#shigematsu

[hero-in-high-tops]

I like bus driver-san

[juusangatsu]

Azakami Youhei (Rinne) got locked in the basement!

(From Starry Stage 4th)

[kurishiri]

Vogel profile voice line translations: Darius Vogel 🪽

these are translations of all three voice lines that are accompanied with their character profiles in-game. translations may not be 100% accurate or contain creative freedom due to characterization purposes. please reblog, but do not repost!

೯⠀⁺ ⠀ 𖥻 01 ⠀ᰋ

Hello there, to the Cursed ones and others.

How would you like to create a wonderful world together with me?

೯⠀⁺ ⠀ 𖥻 02 ⠀ᰋ

I love you, so veeryy much ♡

Ehe, it feels good, doesn’t it? Come now, let me hear more of you.

——for I’ll kill the bird that doesn’t sing.

೯⠀⁺ ⠀ 𖥻 03 ⠀ᰋ

If there truly is such a thing as ‘love’ in this world, then you prove it to me.

Until the very end, make me believe in it.

( darius🪽 ╱ nica🍒 ╱ ring💍 )

˚˖𓍢ִ໋🦢˚ cv, shigematsu chiharu ┊ char profile tl. ╱ 𐙚 interested in vogel? @char_cards @cast_impressions

[otanatchan]

Excerpt from Alkaloid/Crazy:B RadiSta Episode 4 (Amasaki Kohei, Shigematsu Chiharu, Kajiwara Gakuto, Nakazawa Masatomo, Kamio Shinichiro)

“H i M E R U”

Oh yeah, I forgot to contextualize it in the video but "paisen" is just "senpai" reversed.

☆ RadiSta clip masterpost ☆

[xitty]

Shige-chan made gokipen and finezumi surround little Kogaball and went "save me!!" 😂

[neerons]

Hugo and Old Man Shige

Before, it had been mentioned that these two had fought. This revelation made by MC when she was with Hugo led her to ask her friend if he and Shige were ever going to reconcile, which Hugo denied.

Later, when she mentions Hugo’s name to Old Man Shige as well after visiting him, he said "don’t say that boy’s name", or something along those lines. They had pretty similar reactions and didn’t want to push the subject, which always made me so curious considering I loved them, so it fanned my interest.

Nothing else had revealed anything more about their relationship later on, but at the time, I had a theory that these two were related somehow. We know Hugo is French, and that is what made me unsure whether or not they were father and son, because they had never mentioned him having any other ethnicity. But it’s possible that Hugo is half French and half Japanese.

Since Shige is the EAC’s head mechanic and is able to fix things or create them, it makes sense Hugo could be his son, since Hugo has been shown to not only have skills in styling spies for their missions, but also fix electronic items for MC when she needed it. It’s possible Shige taught him that, and made him enter the backstage of the espionage world like him. Hugo is also able to get intel on his own and is sometimes involved in EAC’s missions overall.

I always had this theory about them being father and son in mind but nothing really confirmed this. However, in the side characters election in the Japanese app, Hugo’s prompt story was that his secret would be revealed. The secret about their father-son conflict 🥺

Sadly we won’t be getting this story but I’m glad I finally get to know more about these two, and solve a mystery that I didn’t know was intentionally hidden. I wish we could have gotten all the side characters’ stories that were proposed, but we can’t have it all, can we? 🤧

[mayoiayasep]

random tag game sponsored by the fact that i love seeing people ramble about music in the tags: name your favorite voice actor/character from a musical anime/music project/etc and why you like them so much!

[if-you-fan-a-fire]

"Ribu's anti-imperialist feminist discourse would later manifest in its solidarity protests against kisaeng tourism. This sex tourism involved Japanese businessmen traveling to South Korea to partake in the sexual services of young South Korean women who worked at clubs called kisaengs. Ribu's protests against kisaeng tourism represented how the liberation of sex combined with ribu's anti-imperialism and enabled new kinds of transnational feminist solidarity based on a concept of women's sexual exploitation and sexual oppression. From ribu's perspective, this form of tourism represented the reformation of Japanese economic imperialism in Asia. They were not against sex work by Japanese women, but opposed to the continued sexual exploitation of Korean women as a resurgence of the gendered violence of imperialism: Ribu activists hence connected imperialism and sexual oppression of colonized women to the continuing sexual exploitation of Korean women in the 1970s. In this way, they were able to expand the leftist critique of imperialism and, at the same time, point to the fault lines and inadequacies of the left.

In her critique of the left, Tanaka points to its failure to have a theory of the sexes.

Even in movements that are aiming towards human liberation, by not having a theory of struggle that includes the relation between the sexes. the struggle becomes thoroughly masculinist and male-centered (dansei-chushin shugi].

According to ribu activists, this male-centered condition infected not only the theory of the revolution and delimited its horizon, but it created a gendered concept of revolution that privileged masculinist hierarchies within the culture of the left. Ribu activists decried the hypocrisy of the left and what it deemed to be the all-too-frequent egotistical posturing of the "radical men" who "eloquently talked about solidarity, the inter national proletariat and unified will," but did not really consider women part of human liberation. Ribu activists rebelled against Marxist dogma and rejected these gendered hierarchies that valued knowledge of the proper revolutionary theory over lived experience and relationships. Moreover, ribu activists criticized what they experienced as masculinist forms of militancy that privileged participation in street battles with the riot police as the ultimate sign of an authentic revolutionary. While being trained to use weapons, activists like Mori Setsuko questioned whether engaging in such bodily violence was the way to make revolution. Ribu's rejection and criticism of a hierarchy that privileged violent confrontation forewarned of the impending self-destruction within the New Left.

...

News of URA [United Red Army] lynchings, released in 1972, devastated the reputation of the New Left in Japan, and many across the left condemned these actions. This case of internalized violence within the left marked its demise. Although ribu activists were likewise horrified by such violence expressed against comrades, many ribu activists responded in a profoundly radical manner that I have theorized elsewhere as "critical solidarity." Ribu activists had already refused to lionize the tactics of violence; hence, they in no way supported the violent internal actions of the URA. However, rather than simply condemning the URA leaders and comrades as monsters and nonhumans [hi-ningen), they sought to comprehend the root of the problem. They recognized that every person possesses a capacity for violence, but that society prohibits women from expressing their violent potential. In response to the state's gendered criminalization of Nagata as an insurgent and violent woman, ribu activists practiced what I describe as feminist critical solidarity specifically for the women of the URA. Ribu activists went in support to the court hearings and wrote about their experience and critical observations of how URA members were being treated. By visiting the URA women at the detention centers, consequently, ribu activists came under police surveillance. Ribu activists enacted solidarity in ways that were tot politically pragmatic but instead philosophically motivated. Their response involved a capacity for radical self-recognition in the loathsome actions of the other. Activists wrote extensively about Nagata - for example, Tanaka described Nagata in her book Inochi no onna-tachi e [To Women with Spirit] as a kind of "ordinary" woman whom she could have admired, except for the tragedy of the lynching incidents. In 1973, Tanaka wrote a pamphlet titled "Your Short Cut Suits You, Nagata!" in response to the state's gendered criminalization of the URA's female leader, the deliberate publication of such humanizing discourse evinces ribu's efforts to express solidarity with the women who were arguably the most vilified females of their time. Hence, ribu engaged in actions that supported these criminalized others even when the URA'S misguided pursuit of revolution resulted in the unnecessary deaths of their own comrades. Through ribu's critical solidarity with the URA, they modeled the imperative of imperfect radical alliances, opening up a philosophically motivated relationality with abject subjects and a new horizon of counter-hegemonic alliances against the dominant logic of heteropatriarchal capitalist imperialism.

While the harsh criticism of the left was warranted and urgently needed given the deep sedimentation of pervasive forms of sexist practice, it should be noted that, at the outset of the movement, there were various ways in which ribu's intimate relationship with other leftist formations characterized its emergence. At ribu's first public protest, which was part of the October 21 anti-war day, some women carried bamboo poles and wooden staves as they marched in the street, jostling with the police." Ribu did not advocate pacifism; its newspapers regularly printed articles on topics such as "How to Punch a Man." During ribu protests from 1970-2, some ribu activists-as noted, with Yonezu and Mori - still wore helmets that were markers of one's political sect and a common student movement practice."

- Setsu Shigematsu, “'68 and the Japanese Women’s Liberation Movement,” in Gavin Walker, ed., The Red Years: Theory, Politics and Aesthetics in the Japanese ‘68. London and New York: Verso, 2020. p. 89-90, 91-92

[rainbowofcrazy]

The Blanket Cats, by Kiyoshi Shigematsu

I wanted to like this more but overall I thought this was a downer 😅 There were a few cute stories but also stories with just terrible people and not enough cat goodness

Book review: https://rainbowofcrazy.wordpress.com/2025/06/19/book-review-the-blanket-cats-by-kiyoshi-shigematsu/

[judgingbooksbycovers]

The Blanket Cats

By Kiyoshi Shigematsu.

[juusangatsu]

Awkward-ALOID

Some funny moments from ALKALOID's talk during Starry Stage 4th

[lauraagrace]

To be filming a first impression video with a physical volume of Love, That's an Understatement feels beyond surreal! 🥹😭

Not only did I love rereading it, but I also loved Hoteri Hotette and Blade Girl! What a wonderful time to be a shoujo fan! 🥹

[strathshepard]

OMA Miss Dior 

[otanatchan]

Excerpt from Alkaloid/Crazy:B RadiSta Episode 8 (Yamaguchi Tomohiro, Kaito Tasuku, Shigematsu Chiharu, Kajiwara Gakuto, Nakazawa Masatomo)

“Alkaloid janken”

In the previous episode we got Crazy janken, which evolved and got upgraded over time. Alkaloid janken simply did not manage to catch on at all.

☆ RadiSta clip masterpost ☆

[xitty]

Enstars casting is partly so mysterious, not just Koutarou Hashimoto. How did they come to have a few people who are mainly actors there? Like... Kaoru is Kei Hosogai's first voice role and even after that he's mostly stuck to the acting. How, why? I'm very grateful because I like his voice a lot but I'm just wondering. :D

Also all these non-voice actors are doing such a great job too, you wouldn't know they mainly do other type of acting. Of course actors do voice work too but also they aren't automatically good at it. And in Japan there's much less mixing because there are already a lot of professional seiyuu. There are some anime films where I thought that the people voicing the characters aren't probably mainly seiyuu and that was right, they were actors.

[kodanshamanga]

NEW Kodansha Digital:

👟Blade Girl, Vol 1👟 By Narumi Shigematsu

Rin is tired of physical therapy after losing her leg. Until, she encounters the Blade Runners, a group of one-legged athletes who run with blades.

🚨New Series🚨