YES This Was Better Than I Could Have Ever Said It So I'll Just Say, That.

The thing about skk being a "brain and brawn" duo is that I feel like a lot of people put them in a box and refuse to acknowledge that just because they are one half of the duo does not mean they are incapable of being the other.

Chuuya is obviously the powerhouse behind skk, but the amount of people who think he's stupid when he's not stupid, he can be emotional but that's not all there is to him. He figured out that Randou was lying almost as fast as Dazai did, it says in Stormbringer that everyone was surprised that a sixteen year old was managing the gem trade so easily but he was. You'd think they'd have someone incapable in such a high leadership position? I will truly never understand why someone people think he's dumb when like, he may not be a genius like Dazai or Ranpo, but he's pretty dang smart on his own, his highest level of education was preschool, mind you.

And Dazai is not the best fighter, but he is pretty capable. He was able to completely pummel Akutagawa (whatever you want to say about that), and Akutagawa had spent a lot of times in the slums fighting to survive. He's not the most capable fighter, but I think he'd handle himself pretty well in a fight if he had to. He kept up with Chuuya after being away from him for four years, and yeah Chuuya was definitely going easy on him, but he isn't helpless.

tl;dr: skk are more than their stereotypes.

So you know what I just found out that suddenly makes things make more sense?

The legal age of adulthood in Japan was 20 until 2022. Which means that in 2012 or 2016, when the BSD manga and anime came out, respectively, 18 would still have been considered a minor.

Because one thing that always sort of confused me was the fact that Atsushi was 18, and yet they still kicked him out because of the tiger and not because he was the legal age of adulthood. Because he would have technically still been a minor. So the orphanage sucks, basically.

Anyways, that's a fun Today I Learned

best world trigger panel ever

As a writer, this hits home so much. I love reading the afterwards of the novels so much, because aside from just in general being really interesting, I really love how Asagiri talks about writing and engaging in media.

And yeah, both sides of the Day I Picked Up Dazai hurt.

[Translation] Asagiri Kafka's afterwords for The Day I Picked up Dazai novel

Normally, afterwords would be the last thing I read in a novel, but as there are not many changes to the published novel this time compared to the movie bonus version, I was able to skim through the text quickly and get to this. And to be honest, despite not being a writer myself, I was so moved by Asagiri's views about writing and his characters that he shared in the afterwords, that I had to sit down and translate it right away.

This is just my crappy translation, as usual, but I hope it gave you a short, interesting look into the author and the characters. And please do not forget to buy the novel if you have the chance.

The translation is under the cut, thank you!

It has been a while. This is Asagiri Kafka.

Have you been enjoying Bungou Stray Dogs?

This novel, “The Day I Picked up Dazai”, is a compilation of the first week’s bonus novel “The Day I Picked up Dazai – Side A” and the second week’s bonus novel “The Day I Picked up Dazai – Side B” for the screening of “Bungou Stray Dogs BEAST” movie (hereinafter referred to as “BEAST”).

Normally, it is difficult to publish a bonus like this, but since "BEAST” and “Fifteen” that were published earlier by BEANS Bunko were originally bonus novels too, "The Day I Picked up Dazai” was also published in the same way, thanks to the efforts of all parties involved in the Bungou Stray Dogs series.

It is the story of Dazai and Odasaku’s first meeting, where Dazai who wants to die, collapsed in front of Odasaku’s place, who is neither a mafioso nor a hit man.

Why are there two different stores, Side A and Sode B? Regarding this question, please read the novel and see for yourself. If you keep in mind that this is the bonus for the BEAST movie, I think you will be able to understand it better.

Let me reminisce a little bit here.

This story was actually suggested to me by Igarashi Takuya, Director of the Bungou Stray Dogs anime.

Shortly before BEAST movie premiered, I was struggling. It was because I was asked to write a bonus novel for movie-goers again. I said “again” because, as I mentioned earlier, BEAST itself was a bonus novel for the Bungou Stray Dogs DEAD APPLE movie. I remembered having a hard time writing it, because I let myself run wild and wrote a total of 190 pages instead of 50 pages as requested.

But I had learnt my lesson after the last rampage. I can’t just write whatever I want anymore. I have to wrap the story in a reasonable length, like a pro should do.

A proper, professional story.

Huh?

My pen stopped right there. I stopped, looked around, feeling lost.

What is a proper story?

The act of writing novel is quite different in character compared to other types of media such as writing manga, anime scripts, or game scenarios. You can say it is almost a different thing. Writing novels, rather than narrating an event, is more like putting the flow of emotions into specific sentences. You use the sequence of letters to create rhythms, create flows, and create emotions. If anything, it might be closer to composing a song than writing a story.

Therefore, you have to decide “what kind of emotion will be put in this novel” from the very beginning, or you can’t start writing. That is the only and absolute rule.

Now, however, that is where the condition of a “proper story” hung over me.

A proper novel, of a proper volume, with a proper content for a bonus.

In other words, a proper emotion.

I searched through the drawers inside my head. For a proper emotion that is waiting to be brought out.

There was nothing but emptiness there.

A professional story teller is one with the skill to move the readers’ emotions. When people find the chance to move their own emotions, they will happily be paying for it. Human-being is that kind of creature.

And writers are ones who create and sell those kinds of emotions: the fear, the excitement, the heart throb etc., those that make you think. It is that kind of job.

It is supposed to be that kind of job.

Yet I became unable to move forward.

A good story is a story that moves people. I know that. Then what kind of emotion I should put in the story to make it "proper"?

How do I find that emotion?

I mean, how did I even write novels until now?

I stood still. My legs stiffened, my knees froze, unable to take even a step forward.

I then tried to at least pretend that I was moving forward, by listening to music, by taking a walk around the neighborhood at night. But as good as the night breeze felt, I didn’t manage to reach a single story that I needed to write.

What if I stayed like this forever, what would I do?

I felt a chill plunging into my back.

Then I realized, that stories, or probably emotions too, are not things you can search for or come up with. You have no choice but to patiently wait for it to come your way. You have no choice but to humbly and earnestly sit and wait for the story’s visit.

I got that, but the "proper 50-page story” still refused to come.

It was not long before one week passed. Then two weeks.

I was doing other work, while keeping my heart’s door open, waiting for the story to come to me.

At that time, I had an online meeting with the anime staff. I casually asked Director Igarashi, “Do you have any story you want to see?”

The Director gave it a little thought then told me, "I want to see the story of Dazai and Oda’s encounter”.

At that very moment, the story rushed in through my door, like a bang. I could hear that sound very clearly.

Two stories. Odasaku, and the two Dazais. A story where they met, and a story where they couldn’t meet. A story of gain and a story of loss. If I can portray the gain and loss side by side, the amplitude of the heart will be doubled and rise up in front of us.

That was a momentary event. Rather than pushing my way forward, I felt as if something was pulling my hand. Before I noticed, I have already finished the stories.

I came to realize.

It is not the writer who searches for the story. It is the story that chooses its writer, and at some point it will come our way. A professional writer is no more than someone with the ability to catch that call.

Also, this is the most important thing: there is no such thing as a “proper emotion”. Because after all, the feelings of other people belong to them only. That is why there is no guarantee that a novel can move others “properly”. However, you can move your own emotions. You know what kind of novel can and how it will move you. If you do, you can write just that. That’s the only way. That is the truly professional attitude. That’s what I thought.

Well then.

It is a little bit off topic, but as we are talking about “stories that come our way”, let’s talk about Odasaku’s first-person narrative.

Odasaku is a special character. For me, he is exclusively a novel character, and I have never portrayed him in the manga.

He first appeared as the narrator in “Dazai Osamu and The Dark Era”, then “BEAST” and now this “The Day I Picked up Dazai”. All are novels. That’s why for me, Odasaku doesn’t live inside the pictures, he lives inside the first-person narrative passages.

He is an eccentric guy. Even if you prepare the place and tell him to speak, he won’t speak to you that easily. His way of thinking is rather unique, that if I write his narrative after writing other characters’ first-person narrative, I would stumble for sure. Odasaku doesn’t speak. He just sits there in silence, while I can do nothing but sitting in front of my blank manuscript paper, trying to talk to him, like “What’s up?”, “Here, here”. However, he is a guy who won’t speak when it is not necessary. Sometimes it goes days or even weeks without him saying a word. Why did such a character come to me...?

During such time, there is only one thing I can do. That is, of course, to stay with him, sit patiently, and simply wait.

Finally he will start speaking. In his unique rhythm, word by word. His words have the power to cut through the world from a certain angle. That special cross-section is full of things I have never seen before and it never fails to surprise me.

And then when he finishes telling his story, he will swiftly disappear. To a dark and quiet place somewhere – probably, I can only imagine, somewhere like a bar. He will sit there calmly and keep his own time to himself. After that, it will be hard to call him again. It is a backbreaking task to me, but in the end, that is the type of guy Odasaku is, and if I am allowed to sound self-conscious, that is Odasaku's charm.

This story was written in such a way. There is a chance that he will come back again. And when he does, I will patiently listen to his voice again.

This story was completed and published thanks to the help of many people: in the Bungou Stray Dogs BEAST movie’s Production Committee, the anime staff, Young Ace’s Editorial Department, BEANS Bunko’s Editorial Department, and the many people who were involved in the publication of the book. Thank you very much. It is all thanks to you that the book was published without any problem this time as well.

Well then, see you in the next story.

Asagiri Kafka.

One of my favourite things about Bungou Stray Dogs is how Asagiri manages to capture the many colors and facets of human relationships. There is friendship, camaraderie, brotherhood, respect, awe, and then there is jealousy, inferiority, grudges, distrust. There are bonds forged between people who suffered the same pain and end up on the same boat. There are blends of respect and fascination formed among those who thrive in the dark but yearn to keep the light. There is deep affection and empathy between people who are used to solitude and sorrow, but found themselves helping each other up on their feet. There are those who took the responsibility upon themselves to raise a child in such a way that their own childhood should not be repeated, or simply to be at peace with themselves. There are words spoken in remembrance of a good friend, and words that are left unspoken. There are mistakes that can’t be remedied, cracks that cannot be mended, and actions that cannot be undone.

There is also guilt, grief, distrust, suspicion, resentment, hatred. There is friendship built like a castle of glass, on shyness and comfort, pride and consideration, and then there is guilt and regret when the castle shattered to pieces. There are broken bonds that crawl back to form insurmountable walls between those who used to be friends. There is mutual suspicion between those who are too sharp, too perceptive for their own good. There are people who started on the same boat, but are as careful as they are manipulative around each other. There are relationships that form out of convenience and necessity, and there are those that continue to develop into something almost familial. There are those brought together in battles, and those that thrive in peace. People who started out being wary of each other can learn to earn each other’s trust, and those who started in the same place may slowly grow apart as their paths point to different directions. There are relationships sprouting from guilt and an attempt at redemption. There is friendship that could have been if not for feelings of jealousy and inferiority. There are selfish, misdirected emotions that seek to appease one’s thirst for recognition and fear of abandonment, at the expense of one’s own self confidence and respect. 

And of course, there is growth. Mutual growth happens when people not only understand and empathize with each other, but also possess the courage and strength needed to pull themselves and their companion out of the dark waters. This growth is precisely why their relationships are so satisfying to observe and appreciate.

The fact that Akutagawa canonically wears glasses when he's not working:

Like....who are you, Clark Kent??? Does he think wearing glasses will disguise him because he's kinda sorta a wanted criminal? Or maybe, is his eyesight actually bad, but he wears contacts on the job because who the heck is going to be intimidated by a Victorian child in glasses.

Either way, I require a light novel's worth of explanation.

The BEST line from Stormbringer:

I mean...he's not wrong...

Appreciation post for the anniversary of Odasaku's death.

RIP man. Hope you're having a good time in heaven with those orphans.

I saw a video once that tried to claim that Chuuya accidentally became popular, and I actually laughed. Like no. Nobody gives a character a hat, gloves, red hair, and a choker without at least expecting they'd be popular. No one makes a character short, a wine lover, loud, and a Mafia executive if they didn't suspect they'd be popular. you don't make a character the ex partner to the other most popular character and have them bicker like children if you thought, "eh, no one cares about this guy." No one gives a character the power of gravity manipulation and the power to create black holes when they go feral if they thought, "yeah, pretty mid-tier character" NO ONE MAKES A CHARACTER JUMP OFF A PLANE AND FIGHT A DRAGON—

I still think about the fact that when Dazai got captured by the Port Mafia, not only did no one in the Agency worry about him, Kunikida made him write a report on it when he got back.

Which only makes me wonder how often this happens that it's become standard procedure to write reports after returning from being captured by the enemy.

Sometimes, I wonder what the Agency's actual job is.