An aspiring writer, poet, and essayist who mostly deals in fantasy when not writing nonfiction. He has a tendency to write in overlong sentences, like this one, which, while grammatically correct, can be, at times, difficult to follow. Also clearly has a fondness for language in general. His style seems to have been influenced heavily by pre-Twentieth Century English literature, and, despite being American, he uses a number of British spellings. Is definitely One of Us, and created this page to show it.
Has a fantasy world called Izinia filled with lots of Author Appeal.
Despite the Gratuitous Japanese name, his works are entirely in English.
Website may be found here.
Completed his first ongoing serial, A Terribly Dangerous Coat, a novella of six chapters, in May of 2016. It now has its own page.
Tropes related to the author:
- Antiquated Linguistics: A by-product of his literary influences. Also has an extensive vocabulary bordering on Sesquipedalian Loquaciousness.
- Animal Motifs and Floral Motifs appear throughout his work.
- Author Appeal: Several.
- Doing It for the Art: For now.
- Signature Style: Somewhat old-fashioned language, rather long sentences, fairly descriptive of scenery, capacious and often elevated vocabulary, contractions rare in narration.
- Sliding Scale of Idealism vs. Cynicism: Though some works are melancholy, he tends overall towards the idealistic.
- Viewers Are Geniuses: Akiyama's poetry can be rather esoteric at times. He also trusts you to have a broad vocabulary.
- Would very much not like you to imagine that Everyone Is Jesus in Purgatory.
Tropes related to specific poems:
- Caught in the Rain: The speaker enters the tower because he wants to avoid this.
- Floral Motifs: The speaker invokes numerous flowers during his incantation, notably:
- Red lilies and white roses, inverting the conventional colours associated with them. White and red are frequently associated with magical or otherworldly beings in Celtic mythology. The two also often appear together in Chaucer.
- Sakura, rue, and passionflowers, implying transience, regret, and suffering. They are called on to "Make reality from wishing" after a subverted rhyme.
- The next part of the incantation invokes, in order, lilacs, sunflowers, laburnums, primroses, poppies, willows, mallows, and then lavender itself; several of these plants are used in traditional medicine, but laburnums, notably, are highly toxic. Following this, the speaker sinks back into melancholy daydreaming.
- Grey Rain of Depression: In the background, but not given much focus.
- Maybe Magic, Maybe Mundane: It remains unclear by the end whether or not the speaker has found something magical in the tower, if he is losing his mind and hallucinating, or if he is merely using his imagination in a bizarre fashion.
- Shout-Out: The poem refers to Lavender Town of PokémonGenerationI, and also roughly follows the metre of its BGM.
- Silver Has Mystic Powers: A magical phantom the speaker imagines he sees somehow resembles "tarnished silver".
- Slipstream: The whole scenario goes from realistic but ominous to filled with fantastical things.
- A Storm Is Coming: The changing weather and the entry into the ominous tower.
- Butterfly of Death and Rebirth: In the role of a sort-of psychopomp-like entity.
- Cue the Sun: Beginning the second half of the poem.
- Fire/Water Juxtaposition: The moon on the ocean as a symbol of the fleetingness of life, contrasted with the sun, a symbol of continuity.
- Floral Motifs: Wisteria, used in a manner similar to Cherry Blossoms when representing the transience of life.
- Melancholy Moon: The moon is a central image of the first half of the poem.
- Ocean Awe: References moonlight falling on the ocean, another image of transient beauty.
- Solar and Lunar: The use of the Sun and Moon as opposing symbols.
- Empathic Environment: Used extensively.
- Men Don't Cry: One of the speakers, a boy appearing in Whispers in the Night states that he is Unable to Cry. This clearly does not help him to cope with the ambiguous background tragedy.
- The Mirror Shows Your True Self: One of the speakers seems to be afraid of this.
- Rhyming with Itself: Rhymes "me" with itself.
- Subverted Rhyme Every Occasion: Sort-of rhymes "tremble" and "able", and also "answers" and "whispers".
Tropes related to standalone stories and nonfiction prose:
- All Love Is Unrequited: The narrator seems to think his chances with the wind-flower boy are non-existant. He never even tries.
- Ambiguously Gay/Bi the Way: The narrator.
- Animal Motifs: The speaker calls himself a "Black-Maned Dragon", in reference to the year of his birth, and his dark hair.
- Cloud Cuckoolander: The narrator can come across as one of these.
- Floral Motifs: The "boy" in question (presumably actually a man about the age of the speaker) is associated with anemonies (the titular wind flowers) because he was wearing a shirt the same colour as a flower the speaker saw on the same day.
- He was also seen in some sort of large garden.
- Gayngst: Averted; the speaker is sad not because he is infatuated with another man, but because he believes he has no chance with the object of attraction (and acknowledges he is really just attracted to somebody he has created in his own mind).
- Non-Indicative Name: Actually a prose rhapsody rather than an ode.
- Antiquated Linguistics: The general narrative style.
- Bizarre Taste in Food: Tonio considers ortolans to be this, but he does not seem that disgusted by it.
- Chekhov's Gun: The superstition about covering one's head with a towel when eating ortolans turns out to be true.
- Flash Fiction: This story is very short.
- Foreign Queasine: The narrator considers ortolans this, but is never shown to try eating them himself.
- Lost My Appetite: The general reaction of Parisians to the birds coming to life and singing while M. Thomas is eating them.
- A Wizard Did It: The speaker imagines that the bird beginning to chirp is a sort of divine punishment for the decadence of those who eat ortolans.