#COMMENTARY (hideki).

[the-dimensionals]

Hunger games event - BLOODBATH + Day 1!

"LADIES AND GENTLEMEN, MAY I HAVE YOUR ATTENTION PLEASE~!"

"Yep, t'is I: Vill-V, back into the spotlight as the host again for this hunger game season! Ya know the drill: there can only be one survivor and that for one shall not be me cause there's no other me to give me depression like last season. Heck-- I may even bring some guest hosts if I feel like it just for some extra commentary!"

"Now m'mun already shared the screenshot of the contestants, so for those curious who's on the list: there it is!"

"Rules are simple: everyone in that simulation is required to follow hunger games rules-- so no otherwordly flare or magic happening here-- this is all classic funky hungy games! and each person still alive in this match gets pinged each round! And for those who wish to react this will all be under #mahungygames so feel free to check it out and even do some dash commentaries yourself under that tag!"

"Now who's gonna survive and who's gonna do a swan dive to HECK! Only one way to find out:"

"LET THE BLOODBATH COMMENCE!"

"As the bloodbath begins, we're already seeing our contestants making their moves! Let's see what they're up to!"

"Hideki takes the risk and he got himself a sickle-- while these two ladies are taking the smart route and leaving the place!"

"Making sure she's prepared for medical emergencies like the professional she is, she got herself an aid kit-- Probably out of concern that Mercedes might be killing her at some point. Yikes for Lyza! Talk about the first kill--"

"Now waitaminute-- this might be a second one! One of our two dragon boys might be down for the count! Might be karma waiting for him compared to last time! This makes Hanaka survive longer than he did-- both Hanaka's actually! Speaking of...."

"The two Hanakas have ran away from the cornucopia and it seems like they're not the only one--"

"Some were successful in getting stuff"

"While the poor empress got an empty bag! Womp womp~"

"At least she isn't as impatient as Kiana-- F in the chat for our HI3 representative! Now let's see what day 1 has to offer."

|| DAY 1 ||

"The first day we start off with some nice clean water. Hydrate yoself with H2O before you end up being thirsty as a H.O.E!"

"Meowzers-- an empress seems to have rallied the 4 up to hunt with her-- or did the cat do it? Hmmmmm..."

"Like the saying goes: if you can't take the heat, then get outta the kitchen!"

"Teamwork makes dreams work!...Wait, whaddaya mean a kid copyrighted that line!?"

"Keeping an eye out for a commander of all people might either be a smart idea or a really crazy idea. Then again, I am not going to say what a cowgirl can or can't do."

"A magical practicing archery? Which magical girl even practices nowadays?"

"This just in: Local ball of fluff yearns for the mines... That or Chicken Jockeys."

"I was going to say something, but Anakin's not here sadly."

"I don't know any of their combat capabillties, but if my gran papa taught me anything: don't underestimate someone who drinks!"

"Now I wonder what they're talkin' aboot."

OOF

"Okay, we've got confirmation of the fallen tributes and thus let us all pay respects for these contestants."

"Two powerhouses dying on the first day-- and a local galactic racoon! Now it's basically everyone's game at this point! See you all in a couple of hours!"

@ancientforgcd @hxroic-wxlls-fxrever @wxndswept @divinityunleashed @manganyeh @fctedivided @dracomultiverse @multiverseofmisfits @mused-like-roses @fourstarboy @the-expatriate @retour @wrathfuldissonance @universalcomplex @reversescale

[torchu212]

Pokemon Movie Brain Blast

You know this scene in the credits of Spell of the Unown (M03)? In case you don't know, that woman is Molly Hale's mother. According to Takeshi Shudo (OG head writer), he asked for a copy of the final draft of the script, and it turned out the explanation was she was in the hospital for the entire movie. Shudo was not happy.

This was a very personal story to him, written with aspects of his own life in mind (Molly's Japanese name is Me, after Shudo's own daughter, and her mother was intended to be dead like his own). But as production went on, he was in no condition (he even landed in the hospital himself!) and eventually no mood to continue writing, so he asked fellow series writer and father Hideki Sonoda to take his stead. For most of the movie, you wouldn't be able to tell the difference. This scene, however, became a major sticking point for Shudo as well as numerous fans for betraying the original intentions behind the story and Molly's character.

...But what if I told you that the dub fixed EVERYTHING about it?

On the DVD commentary for Mewtwo Strikes Back (M01), Michael Haigney (English writer/director) and Norman J. Grossfeld (English writer/producer) talk a bit how certain lines were added in an effort to explain things they felt didn't make sense in the original Japanese version. For example, the Tears of Life (pictured above) is set up as an old legend in the dub, while it goes unexplained in the Japanese version and both versions of MSB Evolution (M22).

In a similar vein (as explained on M03's own commentary), the dub implies that, rather than being dead, Mrs. Hale was also researching the Unown before being captured by them. While it was likely written with the short term in mind, this explanation not only fixes her sudden appearance in the ED, but also adds to the story in two major ways.

1: Molly having both of her parents be absentee Pokemon researchers taken away by the Unown allows the dub to maintain her initial loneliness and rationale without her mother dead and thus the ED contradicting the story. While it's further removed from the "dead mother" idea, it resolves the logical failing Sonoda introduced: "If Molly's mom was in the hospital the whole time, why didn't she visit her? Why have Entei kidnap Ash's mom?"

2: By having the explanation for Mrs. Hale's absence be that she was taken by the Unown much like Spencer would be in the movie's inciting incident, it adds a personal layer to why he's so feverishly researching them; not only to document their existence, but so he can find a way to bring his wife back, not unlike Dr. Fuji perfecting cloning to revive his daughter in M01's extended prologue, The Birth of Mewtwo.

Implying that Mrs. Hale went through a similar experience also makes it easy to infer that the Unown returned her to Molly as well. (Side note: This scene was originally part of the ED as well, but was moved up to take place right after Greenfield turns back to normal; another smart decision on the dub's part.)

Rewriting the story is frowned upon among the anime community, as it's often perceived as compromising the original vision and integrity. But Spell of the Unown already had it happen when Sonoda wrote the most controversial scene of the movie, a moment so opposed to Shudo's intent that he quit the series entirely not long after. This scene (and therefore, the entire story) was fixed because 4Kids were allowed to make the changes they did. They made a great movie even better, they held true to the themes and character, and they didn't even have to re-kill Mrs. Hale to do it.

[firefromthegodspro]

NGL I know its a controversial scene, but I genuinely love the "Adult Kiss" scene from End of Eva.

Like I know some people say it's "Out of Character" for Misato but I ask you how???? Like half the entire series is hammering into you that this woman, despite having at least some form of familial love for Shinji, is entirely willing to toss both it and her morals aside to get him to pilot. Like this woman, multiple times, explicitly ignores the severe trauma piloting inflicts onto Shinji to guilt him into it because "he has to". So no, I do not think its OOC for her to offer an "Adult Kiss" to him on her deathbed if he gets into the Eva. She knows he's desperate for any sort of affection at this point and that it will get him to pilot so of course she'll toss aside morals and decency to do it.

And yes its disgusting, its awful, and that the point. You are supposed to look at this scene in horror and go "what the fuck is going on???" You're supposed to despise her for it, to thinks she's an awful human being, because she's explicitly offering a 14 year old the promise of sex (that she knows she will never be able to fulfill) if he will just get in the fucking robot again and this is a bad thing.

I won't speak to directorial intent because I A: am not in contact with Hideki Anno (despite fervently desiring to pick his brain about Shin Kamen Rider) B: do not speak Japanese so cannot read his interviews unless its through the lens of a (potentially flawed) translator and C: Am too fucking lazy to look up said interviews anyways. But I will say that, whether retroactively or not, Eva is a genuinely good commentary on the "Relatable Angsty Teenage Protagonist" because Shinji is incredibly relatable when he first shows up. Poor self-esteem, absent parents, issues connecting with people, etc. But as the series goes on and Shinji descends further and further to start to relate less and less and start to wonder "Why aren't any of these adults seeing. Why do they seem to miss or ignore the obvious traumas Shinji and Asuka have and why do they continue to push them to do something that only hurts them. Why don't they question the narrative, of why the teens are the only ones who can Pilot or whether its even true or not?"

TL;DR yes Misato is an awful human being, and yes just about everything she does in EoE is entirely in character for her

[horrormoviemonstermakeout]

MONSTER RATING: Godzilla (Shin Godzilla)

Shin Godzilla is a new spin on Godzilla from Japanese directors Hideaki Anno and Shinji Higuchi, and it fucking rules. Look, I love most of the Godzilla movies, even though it went from a metaphor to the horrors of war and the nuclear bomb to basically just kaiju WWE, Godzilla was meant to be a terrifying monster. Shin Godzilla seeks to rectify it with this new incarnation - a mutilated, radiation-scarred amalgamation of tumorous, charred flesh.

Shin Godzilla follows the members of the Japanese government as they attempt to weave their way through the bureaucratic and social nightmare of a 400 foot tall irradiated monster seeking to destroy one of the most densely populated cities in the world. It’s a fairly interesting concept - it’s less a typical kaiju story and more of someone going “Okay, seriously, what if Godzilla actually existed in real life, what would happen?” I’ve been known to enjoy ridiculous hypotheticals and I, for one, am glad that Shin Godzilla follows through with it and still manages to make it interesting. The wonderful performances really sell that these people are responsible for the lives of several million citizens and that they are utterly aware of how limited their powers are. These are people trying to do the best they can to not let this be the worst humanitarian disaster on the face of the planet.

The movie’s cast is huge, I could swear they have enough actors to replicate the Japanese government one-to-one, which makes it a little difficult to pick out who our main protagonists are. The one we focus on the most is Rando Yaguchi (Hiroki Hasegawa), Deputy Chief Cabinet Secretary, our main protagonist with his friend Hideki Akasaka (Yutaka Takenouchi), the Prime Minister's aide, and Kayoco Anne Patterson (Satomi Ishihara), the US President’s envoy. As Godzilla grows more and more dangerous - with mutations that threaten to obliterate Tokyo, if not all of Japan - they must organize as many people as they can muster in order to devise a plan to stop Godzilla in its tracks. All the while attempting to placate the US, who is more than eager to destroy Godzilla, along with all of Tokyo, with nuclear force.

I know political commentary is not usually what people come to Godzilla for, but the “what if”-esque nature of this movie lends itself to it surprisingly well. Godzilla is treated both as a force of nature, much like an earthquake or hurricane, that appears randomly to cause arbitrary death and destruction, and a hostile entity that has to be combatted. It’s shockingly realistic for a disaster movie, we see how the government is stretched thin trying to handle evacuation, military deployment, trying to seek reason in a country with an itchy trigger finger resting on the nuke button - it gets tense watching them despair and panic, doing everything they can to minimize the loss of human life.

No punches are pulled at the expense of America, of course. Our response is immediate military deployment, with little to no regard for collateral damage or civilian casualties. Props to the movie for accuracy, even if attempts to fight Godzilla with raw military power are futile. Gunfire, cannonfire, missiles, everything seems to bounce off its burnt exterior without so much as a scratch. The only thing that manages to pierce its skin are the missiles dropped from American B-52 bombers. In response, Godzilla discharges dozens of laser beams from his back, destroying the bombers and reducing the metropolitan area to a burning, irradiated wasteland. Even if the missiles did succeed, the movie is quick to point out that the carpet bombing would’ve annihilated Tokyo anyways. When conventional weaponry doesn’t work, the US immediately plans to destroy both Godzilla and Tokyo through use of a nuclear bomb. Every character is justifiably horrified at this.

Godzilla in this movie is a being of ultimate violence, absolutely nothing can trump it. When there’s a weapon it can’t shrug off, it evolves to surpass it. More importantly though, he’s basically a wild animal trapped in a corner. Of course it’s going to lash out, you’re provoking the god of violence and he’s scared shitless. He is the ultimate hubris punisher, a being that exists to humble humanity and say “Your violence will only be met with destruction.” The calls for violence against it are noticeable once you pick it up, even in the beginning when it’s a large, unknown, whale-like creature in the Tokyo bay, the government officials are already calling for its extermination. The only way he is defeated is through scientific research and understanding, a blood coagulant that is developed only through study of its molecular structure and behavior. The movie’s big message is “Violence will only ever beget greater violence, it’s only through cooperation and understanding that humanity can survive,” and it’s using the American proclivity towards violence as the cudgel for this metaphor, which is great.

We talked a lot about what he represents, but let's get literal for a moment. Let's talk about the big man himself.

- MONSTER RATING - GODZILLA -

CREEPINESS: 7/10 - Classically, Godzilla is just one big dinosaur, and like, conceptually it’s pretty terrifying. He’s a giant monster that’s almost impossible to fight and can kill thousands of people pretty easily, though a lot of the older movies have added a bit of narm to him. For a lot of people, Godzilla is more a goofy rubber monster than something horrifying.

Shin Godzilla is horrifying. His design makes it look like he’s one-half dead, useless flesh and the other half painful, tumorous overgrowth, with the exterior of thick, folded over, burnt skin and dull red light faintly glowing from where it’s thinnest. Raw, exposed flesh that’s visible from the parts that aren’t covered in charred skin. The shriveled, contorted arms that seemed to have lost functionality. The several overlapping teeth that seem to just grow randomly from in and around its mouth. This beast is a product of radiation and every single part of it seems to yearn for a swift release. Existence for Shin Godzilla seems to be one of endless pain, as its tumor-ridden body continues to survive despite it threatening to fall apart.

Though what makes him even scarier than his design is that the movie portrays him like the personification of natural disaster. It cannot be reasoned with, it cannot be stopped, and the more you try to stop him, the more death and destruction he will cause. Even then, nothing humanity can do can actually stop it, it’s more powerful than any weapon on Earth, and its existence only signifies inevitable annihilation. Humans are no longer on top, and they’re no longer safe either. 

The ONLY thing that stops Godzilla from being truly terrifying is - and I’m sorry to say this - the eyes. Big, googly-eyed peepers that don’t suggest any form of brain activity in that skull. A lot of people seem to think it’s first appearance in the film, when it’s younger and less developed, is actually pretty cute in an ugly pug sort of way. The googly eyes carry on even to hid final form, which makes him look unfortunately goofy with his beady little eyes. I understand the movie is trying to go with the glassy, dead-eyed fish appearance to make it look even more like a walking corpse, but it doesn’t really stick. Otherwise, the design is phenomenal.

WETNESS: 6/10 - Surprisingly not as wet as you'D think for a giant fish. His final form makes him look like he survived an hour in the incinerator. The dry, black, cracked skin with a faint red glowing underneath conveying the unbridled nuclear heat stored inside. Though he loses his wetness as he evolves, his first appearance is wet as HELL.

Godzilla is a fish that’s become irradiated, and you can certainly tell that when he first appears. His skin is still green and not yet covered in burnt flesh, though with some parts that are just exposed musculature, as if its rapid growth is literally ripping him apart. As he crawls through the streets of Tokyo, blood spills out of his gills with every breath. This is the midpoint between what it once was and what it will become and it looks utterly painful. If his final form is nuclear incineration, his first form is nuclear disintegration. His cells are just barely holding together as he’s forcefully evolved into a being of destruction.

DATEABILITY: 8/10 - Let me give you a quote from the director of the 1954 Godzilla film, Ishir⁠ō Honda:

“Monsters are tragic beings. They are born too tall, too strong, too heavy. They are not evil by choice. That is their tragedy. They do not attack people because they want to, but because of their size and strength, mankind has no other choice but to defend himself.”

You’re a fish in the ocean, and by happenstance you accidentally find yourself in a nuclear waste dumping ground. The radiation mutates you. Slowly, painfully, you grow larger. Your fins are replaced with distortions of limbs, blood spills out of your gills, and you have no idea what is causing the pain you feel. Soon enough, you start surpassing buildings in size, and in a blind, pained stupor you find yourself in a city. Your body is too huge and unwieldy, as you move the infrastructure around you turns to rubble, and hundreds die in your wake. In response, humans have no choice but to try and kill you. You never chose this, you never even realized what was happening, but now you’ve become a god of death, the only thing you will ever cause is misery and disaster. You are utterly alone, because you’ve become built for violence, and violence will be the only thing you’ll know for the rest of your life.

Godzilla is all alone in this world, and no one can possibly understand them. He might be a terrifying destructive god on the outside but on the inside they’re angry and terrified. Can you imagine suddenly mutating into a gigantic monster, whose existence can only destroy? How alienating it must be that you cannot coexist with the life around you, that the only thing that can follow you is unmitigated death. No one will try to understand you, let alone sympathize with you, because you will only ever be a threat and nothing more. It’s fascinating that the song that plays when Godzilla unleashes his nuclear beams, “Who Will Know,” is one that’s sympathetic to him.

“If I die in this world / Who will know something of me? / I am lost, no one knows / There’s no trace of my yearning.”

Godzilla in this movie, despite his city-destroying size and power, is still the scared little guppy he once was. He doesn’t know any better, he doesn’t even know why this is happening to him in the first place. What he needs most of all is someone next to him, to see him for what he is, and to love and care for him despite his irradiated and monstrous appearance. Someone to quell the fiery radioactive fear in his heart, and show him the love he needs in a world that only seeks his death.

FINAL RATING: A GIANT TUMOR WORTH LOVING / 10

[purpleeivy]

Day 19 of my Daily Drawing, it’s someone with a lot of gadgets, their very own skyscraper, an elderly butler who has helped them in their life choices, and the best detective in the world. Bruce Wayne. Wait, no. L Lawliet! (aka, Ryuzaki, Hideki Ryuga, Eraldo Coil, Deneuve)

L is literally just a shut-in Batman istg. I guess that would make Near and Mello the batfam? (Mello is def Jason Todd, I guess Near could be Nightwing?)

Also it’s probably obvious by now that I like choosing a theme and sticking to it, until I don’t. Anyway commentary

Negatives - I made him too big again. Also shading, I guess some very faint shading on the shirt could have made it look better and made the difference between his neck and shirt clearer. His left eye is a little wonky.

Positives - Other than what I said above I really like it. I think it’s pretty clear this is L, so long as you know who L is.

Random BS

Listened to a lotta J-Pop today lol

I’ve had college recently, it’s been going okay so that’s good. I’ve also been meeting up with friends for… basically the first time ever. And that’s been really nice.

Idk what else to say, so as always.

Good morning, good afternoon, or good evening, and good night from me.

love you all <3

(ref image)

[into-september]

After re-reading Tokyo Babylon and re-watching Angelic Layer, the obvious next one had to be Chobits, which I only ever read and only ever deigned to give the anime a try because Hideki was voiced by Crispin Freeman and also because allegedly the anime's take on Chi's personhood was the opposite of the manga's. (I fell off at episode three or so)

I am not neutral about this manga. There are two reasons and the first is super mega dummy-dumb all the time I do not recognise the Angelic Layer manga as canon because the anime is better than it in every aspect - let's just say that I'm not thrilled about certain characters who did not survive the time skip and leave it at that.

The second part is that Chobits is one of the CLAMP series where the take-away message is one which I think is fundamentally effed up, which brings me to pretty much the only thing I feel like noting about the first volume: holy fanservice hell.

Literal first page of the comic features trouserless personcoms in a display window; we'll later get two instances of Chi imitating Hideki's porn, some three or four commentaries on her breasts, the panties, the natto scene (put a pin in this), Minoru's BDSM meido harem. Yes, this is arguably satirical in light of where the show ends, but is it satire when it flawlessly reads as that which it allegedly satirises and only reads as ridicule in retrospect?

Failing-at-being-The-Little-Prince story this far: powers of Apollo to CLAMP for the "there are no people in this city because everony prefers to be alone inside"

[arshs-artpage]

The Ducktators -1943.

During World War II, propaganda was a key part of maintaining morale on the home front and encouraging support for the war effort. Films like "The Ducktator" helped to communicate these messages to the public in a light-hearted and accessible way.

The cartoon "The Ducktators" is an American animated short film produced by Leon Schlesinger Productions and released by Warner Bros. in 1943, during World War II. It is part of the Looney Tunes series that depicts the play of emotions and the axis of powers during the World War II, particularly Adolf Hitler. This is all shown through satirical commentary and blends humour with a bitter but true political message during the time.

The plot of the story is set on a U.S. countryside farm, a peculiar black egg hatches, revealing a white duckling with a "Hitler-like" moustache . His first words are a shouted "Sieg Heil" and he quickly rallies the other animals with fiery speeches. His only ally is a goose named Benito Mussolini, soon joined by Hideki Tojo after Hitler tears up a peace treaty. The trio sets out to conquer the farm, but a brave Dove of Peace and a wisecracking rabbit, possibly referencing Gerardo Luigi Colonna, outsmart them. In the end, the Dove defeats the trio, urging the animals to support peace by buying state bonds. The use of Colonna’s name in The Ducktators was likely an inside joke from the Warner Bros. team, a common practice in Looney Tunes cartoons. Jerry Beck’s work, particularly in Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Bros. Cartoons, acknowledges that the characters in the short are direct caricatures of Hitler, Mussolini, and Hirohito.

The Ducktators is a classic example of hand-drawn, 2D cell animation, a widely used technique in animation. The book "Of Mice and Magic: A History of American Animated Cartoons" by Leonard Maltin, provides an overview of the techniques and materials used to make this animation.

The short officially aired on January 1st, 1943, in theatres mostly as a double feature or like most propaganda based short animations that were heavily encouraged to be shown before a main film by the U.S. government. As did the Office of War Information, who were heavily involved in the oversight and distribution of media that promoted anti-Axis messages.

Overall, the short was appreciated by the people at the time for it's wartime reference, even though it somehow managed its way out of the complexities of satire and dark humour especially in a sensitive historical context. 7/10

[greatrunner]

#i honestly don't like how everything looks in the upcoming show#apologies to the fans who are excited#the animation and dante's appearance look very off #as much as i love johnny yong bosch's works i just can't see him voicing both dante and vergil#that motorcycle scene animation looks like ass and not the good kind either#anyway that's my two cents#devil may cry netflix#dmc netflix#capcom#dante sparda#crapcom (@smolphantom)

Well, this is certainly one way to learn more about the DMC Netflix anime lmao. No shade to you, smolphantom.

I'm weirdly "at peace" with DMC since the DMC5 game came out (whatever issues I had with it). Even with the aforementioned commentary I made, being tentatively excited about "More Dante Content", I'm now just not interested in anything more. I'm starting to look at it like I did when I fell out of interest with Linkin Park post-Minutes to Midnight. More power to you if you can stick with it, but outside of struggling to buy expensive statues of the brothers Sparda, this is where I get off. I'm doing my best not to perceive it (and it helps that I don't visit the DMC tags at all.*).

Studio Mir's work on Korra, Voltron, and Castlevania just aren't ringing endorsements of quality despite the typical fluidity of their animation (depending on the budget). Netflix's reputation as the anti-union animation killer, in love with cel-shaded, low-frame, CGI, doesn't help matters.

Like, it's cool that I can spot elements from the TokyoPop DMC3 manga in the show (it even looks like they're lifting from the original DMC1 novelization that Hideki Kamiya worked on, too). But the DMC3 manga is not good. I'd be surprised if they could salvage anything out of that inky mess of a story.

Why would they hire Bosch to voice Dante and/or Vergil? They're just gonna sound like different/similar flavors Nero. I can understand not wanting to muck about with Reuben Langdon (given his QAnon affiliation), but Bosch? They couldn't find time to hire Daniel Southworth (is he on the alt-right political train, too)? They couldn't find a new voice actor for Dante?

That feels incredibly lazy, but on-brand for a Netflix production. It's also giving Nolan North/Troy Braker monopoly vibes.

*I got tired of trying to avoid spardacest and sparda/reader shipper content

Netflix and Capcom teaming up to make a DMC3-era DMC anime

I'm tentatively intrigued, mostly because I'm like, "finally, some Dante content", but like, it's also Netflix, and that Gamera series ain't inspiring confidence in the least (not on a storytelling or animation level)

And, I know the Legend of Korra folk are working on this, but I've never been crazy about that their Castlevania series either. So, it's like, "I hope it doesn't suck"* but at the same time... it's from the Castlevania group, so it'll probably be the blandest thing this side of Legend of Korra.

*as someone who quite enjoyed the weirdly silted slice-of-life stories the mid-2000s anime cooked up as a reflection of either Dante or his values.

[sandreeen]

Hell Dogs Audio Commentary with Tak (Okada) and Muro's (Sakaguchi) Actors

[sylvctica]

      “Now I’m just hungry for gummies...”

      “If ya brin’ out those dick gummies, ‘m leavin’.”

       “... but they’re funny shaped ...”

[evilendures]

Hari vc: I can confirm that “cooking” and “Yakuza” do not go hand in hand. Literally and figuratively . . .

[itmustbek8]

We don’t know what’s going on, but it’s okay bc Maddie’s sister is here to make sure we’re even more confused than before

Commentary for Angel Beats! episode 1

[retiine]

@kuroneko-kareshi replied:

shingo handing him a coffee: "just drink think till your body naturally shuts down from over load."

“I don’t want my heart to give out and die ... ‘ve already had days when I got terrible shakes from too much caffeine and it sucked ... but thanks for the coffee though.”

[soulsbetrayed]

“I’ll see ya at your bloody funeral...” Your accent is showing Hideki

[viterovinate]

“SEEEEEEEEEEX!”

“WHO TAUGHT AYA THAT!?”

“Pfft. Big deal, I learnt that when I was 6 hearing Grunkle Kenzo.”

“Uncle Kenzo, time to have a talk.”