Mamimi Samejima (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
blackflamed) wrote2012-08-03 04:21 pm
blackflamed) wrote2012-08-03 04:21 pm
Entry tags:
ooc: application [Eway]
Name: Box
DW username:unseenbox
E-Mail: boxofgrenades@gmail.com
IM: bardwithnoname = aim, likeabox = plurk
Other Characters: N/A
Character Name: Mamimi Samejima
Series: FLCL
Timeline: After episode 5
Canon Resource Link: wikipedia
Character Background:
Mamimi Samejima burned her school down when she was a child. Okay, it’s only an implication. But it’s a very, very strong implication. Even when she’s a teenager, Mamimi and school do not get along well. She spends most of her time ditching class to hang out under a bridge, and it’s also very strongly implied that her classmates bully her. But the most important thing about the day her elementary school burned down is that she met Tasuku Nandaba. When they grow up, or more to the point, become teenagers, they start dating.
Tasuku goes to America to play baseball. Mamimi deals with this loss by venting her frustrations on Tasuku’s younger brother, Naota. She calls him Ta-kun. For the majority of the series, she clings to Naota because she needs a replacement for Tasuku. She uses some jock-y dialogue, like calling Naota ‘chief’ on occasion, or speaking gloriously about the holy left side of the field. Mamimi has very odd speech patterns at almost all times. When Naota asks her about her feelings for Tasuku, she can only phrase the answers in metaphors. She also claims that if she doesn’t vent her frustrations, sexual and otherwise, that she’ll ‘overflow’. Some of this behavior might be something of a pose, particularly the jock speak, as she holds the bat with the wrong grip. Or, basically, she’s a hipster.
One night, after Naota gets run over by a Vespa while Mamimi takes pictures, he tells her that Tasuku has an American Girlfriend. Mamimi collapses. Then robots spring out of Naota’s head, and the matter is almost entirely forgotten. As an arson spree starts up in Mabase, Mamimi becomes addicted to a video game called Fire Starter. In order to receive the blessings of Canti, the God of Black Flame, players must burn down the city of devils but can never do so completely. One day, while wandering where the remains of the old school with her camera, she spots one of the robots flying around. She immediately worships him as Lord Canti, to the point that everyone in show refers to him as ‘Canti’ from now on. Haruko, the Vespa Woman, looks down on Canti, and Naota and his family treat him like a servant. So there’s some irony in how much she adores something that’s seen as so mundane.
When Mamimi walks across a bridge with Naota, she accidentally drops her video game, and Naota catches up with her at the ruins of the old school. It’s heavily implied she’s the person behind the recent arson spree, presumably caused by Tasuku abandoning her. She’s praying to Canti when another robot attacks. Canti eats Naota, allowing Naota to pilot the robot like any good mecha anime and save the day. At the end of the episode, Naota promises to stay by her side and look after her. This is the second time Mamimi is saved by Naota, and this hints that she relies on other people to save her from herself. She makes very, very poor decisions throughout the series, and it’s partially because she simply doesn’t make many decisions for herself to begin with. She depends on other people, and she’s very crushed when they leave. Another important point is the short speech she gives about wanting to burn the school down, but the ashes are still there. It’s this urge to be disconnected from reality but being unable to do so that fuels most of her delusions.
Later, Naota saves their town from a falling satellite thanks to Haruko’s interference, and Mamimi expresses disappointment when he ‘swings the bat’. As simply put as possible, this dovetails with two major issues: she wants Naota to replace Tasuku, and she wants control over others despite being unable to control her own life. The more time Naota spends with Haruko, the less Mamimi can keep him by her side. This comes to a head in the next episode, when Naota gets a swelled head. Not only from the robot growing inside his head, but from his ego. After a gun battle made worse because of Mamimi’s issues with Naota separating from her, a robot escapes from Naota’s head. Yet again, Mamimi is imperiled and calls for ‘Ta-kun’ to save her. Due to Naota’s character development, he emphatically declared she never, ever call him that again. This is the final splintering of Mamimi’s use of him.
She disconnects even further after that and wanders the town. Eventually she crosses paths with a robot part from the very first robot battle. She calls it ‘Ta-kun’, and feeds it metal parts. She quickly runs out of enough, so she steals the cell phones from every single person in her class to give to the terminal core. Mamimi, it turns out, has a very, very vindictive side, and once she’s abandoned by Naota, it comes out in full force. She unleashes the terminal core on various people on her revenge list. However, it soon goes out of control and attempts to eat Naota's friends' pick up truck. She tries to regain control using her leash, but it just drags her along while it escapes. This results in the ‘wrinkles of humanity’ almost being erased entirely, as the terminal core was the only piece missing from a giant robot hand about to grab onto the iron shaped Medical Mechanica building.
Luckily for humanity, Naota picks up a bass guitar, becomes Atomsk the Pirate King, and saves the world. Mamimi takes a picture of him looking over the ruins when the battle ends. With all her bridges burned, she leaves town to become a photographer. Before she leaves, she calls Naota by his name. This shows that she gets over Tasuku, learns to deal with reality, and most importantly of all, grows up. She’s being taken from before this point, though.
Abilities/Special Powers: She’s got no special powers, but she is something of a shutterbug. Although she has a history of arson, it’s more a symptom of her disconnection than the cause.
Third-Person Sample:
Water spills, like over the banks of a river or over the rim of a cup. Earth shakes, sometimes underfoot or sometimes undercar and maybe once underquake. Air whistles, through flags and strings and wire and sky, all around the world in wisps and fogs and storms. Fire burns, chars through wood and turns it to splinters and then into ash and embers and then into nothing but dust in the wind, and she thinks that might be a song, but she can’t remember it so she moves along, humming maybe.
Fire is different every time, too. Most people don’t notice that. Hard, sometimes, with the sirens flashing red/white in the smoke billowing. But Mamimi notices, sometimes, when she click-click-clicks her lighter until it sparks. Always sort of orange and yellow and red, with blue in the middle where it burns the most. Always sort of small, just enough to light a cigarette or a path, maybe both if it’s a lucky flame. They make different shapes, though, like clouds in the sky. Sometimes teardrops, or dancing ballerinas, or a person up to bat, or wavery lines like wisps. Sometimes she thinks she can see the future in them, like those shapes left in tea dregs that she’s never looked and saw anything but leftovers like ashes.
Fires have souls, she knows. A new one every time, too. Even when they come from the same lighter or cigarette or matches. Sometimes she thinks she might name them, when it’s rainy enough so the sparks don’t catch so she can’t watch the fire bloom. One of them might be Ta-kun, the one that swings the bat over and over. And the dancers, they all would have names, too. Harukos and Aikos and Chiyos and all the names of the people at school, just blooming in the dark until they’re snuffed out with another click.
She doesn’t name them, though. Usually. Sometimes she does. But mostly she doesn’t. Because if she names them, then she’ll want them to stay. And the thing about fires, and their souls, is that they always burn out. Always leave. On wisps of ash and cinders and ember. Go far away from here, even to the end of a cigarette with black letters on it, eventually stubbed underfoot.
First-Person Sample: Do you think a place like this has homework? Like writing an essay or, I don’t know, a worksheet or something. Oh, and what if you get in trouble? Do they make you write lines on the mirror? Or carry around a bucket all day? And the water’d slosh on the floor, so someone else would have to clean it up. It’s like a circle, or a cycle, or one of those things.
DW username:
unseenboxE-Mail: boxofgrenades@gmail.com
IM: bardwithnoname = aim, likeabox = plurk
Other Characters: N/A
Character Name: Mamimi Samejima
Series: FLCL
Timeline: After episode 5
Canon Resource Link: wikipedia
Character Background:
Mamimi Samejima burned her school down when she was a child. Okay, it’s only an implication. But it’s a very, very strong implication. Even when she’s a teenager, Mamimi and school do not get along well. She spends most of her time ditching class to hang out under a bridge, and it’s also very strongly implied that her classmates bully her. But the most important thing about the day her elementary school burned down is that she met Tasuku Nandaba. When they grow up, or more to the point, become teenagers, they start dating.
Tasuku goes to America to play baseball. Mamimi deals with this loss by venting her frustrations on Tasuku’s younger brother, Naota. She calls him Ta-kun. For the majority of the series, she clings to Naota because she needs a replacement for Tasuku. She uses some jock-y dialogue, like calling Naota ‘chief’ on occasion, or speaking gloriously about the holy left side of the field. Mamimi has very odd speech patterns at almost all times. When Naota asks her about her feelings for Tasuku, she can only phrase the answers in metaphors. She also claims that if she doesn’t vent her frustrations, sexual and otherwise, that she’ll ‘overflow’. Some of this behavior might be something of a pose, particularly the jock speak, as she holds the bat with the wrong grip. Or, basically, she’s a hipster.
One night, after Naota gets run over by a Vespa while Mamimi takes pictures, he tells her that Tasuku has an American Girlfriend. Mamimi collapses. Then robots spring out of Naota’s head, and the matter is almost entirely forgotten. As an arson spree starts up in Mabase, Mamimi becomes addicted to a video game called Fire Starter. In order to receive the blessings of Canti, the God of Black Flame, players must burn down the city of devils but can never do so completely. One day, while wandering where the remains of the old school with her camera, she spots one of the robots flying around. She immediately worships him as Lord Canti, to the point that everyone in show refers to him as ‘Canti’ from now on. Haruko, the Vespa Woman, looks down on Canti, and Naota and his family treat him like a servant. So there’s some irony in how much she adores something that’s seen as so mundane.
When Mamimi walks across a bridge with Naota, she accidentally drops her video game, and Naota catches up with her at the ruins of the old school. It’s heavily implied she’s the person behind the recent arson spree, presumably caused by Tasuku abandoning her. She’s praying to Canti when another robot attacks. Canti eats Naota, allowing Naota to pilot the robot like any good mecha anime and save the day. At the end of the episode, Naota promises to stay by her side and look after her. This is the second time Mamimi is saved by Naota, and this hints that she relies on other people to save her from herself. She makes very, very poor decisions throughout the series, and it’s partially because she simply doesn’t make many decisions for herself to begin with. She depends on other people, and she’s very crushed when they leave. Another important point is the short speech she gives about wanting to burn the school down, but the ashes are still there. It’s this urge to be disconnected from reality but being unable to do so that fuels most of her delusions.
Later, Naota saves their town from a falling satellite thanks to Haruko’s interference, and Mamimi expresses disappointment when he ‘swings the bat’. As simply put as possible, this dovetails with two major issues: she wants Naota to replace Tasuku, and she wants control over others despite being unable to control her own life. The more time Naota spends with Haruko, the less Mamimi can keep him by her side. This comes to a head in the next episode, when Naota gets a swelled head. Not only from the robot growing inside his head, but from his ego. After a gun battle made worse because of Mamimi’s issues with Naota separating from her, a robot escapes from Naota’s head. Yet again, Mamimi is imperiled and calls for ‘Ta-kun’ to save her. Due to Naota’s character development, he emphatically declared she never, ever call him that again. This is the final splintering of Mamimi’s use of him.
She disconnects even further after that and wanders the town. Eventually she crosses paths with a robot part from the very first robot battle. She calls it ‘Ta-kun’, and feeds it metal parts. She quickly runs out of enough, so she steals the cell phones from every single person in her class to give to the terminal core. Mamimi, it turns out, has a very, very vindictive side, and once she’s abandoned by Naota, it comes out in full force. She unleashes the terminal core on various people on her revenge list. However, it soon goes out of control and attempts to eat Naota's friends' pick up truck. She tries to regain control using her leash, but it just drags her along while it escapes. This results in the ‘wrinkles of humanity’ almost being erased entirely, as the terminal core was the only piece missing from a giant robot hand about to grab onto the iron shaped Medical Mechanica building.
Luckily for humanity, Naota picks up a bass guitar, becomes Atomsk the Pirate King, and saves the world. Mamimi takes a picture of him looking over the ruins when the battle ends. With all her bridges burned, she leaves town to become a photographer. Before she leaves, she calls Naota by his name. This shows that she gets over Tasuku, learns to deal with reality, and most importantly of all, grows up. She’s being taken from before this point, though.
Abilities/Special Powers: She’s got no special powers, but she is something of a shutterbug. Although she has a history of arson, it’s more a symptom of her disconnection than the cause.
Third-Person Sample:
Water spills, like over the banks of a river or over the rim of a cup. Earth shakes, sometimes underfoot or sometimes undercar and maybe once underquake. Air whistles, through flags and strings and wire and sky, all around the world in wisps and fogs and storms. Fire burns, chars through wood and turns it to splinters and then into ash and embers and then into nothing but dust in the wind, and she thinks that might be a song, but she can’t remember it so she moves along, humming maybe.
Fire is different every time, too. Most people don’t notice that. Hard, sometimes, with the sirens flashing red/white in the smoke billowing. But Mamimi notices, sometimes, when she click-click-clicks her lighter until it sparks. Always sort of orange and yellow and red, with blue in the middle where it burns the most. Always sort of small, just enough to light a cigarette or a path, maybe both if it’s a lucky flame. They make different shapes, though, like clouds in the sky. Sometimes teardrops, or dancing ballerinas, or a person up to bat, or wavery lines like wisps. Sometimes she thinks she can see the future in them, like those shapes left in tea dregs that she’s never looked and saw anything but leftovers like ashes.
Fires have souls, she knows. A new one every time, too. Even when they come from the same lighter or cigarette or matches. Sometimes she thinks she might name them, when it’s rainy enough so the sparks don’t catch so she can’t watch the fire bloom. One of them might be Ta-kun, the one that swings the bat over and over. And the dancers, they all would have names, too. Harukos and Aikos and Chiyos and all the names of the people at school, just blooming in the dark until they’re snuffed out with another click.
She doesn’t name them, though. Usually. Sometimes she does. But mostly she doesn’t. Because if she names them, then she’ll want them to stay. And the thing about fires, and their souls, is that they always burn out. Always leave. On wisps of ash and cinders and ember. Go far away from here, even to the end of a cigarette with black letters on it, eventually stubbed underfoot.
First-Person Sample: Do you think a place like this has homework? Like writing an essay or, I don’t know, a worksheet or something. Oh, and what if you get in trouble? Do they make you write lines on the mirror? Or carry around a bucket all day? And the water’d slosh on the floor, so someone else would have to clean it up. It’s like a circle, or a cycle, or one of those things.