a year worth of constant physical abuse.

However, it's important to note that it's very likely that before the physical abuse, emotional abuse was already consistently taking place, with multiple signs- He's isolated, experiences social withdrawal and has no friends, skips classes & school activities and has poor academic performance that contrasts his actual capabilities.

His emotional development is poor; He has difficulties expressing and understanding his own feelings, very likely a factor in the degradation of his and Tsukasa's relationship where Tsukasa can't understand Amane and Amane can't understand Tsukasa either due to lack of proper communication, and something that carries well over into the afterlife as Hanako.

The physical abuse worsened his already messed up mental state, and everything ultimately drove him into depression. He engages in behavior that puts his own safety in jeopardy (Like when he was way too close to falling over the window, both of his feet were at the very edge of the window frame), and while his love towards space stayed the same, he was overtaken by feelings of helplessness.

Even a rock could travel from the Moon to Earth, which gave him hope. It's important to highlight the word "even". He claims that if 'even' a rock can go this far, so can he, suggesting very low self-esteem. It's an object that carried him through many hardships because of this hope, but everything got so bad said hope just made him feel worse. At some point he started experiencing active suicidal ideation, marked by him giving away his treasured possession to Tsuchigomori in order to rid himself of this "hope", and declaring that he decided he wouldn't "go anywhere", a clear metaphor for deciding he would give up on his future and take his own life. He decided he cannot go anywhere near farther than a rock.

2. Behavioural signs in Hanako

As we mostly see his ghost self, we have a clearer vision of Hanako than we have of Amane. We can easily see his horribly low self-esteem and feelings of worthlessness. When we catch a glimpse of his perspective, we see how distorted his sense of self is.

He repeatedly claims that he isn't worth anything and that his existence itself is a punishment, and so refuses to disappear, considering that it would only be a release from the torment he deserves.

He hates himself down to his core, although this is a combined result of both depression via his experienced abuse and his PTSD of the murder-suicide. As Amane, he was capable of saying that it's fine if he's tormented this terribly, that even if there's no reason for it, he forgives it, massively contrasting Hanako who is incapable of forgiving himself, claiming that even if he had a super special reason for Tsukasa's murder, there's not a single justification that would warrant forgiveness. He's capable of forgiving anything that anyone does to him no matter how horrible, but not of forgiving himself.

As such, verbal abuse directed at him is taken positively by him, such as when Akane states that "reformed villains", refering to Hanako, make him sick, continuing to talk about how he can never take back what he did, essentially degrading him. He was given very harsh words that visibly hurt him, even implying that it triggered his PTSD for a moment, yet he could only claim that Akane is the type of person he likes most, as he was essentially validating and feeding into Hanako's already deeply negative view of himself.

This is also supported by his time in the Picture Perfect arc via his belief that he's undeserving of anything better for himself. Hanako said it himself in 71 that he wished he could've lived a normal life with Nene and Kou, and the Picture World reflected exactly that.

It's a world that was shaped exactly like he wanted, and that's exactly why he hated it. He knew what his reality was, and furthermore, he knows of his crimes and how he was the one who destroyed his own future, and so thinks he's undeserving of it.

He refuses to look at the stars for too long, because that reminds him of the hopes and dreams he gave up on in reality- He has no right to dare pick them up again, further highlighted by him refusing to go on the moon in the End of a Dream. His wish wasn't granted while alive, and now can't be granted after death.

In his helplessness, he is unable to reach for better circumstances for himself. After all, he's quick to adapt to whatever bad thing comes his way. "It's just how the world works", and he has to accept it.

However, we know how that doesn't apply to the people he cares about. He may have given up on everything, but he is unable to give up on the people he loves. No matter how much he suffers, no matter what he has to do, he wants the people he loves to find happiness.

No matter how much he tried to tell himself he isn't supposed to care, he desperately wants them to live the fulfilling lives he didn't have. And if he is the one that gives them the salvation they need, he finds the indulgence to want a small part of him to live through them, the indulgence to hate himself just a little bit less.

He actively attempts to hide his past from other people, being content with them only knowing basic information about it (that he's a murderer), mainly because he doesn't want to appear vulnerable or know how much of a horrible person (according to himself) he actually is.

When it comes to people he has a good relationship with like Nene, he's actually afraid of them finding out, and even months after promising he would tell Nene everything, he's still reluctant to do so due to overall difficulty with opening up- exposure to characters or topics that relate to his past more often than not results in reactions varying from heavy emotional distress, expressing aggression, anger, guilt and/or shame, to reliving traumatic events. Avoidance seems to be his main method of coping.

Hanako suffers from emotional dysregulation. He not only has high difficulties processing and expressing his feelings, but has difficulty picking up on others' emotions as well. For half a century he had been socially and emotionally neglected while also being incapable of ever maturing past the age of 13, much less healing from his past experiences. They rather worsened due to a supernatural lifestyle. When he first met Nene, he wasn't behaving appropriately at all due to this and their relationship went through many difficulties due to his lack of boundaries and poor emotional intelligence, and him communicating his true feelings is always a rare occasion.

Not only did he not take into account other people's feelings ("Yashiro will hate it, but it's ok, she'll move on someday and live her life", not taking into account and understanding others being possibly spiteful over his actions and direct their hate towards innocent parties), he doesn't even take into account his own ("Why? Good question. Why am I doing it?" and "Even though I was prepared to never see you again, I'm so happy to have you back. Weird, right? There must be something wrong with me"). However, due to Nene's influence, he seems to be a little more upfront with his feelings lately.

He's also incredibly self-reliant. Both events of Picture Perfect and the Severance were a result of Hanako doing everything by himself without consulting anyone. He decided by himself that he's the only one that should dirty his hands as he was already a sinner, that it's easier to dump everything on the one that's already guilty of similar crimes, because he didn't have any other solution in sight. It's important to note that he took the *entire* blame for the Severance- Even if all he did was feign ignorance to no. 6's actions.

Him being grounded in the miserable reality he finds himself in is both a strength (as he is quick to adapt to his conditions) and a major weakness- He'll only be able to see the most practical, yet unfortunate approaches.

In the Clock Keepers arc, he wanted to trust Kou when he said he would save Nene, but his attempt quickly turned to failure when he was not seeing any tries, let alone results. He was even upset at Kou when he considered that if he wanted the job done he should have just done it himself, knowing that his methods aren't ones someone would approve of. Methods that he doesn't approve of himself, but carried them out anyway in his despair.

In fact, Hanako did not break free from the shackles of abuse. He is a child that has been placed in a position of leadership filled with various responsibilities for fifty years. He is committed to his duties as a mystery after being promised salvation by 'God', believing that his sins would be forgiven, but he's essentially just being used.

He is, in present time, still repeatedly emotionally abused, manipulated and exploited to fulfill others' agenda. After all, control is at the heart of abuse, and his vulnerabilities will continue to just get taken advantage of as long as he's only capable of masking and avoiding them. However, Nene's influence upon him seems to make him capable of slightly improving himself, even if it's just very small steps at a time.

maybe the reason why i love tbhk so much isn't bc of the potential for theory discussion, the horror themes, the doomed lovers, the doomed by the narrative character, the queercoding of mitsukou, metaphor of cannibalism as love, identity issues (mitsuba), the yokai/spirits stories and their contrast with humans, the mystery, the romance, the art or any of the other things i like...

the reason i just became obsessed with this series is all of the above, yes. but more importantly is the siblings going through the horrors™ (and i think that's the reason why fmab is still my favourite animanga of all time. for me there is nothing more angsty than siblings)

I don’t understand how so many Teru fans acknowledge that he was abused and STILL agree with him that all supernaturals are evil, when that belief itself is a product of the abuse he experienced. Teru did not come up with the “there are no good supernaturals” concept on his own, that sentiment has been in the Minamoto clan since Hakubo served them. Abusive households will brainwash you into believing things in order to keep you in line, which we see with Teru in how he’s entirely unable to see nuance in the situation due to his upbringing. That black and white way of thinking has been ingrained in him as a way to mold him into the perfect child soldier

Compare him to Kou, who didn’t endure the same physical abuse that Teru did (physical as in being put in life-threatening situations, Kou was still neglected which is also a form of abuse). He wasn’t expected to be an exorcist and therefore those ideals weren’t pushed on him as heavily as they were Teru. He’s able to look at things more objectively that way, because his feelings on the matter aren’t the product of a trauma response (trauma or any form of mental illness can skew people’s perception of things)

Also keep in mind that Teru contradicts himself at multiple points throughout the series. He lets the mokke live because Tiara likes them, even keeping one as a pet. He allies himself with Akane despite his association with the Clock Keepers. He lets Hanako get away because he doesn’t want to upset Kou. If Teru truly believed that there were NO good supernaturals, he wouldn’t make exceptions. Because that would mean putting his siblings in danger, and we all know that’s the last thing Teru wants to do

To be clear, I’m sure Teru does genuinely think that all supernaturals are evil. It’s a known fact that Teru HATES supernaturals. However, I think he is at least subconsciously aware of his own hypocrisy. That’s why Akane’s betrayal hit him so hard, for once he relied on his own instincts rather than the beliefs his abusers spoon-fed him, and he paid the price for it. But that doesn’t mean he was wrong to trust his gut!! In fact it’s a GOOD thing that Teru was able to make an exception, he made friends that way and seemed to have some impressive character development. Even if he didn’t realize he was doing it, looking past his own beliefs helped him grow so much as a person. He found an escape that way, something he wouldn’t have found if he stuck with what he was taught

Anyways. Most people who give this take don’t gaf abt humanizing the supernatural characters so I wanted to show how it harms Teru as well. By saying “all supernaturals are evil” you are agreeing more with Teru’s abusers than Teru himself

Japanese Linguistic Observations in Spy x Family - part 5

Part 5 - Translating humor and wordplay

Translating jokes from one language to another can be difficult, especially when the humor revolves around wordplay that's only apparent in the original language. Luckily for a comedy series like SxF, most of the humor relies on concepts that are universal to all languages, but there are the occasional jokes that require creative translation in order to get the same effect in English. What I think is the most well-known example of this kind of joke in SxF is from chapter 26, where Yuri tells Anya that "knowledge is power" during their tutoring session.

The Japanese phrase for this is 知は力 ("chi wa chikara"). Anya mishears this as ちわわぢから ("chiwawa jikara"), which means "chihuahua power," which is why we see the image of a muscular chihuahua in her thoughts. This results in Yuri calling her チワワ娘 ("chihuahua girl") from then on. Obviously this joke would be lost if translated directly, so Casey Loe, the official English translator for the SxF manga, got creative with making it work in English. He cleverly utilizes the English expression, "the whole enchilada," which sounds enough like "swole chihuahua" for Anya to believably mistake the two. This translation also makes it so that Yuri calling Anya "chihuahua girl" later on makes sense.

But unfortunately, because a series can have different companies working on the localization of its anime versus its manga, inconsistencies between the two often come up. In this case, the anime team translated this joke completely differently, and less effectively in my opinion. You can see from the below screenshots that they had Yuri use the word "unleash," which then led to Anya associating a (muscular) dog without a leash as powerful (?) Again, this translation was a stretch in my opinion and not as good as the manga version. This also makes it so that translating Yuri's nickname for Anya as "chihuahua girl" won't make sense.

But what's interesting is that, many months and episodes later in season 2, they stayed consistent with that translation and had Yuri call Anya "stupid leash girl" in episode 28.

Despite my dislike for this translation, I have to give them kudos for remembering it all that time later and not just directly translating it as "chihuahua girl." Though it makes me wonder if they'll stay consistent in season 3 where Yuri will be referring to Anya as "chihuahua girl" once again.

A further complication is that, not only do these kinds of inconsistencies exist between the anime and manga translations, but they also exist between the different streaming services that stream SxF with English subtitles throughout the world. I only have access to the subtitled version from Hulu, which is where my screenshots are from, and I think other streaming services in the US like Crunchyroll, Amazon, Netflix, etc, use the exact same subtitles. So when I refer to "the Hulu subtitles" throughout this post, I mean other major US streaming services too. However, I'm not totally sure if they all do share the same subtitle script, so if anyone who has these services could confirm, that would be great! However, @tare-anime informed me that Muse Asia's English subtitles for SxF are completely different! For example, they translated the above joke more closely to the original, by using the phrase "puppy power" and keeping Yuri's nickname for Anya as "chihuahua girl."

There are further differences with Muse Asia's translation as well, for example, they directly translate Anya's names for Loid and Yor, "chichi" and "haha," as "Father" and "Mother" instead of "Papa" and "Mama."

(thanks again to Tare for the Muse Asia screenshots!) This is different, not only compared to the Hulu subtitles, but also the official English manga as well, both of which have Anya consistently use "Papa" and "Mama."

Tare also let me know that Disney Plus in Asia, another service that streams SxF, has yet another version of the English subtitles! And these are only the subtitled versions for the US and Asia - if SxF is streamed with English subtitles in other countries, I wonder if those are different as well. That means there's at least 3-4 different English subtitle scripts for SxF, with different ways of translating certain things, like what I described above. This could make things confusing for someone without any knowledge of Japanese who reads the English version of the manga and watches the subtitled version of the anime on one or more streaming services...if they read the first few volumes of the manga with the "swole chihuahua" translation, then watch season 2 of the anime, they're gonna be confused about why Yuri calls Anya "stupid leash girl." There's other more minor inconsistencies too, like how the Hulu subtitles have Yor call Anya "Miss Anya" all the time, but the manga doesn't.

I'm sure there's some licensing reasons why there isn't one official English subtitle script that all the streaming services can use, and why they don't consult the manga translations, especially for the more difficult-to-translate parts. It seems like wasted effort for so many official English translations to exist for the same thing.

But anyway, back to the translations of jokes in SxF, another one that stood out to me occurred in chapter 23. During the scene where Loid is asking Anya about a name for Bond, he explains how dogs have trouble discerning the sounds of consonants. The phrase he uses for this is 子音の聞き分け("shiin no kiki wake"), which means "distinguishing consonants," with "shiin" meaning "consonant." However, there's another word "shiin" with the kanji 死因 that means "cause of death." This is what Yor thinks he means - 死因の聞き分け ("shiin no kiki wake"), which means "determining the cause of death." So in her thoughts, she imagines asking Bond if he prefers death by blood loss (失血死) or by being crushed (圧死), and when he shakes his head at both, she says "you're not good at these distinctions, are you?"

This is a difficult joke to translate, so Casey got a bit loose by having Loid use the word "plosives" instead of "consonants," and then having Yor mishear it as "explosives." He then changed up Yor's dialogue by having her say that Bond prefers C-4 explosions over other methods of death.

While I don't think the translation of this joke worked as well as the previous one (I feel like Yor wouldn't know about C-4 explosions?) I couldn't come up with anything better myself, lol. It just goes to show how translating things as closely to the original as possible isn't always the best choice…but oddly, that's what the Hulu subtitles did! For some reason they opted not to even attempt to rework this joke for English, and kept both Loid and Yor's dialogue as exact translations. This results in an exchange that makes no sense and will leave people wondering how Yor could mistake Loid's "can't tell consonants apart" as "can't tell causes of death apart."

However, there are some cases where the wordplay works similar enough in both Japanese and English that the joke can be translated without too much modification. An example of this is in chapter 59 where Becky asks Yor how she was able to "get" Loid…"pierce his heart" as she puts it. Yor thinks she means this literally, to which she replies that she wouldn't hurt Loid.

The Japanese version is very similar, with Becky using the verb 射止める("itomeru") which means "to shoot down" (with an arrow). However, it has a figurative meaning too, which is "to win" as in "win someone's heart." Yor thinks Becky means the literal meaning of shooting down, so she says that she wouldn't shoot Loid and that she doesn't even use a bow and arrows.

The Hulu subtitles translate it more or less directly, having Becky say "shoot an arrow through his heart" and keeping Yor's "I don't use a bow and arrows" that the manga omitted. Rare case where I think the anime translation worked better than the manga!

In the case of this joke, the concept of "shooting someone's heart" to mean "winning someone's heart" is universal in both English and Japanese, so little reworking was needed. This also helped keep consistency with Yor's tendency to associate otherwise benign concepts with violence due to the nature of her work.

I'll wrap up this post with what I think is the most commendable translation of a joke so far in the manga: how Casey translated the names of the guest characters at the ski resort in chapter 94.

Their names are puns in Japanese as well, and Annie over on Twitter already did a great breakdown of how each of the wordplay in their names was translated, so definitely check out that thread here. Since this chapter has yet to be animated, I'm really curious how the anime translators will handle this…since it seems like they don't reference the manga, they'll probably either translate the names literally or come up with their own pun names, and either will unfortunately lead to the same kind of inconsistencies between the anime and manga translations that I touched on earlier.

To summarize, humor can be a very culture/language specific thing, so it's up to the translator to make sure the same feeling is conveyed in their translation even if they have to essentially make up their own jokes. With that said, it's a shame that there isn't collaboration between the translators of the anime and manga to ensure consistent translations across the franchise. So I hope this post helped shed light, not just on how some of the jokes in SxF were conveyed in Japanese, but also on why some things in the English version of SxF seem inconsistent between the anime and manga.

<- Return to Part 4

"If that's the case, then I'd be glad if this was only a dream" 🚀 🎋

The myth of Sumire and Hakubo: JSHK chapter 94 and the reinterpretation of “Tales of Ise: Part 6 (Akutagawa)”

Hakubo and Sumire seem to be a point of controversy and confusion among the jshk fandom: from their introduction to the latest chapters, they are a misunderstood and underrated pair, a phenomenon that has only exploded as of chapter 94.

There are many factors, as I see it, that contribute to this... confusion. But in this post, I'll focus on an aspect that is so far, very overlooked, but in my opinion, very important in understanding Hakubo and Sumire: their relationship with the mythical and mundane.

For that, I'll also be comparing chapter 94 with part 6 of the Tales of Ise (Akutagawa).

But before we begin this analysis, I feel we must clear a few concepts.

1. Clearing concepts: Eating and Sex, Death and Marriage

It feels like I'm pointing out the obvious, but just to be safe, let's talk a bit about these metaphors, not only what they generally mean in literature, but how Aidairo apply those metaphors in JSHK.

a) Eating = sex

This… should be the most obvious one. It’s really not that uncommon to see this particular metaphor in… any sort of media whatsoever! Poems, songs, books, movies, series… Maybe you’ve heard instances in literature of wanting to devour someone equating to sexual desire. Or think of vampires, these monsters now synonymous in pop culture to sexual beings, their lust for blood often intertwined with sexual lust. Heck, even stories that come from oral tradition, such as Little Red Riding Hood, have many interpretations that equal the wolf’s eating of the girl to sex.

Still, even without this knowledge, Aidairo does establish plenty of times, both in their AUs and the manga proper, what eating- particularly someone else- can mean within their writing.

Let’s start with the AUs:

In Hanako-kun of Magic: Sweet Witch Banquet, the only way Nene and Aoi can bring back the people they turned into sweets back to normal is to eat them… with the side effect that, for a short amount of time, the people who were eaten will fall in love with those who ate them.

In the Ghost Hotel AU, it’s a little more subtle but it’s still there. There are two instances of monsters eating those they desire. First, there’s Kou, who’s a werewolf in this AU, and apparently can’t resist taking chunks out of Mitsuba the mummy to cook and eat.

Second, there’s Hanako, who’s a vampire in this AU, and who’s stated to have drunk too much blood out of Tsukasa, and later, is implied to bite Nene and do the same to her, trapping her with him in the hotel.

But AUs are not the only place Aidairo have written this metaphor. In the very first chapter, eating a mermaid’s scale together means you’re bound to each other, a bond equated in said chapter to a romantic relationship.

And if that example’s too much of a stretch for you, than look no further than chapter 39: Mokke of the Dead!

In that chapter we have two instances of eating equating to sex and romance. First, when kegare!Hanako going straight to Nene to eat her. The scene is…

…quite suggestive, Nene even misinterpreted it at first!

Later, we have Akane who, under the influence of kegare, seemingly translates his romantic feelings for Aoi into wanting to eat her.

It’s very clear here that Akane’s thinking of Aoi when trying to take a bite out of Nene. Hilariously, Nene herself worries that Akane trying to eat her would result into a love triangle between her, Aoi and Akane.

And last but not least…

THESE PANELS ARE CLEARLY BEING FRAMED AS A SEX SCENE!!

Seriously, how could anyone not see it?

So, yeah, JSHK clearly uses the cannibalism = romance and sex metaphor a lot. But what about death and marriage?

Let’s find out:

b) Death and Marriage

For this one we must turn back in time and go for stories based on oral tradition.

Death and the Maiden is a very famous, frequently used motif in stories. Most iterations of Beauty and Beast use both Death and the Maiden and Animal Bridegrooms in their narratives to make a point.

But basically, death and marriage have been equated in stories for a very long time, to symbolize the cyclical nature of a human’s life- in this case, it often has to do with the end of a woman’s childhood and the start of a new part of her life, as a wife and mother: adulthood, basically.

Think of Hades and Persephone, who are meant to symbolize the cyclical nature of life and death, the coming and going of the seasons and marriage as the end of childhood/maindenhood, but the beggining of something new.

In JSHK, this is also referenced with the Kannagis, usually young women of marriageable age, whose sacrifice is equated to marrying God and returning to his side.

Keep all of this in mind as I ask you: which of the mysteries oversees 'life and death'? Who, in the JSHK universe, is meant to be seen as the main representative of Death? And what character is mostly seen among flowers? What characters are heavily associated with the dual nature of Life and Death?

Hint: it's Hakubo and Sumire.

As No. 6, Hakubo has powers over life and death. Currently, he’s also referred to as a Shinigami, often translated as a “Grim Reaper” or “God of Death”. The term “shinigami” can also have, in literature, a link to suicides and shinjuu. Finally, he’s an Oni. In many stories, often written during/after wars, famines and natural disasters, Oni are featured eating people- in these, Oni are a metaphor for death itself.

So, if we consider Hakubo’s role as a Death deity in the JSHK mythos, we have to ask this question: what happens when Death falls in love?

2.) Chapter 94: The reinterpretation of Tales of Ise Part 6 (Akutagawa)

The 'Tales of Ise' is a uta monogatari (essentially, a collection of poems and other narratives) composed of more than 100 episodes, some of which date back all the way to the Heian period.

Among those poems, there is one in particular Aidairo chose to allude to and reinterpret in their manga: Episode 6 (Akutagawa). The story below (translated by Helen McCulough) shares certain beats with chapter 94:

A certain man had for years courted a most inaccesssible lady. One pitch-black night he finally spirited her out of her apartments and ran off with her. As they passed a stream called the Akutagawa, She caught a glimpse of a dewdrop on a blade of grass and asked him what it was. The journey ahead was long, the hour had grown late, and a torrential rain was pouring down, punctuated with frightful peals of thunder. The man put the lady inside a ruined storehouse and stationed himself in the doorway wiht his bow and quiver on his back, never dreaming that the place was haunted by demons. But while he was standing there longing for daybreak, a demon ate the lady up in one gulp. A thundercap muffled her scream of terror. When the sky finally began to lighten a bit, the man peered inside and saw that the lady was gone. Frantic with helpless grief, he recited, When my beloved asked, "Is it a clear gem Or what might it be?" Would that I replied, "A dewdrop!" and perished.

There are quite a few beats that match, no? A couple that isn’t allowed to be together is stranded by the rain, but it ends unexpectedly as the woman is eaten by an oni.

Now, before any of you look at this superficially, have a "gotcha!" kind of reaction and try to use it as proof that Hakubo didn't love Sumire or that Sumire was eaten against her will, let me reiterate that not only chapter 94 is a reinterpretation of this tale, but also that Aidairo has done this sort of thing before.

Aidairo loves to reference all kinds of stories in JSHK. The 'Little Mermaid' is thematically very important to Nene's character, part of the short story 'Takasebune' is narrated by Amane during the Picture Perfect arc, the myth of 'Orpheus and Eurydice' is alluded to twice, first with Akane and Aoi, then with little Tsukasa, Nene and Kou.

Most obviously, we also have the urban legend of 'Hanako-san' right in the first chapter.

What do all these instances have in common? The answer is simple: they all are reinterpretations of the original tales.

For example: both with Akane and Aoi, and the trio of Nene, Kou and little Tsukasa, we have an allusion to the famous scene of Orpheus looking back to see Eurydice, only to find her gone.

The differences in these interpretations lie on many factors, but most heavily on the characters taking the role of ‘Eurydice’. Although she was essentially kidnapped, Aoi still was passively suicidal, and later even lashed out at Akane and Nene, who were trying to rescue her. Likewise, Tsukasa actually knew the way to get back to his family, he only chose not to until Kou and Nene convinced him to do otherwise.

By giving Aoi and Tsukasa more agency than the character of ‘Eurydice’ had in some known versions, this allows for a more complex and nuanced narrative without taking the tragic elements out of it. That said, to outsiders, these situations might look like a version of ‘Orpheus and Eurydice’ played completely straight: a tragedy about a poor, helpless thing taken too soon against their will, not particularly nuanced nor too complex.

Chapter 94, similarly, transforms the chapter of Akutagawa into a more complex and nuanced story by giving both Hakubo and Sumire more agency, even if, to outsiders, it might look like it was just the tragic tale of a poor innocent girl being trapped and eaten by a monster.

And this where we can see the differences between the two stories.

The woman in the chapter ‘Akutagawa’ is a tragic figure… but her voice can barely be heard anywhere in the narrative. The only things we know about her are that: one, she was implied to be of a much higher status than the man, and two, that she was apparently so sheltered and isolated, she’d never seen a dewdrop before in her life. The man mourns not explaining to her what a dewdrop was.

Sumire was, indeed, from a family of much higher status than Hakubo, who was essentially a slave to the Minamoto clan and their village. Sumire was also, very sheltered and isolated throughout her entire life.

But Sumire’s status within the village was simultaneously very similar to Hakubo’s own: she was nothing but an object to be sacrificed, mostly referred as a Kannagi by her fellow humans. And although she was sheltered and isolated, Sumire hilariously began her relationship with Hakubo as the one with more basic living skills (cooking, laundry, cleaning).

Sumire, most importantly, knew Hakubo was an oni from the very beginning, and again and again proclaimed her love for him, knowing very well what, who and how he is.

While Sumire is meant to represent the woman in the tale, Hakubo is meant to be both the man eloping with the woman he loves and the oni who eats her.

Hakubo, like the man in ‘Akutagawa’, pines for a woman he cannot be with: not as kaii who loves a human, not as the one in charge of seeing her off as a Kannagi. Hakubo had wished to take Sumire’s hand and run away from their village, to ‘spirit her away’ much like the eloping couple did. And ultimately, so they would not be separated again, Hakubo eats Sumire, as the oni ate the woman.

It’s very poignant, I think, that Hakubo represents both the man and the oni from ‘Akutagawa’. The entire irony of his monologue in chapter 94 lies in the fact that he didn’t need to be a human man to do any of those things: he managed, in his own way, to do them all.

He laments not being able to cry for Sumire, while his face has been permanently marked, two thin tears streaks forever burned in his visage.

He wishes he could’ve grown with her, and yet, did he not grow? Learning with and from her, how to take care of himself and her, discovering and developing feelings and desires buried deep within him? Does he not seem older, comparing before and after he met Sumire, physically, mentally, emotionally?

He says he wished he could’ve laughed with her too, dismissing how, moments ago, he was actually smiling and playful, the happiest we’ve ever seen him be as he recalls precious memories with Sumire.

‘I would’ve clung to you and cried as you were sacrificed’ he says as his boundary itself weeps, trapping her in a cave with him, as if begging her not to leave him again.

…‘I would even have fallen in love with you like a human man would’ he confesses, as he devours her, usurping the River God of the village as her husband, after kissing her like a man starved, after confessing to be under her spell.

Hakubo represents both man and oni because he was both, because, in JSHK, kaii and human truly aren’t all that different.

…Hakubo is also the woman, ignorant of his own heart, as she was of the world outside.

Sumire is also the man and the oni, at once guiding and haunting Hakubo.

The reinterpretation of ‘Akutagawa’ in chapter 94 is not meant to lend a cynical view on Hakubo and Sumire’s relationship and feelings for each other.

Instead, it is meant not only to reinforce that they loved each other, but also finally get some agency, after a lifetime of abiding to their village’s will.

It is also important to note that chapter 94 is, in many ways, a do-over of chapter’s 89 ending for both Sumire and Hakubo.

Once again, they’re placed in a situation where a higher power dictates that Sumire must be sacrificed and that Hakubo shall oversee said sacrifice. Sumire even says:

Both Hakubo and Sumire had many regrets about that day. Feelings unspoken, the sin of inaction… the loop present in their boundary symbolizes how neither ever moved on from that night, from their regrets.

When faced with the same situation once again in chapter 94, Hakubo and Sumire decided to take their fates into their own hands, with the cards they were dealt. Unlike their past selves, and unlike the man and the woman in ‘Akutagawa’, Hakubo and Sumire at last gained some agency.

It isn’t a tragic ending, although I don’t see it as truly happy either. Like many things in their lives, it was bittersweet.

3.) Nature vs Nurture: the significance of the rumors and the “right way” to love someone

I've seen some people completely miss the point and think that Hakubo's nature as an Oni means he's incapable of loving someone. The same people also completely ignore the sort of environment he grew up in.

First, and as a quick note, I find this panel very interesting:

It has struck with me for quite some time now, Shuten Doji’s pose. It looks like he was reaching in Hakubo’s direction, almost as if to warn him or protect him. How odd if you think that Oni apparently aren’t capable of love.

But regardless of nature and what love might innately mean to an Oni, we should also take a look at Hakubo’s formative years:

A slave, a tool to be used, Hakubo not only equates the humans to the mountain Onis, he also grows up hearing again and again that he’s a monster incapable of understanding humans, that he’s different, he’s unfeeling.

How the hell was that not supposed to affect how Hakubo viewed himself?

(something, something, call someone monster enough times, and they'll actually become one)

The manga never really discards either nature and nurture when it comes to their characters, and with Hakubo, it is both his dense nature and his alienating non-upbringing that turns him into the mess he is.

By the way, we’re absolutely meant to compare the villagers talking about Hakubo to the students spreading rumors. The way they call him creepy, the panel where only the hands of the villagers are shown... it kinda reminds me of Shijima-san's flashback.

This last image also low-key reminds me of the scene where the villagers are celebrating Sumire's death. I think Akane's steadyfast belief that kaii don't value life and his implict belief that humans value it will be put in question by either or both Shijima and Hakubo. But that's a whole other thing.

And just in case you missed, here’s a little montage of humans and supernaturals being compared:

Kou is ‘kinda like’ Yako, Aoi and Hanako 'might be alike’, Nene and Tsukasa are the same.

Humans and supernaturals are compared so many times in this manga, and every single time we see that they’re not really that different. All of them have someone they love- all of them.

Considering this, I must ask: just what is “truly loving someone” in the world of JSHK? What is the “right” way to love someone in the manga, presented by the text?

And just which characters have managed to love someone the “right” way?

Is it Yako, who has tried to bring Misaki back in the shadiest way possible, by harming students and building a fake body?

Is it Tsuchigomori, who never put anything in line to help Amane?

Is it Shijima, who tried to kill Mei?

Is it Akane, who stalks Aoi, constantly changes himself for her and beats up her admirers? Is it Aoi, who has stabbed him, and simultaneously kept him at arms length and lead him on for years?

Is it Natsuhiko, who tried to drug Sakura and is okay with her destroying humanity as long as he gets a date? Is it Sakura, who is cold and violent towards Natsuhiko, while not letting him go?

Is it Kou, who calls Mitsuba a ‘fake’, tries to commit suicide to appease his guilt, and is a low-key bully to him? Is it Mitsuba, who kidnapped Kou and wants Kou to accept him just because he’s lonely?

Is it Teru, who tortured Akane on a daily basis and tries to control Kou’s life?

Is it Nene, who fell for the first boy who gave her attention, can be frivolous and shallow when it comes to romance and is always making excuses for Hanako?

Is it Tsukasa, who’s love-starved, obsessed and willing to destroy and manipulate everything and everyone to make Hanako happy?

Is it freaking Hanako, who killed Tsukasa, who tried to imprison Nene and who is creepily possessive of both?

…Is it Sumire, who wished to a submissive, obedient Oni to fall into hell for her and was blissfully happy when she found out he did just that?

...Is it Hakubo, who cannot express or understand himself clearly, and struggles with his feelings just like any other character in this manga?

If you’ve read any of those and tried to justify something, or if your gut reaction was “well, it’s more complicated than that…”, or if you thought that this doesn’t mean the feelings of love weren’t there, even if warped or twisted…

Then, congrats, you got it!

Pretty much no character has a truly healthy idea of love in the manga- all the romances… all the main relationships so far have been at least a little bit messed up.

But something JSHK has not done so far is put any of its couples in the “failed romance/not true love” box. It has played with concepts of selfishness vs. selflessness, yes, but it has never disregarded the feelings of those involved as not love.

The only time I remember that Aidairo explicitly told the audience that something wasn’t love was through Nene in the very first chapter… when she admitted she didn’t know anything about her old senpai or Teru, nor did she bother getting to know them.

This is a manga about people who are on the way to discovering themselves and who have no idea how to communicate nor express love in a healthy manner. Trying to divide characters and relationships into “true love” and “not-true love” is… terribly inane.

Furthermore, trying to say that any character is incapable of love in JSHK is, to me, going against one of the core themes and messages of the manga: that everyone loves and is loved.

And speaking of themes, let’s talk about Hakubo and Sumire’s role as the culmination of JSHK’s themes, thesis and messages.

4.) Hakubo and Sumire: JSHK’s blueprint

This one will be brief, but it should be said. If you’ve paid any attention to JSHK, you’ll notice that Aidairo love their parallels. They use it everywhere, to drive a few points and get their themes across better.

These parallels also serve to connect all the characters narratively and thematically. But, the king and queen of parallels in this manga are Hakubo and Sumire. Go ahead, compare them to any character or relationship in the manga, and you’ll see what I’m talking about.

Basically, Sumire and Hakubo serve as mirrors and foils to all the important characters and relationships we’ve seen so far… actually, even minor ones, since they also have parallels with Yorimitsu.

Hakubo’s and Sumire’s narratives and relationship are meant to illustrate all the themes of the manga in one duo. So, when I really think about it, the thought of Aidairo saying that Hakubo/Sumire are a “doomed/failed romance” or that Hakubo and Sumire didn’t love each other is… absurd! Why make the embodiment of your work’s message and themes into something cynical, when JSHK has such hopeful undertones, especially when it comes to love? Doesn’t make sense to me.

Instead, I propose the opposite: Hakubo and Sumire are meant to illustrate that relationships between kaii/human are possible, that they can understand one another and that everyone is capable of loving and being loved.

5.) Conclusion

JSHK chapter 94 is meant to be a reinterpretation of chapter 6 of ‘Tales of Ise’ (Akutagawa). This retelling is meant to give more agency to Hakubo and Sumire as they choose to end things on their own terms, while finally having some sort of closure regarding each other’s feelings: Hakubo and Sumire loved each other and were loved by one another.

This reinterpretation also reiterates Hakubo and Sumire’s role as both the culmination of JSHK’s themes/messages and as part of the folklore/mythos of the manga.

Finally, the themes of nature vs nurture and kaii vs humans are explored within Hakubo’s speech to Sumire, where we are meant to question whether it was necessary for him to be human in order to love Sumire or if he, as an Oni, managed to do it, regardless of what the world and Hakubo himself believe about oni/kaii.

While confusing sometimes, I believe Hakubo/Sumire are the key to understanding JSHK’s themes, messages and possible endings better, so it is vital that we look at them carefully.

Also, on a side note, I do not believe that chapter 94 will be the last we’ve seen of these two, and I’m not necessarily talking about flashbacks.

When it comes to a manga like JSHK, which deals so much with the afterlife, plays with our notions of “life and death” and has so much time traveling, not to mention time-loops… I’m always hesitant to say that a character is truly gone. After all, Mitsuba has ‘died’ how many times already in the manga proper?

And considering the other instances of characters fusing upon eating the other, and the fact that Hakubo not only oversees ‘Life and Death’, but also that his powers haven’t been properly used for the plot yet… there’s so much that’s gone unanswered about those two… and there’s this panel that shall haunt me forever:

(Me, after seeing how deeply connected to the number six both Sumire and Habuko are: What the hell does this mean, Aidairo?! Come back and give me my husband-wife team!!)

Only time will tell. Who knows, maybe that’s the end and Aidairo was just messing with me. But I digress.

The purpose of Hakubo and Sumire in this manga is clear to me: not to makes us fearful and cynical for a ‘bad end’, but hopeful for a good one.

Now, whatever that would be for our characters is a whole other story.

am i the only one that thinks about how similar teru and hanako are? i mean in the sibling™ area. it would be interesting for terus character to actually put him in a spot where he could sympathise with hanako, but also obviously draw out more their differences

i think...

watched conclave today and i have to say that as someone that grew up in a christian environment i got kind of emotional ??? like in the speech that the cardenal does about war that part

Spy x Family volume 15 omake chapter translation

Volume 15 of SxF was just released in the Japan, and along with the new illustrations I posted about the other day, a 2-page bonus/omake chapter was also included, featuring Henry and Martha. I created translations of the pages, and big shoutout to @rafaron1223 for using his superior editing skills to put my translations into the pages 😃

Also, for those who haven't seen, Martha is on the cover of volume 15.

I like how the inner cover of young Martha for this volume matches the inner cover of volume 14 (young Henry).

i’m seeing inuyasha and it’s actually so interesting the parallels between inuyasha with tetsusaiga and sesshomaru with tenseiga.

In inuyasha’s case, as a half-demon he isn’t as strong as other demons and also that isolated him from everyone. But his sword is strong, not only that it was made to protect, for that inuyasha needs to make real connections with others. it is directly connected with his character development. (at least up until this point)

On the contrary sesshomaru is already strong, but he isolated himself except for jaken who is there bc he is useful (not that jaken minds, that’s their power dynamic). For now he has only destroyed -how fitting- and looked for tetsusaiga since his sword doesn’t cut, but the opposite is for healing; something he doesn’t seem to know, probably because he hasn’t need it yet¿ So the purpose of tenseiga also leave room for him to grow.

Both swords help in what they are lacking and i find it cute, because it shows their father cared for them and left this as a help for them.

i’m sorry i had this idea in my mind while i watched the episode and i needed to talk with someone, but i’m the only one that hasn’t already watched inuyasha. so i will continue with episode 35 bye

edit: tenseiga saved sesshomaru i– that was ,,, i love it