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so. i just learned that my entirely me-written resume flags as being AI-written by automated HR systems for a few writing quirks and the fact that i followed all the rules of good resume writing, which is apparently a telltale sign of AI use in this fucking hellworld. i've been desperately applying to jobs that i am massively overqualified for for months with no response, not even an interview, and now i find out that at least part of the reason is because some fucking moron decided that following the rules every career advisor has given me for a decade means i cheated and should be disqualified. the ai bubble cannot pop soon enough. what the actual fuck.
"frequent use of action-result sentences. bullet points all start with action verbs. no career gaps." girl what the fuck are you talking about. that's just resume writing advice being followed. i just did what i was told. it's a fucking resume. you're supposed to do all that stuff. what the fuck do you mean it looks ai generated and wouldn't pass basic detection systems?????????? for following the resume writing rules????????????
Asagiri Kafka x Harukawa Sango Interview in Guidebook Tenkaroku
English translation under cut, this is translated from official Chinese translation, i'll put it undercut too. You can probably find japanese raw online but i'm not sure, also you can find part of the interview in newtype magazine 2017 feb
How do you feel now the anime broadcast has ended?
Asagiri: This anime adaptation is something I'm incredibly grateful for and feel immensely happy about. As a writer, there's nothing more fulfilling than this. We've always strived for perfection, but the production team has created an animation on a completely different level—something we couldn't have done on our own. It's not about throwing money to get a spectacular result, but about focusing intently on a clear direction and creating a finished product. That's a kind of luxury, isn't it? At this point, the work is completely out of my control, I should say I don't remember creating anything this amazing! (laughs) That's how I feel right now. While saying something like this might sound cliché, I'm truly filled with gratitude for the production team.
Harukawa: Every episode of the animation is perfect and exciting, and the story is still very powerful at the end... Not only is the technical level impeccable, I also feel the powerful spirit that transcends technology. To be able to complete such a high-level work, it must have been extremely busy every day during the production period. However, I guess it was a great work site, and many people would gather to help when help was needed.
Asagiri: That's right. Whether visiting BONES's studio or recording studio, the scene is always filled with a pleasant atmosphere. Before starting the animation production, Director Igarashi (Takuya) and others told me that in order to overcome all difficulties and complete the TV animation series, it is very important to have a happy working atmosphere on set. Especially when watching the few episodes before the final, you can gain a clearer understanding of their thoughts. In fact, this is indeed the case. Through the visual, I can really feel that the working mood on the scene is getting higher and higher. Atsushi's face is so handsome no matter which angle you look at it, it almost makes me faint! Dazai is also so cool. The enthusiasm was conveyed through the TV screen, which moved me very much.
After actually watching the plot structure limited to anime adaption, what do you think?
Harukawa: Once there is a gap in the broadcast time between the first and second seasons, there will definitely be viewers who forget the plot of the first season and no longer care about the follow-up. However, the second season starts with "Dark Era" arc, so some viewers will find it novel and start paying attention to it, and then they might be obsessed with it.
Asagiri: This is Mr. Enokido's specialty.
Harukawa: There are also many viewers who started the anime from second season. At the beginning, Mr. Enokido said: "I have never tried this kind of thing before. If I don't do it and see, I won't know whether it is right or wrong." The result proved that his choice was completely correct.
Asagiri: I think the best way to wrap up the first season is with Mori Ogai's appearance, and when watching "Guild" arc that follows "Dark Era" arc, Dazai's lines often remind me of the story fragments from "Dark Era" arc, and I can't help but get choked up when I see the scene where Ango appears again. Facing Ango, Dazai showed a cold expression that he had never shown in front of others, but Ango calmly told him to "run away immediately". All kinds of interactions between the two... I couldn't help but think that this is really a magical scene, and it made people think of the ending of "Dark Era".
"Azure Messenger" and "Dark Era" arcs are both adapted from stories that are not depicted in the manga. From this point of view, they are quite exciting.
Harukawa: Because none of them were drawn by me, I feel very relaxed. I am able to enjoy this work purely from the perspective of an audience and a fan. As for artwork, without the restrictions from manga, they should be able to express themselves more freely. If I were to draw it, I wouldn't be able to draw it in this style! Not to mention that simply having the privilege of seeing the storyboards taught me a great deal. In "Azure Messenger" arc, I like the series of scenes in episode 7 where Dazai and Kunikida pass each other in the air the most. Although this matter has been mentioned repeatedly in many places, I still want to say that I really like the scene where Dazai and Kunikida exchange battles, and I have watched it countless times. From the visuals, you can feel the enthusiasm of the animators who put in all their efforts, and the music and overall arrangement are also impeccable.
Asagiri: Speaking of "Dark Era" arc, the scene in the bar "Lupin" is indispensable. Slightly different from the novel, there is a cat called 'teacher', and there is a scene where a toast is made after saying "To the stray dog". Those differences are where the production team is asserting their ideas, and it feels like an expression of "this is what I'm insisting to do," and I think that spirit is great. Not to mention the beautiful voices of those three... In the bar at night, the mafia members chatted while drinking. I felt that the atmosphere was indispensable when animating that scene. The production team used sophisticated techniques to create the atmosphere of the place using music, color, speech intervals and the voices of the characters. The helplessness and poignancy of that night's conversation are difficult to convey through novels or manga, yet it is fully communicated through the medium of animation. When I watched it for the first time, I was quite shocked.
Harukawa: Ah, speaking of the bar "Lupin", in episode 23, the matchbox in Dazai's hand belongs to Lupin, and I admire that detail. I thought to myself, it would be great if I drew it in the manga! Why didn’t I!
Asagiri: Uh... I don't think I said it was based on Lupin then.
Harukawa: Yes, that's it. It’s really happy to be able to collaborate openly and formally in animation.
How do you two see the activity and growth of the protagonist Atsushi Nakajima?
Harukawa: After watching the animation, I felt again that this is how Atsushi keep growing. The production team really pays attention to this aspect, especially after watching the second season and looking back at the scene of the battle with Kyouka in the train in the first season, Atsushi asked 'if I save these passengers, am I worthy of living?" The scene moved me deeply. Compared to when I drew the manga myself, I discovered many details only after watching the animation.
Asagiri: I originally thought it would be difficult for animation to express Atsushi's inner hesitation. After all, his issues were not the sort that would deeply resonate with many people—the sort that would cause them to share in his emotional ups and downs. Unexpectedly, the animation used movie narration techniques to interweave the issues with the orphanage scene, and delicately described Atsushi's heart. Speaking of which, the light performance in the orphanage scene is obviously different from other scenes. The light that shines in creates a unique atmosphere. Even if the scene of the orphanage is suddenly inserted for a moment, the audience will immediately understand that this is Atsushi's inner world. The sound effects also play a great role and make people's eyes light up. The production team worked hard to implement one expression after another, so that while describing so many different characters, the overall story still seems to have Atsushi as the protagonist.
Harukawa: Mr. Uemura (Yuto)'s voice acting is also great. I visited the recording scene of the first and last episodes, and I feet that Atsushi's growth is closely connected with Mr. Uemura's own growth. Even Atsushi's scream has gone through the growth of an entire animation before becoming the Atsushi it is today. Through the animation, I can sense Mr. Uemura’s talent, as well as the immense energy Director Igarashi and Sound Director Wakabayashi (Kazuhiro) pour into wholeheartedly guiding him and communicating with him at every step.
What are your thoughts on the way Dazai is portrayed in the anime?
Asagiri: I imagine that describing Dazai would be quite tricky, but the results the production team delivered are breathtaking. Dazai not only has a dual personality, it would not be wrong to say that he has a triple or quadruple personality, but his most fundamental personality is elusive. As the story unfolds, several keywords will emerge, but his essence will never be revealed. I don't plan to reveal it myself in the future... although that is what I think, when asked about the image of Dazai in everyone's mind, they all inexplicably say that it is a vague and unclear impression. Everyone has indeed grasped his image details that can't be accurately explained in words... As the author, this is really the highest happiness. Mr. Miyano (Mamoru)'s acting skills also perfectly demonstrated Dazai's versatility, and every line, including improvisation, was performed superbly. Every time I listen to his acting skills, I always nod my head vigorously and exclaim "That's right!" or "That's it!" (laughs).
Harukawa: The opening line of "Dark Era" arc describes Dazai: "When the dark night is more blue and black than now." Seeing this reminded me that I suggested a representative color for each character before the anime production began. After checking, I discovered that Dazai's designated color was midnight blue, and I couldn't help but feel a surge of joy. Normally, I rarely use midnight blue for Dazai when drawing colored sketches, but when I think of a color that fits his image, midnight blue naturally comes to mind. I'm sure everyone feels the same way.
After being animated, do you think the original work received feedback?
Asagiri: Very, very much. The most representative one is the scene of the white whale falling into the sea of Yokohama. In fact, that is from animation... It should be said that it was born from a sentence of Mr. Enokido. This happened during the period when the content of the animation script was still being discussed, and the original work had not yet reached the end of "Guild" arc's final. One time when everyone went to Yokohama to scout, we were looking at the sea late at night, Mr. Enokido suddenly murmured, "This is where the white whale is going to fall." At that time, I didn’t even mention this story to the production team. I had imagined other crash sites, like deep in the mountains, and Mr. Enokido's words were like a prophecy. It was like a wake-up call!(laughs) It was also at that time that I learned that Osanbashi Yokohama International Passenger Terminal was called the "Whale’s Back." There was no other explanation for all this except destiny, so I decided to let the White Whale fall into the sea.
Harukawa: There are also some examples where the manga borrows elements that appear in the anime. The scene where Atsushi and Akutagawa met in chapter 38 of the tenth volume of the manga, at that time, I thought, "Let's use the location of that scene in the anime!" So I drew the shipyard ruins that appeared in the story of Ranpo in the episode 5 of the anime.
There must be many fans looking forward to the future development of the manga.
Asagiri: Since the animation captures the advantages of the original work and draws it, I think there will be no incongruous feeling when reading the manga next. If readers are curious about the future growth of Atsushi and Kyouka and other characters’ stories, please be sure to take a look at the next development of the story.
Harukawa: However, the audience who have been exposed to this work since the animation has long been accustomed to the exquisite painting style. To be honest, I really can’t imagine how these audiences felt when they saw the first chapter of the manga... because it was my first manga volume and there were many shortcomings. However, by around volume 10 or 11, it should be enough to be recognized as a manga, so maybe readers who start reading from those volumes won’t feel any sense of disconnect? I nervously reassured myself... Anyway, I think the thing about manga, it also includes supporting the growth of manga artists (laughs), and I hope everyone will continue their support in the future.
Harukawa: There are also some examples where the manga borrows elements that appear in the anime. The scene where Atsushi and Akutagawa met in chapter 38 of the tenth volume of the manga, at that time, I thought, "Let's use the location of that scene in the anime!" So I drew the shipyard ruins that appeared in the story of Ranpo in the episode 5 of the anime.
Lowkey funny to me that Harukawa went mmmhhh I need Atsushi and Akutagawa to meet somewhere... Let's pick the place where they can parallel the famously lover characters who ended up killing each other
(Polished automatic translation, so if you notice any mistake, please feel free to bring it to my attention. Transcript under the cut.)
Interview with the original authors after the conclusion of Part 1:
The characters in Bunsuto possess supernatural abilities derived from the works of real-life literary figures. Dazai Osamu's No Longer Human nullifies the supernatural abilities of anyone he touches, Akutagawa Ryuunosuke's Rashomon transforms his coat into a black beast to attack, and Nakahara Chuuya's Upon the Tainted Sorrow manipulates the gravity of anything he touches. Nakajima Atsushi's Beast Beneath the Moonlight, which allows him to transform into a white tiger, is taken from The Moon Over the Mountain.
Asagiri-san says, "Originally, we wanted to use cool, charismatic literary figures as an entry point to pique people's interest. On top of that, we wanted to position it within the mainstream of manga, specifically in the context of superpower battle stories."
Harukawa-san says, "I thought it was a genuinely interesting idea."
The "literary giants" who appear include Mori Ogai, Edogawa Ranpo, Sakaguchi Ango, Dostoevsky, Fitzgerald, and others... While it features an impressive lineup of authors, it also shines a light on writers who are generally less familiar to the public. This is because Asagiri intended it to be "an opportunity to showcase the appeal of these kinds of writers, showing that there are also people like them." Authors like Tetcho Suehiro, Teruko Okura, and Saigiku Jouno likely became famous all at once thanks to Bunsuto.
While some aspects of the characters are based on the image of real-life literary figures, there are also many differences. Fans who learn about literary figures through Bungo Stray Dogs will likely be surprised to learn about Izumi Kyouka. He is a male author known for works such as The Saint of Mt. Koya and Onna Keizu, but in the story, he is a beautiful girl who acts as the heroine (!). Furthermore, Kyouka's mentor, Ozaki Kouyou, is also portrayed as a woman.
It is well known that the real Dazai greatly admired Akutagawa, but in the story, their relationship is the complete opposite, with Akutagawa being the one intensely devoted to Dazai. In Bunsuto, Dazai and Nakahara, bound by a complex mix of love and hate, have become one of the most popular duos, and this is a successful example of boldly expanding on the anecdotes about the two writers' actual strained relationship.
Asagiri-san says, "It's difficult to decide how much to rely on historical facts. When fictionalizing it, we've taken plenty of precautions." Harukawa-san says, "These are characters, not the literary giants themselves. In the beginning, I avoided making them resemble photographs of the real people, but I did incorporate some famous anecdotes into their characteristics."
Many of the characters' names are derived from famous authors, such as Gin (from "Ogin") for Akutagawa's sister and Naomi (from "Naomi") for Tanizaki Jun'ichiro's sister, and it's fun to investigate these connections.
"As an element related to the image, it enhances the character's appeal," (Asagiri-san)
On the other hand, Sigma, who plays a key role towards the end of Part 1, is unique, as the "original source" of the literary figure is unknown. While some fans are diligently speculating, Asagiri-san confesses that he "deliberately created a unique character from scratch"! However, he also adds that "the fact that we still don't know much about him is part of his charm."
Asagiri-san says that the reason he chose Atsushi Nakajima as the protagonist is "because The Moon Over the Mountain has been included in textbooks for many years." "It's a work that young readers often encounter first, and it has an extremely high capacity to introduce them to literature. Among the eccentric characters of literary giants, I thought he was the perfect vessel to serve as a stand-in for the reader."
In the story, Nakajima, due to his extraordinary abilities, is mistreated and eventually expelled from an orphanage, and continues to search for the meaning of "it's okay for people to live." The creator decided from the initial planning stages of the project that they "wouldn't avoid" literary themes such as "living" and "being human." The idea that "asking questions and getting lost in the process is literature in itself" is reflected in the title, Stray Dogs.
Analyzing the reason for its popularity, Asagiri-san says "I think it's the story, the characters, and the power of Harukawa's artwork." "Now that all the fans who are creating the 'atmosphere' of Bungo Stray Dogs are also contributing to it, I hope we can continue to create it together in the future," he says. Harukawa-san says she "doesn't really feel (the popularity)," but she's encouraged by the fans' enthusiasm, saying "I get a lot of inspiration at events."
It's amazing how Harukawa-san's interpretation of Asagiri-san's original work is almost identical to Asagiri-san's. The mini comic strips on the back of the paperback covers are entirely Harukawa-san's idea. Asagiri-san places complete trust in them, saying, "I supervise it to some extent, but I approve almost everything. They're the one who understands it best," expressing their complete trust in them.
Regarding their pen names, it's often speculated that Asagiri-san's name comes from Franz Kafka and Harukawa-san's from Naoki Sanjugo, but both claim there's "no connection." It's a strange coincidence that these two are both working on works that deal with literary giants.
Part 1 concludes with Nakajima flying to London, England. It might seem as if he's traveled through time and space to the past, but... Asagiri-san clearly states, "The times haven't changed!"
I can't wait to see which literary giant will appear next. I can't wait for Part 2 to begin.
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You can still join the Yuri Shipping Olympics if you want to! @yuriolympics has a link to their discord here, and you can just pop in directly, join the team you want and start creating!
I'm in Team DCMK and we are still a relatively small but enthusiastic yet chill bunch :} You can come join us if you like DCMK! Don't worry about not being too active!
What do you do?
Honestly, just create a lot of yuri.
It can be fic, art, or other things - i've seen a friendship bracelet be submitted
You get points for your team for creations you submit and more, but it's a very chill competition (at least that's how I've felt it so far). Even if it's chill, you get to create and contribute to a team's result, so there is a nice little boost of team spirit joy there!
Some little perks (from my perspective):
In some rounds called "minirounds", you create pieces based on prompts, and are allowed to create for fandoms outside of your team while still getting points for it! I get stuck in a rut easily, and it has been immensely fun to be able to create for Ace Attorney, RGU, my niche lil books... while knowing that it still contributes to my team <3 If you are like me and have niche little fandoms you want to create for, but need prompting, why not join and create in minirounds?
From what I see, not everyone is submitting full-lineart / colored pieces or longfic. I've seen quite a lot of sketches. I see people using this just to break out of artblock too. If that's you, well, this could be a nice way to get yourself into or back into creating in a low-pressure way.
there's quite a vast array of yuri, so you could potentially discover some new yuri along the way
transfem headcanons are allowed so while it's not actively encouraged, you can yuri beam your ship if that's what you really want to create for. dcmk is lucky to count a huge array of super interesting yuri ships already, but we've also had really cool, beautiful genderbend pieces created
It goes without saying but like everywhere, if you don't like it half-way through you can always hit the bricks. Just leave the server, it's okay! You can play around for a bit if you want and leave when you want out.
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Lyra, my beloved cat of 13 years, passed away this year on Father's Day. She's been by my side through very difficult times and was my little rock of steady and unrelenting love. I struggled a lot drawing this, and struggled a lot posting it, but I know I would've wanted to read a comic like this that validated my grief for her when I lost her.
Wherever you are, Lyra my little summer star, I love you always! Thank you for being the best thing in my life.
So I just simultaneously did, and possibly didn't lose my job today :)
Very much did in the sense that I literally do not know where my job is at the moment. But, for the time being I haven't been let go because nobody else including the store owner knows where it is either.
So, I don't wanna risk doxxing myself by posting pictures but goddamn am I tempted because this is not a believable event. This is a cartoon problem. For looneytoons.
But yeah, so, I work(ed?) at a kiosk selling boba tea, right? Freestanding kiosk in the mall with full water and electrical hookups and multiple fridges and sinks and a mini kitchen and the works. Fully functional tea shop. Very important to note that it was there last night, The work chat was discussing another issue last night at closing time. I'll get back to this.
It's been showing signs of being on the way out with how business is being handled lately and I've been considering other options, which is probably why I'm not as torn up about this as I should be, but maybe it just hasn't set in yet, but that's not the point. The point is there's been a lot of shit breaking and not being replaced and nobody mentioning anything about it until I walk into work in the morning and have to figure out why shit like the fucking cash register isn't there today. So I'm kinda used to having to ask questions about big things that nobody bothered to update me on. I was out for two weeks recovering from a surgery, so I came to work this morning assuming there'd be some kind of bullshit, yeah?
So, the question I had to ask the chat this morning was:
Not a text I ever thought I'd have to send in sincerity, but there it is. Because what I found instead was a fenced off patch of discolored tiles and a few holes in the floor where my entire place of employment used to be.
And the answer? Nobody knows! It was there last night when the mall closed, and every single trace of the structure and all its contents including drink making supplies and our safe and cashbox was gone when it opened again. And when I say nobody knows, I mean everyone from last night's closers to the actual (former?) owner of the store jad no fucking clue about this until getting that text from me this morning. For once I am actually the first to know. 🎉.
So. I guess I didn't so much lose my job as had it stolen. Not by AI, but good old fashioned hands-on human beings picking it up and carrying it away somehow. All mall security would tell me was that they were instructed not to tell me anything and have us contact our management. Who also don't know anything. And later on I came across some construction workers around the gravesite of the kiosk discussing filling in the holes, asked them about it, and was told that they "weren't at liberty to say".
So, not only is my job gone in the most literal physical sense of the word, but it was taken in some kind of super secret kiosk extraction in the dead of night without any warning or witnesses and nobody is allowed to speak of it. The store owner said she was gonna figure it out 10 hours ago and still no word back.
I don't know what else to say aside from I've been laughing all day and I'm gonna have a hell of a time explaining Schrodinger's Unemployment to the benefits office.
Update that is not an update because I'm basically certain this isn't what actually happened:
My mother in law thinks the FBI took it.
Not any of the other stores around the state. Just the one little kiosk.
Why? Because she loves a conspiracy and is just a little bit extra.
Also because she was around for the massive crackdown on Yakuza-owned businesses in Waikiki (in her homestate) that did actually involve the FBI seizing stores (no confirmation of making kiosks cleanly disappear in the middle of the night though).
Still no word from my job on what's actually going on, but the most likely theory so far is that maybe the kiosk was on lease and got repossessed? The mystery continues
(also shout out to the person who proposed Carmen Sandiego)
According to the owner, based on what she's been able to find out, the kiosk was not removed legally and they're starting a potentially long process of legal action. I hope she gets to sue the shit out of whoever did it but for now at least I know for sure I'm unemployed.
Really hoping for more details in terms of who/why/how, so I'll keep updating if I learn anything.
For now the summary is: An unnamed entity that is most likely mall management (on account of mall security cooperating with them) stole an entire kiosk and all the contents including money and machinery with barely a trace in the middle of the night grinch-style, with zero warning or explanation, and ensured the silence of both security and the construction crew, in an action that was definitely preplanned and illegal, and as far as I know nobody knows its whereabouts.
So now I'm officially out of a job. Because my workplace was literally stolen in the night.
Actually fuck it let's share some photos cause I wouldn't be inclined to believe this myself. It's not like anyone can stalk me at my job now and I'm not gonna have to see any coworkers that might find my tumblr.
Enjoy the unintentionally funniest text I've ever sent in my life
Aaand a close-up:
The last remains of a once Very Much Solid And Immobile Workplace
ppl on ao3 should use the "this work was inspired by" option more. so many fics out there that put links to other fics in the a/n but theres a better option.....
important addition i forgot that not everyone might know. similar to how ao3 bookmarks work, you can also link to non-ao3 fanworks using this format. so, for instance, if theres some fanart on tumblr that inspired you to write the fic? you can link that fanart to your fic!
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Free to watch • No registration required • HD streaming
Below, you will find a complete list of the HPFF Writers' Guild resources, from workshops to external resources, sorted in a table of contents.
Workshops
All workshops are available on The Guild's AO3. They were written and hosted by @venom0usbarbie, @lunapwrites, @allalrightagain, @girl-with-goats, @inmyownlittlecorner5, @bluestringpudding and @voldylockswrites.
They're sorted into two categories: writing workshops and poetry jams.
Writing Workshops
A collection with all the workshops can be found here.
Who's Speaking? A Workshop on Characterisation
Tools of the Trade - A Literary Device Workshop
Alternate Universes: the Workshop
From Fic to Best-Seller: a Marketing Workshop
The Subtle Science of Prep
Grammar Crash Course
Workbuilding Workshop
Smut Workshop
Riddles of the Human Mind
Shades of Grey: Dark & Grey Character Creation
Whose Point of View is it Anyway? A POV Workshop
In Tune with Words: Exploring the Intersection Between Music and Writing
Show and Tell Workshop
An Introduction to Plot-Driven Smut: an NSFW Workshop
Flow May - A Punctuation Workshop
Play with Your Words - A Workshop on Descriptive Writing
The Writer's Guide to Baking an Original Character
January Poetry Jams
A collection with all the poetry jams can be found here.
Poetry Jam #1
Poetry Jam #2
Poetry Jam #3
Poetry Jam #4
Poetry Jam #5
Tagging Guide
Barbie's handy tagging guide is on the Guild's AO3 as well.
You can also peruse the HPFF Writers' Guild — Workshops and Guides and Other Resources tag on AO3 to track down all our AO3 resources.
Drabble Workshops
There are seven drabble workshops, all of which can be found on Tumblr.
The Seven Deadly Drabbles
The Restricted Section
Sing Me a Song
Drabble Limbo
The Dementor's Kiss
Build-A-Story
That's What She Said
External Resources
Masterposts
Directory
Spreadsheet
Individual post links
Harry Potter-focused Resources
Language and Grammar
Plotting, Outlining, and Worldbuilding
Character Building
Technical Tools & Guides and General Writing Resources
turnnoffyourmind
izzy806
origamiaround
dailybridgerton
germansingergirl
jbbartram-illu
