#Nippon Con

[vindria]

La ÑEMASQUAD EN NIPPON MARATHON

[centrally-unplanned]

Ever ask yourself, "Man, I love it when creatives get into mudslinging shitfight about their work and try to cancel each other, I wonder if I could read over 3000 words about that happening in a niche subculture in Japan 40 years ago?"

So have I! So I wrote that.

Before Gainax, before even Daicon IV, the "Daicon Films" group, lead by Toshio Okada (with Hideaki Anno working on special effects) made the tokusatsu film "Aikoku Sentai Dai Nippon/Patriotic Squadron Great Japan", where nationalist Japanese Sentai heroes fight off the Red Menace via ridiculous antics. It was aired at sci fi convention TOKON-8 in 1982, and was a huge hit.

And it also sparked a two-year slugfest over whether or not it was fascist propaganda via magazine editorials and con panels that became the talk of the town of the SF community.

Half of this article is history. If you want scenes of Toshio Okada leading con audiences in a dance parody mocking the victims of the Hiroshima & Nagasaki atomic bombings - depending on who you ask of course - you are going to get that! If you have seen your share of Social Media fandom drama you will feel right at home.

But since this is me, its not really about that - instead I am hoping to use the drama as a lens to understand the radical changes happening in Japanese "subculture" at the time. This occurred right in the middle of the rise of "Otaku" as a coherent identity, and the undercurrent of the spat was that Japan's nerds were changing, and not everyone was okay with it. Some of the contours of that shift can be seen in the criticisms being leveled by both sides.

I thought about subtitling it "The Anpo Generation Tries to Cancel the New Anime Century" but I quaked in the face of being that insufferable. I probably shouldn't have.

Anyway for the ~5 people who may eventually read this, as always if you see typos or have comments let me know. Also shout-out to @himitsusentaiblog, the one other person who has ever talked about this film on Tumblr.

[pettirosso1959]

RUBARE IL FUTURO ALL'UMANITA' PRIVANDOLA DI ACCIAIO ED ENERGIA ELETTRICA

L'industria siderurgica è stata una pietra miliare dello sviluppo industriale e la sua evoluzione è una testimonianza dell'ingegno umano e del progresso tecnologico.

Nel corso dei decenni, i continui miglioramenti nella tecnologia degli altiforni, nel controllo dei processi e nel recupero di energia hanno portato a significativi guadagni in termini di produttività ed efficienza energetica.

La Cina continua a dominare la capacità produttiva e le esportazioni, con giganti del settore come Baowu Group in prima linea. Altri importanti produttori di acciaio includono la giapponese Nippon Steel & Sumitomo Metal Corp., l'indiana Tata Steel, la sudcoreana POSCO e l'europea ArcelorMittal.

Le acciaierie integrate di oggi sono meraviglie dell'ingegneria, in grado di produrre milioni di tonnellate all'anno con notevole efficienza. Gli altiforni più performanti possono raggiungere efficienze energetiche fino al 70%, valori che sembravano irraggiungibili solo pochi decenni fa.

L'acciaio è essenziale nella società moderna, in quanto ci fornisce la materia prima essenziale per ogni attività svolta dall'uomo; dalle industrie e relative macchine, fino alle infrastrutture strategiche, tutto è acciaio. Dal 2001, la produzione globale di acciaio grezzo è raddoppiata e la domanda continuerà ad aumentare nei prossimi decenni.

E come l'energia elettrica, anche l'acciaio entra nel mirino degli ambientalisti e della loro pretesa di "decarbonizzare" il settore attraverso l'utilizzo dell'idrogeno in luogo del carbone di cokeria.

Il carbone è essenziale, perché permette di ottenere il duplice vantaggio di procedere all'ossidoriduzione della materia prima (con formazione di CO e CO2, entrambe utilizzate per produrre energia termica ed elettrica utile ai processi di produzione dell'acciaio grezzo), ma anche per produrre acciai di elevata qualità da sottoporre a processi termochimici atti a migliorarne/esaltarne specifiche qualità meccaniche/termiche/chimiche.

La pretesa ambientalista di produrre l'acciaio dalla materia prima attraverso l'utilizzo dell'idrogeno espone il mercato ad un duplice pericolo. Il primo, l'eccessivo uso di energia elettrica, sia per trattare il minerale, sia per produrre idrogeno; i costi della materia sarebbero esposti ad un incremento esponenziale.

Il secondo pericolo, non meno grave, è la nota fragilità dell'acciaio in presenza di idrogeno incluso nella matrice cristallina, che ne altera in modo irrimediabile le caratteristiche chimiche e meccaniche. Note come "fiocchi di idrogeno" costituiscono discontinuità del reticolo, con maggiore fragilità e minore resistenza meccanica all'invecchiamento.

Il passaggio alla produzione di acciaio a idrogeno rischia di vanificare un secolo di progressi nella produzione efficiente. I costi elevati, le sfide tecnologiche e la limitata scalabilità dei processi basati sull'idrogeno sono garantiti per renderlo meno redditizio rispetto alla produzione di acciaio basata sul carbone.

Stime prudenti suggeriscono che la produzione di acciaio a base di idrogeno potrebbe essere del 20-30% più costosa rispetto ai metodi tradizionali. Questo differenziale di costo non è banale in un settore con margini ristretti e un'intensa concorrenza globale.

L'aumento dei costi si ripercuoterebbe sull'economia, colpendo l'edilizia, la produzione automobilistica e innumerevoli altri settori che si affidano all'acciaio a prezzi accessibili.

Rystad Energy afferma che l'acciaio "verde" può essere reso competitivo solo imponendo pesanti tasse sull'acciaio a base di carbone o assegnando enormi sussidi ai produttori di acciaio.

Inoltre, l'idrogeno prodotto attraverso l'elettrolisi è ad alta intensità energetica. Produrre abbastanza per soddisfare le esigenze dell'industria siderurgica richiederebbe una massiccia espansione della capacità di energia rinnovabile, ben oltre le attuali proiezioni.

Sebbene esistano progetti pilota di idrogeno verde, non è stato dimostrato su scala industriale. Al contrario, uno dei vantaggi più significativi della produzione di acciaio a base di carbone è la sua capacità di operare su larga scala.

I moderni altiforni possono produrre fino a 400 tonnellate di acciaio all'ora, funzionando ininterrottamente per anni tra i periodi di manutenzione più importanti. Questa scala di produzione è fondamentale per soddisfare la domanda globale di acciaio, che nel 2021 si è attestata a 1,95 miliardi di tonnellate e si prevede che crescerà, al netto delle considerazioni sulla qualità finale del prodotto. Un diverso modo di rubare il futuro all'umanità dopo averlo fatto privandola dell'accesso all'energia elettrica a basso costo ed affidabile.

[pathfinderunlocked]

Prinny - CR1 Demon

Prinny Rule Number 1! You must always include the word “Dood” in every line you say, dood!

Artwork is official art from Cross Edge, copyright Nippon Ichi.

Prinnies are the mascots of the Disgaea series and of Nippon Ichi. They’re among the lowest level demons. Worthless mortal souls with significant sins but no actual importance or aptitude may become prinnies in the afterlife, where they’re forced to work as horribly mistreated slaves for eons to pay off their karmic debt. Like most demons, they have no memory of their mortal lives beyond a vague sense of how evil and worthless they were.

A common trait of the prinnies is their upbeat attitude, lazy and unintelligent personalities, their signature pirouette spin, and frequent use of the word “dood” as an interjection in their sentences. Another memorable feature of theirs is the fact that they explode if thrown. As a result, they’re often used as cannon fodder - or, more accurately, cannon ammunition - by demonic forces.

A group of prinnies is likely to die in a massive chain reaction as they all explode.

They lack a few common demon abilities like telepathy and fire resistance, which is on purpose. See also the CR 11 prinny hero for higher level players.

Honestly, prinnies only attack with fire, not ice, in the Disgaea games, and have absolutely no penguin-themed abilities at all, so this interpretation is a bit loose. Which is true of a lot of my monster adaptations.

Prinny - CR 1

XP 400 CE Small outsider (aquatic, chaotic, demon, evil, extraplanar) Init +1 Senses darkvision 60 ft.; Perception -2

DEFENSE

AC 12, touch 12, flat-footed 11 (+1 Dex, +1 size) hp 17 (2d10+8) Fort +4, Ref +4, Will +1 DR 5/cold iron Weaknesses combustible feathers, explosive landing Immune electricity, poison Resist acid 10, cold 15

OFFENSE

Speed 20 ft., swim 60 ft. Melee slam +2 (1d8) or 2 machetes +0/+0 (1d4/19-20) and slam -3 (1d8) Ranged bomb +3 ranged touch (1d6+4 cold plus 5 splash (DC 15)) (20 ft. range increment) Special Attacks ice slick charge

Spell-Like Abilities (CL 1st; concentration +2)     1/day—winter’s grasp, summon (level 1, 1 prinny 40%)

STATISTICS

Str 11, Dex 12, Con 18, Int 5, Wis 6, Cha 12 BAB +2; CMB +2; CMD 13 Feats Two Weapon Fighting Skills Escape Artist +14, Swim +16; Racial Modifiers +8 Escape Artist, +8 Swim Languages Abyssal, Celestial, Common, Draconic SQ icewalking Gear machete x2

SPECIAL ABILITIES

Bomb (Su) Each morning, a prinny creates 1 bomb which, in the hands of the prinny, functions as a thrown splash weapon with a range increment of 20 feet.  Bombs are considered weapons and can be selected using feats such as Point-Blank Shot and Weapon Focus.  A bomb deals 1d6 cold damage, and a prinny adds its Constitution bonus to the damage (usually for a total of 1d6+4 cold damage).  The bomb deals splash damage equal to its minimum damage (usually 5), DC 15 Reflex save negates.  The save DC is Constitution-based.

In the hands of any other creature, a prinny’s bomb is useless.  A prinny’s bomb becomes inert and useless 24 hours after being created.

Combustible Feathers (Ex) If a prinny takes fire damage, each of its feathers becomes a quick-burning fuse that explodes a moment later. The prinny is left naked as its feathers fly off, and the explosion causes 3d6 fire damage in a 5-ft. radius. A DC 9 Reflex save halves the damage. The prinny automatically fails the saving throw against this damage, and takes an additional 50% damage from the explosion. The save DC is Constitution-based and includes a -6 penalty.

Once a prinny explodes in this way, it temporarily loses its DR 5/cold iron, and it cannot explode again (via combustible feathers or explosive landing) until its feathers regrow. Its feathers regrow after 1 hour, causing its DR 5/cold iron to return.

Explosive Landing (Ex) If a prinny takes falling damage, it explodes on impact. The prinny is left naked as its feathers fly off, and the explosion causes 3d6 fire damage in a 5-ft. radius. A DC 9 Reflex save halves the damage. The prinny automatically fails the saving throw against this damage, and takes an additional 50% damage from the explosion. The save DC is Constitution-based and includes a -6 penalty.

Once a prinny explodes in this way, it temporarily loses its DR 5/cold iron, and it cannot explode again (via combustible feathers or explosive landing) until its feathers regrow. Its feathers regrow after 1 hour, causing its DR 5/cold iron to return.

Ice Slick Charge (Su) A prinny’s speed doubles when charging on land on a flat surface or downhill. When it performs a charge on land, a prinny leaves an ice trail as the ice slick spell on spaces it moves through and adjacent spaces.

When making a charge, a prinny can attempt to overrun the target of its charge as a free action, continuing in a straight line past its target to the limit of its movement if the overrun is successful. This overrun maneuver does not provoke attacks of opportunity. If the prinny succeeds on the overrun maneuver, its movement during the charge does not provoke attacks of opportunity from the target of its charge.

Icewalking (Ex) A prinny can walk without penalty over areas of ice and snow and does not need to make Acrobatics checks to run or charge on ice.

[aricastmblr]

DisneyPlusJP X 3sept 2024

⋰ 𝐉𝐈𝐌𝐈𝐍×𝐉𝐔𝐍𝐆 𝐊𝐎𝐎𝐊の旅行バラエティ 🟠🟢『Are You Sure?!』🟢🟠 ⋱

⛄️札幌エピソード配信記念 ウォッチパーティー開催決定🫰

🗓9/7(土)19:00〜 ゲストと一緒にみんなで盛り上がろう⛵️

参加はこちら⤵️ https://bit.ly/3AMQ9bY

イゲマジャウォッチパーティー #ディズニープラス

DisneyPlusJP X 3sept 2024

⋰ 𝐉𝐈𝐌𝐈𝐍 × 𝐉𝐔𝐍𝐆 𝐊𝐎𝐎𝐊 variedad de viajes 🟠🟢 “¿Estás seguro?” 🟢🟠 ⋱

⛄️ Fiesta conmemorativa del lanzamiento del episodio de Sapporo que se llevará a cabo 🫰

🗓 el 7 de septiembre (sábado) 19:00 ~ Divirtámonos junto con los invitados ⛵️

Haga clic aquí para participar ⤵️ https://bit.ly/3AMQ9bY

イゲマジャウォッチパーティー #ディズニープラス

TV-sv2br Youtube Activa Notificacíón!

『Are You Sure?!』ウォッチパーティー

Programado para el 7 sept 2024 #イゲマジャウォッチパーティー#ディズニープラス

＜『Are You Sure?!』ウォッチパーティー開催!!＞

BTSの仲良しコンビJIMIN&JUNG KOOKに密着したトラベルバラエティ 『Are You Sure?!』Disney+(ディズニープラス）で独占配信中 詳細はコチラ▶︎ https://www.disneyplus.com/ja-jp/brow...

世界的スーパースター・BTSの最年少メンバー2人で、通称“グクミン”と呼ばれる仲良しコンビJIMINとJUNG KOOKが オフモード全開で休暇を過ごす貴重な姿を追った“BTSユニット初”のトラベルバラエティ『Are You Sure?!』。

2023年、兵役を控えたJIMINとJUNG KOOKが日本を訪れる、ファン待望の札幌編が、ついに配信スタート！

大のK-POP・BTS好きで知られる超特急のカイ、中川翔子に加えニッポン放送『BTS マイ・ベスト・リクエスト』でパーソナリティを務めた宮崎美穂をゲストに迎え、 ＭＣは、ニッポン放送でも『古家正亨　K TRACKS』のパーソナリティとして様々なK-POP情報を発信、そして北海道出身の古家正亨が務め、 ファンの皆様とエピソード6を同時視聴する『Are You Sure?!』ウォッチパーティー（生配信）を開催します！

コメント・SNSでの投稿で一緒にウォッチパーティで盛り上がりましょう！

●開催日時：9月7日(土)19:00～予定 ●ハッシュタグ：#イゲマジャウォッチパーティー　#ディズニープラス ●出演者情報：超特急・カイ　中川翔子　宮崎美穂 ●MC：古家正亨

<“¡¿Estás seguro?!” ¡¡Se celebra la fiesta de observación!! ¡¡Fiesta para ver el vídeo!!

＜Watch party for "Are You Sure?!"!!＞(goggle traductor)

JIMIN y JUNG KOOK, los dos miembros más jóvenes de la superestrella mundial BTS, son buenos amigos y son comúnmente conocidos como "Gookmin". Are You Sure?!'' es el programa de variedades de viajes de la primera unidad de BTS'' que sigue preciosas imágenes de los miembros de BTS pasando sus vacaciones en modo totalmente apagado.

En 2023, JIMIN y JUNG KOOK visitarán Japón antes de su servicio militar, ¡y la tan esperada edición de Sapporo finalmente comenzó a transmitirse!

Además de Kai y Shoko Nakagawa de Kyōtokkyū, conocidos por su gran amor por el K-POP y BTS, los invitados incluyen a Miho Miyazaki, quien actuó como personalidad en "BTS My Best Request" de Nippon Broadcasting System. El MC será Masayuki Furuya de Hokkaido, quien también transmite diversa información de K-POP como personalidad en “Masayoshi Furuya K TRACKS” en Nippon Broadcasting System. ¡Organizaremos una fiesta de visualización "¿Estás seguro?" (transmisión en vivo) donde podrás ver el episodio 6 con tus fans al mismo tiempo.

¡Divirtámonos juntos en la fiesta del reloj comentando y publicando en SNS!

●Fecha y hora: 7 de septiembre (sábado) 19:00~ Programado ●Hashtag: #Igemaja Watch Party #Disney Plus ●Información del artista: Super Express Kai Shoko Nakagawa Miho Miyazaki ●MC: Masayuki Furuya

[romisdiary]

KENTA vs. Naomichi Marufuji (NOAH Autumn Navigation)

Esta lucha fue hace 18 años.

A veces me gustaria viajar a 2006 con mi edad actual y ser parte de aquella camada de personas que vio esta lucha en vivo, sea literalmente en vivo o una semana despues en un archivo de dudosa calidad que posiblemente tenia un virus. Me encanta imaginarme viendo esta lucha en vivo, sin estar consciente del impacto que generaria 18 años despues, pero YO tengo 19 años ahora, y tuve la oportunidad de ver esta lucha junto a miles y miles de personas.

No te voy a decir que esta lucha es una locura, porque ya lo sabes, yo se que ya lo sabes, y se que te metiste a esta review porque o se te cayo el documento, o esta lucha despierta una sensacion nostalgica dentro tuyo de una epoca en la que eras feliz. Voy a hablar de esta lucha de la manera en la que todo el mundo deberia hablar de lucha libre, y esa es no hablar de lucha libre. Esta lucha amerita otra cosa.

Naomichi Marufuji y KENTA establecieron un estilo de lucha tan atemporal que da miedo. Ambos luchadores en su prime daban miedo de lo buenos que eran, y por supuesto, de las estupideces que hacian on a daily basis. Una generacion entera de luchadores tanto activos como no en ese momento querian hacer todo lo que hacian estos tipos, y no los culpo, hay una sincronizacion perfecta entre ambos que cualquiera quisiera repetir. No solamente eso, ambos logran hacer lo suyo de una manera tan caoticamente ordenada y suave que parece como si estuvieran fluyendo con auras que se activan con cada uno de sus movimientos.

Marufuji es un maestro, se siente como un personaje de Samurai Champloo al ritmo de MF DOOM. Sus movimientos son hermosos pero letales, y en esta lucha llega a otro nivel. Por unos minutos Marufuji da la mejor performance de la historia en el Nippon Budokan, porque hace DE TODO y todo le sale bien. No se sacrifica el ritmo de la lucha, no se sacrifican cualidades importantes, y el publico esta detras de cada movimiento. Por el otro lado KENTA en su prime era literalmente un asesino a sueldo. Su moveset eran movimientos calculados, rapidos, violentos y sanguinarios. Si Marufuji fue un personaje de Samurai Champloo al ritmo de Nujabes, KENTA se volvio un personaje de Black Lagoon al ritmo de Viktor Vaughn.

Y la mejor parte de esta lucha, es que en un momento los roles cambian. En el medio de su mejor performance, estos desgraciados cambian su estilo Y LES SALE BIEN. O sea, no hay un solo fallo en esta lucha, es el potencial maximo de la NOAH del 2006 que lastimosamente en su momento no se pudo mantener, pero si tan solo estos dos tipos hubieran tenido las oportunidades que se merecian en esa epoca, no podria ser capaz de definir su legado en este blog. Ya directamente no puedo hacerlo ahora, porque imaginar una lucha libre sin esta lucha o sin estos dos tipos es un pecado capital. No existe una lucha libre moderna sin esta lucha.

Es una de las mejores performances de la historia y la que definiria el concepto de wrestling moderno EN TODOS LADOS. Porque aunque te lo quieran vender de otra manera, el luchador favorito de aquel tipo en Twitter comenzo a hacer el Shiranui desde la tercera cuerda porque vio a Marufuji totalmente lucido y desnudo en el Nippon Budokan dando la mejor lucha de su vida. En esta lucha no importa el resultado, porque por el amor de dios cuando uno habla de la lucha libre sin hablar de lucha libre se de cuenta del arte maravilloso que tuvimos la suerte de contemplar y entender.

No tengo que poner spots o fotos de esta lucha, porque yo se que todas las personas que estan leyendo esto ya se los saben de memoria. Hablar de lucha libre de una manera tecnica analizandola con estrellas es lo mas aburrido que una persona puede hacer, y se comprueba analizando este combate como lo que es. Una obra de arte. Esta lucha es arte en su maxima expresion, esta lucha es lo que la lucha libre tiene que ser, porque es epica, porque es infartante, porque su calidad depende de su contexto, porque su estilo es tan atemporal que se siente como una lucha de esta epoca.

Porque son dos de los mejores luchadores de la historia, juntos en el escenario mas grande imaginable dando la mejor lucha que se les pudo ocurrir. Se siente raro hablar de una lucha que casi que tiene mi edad con tanta pasion, considerando que ni siquiera la vivi en el momento y no soy capaz de ser testigo del impacto de esta lucha en la industria, pero aquel o aquella que lo sabe, que vio esta lucha en un Torrent, en un Ares, en un archivo dudoso de Limewire o en un DVD pirata es testigo, y por esa razon me encantaria ver esta lucha en ese momento, porque siento que la calidad de mierda de las imagenes o videos de esa epoca le dan un sabor especial. Es un vistazo al futuro brillante de la lucha libre EN 2006. Es una prueba de que el arte bien hecho y atemporal aguanta cualquier calidad de videos de 144p y 20 frames entrecortados con el audio atrasado.

Es una batalla para ver quien va a representar al futuro de la lucha libre. Es el futuro tomando el lugar del presente y dandonos una idea de lo que ibamos a ver en 18 años. Son KENTA y Marufuji tomando lo que merecen por ley y llevandolo a un lugar inimaginable, donde la vara es inalcanzable porque ese es el punto de la lucha libre. Evolucionar o perecer. Solo los que realmente quieren cambiar este arte tienen derecho a pertenecer al pedestal de los mejores de la historia, y por esta lucha y por el legado que dejaron no hay ninguna duda que estos dos tienen un lugar guardado en dicho pedestal.

Si esta lucha no tuviese de competencia a la mejor lucha de todos los tiempos seria la elegida, pero aun asi voy a hablar de esta lucha con tanta pasion porque se lo merece. Si pudiera escribir hasta que se me cansen las manos para que todo el mundo vea esta lucha lo haria sin dudarlo, porque a pesar de haber influenciado a tanta gente, parece que sigue siendo un nicho muy pequeño que tuvo la suerte de verla, en vivo o despues de 18 años. Este combate tiene la caracteristica principal que tenia MF DOOM: es la que comenzo todo lo que existe hoy.

Y solamente por su impacto en la industria se merece una reseña que escape de lo tecnico, que entre en un terreno que poca gente exploro, que hable de la lucha libre como un fenomeno cultural, como el nicho del nicho que lentamente esta creciendo y esta siendo comprendido de otra manera. La lucha libre siempre rompe con lo que la gente cree que es, no hay una definicion exacta de lo que es, no hay un genero para encasillarla, no hay una idea general, no hay una etiqueta especifica en la que se pueda sentir realmente representada, es un deporte/arte que esta evolucionando constantemente, en la que un tipo de lucha como el “Strong Style” o el “King’s Road” se vuelve una mezcla de toda la industria.

Y aunque sea bueno o malo siempre esta en movimiento. Hay luchadores que lo hacen bien, hay otros que lo hacen mal, y quizas los que lo hacen mal son los mas populares, pero por el amor de dios, el ADN de esta lucha se encuentra plagado en toda la industria actual, en cada pequeño movimiento, en cada razonamiento, todo el mundo quiere hacer un Naomichi Marufuji vs KENTA, todo el mundo quiere hacer un Shiranui desde la tercera cuerda. Hay algo que esta lucha nos demuestra, y es que ambos son los luchadores favoritos de TU luchador favorito.

[hotarutranslations]

Winter's Hello Pro Dance Club

Evening

Thanks for your hard work today everyone!!!!!

I also worked hard today!!!!!

Although with this timing, the spring tour has started,

I suddenly thought just now, I haven't posted any photos, of our group photos from the Winter Hello Con Dance Club!……🤦🏻‍♀️🤦🏻‍♀️

Its not the best timing but, I'll post them!

At any venue the dance club, would make sure to dance during the morning rehearsal the day of, Its what we would have liked to do but,

There are times where since its the morning my body wouldn't move lol

While I was out of breath, it was fun dancing with everyone😎🏅

Just before the performance,

Where I want to do my best in particular today, I'll really go flying here, What I want to enjoy the most today in particular, and times where I was conscious of my facial expressions,

It was a wonderful time forming a circle and setting goals😎🏅

Yagishio and Homare, often had the goal of, I want to be conscious dancing here,

Maopin, would have the strong intention of, "lets have fun!"

Uutan would comment, I'll also do that! with the feeling everyone can do it togeher,

Miyo-chan's, focus on the details was always a valuable opinion~~

After the dancing ended, it was a rush as we immidiately had to change-- but,

We would talk like, the cheers today were like this! while out of breath!!

At the final performance of Hellocon, we talked like, its the last dance club dancing to this, huh--

Yagishio said,

I'll call everyone on as guests for my birthday event and lets dance there, it was super funny lol

It ended up being late but⚠️

Conveying my memories with everyone in dance club, like this, I want everyone to remember it!

! lol

Alright, I shared it🪽

🩵🎫e+ 🩵🎫TicketPia

Also the finale has been decided

May 27th (Mon) Nippon Budoukan

.🌏👏🏻

The Ticket FC Advance Reception is undergoing! I'm looking forward to being able to meet!

📺Hello Pro Dance Gakuen Season 11

April 18th 11:30PM~ A Learning From TSUKUSHI-san Adventure��

In season 10 we challenged breakin', its reairing continuously! On the 15th, 17th, 19th, 20th, 21st, 22nd, #1~#6 all at once! Check out HP for info!

Sendai Broadcast "Ara Ara Kashiko" Every week (Sat) 10:25AM~ Ishida Ayumi Goes~!

I appear once a month as part of the AraKashi Family

The previous shows, and makings, are on OX VIDEO STORE!

Also on YouTube

Sendai Broadcast Ara Ara Kashiko

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💿Releasing February 7th

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Thank you for waiting for the Blu-ray&DVD! Its finally releasing--!

Its already nostalgic but, It has an amazing medley, really Please enjoy it many times

📚Releasing on February 7th "Hello! Project BEST SHOT!! Vol.26"

Ishida AyumixOda SakuraxNonaka Miki📸 Fukumura MizukixIshida AyumixOda Sakura📸

✍🏻Tokyo Sports note Series #146 Memories of Panda(san) Village with the two that were like elementary school students

Announcement of Series Graduation in March

🪩Spring Tour Has Been Decided Morning Musume '24 Concert Tour Spring MOTTO MORNING MUSUME

We'll be going around the country from March 16th!

🪩HinaFest March 30th and 31st at Makuhari Messe

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⚾️《LIVE DAYS！～Exciting Big Exhibition Match～》 June 2nd(Sun), after the Hokkaido Ham Fighters vs. Yokohama DeNa Baystars match, Morning Musume '24 will be having a special mini live!

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Past Broadcast Episodes Are Available →Program Details

Yamazaki Mei's Panda-san Daisuki!! ~Expressing Love Towards My Favorite Panda-san♡ ver.~ in Adventure World

Yamazaki Mei's Panda-san Daisuki!! Mei-chan's Holiday. Adventure World with Oda-san and Ishida-san

see you ayumin <3

[autisticgxb2]

So I was at the Comic-Con Museum and they HAVE AN ANIMATION ACADEMY!!! I choose Rachbak Nippon as my subject!

[storiamanga]

MEISAKU

Nella vasta selezione letteraria operata dall’animazione giapponese, vi sono trasposizioni più o meno fedeli, o liberamente ispirate, facenti parte di un progetto della Nippon Animation ribattezzato World Masterpiece Theater (Sekai meisaku gekijō). Un progetto caratterizzato da una serie di anime ispirati ai romanzi della letteratura per ragazzi, principalmente occidentali, come Akage no An (Anna dai capelli Rossi) o Arupusu no shōjo Haiji (Heidi la ragazza delle Alpi). Oppure adattamenti di classici sheakspiriani e le immancabili fiabe di Andersern e Perraul. L'importanza di tale fenomeno fu talmente elevata che, ancora oggi, si identifica come “meisaku” il periodo che negli anni '70 portò nelle televisioni giapponesi adattamenti animati di romanzi occidentali. Gli Studi non fecero problemi a riadattare opere di una certa qualità, provenienti anche dal Sudamerica, dal Medio Oriente e perfino dall'Africa. Il meisaku si presentava come un qualcosa d'altro: uno stato d'animo in forma di animazione, un istituto alla correzione di una sfortunata fanciullezza, proponendo non solo antologie di emozioni e sentimenti ma anche messaggi di un'infanzia santificata, dove il confronto con il mondo adulto diventa passaggio obbligato.

Il filtro culturale giapponese portò alla libera interpretazione di alcuni romanzi e rispettive chiavi di lettura. Tra le più famose spicca Ie naki ko (“Remi – Le sue avventure”), basato sul romanzo “Senza famiglia” di Malot. Si optò di modificare il rapporto tra storia e spettatore rispetto all'impostazione originaria fra storia e lettore: mentre quest'ultimo rimaneva all'oscuro dell'identità di alcuni personaggi, nell'adattamento si veniva immediatamente messi al corrente di tali informazioni, garantendo un'intensità di partecipazione e coinvolgimento emotivo maggiore. Scopo principale: migliorare l'impianto narrativo modernizzandone i ritmi e rendendo quanto più universale l'impatto ideologico. Altro esempio è la trasposizione del romanzo “Cuore” (Ai no gakkō Cuore monogatari). Abbattendo i paternalistici interventi del libro, divenuti anacronistici, ci si concentra sulle vicende di Enrico e della sua compagnia interclassista, in una Torino ben ricostruita. Precedentemente era stato adattato un altro racconto di De Amicis, con il titolo di Haha o tazunete sanzen ri (“Marco – dagli Appennini alle Ande”) ispirato a “Dagli Appennini alle Ande”.

Quasi la totalità dei racconti aveva uno scopo formativo ed educativo; ma le differenze di legittimazione pedagogica e letteraria tra romanzo e anime permisero di realizzare trasposizioni perfino qualitativamente migliori.

Ma perché? -> Utilizzando il discrimine che risiede nello stampo culturale di destinazione, di nobile intento ma al contempo di stampo commerciale. Obiezione che viene a cadere nel momento in cui si verifica una sperimentazione diretta, dove l'intento formativo è forte e onesto, tanto nel romanzo quanto nella sua trasposizione. -> L'avanzare di un estetico dubbio sulla scorrevolezza dell'animazione tra quella televisiva e quella cinematografica, in Giappone come nel resto del mondo. -> Si può avanzare che l'immagine televisiva sia molto più potente di quella letteraria, e influenzi maggiormente la psiche di un bambino.

FONTI

Anna dai capelli rossi : il fascino indiscreto della poesia - Mario A. Rumor (Iacobelli, 2011)

Con gli occhi a mandorla : sguardi sul Giappone dei cartoon e dei fumetti - Roberta Ponticiello e Susanna Scrivo (Tunué, 2007)

[ptbf2002]

My Top 30 Favorite Shows From my Childhood

30. School For Vampires

29. Flipper And Lopaka

28. Tabaluga

27. Shaun The Sheep

26. Ace Lightning

25. Maya The Bee (1975)

24. The Jungle Book: The Adventures of Mowgli (1989)

23. Lapitch the Little Shoemaker (1997)

22. Little Mole (Krtek)

21. H2O: Just Add Water

20. M.I. High

19. What's With Andy

18. Monster Buster Club

17. Team Galaxy

16. Pokémon: Diamond And Pearl

15. Pokémon: Diamond And Pearl: Battle Dimension

14. Zeke's Pad

13. The Adventures Of Jimmy Neutron: Boy Genius

12. Danny Phantom

11. My Life As A Teenage Robot

10. Pucca

9. Tom And Jerry

8. Bernard

7. The Scooby-Doo Show

6. The Adventures Of Blinky Bill

5. Woody Woodpecker

4. Batman: The Brave And Bold

3. The Smurfs

2. Thomas And Friends

1. Looney Tunes

Base Used - https://www.deviantart.com/princessflamefigher/art/My-Top-30-Favorite-Meme-763485673

School for Vampires Belongs To Jackie Niebisch, Gerhard Hahn, Antony Power, Hosem Animation Studio, Con Meo Pictures Co. Ltd. Animation Services Hong Kong, RAI Fiction, RAI S.P.A. Hahn Film AG, Cartoon-One, KiKA, ZDF, and ARD

Flipper And Lopaka Belongs To Jack Cowden, Ricou Browning, Animo, Cambridge Animation Systems, Atlab, Colorland Animation Productions, Flux Animation, Soundfirm, Touchtoon Pty. Ltd. Animation Filmakers Corporation, Victory Media Group, Film Finance Corporation Australia, Yoram Gross-Village Roadshow, Yoram Gross-EM.TV, EM.TV & Merchandising AG, Flying Bark Productions Pty. Ltd. Studio 100 Media, Studio 100 N.V. ZDF, Seven Network, Seven West Media Ltd. ABC Entertains, ABC Television, Australian Broadcasting Corporation (ABC)

Tabaluga Belongs To Helme Heine, Peter Maffay, Gregor Rottschalk, Rolf Zuckowski, Cambridge Animation Systems, Colorland Animation Productions, Film Finance Corporation Australia, Yoram Gross Film Studios, Yoram Gross-EM.TV Pty Ltd. Flying Bark Productions Pty Ltd. Studio 100 Media, Studio 100 N.V. EM.TV & Merchandising AG, Constantin Medien AG, Sport1 Medien AG, ZDF Enterprises GmbH, ZDF Studios GmbH, ZDF, Seven Network, And Seven West Media Ltd.

Shaun The Sheep Belongs To Nick Park, Bob Baker, Aardman Animations Limited, WDR Media Group GmbH, Westdeutscher Rundfunk Köln (WDR), ARD, CBBC, CBeebies, BBC One, BBC Two, BBC Television, BBC Worldwide Ltd. BBC Studios Ltd. British Broadcasting Corporation (BBC) And Netflix, Inc.

Ace Lightning Belongs To Jim Corston, Rick Siggelkow, Jeff Beiderman, Good FX, Calibre Digital Pictures, AAC Kids, Alliance Atlantis Communications Inc. Entertainment One, Lionsgate Canada, Lionsgate Studios Corporation, STARZ Entertainment Corporation, CBBC, BBC Television, BBC Worldwide Ltd. BBC Studios Ltd. British Broadcasting Corporation (BBC)

Maya the Honey Bee Belongs To Waldemar Bonsels, Zuiyo Co., Ltd. Nippon Animation Co., Ltd. Wako Productions, Apollo Film Vienna, TV Asahi Holdings Corporation, ZDF Enterprises GmbH, ZDF Studios GmbH, ZDF, ORF-Enterprise GmbH & Co KG, ORF, Network 10 Australia, Network Ten Pty Ltd. Paramount Australia & New Zealand, Paramount Networks UK & Australia, CBC Television, Canadian Broadcasting Corporation (CBC) (Société Radio-Canada), Family Channel, WildBrain Television Inc. WildBrain Ltd. YTV, YTV Canada, Inc. Corus Entertainment Inc. Nickelodeon, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. Paramount Global, And Paramount Skydance Corporation

The Jungle Book: The Adventures of Mowgli (1989) Belongs To Rudyard Kipling, Nippon Animation Co., Ltd. Aldabra Cinématographique S.A. Doro TV Merchandising S.R.L. Mondo TV S.P.A. TXN Network, TV Tokyo, TV Tokyo Holdings Corporation, Rete 4, Mediaset S.P.A. MediaForEurope N.V. And Shout! Factory, LLC,

Lapitch the Little Shoemaker Belongs To Ivana Brlic-Mazuranic, Animation World, Neptuno Films, Croatia Film D.O.O. HaffaDiebold, Junior (German TV channel), EM.TV & Merchandising AG, Constantin Medien AG, Sport1 Medien AG, And Studio 100 N.V.

The Little Mole/Krtek Belongs To Zdeněk Miler, Krátký film Praha A.S. Studio Bratři v triku, Česká televize, Saarländischer Rundfunk (SR), Westdeutscher Rundfunk Köln (WDR), And ARD

H2O: Just Add Water Belongs To Jonathan M. Shiff, Jonathan M. Shiff Productions, ZDF Enterprises GmbH, ZDF Studios GmbH, ZDF, Australian Film Commission, Film Finance Corporation Australia, Screen Australia, Film Victoria, VicScreen, Pacific Film and Television Commission, Screen Queensland Studios, Network 10, Ten Network Holdings Ltd. Network Ten Pty Ltd. Paramount Australia & New Zealand, Paramount Networks UK & Australia, Paramount Global Content Distribution, Paramount International Networks, Paramount Media Networks, Paramount Global, And Paramount Skydance Corporation

M.I. High Belongs To Keith Brumpton, Kudos, Endemol UK PLC, Endemol UK Limited, Endemol Shine UK Limited, Banijay UK Productions Limited, Shine Group, Endemol Shine Group B.V. Banijay Entertainment S.A. Banijay Group N.V. CBBC, BBC Television, BBC Worldwide Ltd. BBC Studios Ltd. And British Broadcasting Corporation (BBC)

What's With Andy Belongs To Andy Griffiths, Chile Animación, Jireh Animation, Les Dessins Animés Zoetrope, NIC Entertainment, CinéGroupe, Lionsgate Entertainment Corporation, SIP Animation, Saban Entertainment, Inc. FOX KIDS, FOX Family Worldwide Inc. TELETOON Original Production, TELETOON Canada Inc. Corus Entertainment Inc. RTL Super, RTL Deutschland GmbH, RTL Group S.A. Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Monster Buster Club Belongs To Vincent Chalvon-Demersay, David Michel, Designstorm Animation Studio, Marathon Animation, Marathon Media Group, Zodiak Kids Studios France, Banijay Kids & Family, Banijay Entertainment S.A. Banijay Group N.V. Image Entertainment Corporation, Mystery Animation, TF1, Groupe TF1 S.A. Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company YTV, YTV Canada, Inc. And Corus Entertainment Inc.

Team Galaxy Belongs To Vincent Chalvon-Demersay, David Michel, Michelle Lamoreaux, Robert Lamoreaux, Digital eMation Inc. Marathon Animation, Marathon Media Group, Zodiak Kids Studios France, Banijay Kids & Family, Banijay Entertainment S.A. Banijay Group N.V. Image Entertainment Corporation, Mystery Animation, Quebec Productions, RAI Fiction, Une Coproduction, RAI 2, RAI S.P.A. Jetix Europe N.V. YTV Canada, Inc. Corus Entertainment Inc. France 3, France Télévisions S.A. VRAK-TV, Bell Media Inc. And Bell Canada Enterprises Inc.

Pokémon the Series: Diamond and Pearl Belongs To OLM, Inc. OLM Team Ota, OLM Team Iguchi, OLM Team Kato, IMAGICA Lab. Inc. The Pokémon Company, Game Freak Inc. ILCA, Nintendo Co., Ltd. 4Kids Entertainment, Inc. 4K Media Inc. 4Licensing Corporation, Konami Cross Media NY, Inc. Konami Group Corporation, The Pokémon Company International, TV Tokyo, TV Tokyo Holdings Corporation, Cartoon Network, The Cartoon Network, Inc. Turner Entertainment Networks Inc. WarnerMedia Entertainment, WarnerMedia Studios & Networks, Warner Bros. Discovery Networks, Warner Bros. Discovery Global Linear Networks, VIZ Media, LLC, Shogakukan-Shueisha Productions Co., Ltd. Hitotsubashi Group, Warner Bros. Home Entertainment, Inc. Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Pokémon: Diamond And Pearl: Battle Dimension Belongs To OLM, Inc. OLM Team Ota, OLM Team Iguchi, OLM Team Kato, IMAGICA Lab. Inc. The Pokémon Company, Game Freak Inc. ILCA, Nintendo Co., Ltd. 4Kids Entertainment, Inc. 4K Media Inc. 4Licensing Corporation, Konami Cross Media NY, Inc. Konami Group Corporation, The Pokémon Company International, TV Tokyo, TV Tokyo Holdings Corporation, Cartoon Network, The Cartoon Network, Inc. Turner Entertainment Networks Inc. WarnerMedia Entertainment, WarnerMedia Studios & Networks, Warner Bros. Discovery Networks, Warner Bros. Discovery Global Linear Networks, VIZ Media, LLC, Shogakukan-Shueisha Productions Co., Ltd. Hitotsubashi Group, Warner Bros. Home Entertainment, Inc. Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Zeke's Pad Belongs To Liz Scully, Flying Bark Productions Pty. Ltd. Studio 100 Media, Studio 100 N.V. Bardel Entertainment, Inc. Avrill Stark Entertainment, Leaping Lizard Productions, Seven Network, Seven West Media Ltd. YTV, YTV Canada, Inc. And Corus Entertainment Inc.

The Adventures of Jimmy Neutron: Boy Genius Belongs to John A. Davis, DNA Productions, Inc. O Entertainment, Omation Animation Studio, Nickelodeon Animation Studios Inc. Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. Paramount Global, And Paramount Skydance Corporation

The Fairly Oddparents Belongs To Butch Hartman, Yeson Entertainment, Sunwoo Entertainment, Co., Ltd. Elliott Animation Inc. Billionfold Inc. Frederator Studios, Frederator Networks, Inc. WOW! Unlimited Media Inc. Kartoon Studios, Inc. Nelvana Limited, Corus Entertainment Inc. Nickelodeon Animation Studios Inc. Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. Paramount Global, And Paramount Skydance Corporation

My Life as a Teenage Robot Belongs To Rob Renzetti, Rough Draft Studios, Inc. Frederator Studios, Frederator Networks, Inc. WOW! Unlimited Media Inc. Kartoon Studios, Inc. Nelvana Limited, Corus Entertainment Inc. Nickelodeon Animation Studios Inc. Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. Paramount Global, And Paramount Skydance Corporation

Pucca (TV Series) (2006-2008) Belongs To Boo Kyoung Kim, Calvin Kim, VOOZ Co., Ltd. Studio B Productions, Inc. DHX Media Vancouver, WildBrain Studios, DHX Media, Ltd. WildBrain Ltd. MBC TV (South Korean TV channel), Munhwa Broadcasting Corporation, Toon Disney, Jetix, Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Tom and Jerry Belongs To William Hanna, Joseph Barbera, Wang Film Productions Co., Ltd. Fil-Cartoons, Mr. Big Cartoons, Bardel Entertainment, Inc. Baer Animation Company, CNK International, Seoul Movie Co., Ltd. Toon City Animation Inc. Yearim Productions Co., Ltd. Hanho Heung-Up Co., Ltd. Rough Draft Korea Co. Ltd. Rough Draft Studios, Inc. Lotto Animation, Inc. Renegade Animation, PIP Animation Services Inc. Slap Happy Cartoons Inc. Digital eMation, Inc. Duncan Studio, Rembrandt Films, Sib Tower 12, Inc. MGM Animation/Visual Arts, Metro-Goldwyn-Mayer Cartoon Studio, Harman-Ising Productions, Metro-Goldwyn-Mayer Studios, Inc. MGM Holdings, Inc. Amazon MGM Studios, Amazon, Inc. Turner Entertainment Company, Turner Broadcasting System, Inc. Hanna-Barbera Cartoons, Inc. Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Turner Entertainment Networks Inc. WarnerMedia Entertainment, WarnerMedia Studios & Networks, Warner Bros. Discovery Networks, Warner Bros. Discovery Global Linear Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Bernard (TV series) Belongs To Jose Luis Ucha Enriquez, Claudio Biern Lliviria, RG Animation Studios, BRB Internacional S.A.U. Screen 21, Synergy Media, SK Broadband, Inc. EBS Productions, M6 Métropole Télévision, AnimaKids, Cartoon Network, The Cartoon Network, Inc. Turner Entertainment Networks Inc. WarnerMedia Entertainment, WarnerMedia Studios & Networks, Warner Bros. Discovery Networks, Warner Bros. Discovery Global Linear Networks, Warner Bros. Entertainment Inc. WarnerMedia, Warner Bros. Discovery, Inc. Phase 4 Films, Inc. M6, Métropole Television S.A. Groupe M6, And Korean Educational Broadcasting System (EBS),

The Scooby-Doo Show Belongs To William Hanna, Joseph Barbera, Iwao Takamoto, Joe Ruby, Ken Spears, Ruby-Spears Productions Inc. Hanna-Barbera Cartoons, Inc. Worldvision Enterprises, Inc. Taft Broadcasting Company, Spelling Television Inc. Paramount Domestic Television, CBS Media Ventures, Inc. CBS Studios, Inc. CBS Entertainment Group, Paramount Global, Paramount Skydance Corporation, Turner Program Services, Turner Entertainment Company, Turner Broadcasting System, Inc. Warner Bros. Animation Inc. Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Adventures Of Blinky Bill Belongs To Yoram Gross, Dorothy Wall, Colorland Animation Productions Co., Ltd. Film Finance Corporation Australia, Yoram Gross Film Studios, Yoram Gross-EM.TV Pty Ltd. Flying Bark Productions Pty Ltd. Studio 100 N.V. WDR, ARD, EM.TV & Merchandising AG, Constantin Medien AG, Sport1 Medien AG, Seven Network, Seven West Media Ltd. ABC TV, ABC Kids, ABC Television, And Australian Broadcasting Corporation (ABC)

Woody Woodpecker Belongs To Walter Lantz, Ben Hardaway, Walter Lantz Productions Inc. Universal Cartoon Studios, Universal Animation Studios LLC, Universal 1440 Entertainment, Universal Pictures International, Studio Distribution Services, LLC, Universal Pictures Home Entertainment LLC, Universal Television LLC, Universal Pictures, Universal City Studios LLC, Universal Pictures Content Group, Universal Filmed Entertainment Group, Universal Studios, Inc. NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Batman: The Brave And Bold Belongs To Bob Kane, Bill Finger, James Tucker, Michael Jelenic, Digital eMation, Inc. DongWoo Animation Co. Ltd. Lotto Animation Inc. MOI Animation Co., Ltd. DC Comics, Inc. DC Studios, DC Entertainment, Warner Bros. Animation Inc. Cartoon Network, The Cartoon Network, Inc. Turner Entertainment Networks Inc. WarnerMedia Entertainment, WarnerMedia Studios & Networks, Warner Bros. Discovery Networks, Warner Bros. Discovery Global Linear Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Smurfs (1981 TV series) Belongs To Pierre "Peyo" Culliford, BigStar Enterprise, Inc. Wang Film Productions Co., Ltd. Daewon Media Co., Ltd. Hanho Heung-Up Co., Ltd. Fil-Cartoons Inc. Hong Ying Animation Co., Ltd. Jade Animation Company, Luk Film, Pion Animation, Saerom Animation, Inc. Sam Young Animation, Sei Young Animation Co., Ltd. Sunwoo & Company, Co., Ltd. Toei Animation Co., Ltd. Take One, Studio Peyo S.A. Dupuis Édition & Audiovisuel S.A. LAFIG Belgium S.A. Éditions Dupuis S.A. Peyo Company, SEPP International S.A. DIC Entertainment Corporation, Cookie Jar Entertainment Inc. Cookie Jar Group, DHX Cookie Jar Inc. DHX Media, Ltd. WildBrain Ltd. Hanna-Barbera Cartoons, Inc. Worldvision Enterprises, Inc. Taft Broadcasting Company, Spelling Television Inc. Paramount Domestic Television, CBS Media Ventures, Inc. CBS Studios, Inc. CBS Entertainment Group, Paramount Global, Turner Program Services, Turner Entertainment Company, Turner Broadcasting System, Inc. Tribune Entertainment, Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Warner Bros. Animation Inc. Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, Warner Bros. Discovery, Inc. NBC, NBC Entertainment, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Thomas And Friends Belongs To Britt Allcroft, Clapham Junction, Clearwater Studios Battersea, Shepperton Studios, Nitrogen Studios Canada, Inc. Cinesite Vancouver, Cinesite, Arc Productions, Jam Filled Entertainment, Boat Rocker Media Inc. Clearwater Features, Britt Allcroft Ltd. Britt Allcroft (Thomas) Ltd. The Britt Allcroft Company PLC, Fuji Television Network, Inc. Gullane Entertainment PLC, HIT Entertainment Limited, Mattel Television, Mattel, Inc. ITV 1, ITV Studios Global Entertainment, ITV Studios Limited, ITV plc, Nick Jr. (British and Irish TV channel), Nickelodeon UK Ltd. Milkshake! Channel 5 (British TV channel), Channel 5 Broadcasting Limited, Paramount Networks UK & Australia, Paramount International Networks. Paramount Global, Paramount Skydance Corporation, WNET-TV Channel 13 New York, The WNET Group, PBS Kids, PBS Distribution, And Public Broadcasting Service (PBS)

Looney Tunes Belongs To Leon Schlesinger, Hugh Harman, Rudolf Ising, Harman-Ising Productions, Leon Schlesinger Productions, Warner Bros. Cartoons, Inc. DePatie–Freleng Enterprises, Format Productions, Warner Bros.-Seven Arts Animation, The Vitaphone Corporation, Vitagraph Company of America, Turner Entertainment Company, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Turner Entertainment Networks Inc. WarnerMedia Entertainment, WarnerMedia Studios & Networks, Warner Bros. Discovery Networks, Warner Bros. Discovery Global Linear Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

[dinhthang]

THUỐC BỔ DƯƠNG - LỘC NHUNG

Là sừng còn non của con hươu sao đực - Cervus nippon Temminck, hoặc hươu ngựa đực Cervus elaphus linnaeus. Họ Hươu - Cervidae hoặc con nai - C. unicolor.

Tính vị: vị ngọt, tính ấm. Quy kinh: vào các kinh can, thận, tâm, bào. Công năng chủ trị:

Bổ và làm ấm thận dương (ôn bổ thận dương): dùng trong các trường hợp thận dương hư nhược, phụ nữ kinh nguyệt không đều, băng lậu, đái hạ, nam giới liệt dương, hoạt tinh, đau lưng, chân lạnh, đái dắt, tắc tia sữa. Phối hợp với nhân sâm.

Sinh tinh tuỷ, mạnh gân xương, ích huyết: dùng cho người gầy yếu, xanh xao, trẻ con thì phát dục kém, chậm mọc răng. Liều dùng: 1 - 4g. Kiêng kỵ: người âm hư hoả vượng không được dùng.

NguyênLiệuLàmThuốc #ThuốcBổDương

[yokosuka-rainy-johnny]

#61 Sandro Fabian on June 15th, 2025

NPB Inter League: Carp 2 vs 3 Fighters Sandro Fabian delivered a strong offensive outing in the 7–8 extra‑innings loss to the Nippon-Ham Fighters at ES CON Field Hokkaido. Fabian went 3-for-5 with one double and three RBIs, driving in all of Hiroshima’s runs.At-Bats (AB): 5Hits (H): 3Doubles (2B): 1Runs Batted In (RBI):…

[skyfallights]

Super capacitor Industry Insights Opportunities, Key Applications & Market Dynamics

The Supercapacitor Market is gaining traction as industries seek energy storage devices that rapidly charge and discharge with long lifespans. Supercapacitors bridge the gap between conventional capacitors and batteries, delivering high power density and durability. USD 6.6 Billion in 2024 to USD 36.7 Billion by 2032, exhibiting a compound annual growth rate (CAGR) of 23.90% during the forecast period (2024 - 2032), supported by rising applications in renewable energy, automotive, and consumer electronics sectors.

Market Drivers

Need for backup power and regenerative braking in electric and hybrid vehicles.

Integration in wind turbines and solar farms for grid stabilization.

Use in uninterruptible power supplies (UPS) and industrial power buffer systems.

Sharpening demand from consumer electronics with high peak power needs.

Advances in electrode materials and nanostructures driving performance improvements.

Market Segmentation

By Type

Electrical Double-Layer Capacitor (EDLC)

Pseudocapacitor

Hybrid Capacitor

By Material

Activated Carbon

Carbon Aerogel

Carbon Nanotubes

Metal Oxides

Conducting Polymers

By Application

Automotive and Transportation

Renewable Energy

Industrial

Consumer Electronics

Power Tools

By Region

North America

Europe

Asia-Pacific

Latin America

Middle East and Africa

Market Trends

Development of asymmetric and hybrid supercapacitors with higher energy density.

Integration with lithium-ion batteries for enhanced system performance.

Expansion into micro- and nano-scale applications for wearables and IoT devices.

Growing use in heavy-duty vehicles, cranes, and public transit systems.

Research on graphene-enhanced electrodes for improved capactance and lifespan.

Segment Insights

The EDLC segment dominates due to its mature technology and stability. Advances in hybrid supercapacitors are expected to challenge battery-exclusive systems. Demand for carbon-based materials remains strong, with graphene and nanotubes entering the mainstream.

End‑User Insights

Automotive OEMs use supercapacitors for start-stop systems, regenerative braking, and power stabilization.

Wind and solar utilities employ capacitors for smoothing energy output and handling peak loads.

Rail and transit systems integrate supercapacitors to reduce axle load and improve acceleration in metro systems.

Consumer electronics manufacturers utilize small-form supercapacitors in devices requiring fast charge/discharge cycles.

Key Players

Maxwell Technologies (Tesla)

Panasonic Corporation

Eaton Corporation

LS Mtron

Skeleton Technologies

Nippon Chemi-Con Corporation

Hitachi Chemical

Nesscap Co. Ltd

Trending Report Highlights

Thermal Camera Market

Agriculture Robots Market

Document Management System Market

Consumer Audio Market

Industrial Sensors Market

[news24-amit]

Understanding MOVs: The Unsung Heroes of Surge Protection

The global Metal Oxide Varistors (MOV) market was valued at US$ 12.29 billion in 2024. Driven by the growing demand for robust surge protection across consumer electronics, industrial automation, and the burgeoning electric vehicle (EV) sector, the market is projected to expand at a CAGR of 10.61% from 2025 to 2035. By the end of 2035, the industry is expected to reach US$ 38.48 billion, reflecting a nearly threefold increase in market size over the forecast period.

MOVs, primarily composed of zinc oxide (ZnO) grains enhanced with metal oxides such as bismuth, cobalt, and manganese, function as voltage-dependent resistors. When voltages surpass their clamping thresholds, MOVs transition to a low-resistance state, diverting and absorbing high-energy transients to protect sensitive electronic components.

Market Drivers & Trends

Electronic Protection Demand: The proliferation of smartphones, laptops, IoT devices, and smart home appliances has intensified the need for surge protection. MOVs ensure operational reliability by guarding against voltage spikes, overloads, and short circuits, particularly in miniaturized circuit designs.

Industrial Automation & Industry 4.0: As factories deploy advanced robotics, control systems, and AI-driven analytics, safeguarding critical equipment from electrical disturbances is paramount. MOVs help minimize downtime and reduce maintenance costs in highly automated environments.

EV and Charging Infrastructure: Adoption of EVs continues to accelerate worldwide. MOVs play a vital role in protecting battery management systems (BMS) and charging stations from transient overvoltages, thereby enhancing vehicle safety and charging reliability.

Smart Grids & Renewable Energy: Integration of distributed energy resources and renewable power generators exposes grids to dynamic voltage fluctuations. MOVs provide essential transient suppression, supporting grid stability and protecting power electronics.

Latest Market Trends

R&D Investment: Leading manufacturers are channeling resources into developing MOVs with lower clamping voltages, higher surge handling capacities, and miniaturized footprints.

Customizable Solutions: Modular and surface-mount MOV variants are gaining traction, allowing OEMs to tailor surge protection to specific application requirements across consumer, automotive, and industrial segments.

Diversification of Applications: Beyond traditional roles, MOVs are finding use in healthcare devices, aerospace systems, and renewable energy inverters, unlocking new growth avenues.

Key Players and Industry Leaders

Bourns, Inc.

CEDICOM ELECTRONICS

Dongguan Tianrui Electronics Co., Ltd

Eaton Corporation PLC

Elpro International Ltd

Guangdong Uchi Electronics Co.,Ltd

INPAQ Technologies Co. Ltd

KEMET Corporation

KYOCERA AVX

Littelfuse, Inc.

Meritek Electronics Corporation

Nippon Chemi-Con Corporation

Panasonic Corporation

Synton-Tech Corporation

TDK Electronics AG

Vishay Intertechnology Inc.

Walsin Technology Corporation

Among Others

Recent Developments

July 2024: KOA Speer Electronics launched the NV73S series multilayer MOV capable of handling surge currents up to 6,000 A—five times the capacity of prior models—while retaining a compact form factor suitable for high-density PCB layouts.

January 2024: Littelfuse, Inc. introduced the SM10 Varistor Series, engineered for superior transient suppression in automotive electronics and EV charging systems, further cementing its position in the automotive MOV segment.

Download to explore critical insights from our Report in this sample - https://www.transparencymarketresearch.com/sample/sample.php?flag=S&rep_id=15548

Market Opportunities

Healthcare & Medical Devices: As medical imaging and telemedicine devices proliferate, demand for reliable surge protection in sensitive electronics is set to rise.

Aerospace & Defense: Avionics systems and ground support equipment require high-reliability MOVs capable of enduring harsh operational environments.

Renewable Energy Inverters: Solar and wind installations rely on power inverters, which benefit from advanced surge suppression to protect against grid disturbances and lightning strikes.

Future Outlook

Analyst projections indicate sustained double-digit growth through 2035, driven by:

Rapid EV adoption and expansion of global charging infrastructure.

Continued evolution of consumer electronics toward higher performance and miniaturization.

Growth of smart grid initiatives and renewable energy integration.

Market Segmentation

By Type

Single Chip (76.1% share in 2024)

Array

By Size

0402, 0603, 0805, 1206, Others

By Mounting Type

Surface Mount Technology (SMT)

Through Hole

By Voltage Range

18 V–50 V, 51 V–100 V, 101 V–200 V, 200 V–300 V, 301 V–400 V, Above 400 V

By Application

Automotive (Infotainment, Lighting, BMS, EV Chargers, ABS)

Consumer Electronics (Smartphones, Laptops, Home Appliances)

IT & Telecommunications (Networking, Telecom Towers, Power Supply)

Aerospace & Defense

Industrial (Motor Drives, Control Panels, Robotics)

Healthcare

Regional Insights

Asia Pacific leads the market with US$ 5.83 billion in 2024, driven by robust electronics manufacturing in China, Japan, and emerging hubs in India and Southeast Asia. Government initiatives such as China’s "Made in China 2025" and India’s "Atmanirbhar Bharat" are promoting local MOV production.

North America and Europe follow, where strong automotive and telecommunications sectors support steady demand. Latin America, Middle East & Africa are emerging markets, with infrastructure modernization and renewable energy projects creating growth prospects.

Why Buy This Report?

Comprehensive Analysis: Detailed market size, share, and forecast data across segments and regions.

Strategic Insights: In-depth coverage of drivers, restraints, opportunities, and Porter’s Five Forces.

Competitive Benchmarking: Profiles of leading players, their product portfolios, strategies, and recent developments.

Actionable Recommendations: Guidance on investment priorities, technology trends, and go-to-market strategies.

Ready-to-Use Format: Delivered in PDF and Excel formats for seamless integration into presentations and planning tools.

About Transparency Market Research Transparency Market Research, a global market research company registered at Wilmington, Delaware, United States, provides custom research and consulting services. Our exclusive blend of quantitative forecasting and trends analysis provides forward-looking insights for thousands of decision makers. Our experienced team of Analysts, Researchers, and Consultants use proprietary data sources and various tools & techniques to gather and analyses information. Our data repository is continuously updated and revised by a team of research experts, so that it always reflects the latest trends and information. With a broad research and analysis capability, Transparency Market Research employs rigorous primary and secondary research techniques in developing distinctive data sets and research material for business reports. Contact: Transparency Market Research Inc. CORPORATE HEADQUARTER DOWNTOWN, 1000 N. West Street, Suite 1200, Wilmington, Delaware 19801 USA Tel: +1-518-618-1030 USA - Canada Toll Free: 866-552-3453 Website: https://www.transparencymarketresearch.com Email: sales@transparencymarketresearch.com

[pathfinderunlocked]

Prinny Hero - CR 11 Demon

Prinny Rule Number 1! You must always include the word "Dood" in every line you say, dood!

Artwork is official art from Prinny: Can I Really Be the Hero?, copyright Nippon Ichi.

Prinnies are the mascots of the Disgaea series and of Nippon Ichi. They're among the lowest level demons. Worthless mortal souls with significant sins but no actual importance or aptitude may become prinnies in the afterlife, where they're forced to work as horribly mistreated slaves for eons to pay off their karmic debt. Like most demons, they have no memory of their mortal lives beyond a vague sense of how evil and worthless they were.

A common trait of the prinnies is their upbeat attitude, lazy and unintelligent personalities, their signature pirouette spin, and frequent use of the word "dood" as an interjection in their sentences. Another memorable feature of theirs is the fact that they explode if thrown. As a result, they're often used as cannon fodder - or, more accurately, cannon ammunition - by demonic forces.

Although they begin their afterlife as nothing, prinnies can gain combat experience and become stronger, advancing among the ranks of prinny soldiers, a feat that only impresses other prinnies and nobody else. A prinny hero is among the highest tier of prinnies, and is noteworthy for being capable of surviving after exploding. Sometimes.

They lack a few common demon abilities like telepathy and fire resistance, which is on purpose. See also the CR 1 prinny that I posted earlier this week.

Honestly, prinnies only attack with fire, not ice, in the Disgaea games, and have absolutely no penguin-themed abilities at all, so this interpretation is a bit loose. Which is true of a lot of my monster adaptations.

Prinny Hero - CR 11

XP 12,800 CE Small outsider (aquatic, chaotic, demon, evil, extraplanar) Init +4 Senses darkvision 60 ft.; Perception +9

DEFENSE

AC 24, touch 16, flat-footed 20 (+4 Dex, +1 dodge, +8 natural, +1 size) hp 188 (13d10+117) Fort +13, Ref +12, Will +8 DR 10/cold iron Weaknesses combustible feathers, explosive landing Immune electricity, poison Resist acid 10, cold 30

OFFENSE

Speed 20 ft., swim 60 ft. Melee slam +19 (1d8+6 plus 2d6 cold) or 2 mwk machetes +17/+17/+12/+7 (1d4+4/19-20) and slam +14 (1d8+2 plus 2d6 cold) Ranged bomb +18 ranged touch (7d6+9 cold plus 16 splash (DC 27)) (20 ft. range increment) Special Attacks ice slick charge

Spell-Like Abilities (CL 13th; concentration +17)     At will—winter's grasp     3/day—quickened empowered ice slick (DC 16)     1/day—freezing sphere (DC 20), summon (level 4, 1d12 prinnies 75%)

STATISTICS

Str 18, Dex 19, Con 28, Int 5, Wis 6, Cha 18 BAB +13; CMB +16 (+20 trip/overrun during charge); CMD 31 Feats Dodge, Empower Spell-like Ability, Iron Will, Power Attack, Quicken Spell-like Ability (ice slick), Two Weapon Fighting, Weapon Focus (slam) Skills Escape Artist +20, Perception +9, Swim +20; Racial Modifiers +8 Escape Artist, +8 Swim Languages Abyssal, Celestial, Common, Draconic SQ icewalking Gear mwk machete x2

SPECIAL ABILITIES

Bomb (Su) Each morning, a prinny hero creates 22 bombs which, in the hands of the prinny hero, function as thrown splash weapons with a range increment of 20 feet.  Bombs are considered weapons and can be selected using feats such as Point-Blank Shot and Weapon Focus.  A bomb deals 7d6 cold damage, and a prinny hero adds its Constitution bonus to the damage (usually for a total of 7d6+9 cold damage).  The bomb deals splash damage equal to its minimum damage (usually 16), DC 26 Reflex save negates.  The save DC is Constitution-based.

A bomb that deals a critical hit is multiplied in the same way as an alchemist’s bombs: only 1d6 of the weapon damage is doubled, and the bonus damage from Constitution is doubled.

When a prinny hero's bomb detonates, it coats unattended surfaces in the area of the bomb's splash radius in ice (as the ice slick spell).

In the hands of any other creature, a prinny hero's bombs are useless.  A prinny hero's bombs become inert and useless 24 hours after being created.

Combustible Feathers (Ex) If a prinny hero takes fire damage, each of its feathers becomes a quick-burning fuse that explodes a moment later. The prinny hero is left naked as its feathers fly off, and the explosion causes 10d6 fire damage in a 20-ft. radius. A DC 25 Reflex save halves the damage. The prinny hero automatically fails the saving throw against this damage. The save DC is Constitution-based.

Once a prinny hero explodes in this way, it temporarily loses its DR 10/cold iron, and it cannot explode again (via combustible feathers or explosive landing) until its feathers regrow. Its feathers regrow after 1d2 rounds, causing its DR 10/cold iron to return.

Explosive Landing (Ex) If a prinny hero takes falling damage, it explodes on impact. The prinny hero is left naked as its feathers fly off, and the explosion causes 10d6 fire damage in a 20-ft. radius. A DC 25 Reflex save halves the damage. The prinny hero automatically fails the saving throw against this damage. The save DC is Constitution-based.

Once a prinny hero explodes in this way, it temporarily loses its DR 10/cold iron, and it cannot explode again (via combustible feathers or explosive landing) until its feathers regrow. Its feathers regrow after 1d2 rounds, causing its DR 10/cold iron to return.

Ice Slick Charge (Su) A prinny hero's speed doubles when charging on land on a flat surface or downhill. When it performs a charge on land, a prinny hero leaves an ice trail as the ice slick spell on spaces it moves through and adjacent spaces.

When making a charge, a prinny hero can attempt to trip and overrun the target of its charge as a free action, continuing in a straight line past its target to the limit of its movement if the overrun is successful. These combat maneuvers gain a +4 bonus and do not provoke attacks of opportunity. If the prinny hero succeeds on the overrun maneuver, its movement during the charge does not provoke attacks of opportunity from the target of its charge.

Icewalking (Ex) A prinny hero can walk without penalty over areas of ice and snow and does not need to make Acrobatics checks to run or charge on ice.

[gonagaiworld]

La neve dello scorso anno emoziona il pubblico italiano Il manga cult di Eiichi Muraoka, premiato in Giappone, arriva nelle librerie con Nippon Shock Edizioni. Read more:--> https://www.gonagaiworld.com/la-neve-dello-scorso-anno-emoziona-il-pubblico-italiano/?feed_id=27245&_unique_id=6821788d20440 #EiichiMuraoka #Lanevedelloscorsoanno #Manga #NipponShockEdizioni