Saiyuki high school AU…! Because I love high school AUs. Honestly Goku’s lines came from me thinking about my love for spinach so there. I confess. I just had Goku saying it because after thinking this, I thought ‘that’s so Goku, though?’ and I needed a reason for him to say stuff like this so I made a HS AU where Ten was the English teacher because he’d probably assign something like this.
Also…if I wasn’t so sleepy I’d have added Gojyo and Banri laughing, teasing Goku or something but…alas. Maybe I’d do more of these some time! x’)
Do you have any theories about Shinichi Tsukumoya? Is he a normal human? Is he several people pretending to be one person? If Izaya gets most of his information from him, why don't people just hire Tsukumoya?
We’ve actually been pretty much given confirmation on what Shinichi is.
Here is what Ruka has translated for me from Novel 11 (keep in mind up until this point Shingen has been ‘tweeting’ all of Nebula’s little secrets):
Shingen: the world has become a scary scary but awesome place. The entire world spreads out connected through network in a sea of information. As if brain cells are exchangings signals using synapse. If a higher existance, that is like the brain of humanity, were to be created, i won’t be surprised.
At which point Shinichi interrupts Shingen to proclaim”
‘I won’t be surprised if that ‘being’ is already been born.’
So if I can put this in layman terms this is ‘basically’ what Shinichi is:
In the brain there are things called Neurons which are like little pathways inside of your brain that transmit information at a ridiculous speed. The way they transmit this data/information is through these little gaps called Synapses. At the Synapse what was an electrical impulse is changed to a chemical so it can cross the gap between the Neurons before changing back to an electrical impulse.
Thus what Shinichi is saying is that the world has created something like that through the internet. We send impulses of information through the ‘neurons’ of the internet and that when these impulses jump from pathway to pathway it’s through this ‘synapses’. Furthermore, just like the synapse of our human brains, the synapse of the internet must also play a hand in creating ‘memory’. So with every impulse of information sent through those synapses we strengthen that ‘memory’. And, with that ‘memory’, a higher being could begin to develop and be ‘born’ in the same way that a human child’s brain would be born and developed.
To which Shinichi replies that ‘I won’t be surprised if that ‘being’ is already born’.
Further evidence to support this is how Shinichi claims that unless it is connected through the internet Shinichi won’t know about it and how he says if it can’t be done through the internet than he himself can’t do it. Shinichi ‘is’ a being created by the internet thus cannot leave the digital plane. I think the only way he’d be able to is if they create him some kind of cyborg body in which he can take over in the same way that EDI from Mass Effect did. For EDI, she still exists within the Normandy - which is the ship she is the AI for - but while she pilots the ship she can also move in that body. So essentially she is still the ‘ship’ and you can talk to her even if her ‘body’ is 2 floors away, but she can now ‘leave’ the ship through that body. (So for Shinichi he’d ‘leave’ the digital plane in a manner of speaking through his ‘body’ even though he’d still ‘exist’ within the digital plane.)
But I’m digressing. I’m not a Shinichi expert nor am I a psych expert so some of this might be off. That’s just my overly simple interpretation of what Shinichi is.
As for your last question of why no one hires Shinichi instead of Izaya - it is because his ‘chat room’ is very private in the same manner that Izaya’s chatroom used to be private before everyone in durarara!! joined it. You are not able to access it unless an invite has been sent to you and only Shinichi can invite you. Then, once he does invite you, even if you try to hide under an alias or anything like that it immediately exposes you for who you really are. So not many people know about him as a broker. Imo I don’t think he makes brokering information a job like Izaya has. I think that is cause Shinichi is more hands-off? He really doesn’t seem to interfere beyond to help people or cause Izaya problems where he can. But that part is just my opinion.
edit//ahhh ruka reminded me I had forgotten. But yes it’s true Shinichi isn’t an information broker like Izaya. In actuality he is an author - a pretty well known one. Walker has read his stuff before. So the reason no one hires him is because he isn’t a broker like Izaya is. He just lets Izaya ‘buy’ information from him.
Deadlock hissed when his back hit the wall, baring fanged denta in a challenging manner. Black digits clawed at Barricade’s waist, pulling him closer. “Ya got me trapped big bot. So, what are ya gonna do with me?”
A farewell gift born of immense gratitude. For Alexis Kennedy when he
recently departed from Failbetter Games, known for Fallen London and
Sunless Sea particularly.
For those not familiar with Fallen London, it’s a great browser
game with all focus on narrative and storytelling. The lore and
worldbuilding is fantastic, exceptional and utterly delicious. Sunless
Sea is a zee-faring survival exploration game set in the same world,
also with a heavy emphasis on storytelling.
Fallen London has taught me so much, and showed me that storytelling
still matters, and that a love for words is never a love wasted. It made me
come up with the genre ‘shadows wearing a smile’ in order to explain
what it was for others. It’s often silly and ridiculous in a good way,
but sometimes, sometimes it bares its teeth for just a moment and
reminds one that even stories can have a sharp bite.
I’ll always be grateful for the work he’s done, and I’m certain that
wherever he go and whatever he does next he will find other ways to
bring beauty and marvel and important words to the world.
Seven is the number, and a reckoning will not be postponed indefinitely.
All shall be well and all shall be well and all manner of thing shall be
well; this the Bazaar has promised us, and the Bazaar would never lie
to us. <3
I’ve noticed that Halloween things are out at the stores around me, which made me wish fall was here as well. So in wishing for fall, here are my pumpkins, including a recent doodle based on the tag that the lovely Lady of the Manners at gothiccharmschool uses for the arrival of Halloween things, Threat Level: Pumpkin.
In the community of photographers online, it has become somewhat impossible to discuss film, or to identify images as having been shot on film, without it becoming something of a political statement. The inexorable advance of digital technology and the ubiquity of digital images causes most photographers to wonder why anyone would still bother to shoot film, given the technical superiority of digital as a recording medium in almost all quantifiable qualities. Those of us who shoot film do so with a nagging sense that we work in the twilight of the medium we love, as cherished cameras and film stocks and papers are discontinued to make room for the next generation of mirrorless imaging devices. We post images to forums with an air of defiance and bravado, often referencing our rejection of digital cameras in language thick with our imagined moral superiority. Meanwhile, those digital photographers who have inherited the insecurity that has always been a part of the photographic medium find any deviation from the digital norm as a rejection of their chosen mode of expression, undermining the validity of their own work. Thus it is not enough for many digital photographers to forsake film: they must discredit film entirely as an antiquated and useless footnote in the history of image-making.
Of course, this all occurs in the context of online forums and social networks, and typically the most talented photographers simply march on with whatever their chosen medium, ignoring the tempest-in-a-teapot that is online argument. It is unfortunate, though, that this insecurity and defensiveness I describe often infects otherwise useful and vibrant photographic communities.
So with that preface, I thought I would offer my reasoning behind returning to film for much of my own image-making. And for my part, I hope I do nothing to disrespect the tremendous work others produce with digital equipment.
A few months ago I returned from a trip to Arizona, and found myself profoundly dissatisfied with most of the images that I’d produced. This dissatisfaction was not with the technical quality of my equipment: my Canon 5D Mark III and “L” lenses leave precious little to be desired in terms of ability to produce excellent images. My dissatisfaction occurred because my work felt dull and lifeless, and I felt that any real perspective I might have developed was absent from the frames. In comparison, I much preferred images I’d made a few years before using a technically “inferior” Leica rangefinder and black & white film. And make no mistake: 35mm film lags behind digital in resolution, flexibility, low light performance, and every other category save a few esoteric and subjective qualities that the average person would be unable to notice. Further, a compelling argument could be made that it is rather easy to simulate the look of film using the remarkable plasticity of digital images.
What film offers me is a different process. I shoot differently when I’m working with a film camera. First, there are a vast and diverse array of film cameras available, each with its own benefits and drawbacks. Until recently, only DSLRs offered outstanding image quality and photographic options in the digital arena, while the world of film offered multiple formats from portable cameras making smaller negatives to giant sheet film cameras that are still unrivaled by anything in the digital world. The world of film is a world of waist-level viewfinders, rangefinders, and view cameras in addition to straightforward pentaprism SLRs. These cameras are often relics of a time when things were made of leather and metal, rather than plastic and vinyl: they possess a tactile presence and visceral feedback with solid “chunks” of mechanical parts rather than recorded shutter sounds with adjustable volume. Of course, most of this has nothing to do with the actual image recorded, but it changes how I feel when I take a picture. In the end, it is ME and not the equipment that is the limiting factor in the quality of my work, and thus equipment that I enjoy and makes me feel good is going to go much further in producing better images than the nth degree of technical quality.
Film cameras force me to commit to an image. The discipline of shooting film is knowing that I pay a price for every frame, and have only so many frames on a roll. Perhaps some people have the iron discipline to shoot digital with the same focus and discernment as a film camera, but I know that is not me. I shoot digital cameras the same way I play poker when no real money is on the table. And when I shoot digital I find myself unable to resist the siren call of that LCD on back of the camera: the modern photographer’s security blanket. I shoot a digital camera with one eye always looking backward at what I’ve just done, worrying at it and wondering if I can perfect it by shifting just a tiny bit. With a film camera, what is done is done and I find myself propelled to the next frame, undistracted by my desperation to know if I “got it.”
When I consider my film images, I am struck by the physicality of film. The negative that I exposed was physically present at the time of capture, and my film images are produced with the end-goal of prints. A silver gelatin print is an artifact and a piece of craftsmanship. It is hand-made in a manner that digital prints struggle to replicate. A darkroom print may be manipulated or retouched, but only with great effort and skill… a darkroom print carries with it the promise that no short-cuts were taken. A darkroom print feels “authentic” to me, and this matters to me for the same reasons that I prefer mechanical watches and antiques with real history behind them. Perhaps I delude myself when I imagine that I can “feel” authenticity, but the illusion is convincing enough to enhance my enjoyment of the thing.
And finally, perhaps there is a romance in the Hemmingway-esque fight to keep a tradition and a craft and a medium alive. While I hope and believe that film will always keep a small niche in the broader world of image-making, those of us who love film know we have given our heart to something that will never be as it once was, fragile, ephemeral, and fading. Perhaps we hope that the star-crossed quality of our relationship with our medium will infuse our images with romance. There are worse qualities for an artist than being a hopeless romantic.