Remake our Life: We are going back to Kindergarten for this one!

 

'Remake our life!' has been a surprising delight and is definitely one of my favorite premieres that came out this season. It has an interesting premise similar to Re-life with the protagonist reliving loss time; It has set itself in a college setting focused around the arts, lending it more potential to discuss some of the broader themes of the creative industry; It has also been a hella long time since I last enjoyed a show centered around character dorm-interactions (Which should itself be one of the greatest sub-genres of all SOLs). And lastly, its first episode is a whopping fifty minutes! Which might as well just be the writers announcing out to the public: "Hey look! We CARE about this show!"

Though like my analytical hero, Th8ta from Nearly on Red, once said: "There is a reason why the show writers find the need to have a double-length feature for their premiere."

Why go the extra mile, essentially. This season has another double length feature in 'The detective is already dead' and the reason for it is for us to fully immerse ourselves in the progressive bond of Siesta and Kimihiko -- From the MC's initial reluctance to his near infatuation of Siesta by the end of it. For 'Remake our life' however, its double length is justified by its deep dive into our main protagonist -- From his ambition and complications, to his follies and resoluteness.

But before we jump in and start dissecting our dear Kyouya into lamb chops, I want to base this entire essay around something I adore the writers for showing on their first episode. And that is this --

Progress, fate, treasure, resolution, resonance, climax, conclusion, themes, complications and foil.

Awwww yea -- You thought I would've gotten sick with all my speal on themes and resolutions in 86? Fat chance. I can write a hundred more essays about the techniques of screenplay; Anime giveth and I taketh. In this show's case, it has literally plastered its writing mythos into its own scene, a level of meta that I just can't ignore. So for this essay, let us dissect how 'Remake our life' has managed to apply its own "ten points of screenplay" into its own story!

Disclaimer: The ten points of screenplay that the show has provided may sound quite familiar to all of us. In fact, if we ever participated in any sort of discussions on storytelling, we might hear these words pop up quite often. However, I still think that these terms need appropriate definitions before we begin. After all, things like 'progress' is but the vaguest of terms that can be used to describe anything. Thus while the show only gave me concrete meanings of 'complications' and 'foil', I will go ahead to make my own interpretations of the other eight points. These interpretations borrow from my own subjective understanding of literary devices and also my knowledge in chinese characters as my mother tongue (which may differ when translated to kanji), so ultimately, do feel free to correct me if I am wrong. 

The structure of my essay will thus be as such: I will move through the story and bring up the relevant points of screenplay which applies. I will then proceed to define the points of screenplay in both its respective english and chinese meanings before I start dissecting the scene. And with that boring-ass disclaimer out of the way, let us get this show on the road!

The ten (or eleven) points of screenplay

One interesting point to note on the 10 points of screenplay is that it is fairly messy. Many of the points there can be further sub-categorized into their own groups to make it less daunting to understand. One such example is that the 10 points seem to hit on the basic structure of the story.

I am sure everyone has already gotten bored of looking at this diagram, but for today, we are going back to kindergarten to relearn our fundamentals! The 10 points brought up climax and resolution. For simplicity's sake, this plot diagram can be somewhat skewed to dismiss rising action and falling action, leaving us with just the climax and the resolution. However one point I am surprised that the 10 points didn't bring up is that with every climax and resolution, an introduction is needed, hereby completing the basic three-act structure. 

While the entire first episode can be treated as an introduction to the anime, good first episodes will have its own three-act structure within itself. If I can give a name to this type of scripting, I will probably call it a micro-cosmic conflict; Basically, a skeletal conflict first established for the rest of the story to slowly built upon. 'The death duke and his maid' has a micro-cosmic conflict for its first episode as well. The duke is someone who kills everything he touches. The first conflict introduced is thus on how most people fear and hate him. The inciting incident can be when his past-friend visits him and the climax will be when his friend verbally calls him a "monster". The resolution is then shown to us in the scene whereby the maid promises him that she will never leave him despite of everything, allowing the duke to renew his faith in himself. Why I call this conflict micro-cosmic in nature is because the story beats of people hating him and then his lover renewing his faith will probably be the skeleton for most of the other conflicts going forward; While it may morph and reinvent, most of it afterwards will always echo some form of fear for the duke and love from his maid. Music does this in spades as well, especially orchestra music; The main melody is introduced with a singular instrument which even when "beefed up" with the strings and the brass, will still ultimately echo that same melody introduced at the start. The "symphony" for 'Remake our life' is extremely similar in this aspect, presenting a presumably micro-cosmic conflict in its fifty minutes run-time. Let us then, begin from the beginning -- The introduction.

One thing I am very impressed about this pilot episode thus far is that it allowed us to spend close to an entire episode of runtime on pure exposition. Indeed, the very first fifteen minutes of episode is actually spent with Kyouya monologuing his past failures with his scraggy beard. In this span of time, none of the 'plot' or 'the main cast of characters' actually get introduced. All we do is learn about who Kyouya is, who he was, who he wishes to become and who he fails to become. This may be weird for any first episode to spend so much time on essentially character exposition. One outstanding comparison I can make is to our newest isekai this season, 'How the realist hero rebuilt a kingdom'. The first minute of the show clued us in to the possible creed of our main protagonist with him internalizing some wisdom from his late grandfather; A good piece of characterization on the show runners part. However the follow up of that is instantly throwing our protagonist into a room filled with boneheaded old men and instantly crowning our main protagonist a king. The show clearly wants us to focus on the 'kingdom simulation', but for something as grand and convoluted as running a kingdom, I can't help but at least wish for a few passing remarks of "damn this shit is pretty nuts huh?" from our dear protagonist just for him to seem more like an actual 18 year old. At the very least my 21 year old ass won't end up feeling like an amoeba every time I watch the show. For those first fifteen minutes of 'Remake our life' however, I understand Kyouya's strengths, his flaws and his internal struggles more so than any other characters in this season. And best of all, I learn the next point of screenplay we will be touching on -- His treasure, or bao wu (宝物). 

A character's bao wu is quite simply defined as just something precious that a character seek. We see that he treasures anime, games and manga and that he wants to be an active creator of it. He dreams big, wanting to work with the Platinum Generation. A dream so big perhaps that what was left in his footsteps afterwards is regret that he didn't once chose to pursue it in an arts college. To me, what separates a reactive and proactive protagonist is two things: A goal and a resolve. As much as we like to diss character monologues for lacking subtlety and the 'show don't tell' aspect, the fact of the matter is that it ultimately gets the job done; I feel like I understand who Kyouya is, what his goal is and more importantly how much his goal means to himself. Compared to the protagonist in 'realist hero' who just seems to be being the king cause he was forced to, our Kyouya threw himself into the flames because he was endlessly passionate. That to me, is the definition of a proactive protagonist.

After our introduction has done well in getting us to know our MC, the next point of screenplay that is brought up is fate or based on the kanji roughly translates to su ming (宿命) in chinese. This can be defined as your life being something uncontrollable with everything from your wealth, relationships and death being determined the moment your life begin. On the literary device sector, I feel a huge incline to call it 'deus ex machina' or 'hand of god'. It basically means when a seemingly unsolvable problem is resolved with a highly improbable scenario. Kyouya's whole travel back in time gimmick is the 'fate' part, the 'deus ex machina' of the story. After all, who can actually travel back in time to regain their loss youth? However, while we often find such writing to be cheap on the author's part; One of the main reasons why we forgive this show for doing so is because instead of being used to abruptly cut the conflict, it is used to push the pacing. To put simply, the time travel gimmick is but a springboard for the real show to begin. How the show will justify its 'deus ex machina' afterwards will be to create unique challenges for Kyouya even after fate has bestowed upon him his unfair advantage -- We need to see Kyouya earn his rights to fate.

A lot of our discussions till now has hinged a lot on the fact that we need a reason to support to our protagonist. In lament terms, we probably have asked ourselves this question with many anime: "Why should I care?" Why should I, after all, care about the protagonist of 'Realist hero' when he just seems like a walking plot device? Why should I care about the protagonist of 'Remake our life' when he has been given the easy way out of life? This may stray a little from my usual analytical lens, but I think one key component we seek in our story-telling mediums is the idea of relatability. We want our characters to resemble us, to justify and to put into 'words' our own experiences and emotions. Resonance, or gan dong (感动) will be our fourth point of screenplay. In chinese, 'gan dong' means to move someone's heart and to make them feel. For me personally, I can't find another reason to care more about a protagonist who continues to lack confidence even when his 28 year old mind has travelled into an 18 year old body. I, for once, still feel the very same insecurities I once felt even after graduating from secondary school five years before. Kyouya's insecurities thus resonated with me.

On a more unique look of resonance, one of my favorite anime techniques is when anime use their opening songs and ending songs to push a mood. This episode uses this very technique to create hype for what is to come. After Kyouya gets rudely awakened in his 18 year old body, we jump-cut straight into an opening sequence whereby we see young Kyouya rocking it out in his new dorm with our cheerful new prospects. Upbeat music plays as we see our new cast seemingly chasing their dreams and enjoying their college life. And though we don't even know their names at this point, we feel excited to meet them and we feel excited for Kyouya to meet them. It is resonance similar to the montage sequences that Makoto Shinkai uses in 'Your name' and 'Weathering with you'. Somehow, seeing J-pop played to montages of youthful faces just screams "FUN" to me and it just works. 

Now we finally jump into what seems like the main part of the story, post-time leap. Remember the plot diagram? We are now slowly hiking up the 'rising action', trying to reach the peak of the mountain. However before we start tackling the climax, we always need to understand what comes before; The build up. We start off cheery-eyed, with Kyouya looking at his newly admitted college with renewed hopes and dreams. However, like I said for us to truly resonate, we need Kyouya to earn his fate. The best way to do that is by introducing foils. Sadly, the anime didn't show us a japanese kanji for me to work off of, but it did give me a more than plentiful definition. 

A foil: Someone who becomes the protagonist's "enemy" in the story. It can be an individual or an organization. A simple way to put it would be "whoever steals the treasure". Something to help maintain tension till the climax of the story.

Thank you, Tsurayuki. Very cool. Aizen would be the foil to Ichigo; Sasuke would be the foil to Naruto; And the Yonkos would be a foil to Luffy. Battle shounen foils are usually quite black and white; Whoever ends up crossing swords at the end of the blade will be the foil. However foils as defined in literary terms can take on a more unique perspective.

In literature, foil is a method of contrasting two polar qualities between two characters. In doing so, this amplifies and draws more attention to the main character's own traits or beliefs. A good example that we seem to be getting this season is from 'The aquatrope on white sand'. 

Blue hair versus brown hair, checked; City girl versus country girl, checked; Depress girl versus genki girl, checked; Having failed in her career versus having embraced the free ocean, checked. It seems that from the first episode, we are meant to see these two girls be foils of each other. While foils in simpler terms may imply an inevitable battle, I believe that the term "battle" can be much more symbolic and can even wage in a solely ideological space. For example, what if Misuri's free nature makes Fuuko insecure in the future? A "rival" of sort that inspires negative thoughts of doubt in yourself and pushes you to grow. That to me is an even more interesting foil than the usual black-and-white definition of it.

Who is the ideological foils to our Kyouya then? Interestingly enough, the first foil has already been introduced even in our first introduction in the form of the art industry. Remember foils doesn't have to be a person but just needs to be something that has opposing qualities to our main character. Well, in Kyouya's previous life, his creative dream and passion is horribly crushed by something not specified but without a doubt much more corporate and capitalistic. The industry thus served to be the entity that "stole Kyouya's treasure". Professor Kano even recognizes this and commentates on the freshmen's opening speech, with "8/135" being the harsh statistics that has become the foil that every single student has to brave. 

One thing I want to add at this point is that this kind foil which drives a wrench into a character's career, is extremely high-stakes. I think the best way to define stakes is this: Stakes are what happens when you imbue choices with consequences. To build stakes, you need to know why characters make the choices they do -- which is why having that fifteen minute monologue was so important -- And also make its failure significant, which we also see in that first flashback. From now on, this isn't some kind of university comedy like 'Grand blue' where you can party and get wasted every single episode without fear of failing your courses; Every decision that the characters now make in this show matters. On that front, 'Sakurasou' and 'Honey and Clover' has similar stakes as well, and those stakes of failing to graduate can also be extremely real to us. I mean compared to the stakes in most high school anime, college stakes are much more palpable for any of us who has or are currently going through this stage of our life (aka me), which may just very well resonate a lot. Hmm, resonance huh? Is it me or am I starting to see how every single point of screenplay link and bolster each other?

This show doesn't stop here though. Foils that are the "industry" or "society" for example is scary but they can't directly communicate with our protagonist. They may give weight to the decisions made but the protagonist's struggles will always be constricted by mere expositions, that are in itself much less palpable than something we can 'see' and 'hear'. The writers of 'Sakurasou' and 'Honey and clover' knew this and thus they choose to personify these stakes in human foils like Mashiro and Hagumi who represents the "geniuses" that causes doubt for their respective protagonists. 'Remake our life' seem to have these geniuses as well. In fact, we have three; Eiko, Tsurayuki and Aki. In that same scene of the lessons of screenplay, Eiko and Tsurayuki each took turns perfectly answering the professor's question as opposed to Kyouya who seemed to have no idea what was going on. In fact, it was this scene where we start to see Kyouya's insecurities start to seep in; This leads us to our next point of screenplay -- Complications.

Complications: Refers to unpredictable turns in the story, which tend to lead to the protagonist or the hero failing. After all, no matter how amazing an individual is, they are less interesting without some kind of flaw. Having those faults come to the fore during the story, and overcoming them, creates interesting drama.

Thank you, Eiko. Very cool. Complications, if translated into chinese, means 'luan diao' (乱调), or chaos. In literature, complications can mean the catalytic events or elements that kickstarts the conflicts or drama as well. Chaos is also a strong word, but if we apply it internally and analyze the thoughts of Kyouya, chaos or internal conflicts is what plagues him. When describing Eiko, Kyouya would always speak of her as if she is inherently better than himself, someone "on another level". Deep in his mind, he still admires her for being the chief in his previous life, even if in this timeline, he probably has much more of an industry-perspective than her to begin with. This unwarranted admiration may even stir more insidious feelings when they have been removed from their original hierarchical relationship to a relationship of "peers" and "competing students". This feeling was implied when Kyouya expresses relief, saying that if all his dorm mates were like Eiko, then he "might've been afraid to attend class".

Keep in mind that these feelings of insecurity and fear arose when they barely interacted. How would Kyouya fair when he is placed right beside her and can compare directly against her? I suppose that is something for me to be extremely excited about in future episodes!

Tsurayuki had a big impact on him as well. At the beginning, he may have thought of him as someone who didn't take things seriously and simply sleeps through class. Having been proven otherwise however, insecurities and unfair comparisons once again seeped into his mind. He states that his "ten years of advantage doesn't amount to much" and that his "fundamental knowledge is still lacking". And to that end he quite literally undermines his own strengths, saying: "A handful of sub-par experiences isn't enough to equal knowledge or talent."

Sorry, Imma rant a little, but excuse me what? Is having good IT skills and organization skills to catalogue all your goods and files under comprehensive systems sub-par? Is having good enough people skills to be able to work well with your co-workers, and not just that but be relied upon by all of them sub-par? And not just that, is having such traits like passion, initiative and work responsibility, traits that every single company in the world seeks to hire sub-par? Well I'll be damn, Kyouya. In our world, we don't call those people sub-par; We call them 'producers' and 'directors'.

Kyouya clearly has a bad form of tunnel-vision from his own insecurities right now. But I mean, who can blame him? After all, he has already failed once and to that end, even thought of those ten years of his career as a total failure. That is a big chunk of his life that he probably has brooded and hated himself for a significant amount of time. It is no wonder why he looks down upon himself. And thus, this is where we finally finished all our build up; We understand the 'treasure' Kyouya seeks to obtain, we understand the 'stakes' to that venture as well; In fact, we have even seen him fail once, and till this point with all his 'complications' and 'foils' standing in his way, we may even be setting ourselves up to see him fail again. We now have finished our hike up our 'rising action' and have reached the peak of our mountain -- The 'climax'.

'San chang' (山场), or quite literally mountain field, is how the show describes its own climax. We have reached the peak of the tension and seemingly the peak of the conflict and drama. In literature, there is many names for it but one that I like to refer to it by is "the decisive moment" or the "turning point" of the story, and we seem to have that in the beautiful scene under the falling cherry blossoms.

Aki starts off by praising Kyouya's maturity as compared to others but Kyouya rejects that sentiment. He undermines himself, saying that he has "nothing" compared to the others who are more "special". In stories, when the characters directly confront their main problems and issues, us audience will always feel the most tension. In other stories after all, this will be akin to the final boss fight where everything about the hero, from his strengths, his flaws and ambitions, will be challenged and resolved. However, the climax of Kyouya stating his inner insecurities doesn't have that same tension. In fact, it is framed under the blue moon light, where the soft piano rings and the sakura petals blow. Aki is on his back as well, quietly listening to him having just praised him. Albeit the slight melancholy we feel from our protagonist, a big feeling that we all share now is a feeling of warmth and relief. We know somehow that this is a wholesome scene of a guy confiding his thoughts with his friend and we have the comfort in knowing that she is listening and will similarly comfort him. In fact, Aki even drops some age-old wisdom, wisdom that even enlightened Kyouya to tears: "Folks who can't do anything are all trying to find what we can do. So I bet even the people you think are amazing are just as worried as you are."

In literature, we often have a term used to describe such scenes, which may even be a more appropriate term to describe it than just simply 'climax' -- Catharsis. Catharsis is a release of emotions, whereby the characters and in extension the audience releases their negative emotions to reach a better state of relief or enlightenment. This is exactly what Kyouya does in this scene, releasing his deepest worries and then allowing himself to be comforted by Aki. We, who have grown to understand, relate and even cheer on Kyouya will no doubt even feel much stronger emotions here. After all, we understand that Kyouya is a much better man than even he lets himself to be and we want him to understand that. Aki then, is just like the audience surrogate, cheering and supporting Kyouya. This feeling can be described as the 'awww' or 'he needs some hugs' factor, but regardless of whatever we call it, this feeling is what ultimately makes us love characters in general. Compared to the fiery climaxes of battle shounen for example, on the other hand we can have climaxes that are "soft" and yet just as equally cathartic in its own right; Some in the business like to call them "the big cry", I for one like to call them "character releases".

What makes climaxes impactful as well is if a change is made, or if a turning point is achieved. Our turning point will no doubt be Kyouya's new resolve going forward. But before we jump into that, I want to address a slight mistake that may have happen on the translations part. On the blackboard in our 10 points of screenplay, if we look closely we may have realized something amiss with it. In fact, there is actually two points about our last structural act of a story; Resolution and conclusion. I was confused when I first saw that but once I dug into the meanings behind the kanji, the translation mistake became apparent. On the black board, the two kanjis when translated to chinese is zhong yan (终演) and the other is jue yi (决意). Zhong yan means resolution and can directly translate to the ending of a play, but jue yi means resoluteness, which can be quite easily mistaken as resolution due to it sharing a tone of conclusiveness (决). Taking that into account, I will go forward using my own interpretations of both terms.

So we have reached the conclusion of the episode with only one scene left to go. Resolution is like what it literally suggests, the wrapping up of the story, usually where we derive some kind of theme, lesson or moral from. In this sense however, we are obviously not getting anywhere near the end of the story but like I said, good first episodes will still find a way to complete the three-act structure somehow. In this sense, our resolution lies in Kyouya's 'jue yi', or resoluteness. For the past few minutes, we have been experiencing all of Kyouya's insecurities where he keeps making unfair comparisons of himself to others. I have even theorized that these insecurities will form some fissure between Eiko and himself in the future. What then should we relatively expect when Kyouya learns that Aki is in fact one of his biggest heroes, Akishima Shino?

If it was the old Kyouya, he might've even despaired a little, comparing himself to her just like he did with the future Eiko. But having released his emotions, having come slightly to terms with his own insecurities, he overcomes that. Instead, he rethinks back to the words he just heard from Aki and chooses to look at himself rather than at others.

He askes himself: "What do I want to do? What is it that I can do?" No longer is he fixated on what others want to do, but what he himself wants to do. No longer is he fixated on what he can't but what he can. 

And that is how the writers concluded this micro-cosmic character arc; By giving us a monologue to immerse ourselves with our main character, making us feel the stakes of his failures, giving him small victories along the way and yet humanizing him with internal conflicts, and lastly, letting him grow and gain resoluteness by episode's end. In the future he may still worry, he may still be insecure and to be honest I still expect more conflicts to arise in the future. However, even then, I am no longer that worried about our boy Kyouya. Because in this episode, even though we have seen him in his darkest of times, we have also seen him at his strongest, where he overcame his negative feelings, grew and remained determined. That is why for whatever thrown at him in the future, I somehow know that he'll be just fine. And for whatever ride he goes on, I will be right behind him.

So we have now finished our entire episode, but we still have two more points of screenplay to tackle. For this part, this is leaning more towards the realm of retrospection, where we the audience think back on the episode and derive some kind of theme, lesson or moral. Progress, or zhang kai (展开) meaning 'unfold', was another point of screenplay that I can't help but leave it for last. Why that is so is because I wanted to finish unpacking the entire episode to allow us to see how much actually progressed in this one episode. We see our protagonist go through entire stages of his life, transition to new settings and meeting new people and even resolve an entire arc of internal conflict; It's an entire story in of itself, a micro-cosmic story arc. I said earlier that progress is vague term as there can be progress in many things, and I stand by that in this episode; There is plot progression, character development and even thematic build-up.

Theme, or 'ti mu' (题目) means main topic. What is the main topic that this show seems to want to tackle? Well it seems like it wants to explore the creative process of individuals and champion the passion of young creators.  It wants us to see people like Kyouya who once failed in the corporate structure to never give up and maintain his eyes on his 'treasure'. It wants us to celebrate and love what is essentially the passion for the craft. And to be honest, I want to see more. It has centered this entire theme around our MC by making us relate to his struggles and I am hooked.

Fundamentals is all you need to make a good show

To be honest, this show has close to nothing going for it, at least for me. In terms of art style and character designs, most of it is pretty underwhelming. Music and the actual animation as well is serviceable but none of it is going to 'wow' you anytime soon. In fact, compared to the other fifty minutes premiere of 'The detective is already dead', that show practically beats this show over with one hand behind its back. 

However, this still is and remains as my favorite episode out of all the other first episodes of this season. And that is because this show sticks to the fundamentals. Many shows nowadays try to be flashy, try to show off their 'sakuga' or try to be "unique" and "gimmicky", but I think often times in that process they tunnel-vision themselves from what is otherwise essential story-beats needed to craft a good story. Take for example 'The detective is already dead'. Why I thought that show was pretty bare bones was because what characterized our MC was essentially just his bad luck, his straight-man role and his infatuation with Siesta by the end of the fifty minutes. While I know that the majority of the run-time needed to spend more on the whacky world of monsters and the mysterious nature of Siesta to hook us, the fact of the matter is we lost an opportunity to work on one of the most important part of any story -- The person who is driving behind the wheels to begin with.

'Remake our life' doesn't try to do too much with itself, but it is because of that, that it can even be considered fairly efficient; In what other shows this season do you see such great characterization of the side characters as not only quirky friends and significant foils to our MC, but also individualized people in their own rights with their own methodology and ambitions? 

Turns out you don't need to pull off crazy gimmicks in your premise, have insane production value or even hide fifty symbolism behind a single episode; All you need is to stick to fundamentals, and in this case, ten (or more specifically eleven) points of screenplay.

Afterword

Man, this certainly was a fun episode for me to unpack. I didn't bring it up in the actual essay but my favorite moment of this episode must have been the yogurt joke between Aki and Kyouya. Actually golden. Anyway, this essay was somewhat awkward for me to write. Why that is so is because a lot of what I am talking about is actually very basic stuff that most people would already know if they like story-telling so it seems like I am just telling you that 1+1=2. In fact, it might have even been less awkward for me when I am writing about shit like dramatic irony or talking about crazy themes like 'paradise' in 86.

However, I still wanted to put this out for the same reasons I have described before -- You can't ignore the fundamentals. I think many people nowadays, and even me sometimes, tend to overlook the simple yet essential stuff that make stories good. We look at a newly airing show this season like 'Realist hero' for example and we might say 'this story is boring or this premise doesn't hook me', but have we ever given it a more serious thought than that? Maybe it wasn't that the premise didn't hook you but because the protagonist lacked a 'treasure'. We can look at an episode of an anime and say 'nothing happened' but do we actually get the reason why we feel that way? Maybe it is because that episode didn't deliver itself in the three-act plot structure and lacked 'character progress' or 'catharsis'.

The "face" of the anime is always something that is the easiest to focus on, but we often overlook the little cogs due to the fact that we have already seen it a million times. It's the same with music actually; Us listeners wire our brain to only focus on the newest instruments added and we often overlook the repetitive chords that follow underneath. Anyway, I have talked too long in this 'afterword' section. Hope you enjoyed reading this and leave a comment either telling me you do or telling me how I am wrong.

And like what my takoyaki likes to say: WAH!