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thehungrykat1 · 7 months

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Japan External Trade Organization Holds Seafood Festival at Mitsukoshi BGC

A Japanese culinary escapade awaits as the Japan External Trade Organization (JETRO) presents "A Seafood Festival" at Mitsukoshi Mall from February 20 to March 15, 2024. Prepare your taste buds for an unforgettable experience and enjoy the best seafood from Japan and so much more at Mitsukoshi’s hottest Japanese restaurants.

The Hungry Kat was invited to the media launch of "A Seafood Festival" last February 22 at Prologue d'Fined, one of the participating restaurants inside Mitsukoshi BGC. JETRO is a Japanese government-related organization that works to promote mutual trade and investment between Japan and the rest of the world. Through its various services and activities, JETRO aims to help small to medium size Japanese firms maximize their global export potential. This event is just one of the many activities promoted by JETRO and I am always happy to join them since I really love Japanese cuisine.

Prologue d'Fined is a new restaurant located at the ground floor of Mitsukoshi Mall in Bonifacio Global City that combines Japanese and French cuisines and techniques. It was my first time to visit this elegant restaurant and I was impressed with how it casually blends Asian and European elements together from its ambiance to its well-executed dishes.

We were met by Sunny Ku of Mastermind Asia Communication, Inc. who manages most of the promotions for JETRO. It promised to be a great evening filled with premium Japanese food and beverages.

Hosting the event was the ever-colorful Ms. Tessa Prieto together with Miss Sake Japan 2023 Kotoko Yamada who attended the event in a traditional Japanese kimono.

You don’t have to fly all the way to Japan to get a taste of authentic Japanese crasmanship. For the Seafood Festival, JETRO has partnered with Mitsukoshi FRESH as well as three of the best Japanese restaurants in the metro, namely, Prologue d’Fined by Chef Hiroyuki Meno, Bijin Nabe by Tsukada Nojo, and Sen-Ryo from the same group that brought Genki Sushi to the country.

JETRO Manila Director Makoto Sudo welcomed all the guests to the launch of A Seafood Festival. This event promises to immerse visitors in the vibrant flavors and cultural richness of Japanese seafood, just like the other events mounted by JETRO under the “Bringing You A Taste of Japan” campaign. The festival aims to increase public awareness about Japanese food and beverage products while also showcasing the rich culinary history and culture of the Land of the Rising Sun. By fostering a deeper appreciation for Japanese cuisine, JETRO hopes to contribute to the overall increase in demand for Japanese products and brands in the Philippines and perhaps even inspire Filipinos to visit Japan.

At Mitsukoshi FRESH, mall-goers will have the opportunity to create their own Chirashi Bowl, a traditional Japanese dish featuring a variety of fresh seafood toppings, from February 20 to March 15, 2024. Diners can build their own Chirashi Bowl in just two easy steps: First, select their base donburi from mouth-watering options like Salmon Buri Don, Hokkai Don, Salmon Hotate Don, Chirashi Don, and Kaisen Don. Second, choose three toppings for each bowl from among the following: Unagi (Eel), Salmon, Hotate (Scallops), Miyabi Dai (Sea Bream), Buri Fillet, Amebi or Akaebi (Sweet Shrimp), Ikura, Hanasaki Shigure (Crabstick), and Tako Wasabi.

Making the Seafood Festival more special was the visit of Japan’s State Minister of Agriculture, Forestry and Fisheries, Mr. Suzuki Norikazu, at Mitsukoshi FRESH to celebrate the various fresh produce and seafood items available for diners to enjoy.

The participating restaurants have prepared special dishes exclusively available during ‘A Seafood Festival’, highlighting the freshest and most delicious catch of Japan’s waters. At Prologue d’Fined, diners can choose from the Hokkaido Octopus, Kujukushima Oysters Ahijo, and Hokkaido Scallop Risotto. At Bijin Nabe, a Special Seafood Combo awaits diners where they can choose between Hamachi or Scallops, which comes with premium Crab Sticks, Tofu, Shiitake Mushrooms, Mizuna, Radish, and Cabbage. At Sen-Ryo, foodies can enjoy Premium Snow Crab Nigiri, Fried Hokkaido Cod, and Seafood Yakiudon. Each dish from the limited edition festival menu comes with a complimentary glass of sake or selected non-alcoholic drink to complete your Japanese experience. This promotional offer is only available from Friday to Sunday during the festival period.

To kick off the festival, Prologue d’Fined Executive Chef Hiroyuki Meno and his team prepared a five-course dinner menu for the guests, highlighting Japanese seafood, wagyu, liquor, and confectioneries. The menu, curated in collaboration with the restaurant's culinary team, showcased premium products imported from regions of Japan like Kagoshima, Hokkaido, Shiba, and Miyagi.

The welcome meal starts with Hamachi Carpaccio using a silky Yellowtail from Kagoshima. The slices of Hamachi are marinated in white soy sauce with Yuzu, a popular Japanese citrus, topped with Ikura, and served with vegetable crudité.

The dish was paired with glasses of Nippon Premium Chu-Hi, a very refreshing and fruity beverage that has only 3% alcohol so it's a good way to welcome guests.

The next course was the Hotate and Shirako Frites, highlighting the famous scallops of Hokkaido. The scallops were big and juicy, which is probably why these are considered as the most famous scallops in the world. It was served with nori (seaweed) crackers, lotus roots, broccoli, and yuzu kosho tapenade.

The buttery scallops work very well with Chateau Taisetsunokura Junmai Daiginjo Ginpu 50 from Hokkaido. What was truly surprising was the Shirako Frites which is actually fish semen! This had a crunchy exterior with a creamy consistency inside.

For the third course, Chef Meno harnessed the flavors of two kinds of clams from Chiba Prefecture: Honbinosu and Hokkigai. The result is a smooth risotto with pleasant briny flavors. It’s served with Shirasu (Japanese whitebait), arugula, enoki mushrooms, and clam juice. You can pour the broth inside the bowl or choose to use it as a dipping sauce.

To balance the flavors of the clams and highlight the rice, the dish is paired with Kuheiji Eau Du Desir Yamada Nishiki Rice Polish 50% from Nagoya.

For the main course, the culinary team prepared a show-stopping Gindara Coulibiac. Resembling a wellington but Russian in origin, this technique uses crisp puff pastry filled with gindara (Black Cod from Miyagi Prefecture), fish mousse, spinach, house-made Albufera sauce, and mushroom duxelles. Thanks to the gindara, this rich dish stays light and goes perfectly with a glass of Kaze no Etude by Coco Farm & Winery, a gentle, dry white wine made from Chardonnay grapes from various vineyards located in Nagano and Yamagata Prefectures.

For dessert, the sublime richness of the Matcha Tiramisu was a fitting end to our extraordinary dinner. Featuring green tea from Kagoshima, the earthiness of the matcha is complimented by the creamy Mascarpone and sweetness of the Kuromitsu (Japanese black sugar syrup). The addition of the crumble and tuile toppings adds a unique texture to this beloved dessert.

We would like to thank Sunny Ku and JETRO for hosting this exquisite dinner at Prologue d'Fined featuring Japanese culinary craftmanship. “A Seafood Festival” happens at Mitsukoshi BGC until March 15, 2024 only so make sure to visit and experience a taste of Japan. For updates on the other events of JETRO, you may visit www.jetro.go.jp/philippines.

#JetroPH #SeafoodFestival #Seafood #MitsukoshiBGC #Japan #JapaneseFood

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sakugabooru · 4 years

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#anime #animation #sakuga #kizumonogatari #hiroki yamamura #genichiro abe #ryo imamura #isao hayashi #genki matsumoto #hiroyuki ookaji #yuuya geshi #taiki konno #riki matsuura #kou yoshinari #tatsuya oishi

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kazarinn · 4 years

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A translation of the voice cast and staff interviews from the booklet included with the Digimon Adventure 02 15th Anniversary Blu-ray Box (released March 2, 2016), which featured comments from the following:

Voice actors for the main six Chosen Children and their Digimon partners

Producer Hiromi Seki

Director Hiroyuki Kakudou

Lead writers Atsushi Maekawa and Genki Yoshimura

*Note: Yoshimura's interview (the last one) merits a bit of a body horror content warning

#Digimon #Digimon Adventure 02 #Reiko Kiuchi #Junko Noda #Rio Natsuki #Kouichi Tohchika #Megumi Urawa #Kae Araki #Yuka Tokumitsu #Taisuke Yamamoto #Miwa Matsumoto #Romi Park #Naozumi Takahashi #Hiromi Seki #Hiroyuki Kakudou #Atsushi Maekawa #Genki Yoshimura

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shihalyfie · 3 years

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Regarding Konaka’s influence on Tamers (or how much he actually didn’t have)

(Rest assured that if you’ve had a conversation with me recently about this issue, I’m not vaguing you; this conversation has come up a lot in the last few weeks, especially in my private chats, so this is just me deciding that I should write something about this for once since it’s been weighing on my head lately.)

I think, right now, with what happened regarding the DigiFes debacle, a lot of people are having complicated feelings about how to feel about Tamers, and this is completely understandable. I think there are also some things that may be inevitably unavoidable, such as starting to second-guess certain nuances in the series and what they might lead to. All of that is perfectly reasonable, and in the end, it’s going to be up to everyone to decide how they feel.

In light of this, a lot of people have been bringing up the fact that, while Konaka was the head writer, he was by no means the only person working on it. This is very much true, but I’d like to add something else to the equation: this is an issue that goes much deeper than the usual claiming death of the author for the sake of sanity. The full picture is that Konaka has always had much less influence on the series than the fanbase tends to attribute to him. Official statements have been very clear as to not attribute the entire series to him, and, among all the other controversial statements he’s made, Konaka himself has at least been very active about crediting the other staff members as far as their influence on the series! The idea that he was the only person who ever did anything substantial for Tamers is something I’ve been warning against since long before any of this happened (if you want proof, I have a post from April with this sentiment in it), and right now we just happen to be seeing what’s basically the worst possible outcome of the fanbase constantly worshipping him like the only real creative heart behind the series to borderline cult-like levels...when that’s never been true, and has resulted in unfairly taking credit away from people who deserved it.

I’ll go into detail below, and I hope this can help people understand the situation better and sort out how they feel about it.

Note that I make references to his infamous blog in this post, which I’m deliberately refraining from directly linking for obvious reasons, but all of the information is still there, so it should be verifiable if you decide to look for it yourself.

Personally, I’ve always found it really bizarre how there’s been this obsession with portraying Konaka as some kind of auteur whom the entirety of Tamers depended on. I’m not saying this out of spite towards him, because, again, even he himself was very insistent on disclaiming credit for things he wasn’t actually responsible for (he was quite humble in this respect, actually). Not to mention that I think it’s a mistake in general to constantly pin a single person in a multi-person production as the sole heart behind it, and the Digimon fanbase has historically had this strange double standard behind it when it comes to uplifting him as the only heart behind Tamers when nobody says that about any of the head writers for...anything else. (How many times has Nishizono’s name ever popped up when talking about Adventure? People are usually more obsessed with talking about Kakudou or Seki.) Konaka’s work is certainly distinctive, but Tamers had a lot more going on besides just that.

In fact, based on his own statements on the matter and all of the other official information we’ve gotten about Tamers production, while you can’t really quantify such things, it’s generally been estimated that Konaka was responsible for something like only a fourth of the series. Which is an incredibly low amount compared to what the fanbase would have told you before all of this happened, because of this fixation that he must be the genius mastermind behind the whole series. Not only that, this “brilliant auteur” image of him was so inflated that people were attributing way more of 02 to him than he deserved; 02 episode 13 was the only thing he contributed to the series and he was specifically brought on as a “guest writer”, and the overall plot of the episode was determined by the rest of the production staff and not him -- but ask the fanbase and they’ll tell you stories about how he invented some grand planned arc for 02 that got cancelled, or even that Tamers exists because of a “writer revolt” from him and other writers not being allowed to do what they wanted. (You know, as much as I understand 02′s a controversial series, it would be really nice if people didn’t make up completely baseless stories like this just to scapegoat it...)

I honestly cannot emphasize enough how much of the problem we’re in right now has been horribly enabled by the weird pedestal the fanbase has been putting him on. This is to the point where there’s even been a double standard where some of the more unpopular/criticized elements of Tamers must not have been the fault of a brilliant writer like him, and in fact was forced on him by the executives (this excuse had always been brought up anytime someone doesn’t like something about Tamers, just to make sure the image of him as a perfect writer was maintained). Turns out, as per his own admission on the infamous blog, while he wasn’t the one who initially had the idea of putting Ryou in, the part that rubbed the fanbase the wrong way -- that he came in as an accomplished senior who was better than everyone and played up by everyone in the cast -- was unabashedly his idea (he apparently was enamored with the idea of having someone like Tuttle from the movie Brazil). Again, this is a weird scenario where even Konaka himself has been more humble about this issue than the fanbase’s perception of him; he fully admitted whenever he had trouble writing certain parts. For instance, he doesn’t actually like writing about alternate worlds, felt they were out of his comfort zone, and only wrote in the Digital World because the franchise needs one; he’d stated that if he’d had his way, the Digital World arc wouldn’t have come in as early as it did, which might be a pretty shocking statement for a Digimon fan to hear.

If you want even more specifics, here are some extremely major parts of the series that Konaka was not actually the one behind:

The character backgrounds. Konaka stated on his blog that he wasn’t interested in going too much into character backstories because he felt it was too plot-limiting to say that a character is the way they are thanks to something in their past or background (basically, he cares more about plot than character for the most part), and that he’s also not into worldbuilding. Certain things like Ruki going to a girls’ school were supplied by Seki, who infamously loves worldbuilding, family backgrounds, and character settings.

Certain nuances of Ruki’s character, especially the part where she’s pigeonholed into uncomfortable places due to being a girl, were informed by Yoshimura Genki, writer from Adventure and one of the head writers of 02 (who eventually would go on to create an entire career out of feminist cinema).

According to the posts on his blog, Impmon’s character arc didn’t have much input from Konaka himself and was largely written in by Maekawa Atsushi (also a writer from Adventure and one of the head writers of 02).

The whole concept of Yamaki being redeemable in the first place was something Konaka didn’t originally plan for; he’d initially intended to make him a straightforward antagonist, but, of all things, his Christmas song, combined with the input of the other writers (especially Maekawa) humanizing him, led to the development where Yamaki eventually changed sides and became sympathetic. (This makes Konaka’s recent stunt revolving around Yamaki a bit painfully ironic.)

The director, Kaizawa Yukio, was deliberately picked because he didn’t have experience on the prior series, for the sake of changing things up, and he spent Tamers as a period of studying what Digimon should be like. Based on what he’s hinted, it seems Konaka's writing style and choices were able to have as much influence as they did because Kaizawa approved of them -- that is to say, Konaka’s detailed imagery and descriptions were extensive enough that Kaizawa could go “sure, let’s go with that.” But in the end, nothing Konaka did would have gone through unless Kaizawa and Seki (among many others) didn’t also approve of it or provide input. Moreover, Kakudou Hiroyuki (director of Adventure and 02) has also been stated many times to have been a valuable consultant on invoking Digimon so that the new staff could understand what to aim for and how to get the right feel (and also assisted with providing stuff for the mythos, such as the Devas). Nevertheless, Kaizawa also seems to have had his own strong opinions and input on the story; he especially seems to get passionate when it comes to the topic of making the story something the kids watching it could relate to and imagine. (He would eventually go on to direct Frontier and Hunters, along with several episodes of the Adventure: reboot.)

So in other words, looking at this, a lot of these things that people emotionally connected to and loved about Tamers are things that literally were not his personal creation, and were largely contributed by the other writers! Of course, Konaka’s “creator thumbprint” is very obvious -- he was the head writer, after all -- and all of this had to go through his own vetting to make sure he personally liked it as well -- but nevertheless, you can see that this very much was a collaborative effort from head to toe, with him being very open about this fact himself. Insisting on making sure that this fact is well-known isn’t just a coping mechanism to try and remove his presence in the series, but rather a desire to get people to seriously stop giving him credit that really should be going to others (especially since, again, even he himself was very diligent about assigning that credit).

In the end, I’ll leave you with another thing to keep in mind: Konaka doesn’t get paid anymore for Tamers work (unless they make something new like the DigiFes thing), so continuing to buy Tamers merch and supporting the series through fanart and such will probably end up going more towards the Digimon IP as a whole. Basically, if we’re just talking about Tamers specifically, what degree this is going to matter is only really relevant to the content in the original series, which is now twenty years old and remains unchanged. By Konaka’s own admission, he wasn’t into all of these conspiracy theories until 2010 at the earliest, so while it’s understandable to be a bit wary about the themes in Tamers having traces of the base sentiment, the original series itself does not seem to be an outlet for alt-right propaganda, and it’s probably forcing it a bit much to read into it that way. Konaka’s also repeatedly insisted that all of his attempts at a Tamers sequel have been rejected and that he’s been doing increasingly strange swerves to get around members of the original cast not entirely being available, and the Japanese audience has turned out to not be very fond of the contents of the 2018 drama CD and the stage reading for reasons entirely separate from the politics, so it’s also unlikely we’ll be getting a Tamers sequel from him or something in the near future.

So -- at least for the time being -- what’s done with him is done, and the remaining question is how all of us feel about Tamers. I think everyone will have differing feelings on it, and that’s perfectly understandable. Personally, given everything I just said above, I’m going to continue treating it as a series very important to me, and one that many people (including, as it seems, a very different Konaka from twenty years ago) worked on with a lot of effort and love, although you may see me getting a bit more willing to be critical about the series and its themes thanks to my concerns about some of the sentiments in it and what they imply. I also completely understand that there are probably people whose associations are going to be much more hurt and who will have a much harder time seeing the series the same way ever again, and I think that’s reasonable as well. But at the very least, going forward, I hope all of us can understand the depth of this situation, give credit where it’s due, and not force credit where it’s not due.

#digimon #digimon tamers

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hobbysognodilibri · 2 years

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Haikyuu post post timeskip Next gen Pt5

Note for the age! Since theres a range of 11 years between the oldest and the youngest characters I’m gonna set this in 2034 (the oldest are born in 2016 and the youngest in 2027)

Also obv the picrews don’t picture them at that age, but let’s say mid high school

Here we have Yamafuku, Semishira and Kogagoshi’s kids

Yamamoto Fukunaga kids

1.Tori

Age: 16

Pronouns: she/her

School: Nekoma

2.Hiroyuki

Age: 14

Pronouns: he/him

School: Nekoma

3.Sakura

Age: 13

Pronouns: she/her

School: Nekoma

Semi Shirabu kids

1.Yukio

Age: 17

Pronouns: they/he

School: Shiratorizawa

2.Kaori

Age: 15

Pronouns: he/they

School: Shiratorizawa

Koganegawa Goshiki kids

1.Genki

Age: 16

Pronouns: he/they

School: Shiratorizawa

2.Rini

Age: 14

Pronouns: she/they

School: Shiratorizawa

#hq post post timeskip stuff ig #haikyuu!!#my ocs ig #yamafuku #semishira #kogagoshi

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seiyuuvoices · 4 years

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🐑Hitsuji de Oyasumi Series🐑

Insomnia? Here’s the help you need! Let the seiyuus count the sheep until you fall asleep!

🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑

PSA: If you are able to, please buy the CD online or from your local stores!

I’ve got a few requests from people who are curious about this series but many of the links on Seireitei Toshokan have been dead for some time. I’ll be sharing the ones that have become unavailable.

🐑 Pick a volume with your favourite seiyuu:

Complete Digest (Seiyuus from Vol 01~10, Wakamoto Norio, Ootsuka Akio, Kuroda Takaya, Kanaya Hideyuki)

Bangaihen (Wakamoto Norio)

Tokubetsuhen (Ootsuka Akio & Kuroda Takaya & Kanaya Hideyuki)

Kakumei (Baba Toru & Ookawa Genki)

Volume 01 Bokura no Koe de (Ishida Akira & Hoshi Souichirou)

Volume 02 Nemuttara Iinjanai (Suwabe Junichi & Ookawa Tooru)

Volume 03 Zutto Soba ni Iru yo (Yuusa Kouji & Itou Kentarou)

Volume 04 Chotto Nemutte Minai (Toriumi Kousuke & Suzuki Chihiro)

Volume 05 Issho ni netemo ii (Fukuyama Jun & Kishio Daisuke)

Volume 06 Nerunai to Punpun (Tamura Yukari & Saitou Chiwa)

Volume 07 Oyasuminasaimase Ojousama (Midorikawa Hikaru & Okiayu Ryoutarou)

Volume 08 e~ Nemuretainda (Miyano Mamoru & Taniyama Kishou)

Volume 09 Anata no Soba wo Hanaremasen (Inoue Kikuko)

Volume 10 Boku ga Kazoete mo Ii no (Suzumura Kenichi & Hirakawa Daisuke)

Volume 11 Omataseta ne Senorita (Inoue Kazuhiko)

Volume 12 Itsumademo Issho ni Iyou ne (Yoshino Hiroyuki & Kamiya Hiroshi)

Volume 13 Kimi Yori Saki ni Boku ga Oyasumishichau yo (Ono Daisuke & Nakai Kazuya)

Volume 14 Minna de Issho ni Neyou yo (Takahashi Hiroki)

Volume 15 Hokago wa Kimi no Soba de (Morita Masakazu & Sugiyama Noriaki)

Volume 16 Iikagen ni Nero yo na (Nakamura Yuuichi & Yonaga Tsubasa)

Volume 17 Oyasumi no Sono Mae ni (Minagawa Junko & Kaida Yuki)

Volume 18 Ashita wa Motto Kagayaku Kimi ni Naru you ni (Chiba Susumu & Hamada Kenji)

Volume 19 Kimi no Negao ni Iyasarete (Narita Ken & Horiuchi Kenyu)

Volume 20 Ii Kara Yoko ni Nare yo (Paku Romi & Kugimiya Rie)

Volume 21 Oretachi to Yukkuri Yasumoune (Kondou Takashi & Namikawa Daisuke)

Volume 22 Takosago demo Nemurinasai (Morikawa Toshiyuki)

🐑 For volumes after this, they’re are available on Airavalky, membership is free but you gotta register first.

Volume 23 Ashita no Tame ni ii Yume wo (Terashima Takuma & Okamoto Nobuhiko)

Volume 24 Kenkou-teki ni Oyasumi (Konishi Katsuyuki & Yasumoto Hiroki)

Volume 25 Gussuri Nemureru Jikken wo Shiyou yo (Okitsu Kazuyuki & Hino Satoshi)

Volume 26 Oniichan to Oyasumi (Morikubo Showtarou & Majima Junji)

Volume 27 (unavailable)

Volume 28 Komorebi no Shita de Oyasumi (Shimono Hiro & Kaji Yuuki)

Volume 29 Yuki wo Minagara Oyasumi (Maeno Tomoaki & Tsuda Kenjirou)

Volume 30 (unavailable)

Volume 31 Otanoshimi ha Kimi to Isshou ni (Ono Yuuki & Kimura Ryohei)

Volume 32 Mugen no Yoru ni Dakarete Oyasumi (Seki Toshihiko & Hayami Sho)

Volume 33 Nonbirishinagara Oyasumi (Nojima Hirofumi & Nojima Kenji)

Hetalia x Hitsuji de Oyasumi Series

Sleep Sleep Sheep Choice ~ Koukousei Hen ~ Hirose Yuuya & Saitou Souma

Sleep Sleep Sheep Choice ~ Daigakusei Hen ~ Eguchi Takuya & Shouta Aoi

🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑

Let me know if any of the links stopped working! Thank you!

Good night! Dream of sheep and seiyuus!

#hitsuji de oyasumi

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toku-explained · 4 years

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The Sword's Shadow

Heroes Odyssey: Not likely to cover every episode, but will cover this episode a little. Zero is talking about people, villains and defenders across the universes. All the heroes I saw listed below, but on with the episode. Zero still not admitting Zero is his apprentice, come on dude. Okay, Zero is talking like the events of Z are still ongoing here. I might not talk about this much until nearer the end, we'll see.

Hayata, Dan, Go, Seiji, Misuzu, Gen, Choichiro, Yamato-sensei, Ryoko, Scott, Chuck and Beth, Jack, Kai, Spark Lens, Reflasher, Gamu, Fujimiya, Katsuto, Genki, Seven 21's girl disguise, Ginga, Musashi, Julie, Maki, Himeya, Komon, Kaito, Serizawa, Sakomizu, Mirai, Jin, Rei, Ran, Nao, Taiga, Hikaru, Shou, Daichi, Gai, Riku, Leito, Asahi, Isamu, Kataumi, Hiroyuki, STORAGE, Haruki. So a couple of oddities, specifically the use of Misuzu instead of Kotaro, the not using Asuka even though Tsuruno Takeshi is definitely not a problem like Nagano Hiroshi's agency is, never mind I have learnt some stuff, and using all 3 of Zero's hosts and only one of Nexus' (counting The Next and Noa as separate). There's also stuff like not using Tsubasa, Amui or Yuuto or Tomoya, or not using Kazamori even though they used Jim, but that's less weird really. Okay

The Absolute Conspiracy: We're now set between Zero & Z Voice Drama and Z itself. In Tartarus' relative past he brought Reibatos to Future Earth, where he revives Bat Seijin. Bat Seijin concluded that with a heart Zetton could defeat the Ultra heroes, creating Uchu Kyoju Majin Zett. Later, the Tri Squad train on Planet Maijii, a high gravity world where Taiga and Titas had trained before meeting Fuma, when Zett appears. Taiga and Titas recognised him from when they faced another version on U40 and sealed him, probably referencing a Voice Drama scenario. Zett summons the Zetton Army, two regular Zettons, 2 Hyper Zetton, EX Zetton and, a modification of a Baltan Zetton fusion from around the same time as Zett on stage, Zetton Falx. The team struggles against them. At Ayaka City Ultrawoman Grigio is still fighting on behalf of her brother's against Zandrias and Noiseler, managing to drive them off. Zero arrives to recruit her, Grigio mentioning her brothers are helping in the hunt to stop Devil Splinters. Tartarus arrives on U40, noting it will be a problem for him one day. Joneus' quickly appears and Tartarus challenges him. After determining he will be a threat, Tartarus leaves, Zero arriving right after to ask for his help. The Tri-Squad continue to struggle against the Zetton Army until the sudden arrival of Galaxy Rescue Force members Andro Melos and Ultraman Ribut.

Saber: Is the rooftop near Fantastic Bookstore Kamiyama? I thought of it as being like, Kento's place, but we're still using it so I don't know. Mei's editor is now a Yeti Megiddo. Yuri has been in Avalon for a thousand years it seems, doesn't like the comic SwordXMan, which seems like he might be making a comment on the show itself? Anyway, we're finally going to Southern Base. A reminder to the fandom that the fact to us Reika is clearly evil, or at least lying, doesn't make the fact the Northern Base members took her statements at face value contrived. Rintaro is incapable of seeing flaws within Sword of Logos due to his past, but at the same time wants to believe in Touma, while Ren is against Touma for believing Kamijo about the traitor given Kamijo killed Kento. Ogami and Daishinji don't really know what's true, but will follow Reika's instructions for now. Yuri seems... intrigued? Confused? By Legeiel...have they met, or does he know Legeiel as someone else? Okay, defeating Yuki-san's Megiddo form seems to part complete the new Alter Book she's using, or rather it's just time spent, if it completes she'll be gone. In the next battle Yuri demonstrates his next ability as Saikou, producing Shadow to fight with.

Kiramager: More focus in finding the last Kanaema Stone, and what is up with Takamichi and Garza? Oh, Illusia, that's what. I knew the mention of a crescent would tie into Garza somehow. Takamichi has unresolved issues with Garza, brought about by Oradin interrupting the last Graduel, in a way Mabusheena doesn't. And yeah, that Garza was trying to kill him I suspected. Garza symbolically destroys the image Takamichi has of him ever being a loving uncle. Yodonna gets away with Illusia.

Dogengers: Yabai Kamen declares to the assembled members of AHK that with the treasure he has acquired, a Golden Seal, they will end the era of the heroes. In Fukuoka City Tanaka Jiro watches the news, which is interrupted by Shaberryman, who announces he is on the run from heroes, specifically Fukuokaken Fukuokaliber, a wielder of two swords and the politest hero in Fukuoka. Fukuokaliber had been active for 8 years, and Dogengers is the debut of his new costume, indeed the promo images all use the original. The hero asks Kitaqman for help, but he's too busy showing off a drink on his blog, Shaberryman then runs into workers for Yahata Construction, including the boss, along with their hero, Tengen no Yusha El Brave, a masked wrestler who now fights as a hero, El Brave is completely resistant to the attacks, and is aided by the workers in fighting off Shaberryman, who bemoans the company finances going down the drain when he's interrupted by the Yamashiro Gas Co. Sales Department Hero Division, Redron, Aoiron and Daidairon. Redron is polite and a little naive, Aoiron has something of a cool image and Daidairon is the curry lover. Yamashiro Gas Co. is actually based in Saga Prefecture, but has offices in Fukuoka. With permission from the company, the three are able to combine into Yamashiron, and defeat Shaberryman, and the crowds celebrate the heroes. Tanaka admires the heroes' strength. He's talking with his childhood friend, Yuki, who he last saw 17 years ago when he moved to Tokyo, they're making plans to meet soon. Both make use of Hero related stickers. On Nokonoshima Island the heroes are filming Hero House, during which we see Kitaqman's Kitaq Machine. The girls seem to be having fun. On the ferry back to the mainland to get lunch, as they arrive the city is attacked, and they're soon confronted by Yabai Kamen, some Karami, as well as the Arakuremono thugs who support the two members of Marou Project, Marou Kaijin Gulf and Marou Kaijin Gallia. Marou just means Evil Wolf, Gulf is the elder brother with an Osaka accent who loves to fight, Gallia is the cuter younger brother with a Tokyo accent. As Yabai Kamen demonstrates his power, explaining he took the chance to invade while they were on Nokonoshima, the heroes evacuate those nearby to the island before confronting the villains, but Yabai Kamen demonstrates his power further. Tanaka finds himself at the scene of the battle, watching. The heroes are able to defeat the Karamis, but Gulf and Gallia demonstrate they're also stronger, wiping the heroes out. Tanaka, remembering his childhood, tries to stand up against the villains, but his heroic speech never makes it out if his imagination, Yabai Kamen does offer him membership as an Arakuremono. Sending the Marou's off, he tells Tanaka he's Fukuoka's last hero, and gloats, before the arrival of Ohgaman, who swiftly defeats the Karami with his thermometer projectiles, leaving him ready to challenge Yabai Kamen one on one.

#toku explained #kiramager #ultra galaxy fight #kamen rider saber #dogengers

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kyokushinpunk · 5 years

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Favourite fighters

Yeah I’m a little bored so for some reason I want to make a list of my favourite professional fighters.

- Benny Urquidez Confirmed legend. Great boxer with the meanest spinning back kick in history. What fascinates me about Urquidez is how he pitted his american kickboxing style, without low kicks / knees, against muay thai - influenced japanese kickboxers and still managed to win despite his limited moveset. Incredible fighter.

- François Pennacchio The guy who turned me to savate. Incredible in savate during the 90′s, made a seamless transition to thai and K-1 rules and got an impressive score. A pioneer of using savate tactics in kickboxing competition.

- Anissa Meksen A MONSTER. Did what Penacchio did, started by winning everything in savate, transitioned to thai and kickboxing. Just like Pennacchio, uses all the savate arsenal but has mastered the thai style much more than Pennacchio. One of the best kickboxers ever.

- Aleksandr Ieromenko A current behemoth of kyokushin. I’ve been completely fascinated by his run in the 2019 world championship. That guy is an absolute monster and the title was stolen from him. I never imagined someone could take that much damage and just shrug it off. Insane.

- Enoch Effah Savate’s greatest heavyweight. Has won every tournament he appeared in, was the first world champion of Chauss’fight (a savate offset that I see as the precursor to today’s Savate Pro), currently trying to make the transition to MMA. Precision and a terrifying power. I can’t wait to see his MMA debut.

- Tenshin Nasukawa I’m completely struck in the Tenshin hype. Yes, some of his victories were stolen (Rodtang...) but he is just so fun to watch, be it his incredible technique or his insane flashy moves THAT AREN’T SUPPOSED TO WORK DAMMIT. I love this guy.

- Chloé Nandi Queen in her weight category. Nandi is the best example of savate footwork out there. 2019′s final against the awesome Capucine Agard was more proof.

- Genki Sudo His crazy antics, awesome grappling and the overall character make me love Genki. We are all one.

- Hiroyuki Takaya A veteran of the japanese MMA scene. He’s not especially remarkable, I just take a liking to him because his background his straight out of a furyo manga. Streetfight Banchou !

- Bill Wallace I love american rules kickboxing, and I love even more Bill Wallace. Wallace’s style reminds me a lot of the principles of Jeet Kune Do and his strategy his actually very sound. Love that guy.

- Bas Rutten Probably my absolute favourite fighter, all styles included. Especially his pancrase run, where he uses all of my favourite strikes and tactics, uses mean palm strikes and liver kicks.... This is all I want to perfect in my self defense curriculum.

Too long to list, but i’d mention Masato, Buakaw, Jerome Le Banner, Kanelle Léger, Holly Holm, Michelle Waterson, Roxane Modaferri, Lucia Rijker, Takeru, Yasuhiro Kido, Stephen Thompson, Jean-Charles Skarbowski, Yuka Tsuji, Satoko Shinashi, Cyrielle Girodias, Bastien Colin, Dylan Colin... the list is long.

#budoblr #martial arts #mma #kickboxing #savate

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x0401x · 5 years

Photo

Tsurune Cast Comments: Episode 10

Screenplay: Yoshino Hiroyuki Storyboard: Takemoto Yasuhiro, Yamamura Takuya, Fujita Haruka Direction: Takemoto Yasuhiro Animation Direction: Tsunoda Yuuki

← Previous || Index || Next →

Ichikawa Aoi (Voice of Takehaya Seiya)

A Scene You Recommend

The scene where Seiya, who had been carrying the accident from the past inside him, was helped out by Minato. In Minato’s “I’ll wait for you”, performed by Uemura-san, there was a warmth that seemed to envelop Seiya completely, so without thinking twice, I myself felt like crying during the after-recording.

I think that, whenever it rained, Seiya was reminded of the accident over and over, and suffered deeply. From now on, this will diminish little by little, and he will finally be able to live like himself, is what I felt.

That’s great, huh, Seiya.

Takemoto Yasuhiro (Episode Director)

A Scene You Obsessed With

The scene where Seiya and Minato faced each other on the pedestrian bridge. In it, we depicted Seiya with openings, unlike how he usually is, precisely because the fever was making him dizzy.

He normally always pushes himself to the limit and does his best, so I think that doing so became the obvious to him without him even noticing. I believe it is okay for him to show weakness at least in times like these.

Matsumura Genki (Main Video Inspector)

A Scene You Recommend

The scene where Masa-san and Tommy-sensei have a talk in the archery dojo. It is clear that the reflections on the floor and the sunset hues are beautiful, but I felt a depth in their conversations’ contents. It is a scene where one can see that we are not only depicting the growth of Minato and the other boys, but also of Masa-san. The parts of this scene that tuned with me and had me going, “I get you!”, as well as the trail of thoughts about his “questions”, made me see this scene as overlapping with myself, so it might have left a particular impression on me.

#tsurune #dailytsurune #sportsanimedaily #fysportsanime #fyeahsportsanime #tsurune kazemai koukou kyuudoubu #kyoani #kyoto animation #takemoto yasuhiro #ichikawa aoi #matsumura genki #cast comments #anime #my translation

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adventure-hearts · 6 years

Note

Can you please tell do you know who is the creator of the Digimon series? I would really like to know how the anime production works :)

There isn't a single creator. The Digimon Franchise is the brainchild of numerous people. Though in the credits you see the name "Akiyoshi Hongo", that name is actually a pseudonym created by Bandai and refers to a team of people who were involved in creating and developing the franchise.I don't know much about anime, so I'm not sure how much I could help you.If you mean the Digimon Adventure TV anime, it seems that the main people in charge were Producer Hiromi Seki, Director Hiroyuki Kakudou, and Head-writer Satoru Nishizono. And then you also have a wider team of directors and writers. Decisions were probably also influenced by other producers and people in higher positions, especially at its inception.In 02, the main staff was basically the same, tough the headwriters were Genki Yoshimura and Atsushi Maekawa.Tri. Had a completely different staff, including producers, writers and directors. The series director was Keitaro Motonaga and the series compositor (headwriter) was Yuuko Kaikihara. You can check Anime News Network (or similar websites) to see the complete crew of these series. The main point is that all 3 were created by a large team, and by no means by a single person with full creative control.

#asks #digimon

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seiyuufreak · 7 years

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[MASTERPOST] Magazine scans request!

Hellooo, it’s been awhile!

Alright, in short, I currently own three magazines, which are 声優グランプリ July 2017 issue (Seiyuu Grandprix), 声優 JUNON vol. 6, November 2017 issue (Seiyuu JUNON), and Cool Voice vol. 25, March 2018 issue. And, I’m open for scan requests of these magazines! The only rule here: one person would only be able to request of maximal three titles! Just simply comment or PM me who you’d like to see the scans of, and I’d be glad to note your request down. I’ve done some bit of them (some of them are last year’s req killmeplz), they’ll be marked with 🆙 on their end, provided with its link if already posted. The ones in progress will be marked with ⏳ on their end.

Note: For the rest which I haven’t scanned, it will took a bit while for me to scan them, mainly because MY LAST YEAR EXAM WILL TAKE PLACE VERY SOON (Preparing my death rn gosh) -- but I’ll surely update here whenever I’m done with them! For now, the scans not yet done will be postponed until late April.

Here are the list of seiyuu included within the magazines, alongside with their respective interview / topic / corner titles.

声優グランプリ

男性声優：

> PICK UP

００６　梶　裕貴 ✕ 小野大輔「進撃の巨人　Ｓｅａｓｏｎ　２」(Kaji Yuuki x Ono Daisuke) 🆙 >>> 1 / 2 / 3 / 4 / 5 ０２１　小野大輔「ＲＯＳＡ～Ｂｌｕｅ　Ｏｃｅａｎ～」(Ono Daisuke) 🆙 ０２７　福山　潤「ＯＷＬ」(Fukuyama Jun) 🆙 ０３２　宮野真守「ＭＡＭＯＲＵ　ＭＩＹＡＮＯ　ＬＩＶＥ　ＴＯＵＲ　２０１６～ＭＩＸＩＮＧ！～」(Miyano Mamoru) 🆙 ０３６　下野　紘「バ－スデ－ライヴイベント２０１７～Ｒｕｎｎｉｎｇ　Ｈｉｇｈ～」(Shimono Hiro) ０３８　寺島拓馬「ＬＩＶＥ　ＴＯＵＲ　２０１７　３ｒｄ　ＳＴＡＧＥ“ＲＥＢＯＯＴ”」(Terashima Takuma) ０４１　小野賢章「小野賢章がゆく　旅友　第五弾～ゲスト：諏訪部順一篇～」(Ono Kensho) ０４３　斉籐壮馬「ソロデビュー１ｓｔシングル　ＦＩＳＨ　ＳＴＯＲＹ」(Saito Souma) ０４８　「ユ－リ！！！ｏｎ　ＳＴＡＧＥ」０５１　山谷祥生＆矢野奨吾＆笠間淳「アイドルマスタ－ＳｉｄｅＭ」(Yamaya Yoshitaka, Yano Shougo, Kasama Jun) １３０　ＤｅａｒＤｒｅａｍ　１ｓｔ　ＬＩＶＥ「Ｒｅａｌ　Ｄｒｅａｍ」１３３　畠中　祐 (Hatanaka Tasuku) ０８０　吉野裕行　声優養成所＆専門学校特集「声優への道２０１７」前編 (Yoshino Hiroyuki)

－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－

> Serialization / corner

０２５　小野大輔　「もす。」(Ono Daisuke) 🆙 ０２６　小野大輔　「ビストロ５ｐｂ.」(Ono Daisuke) 🆙 ０４０　前野智昭　「まえののえま」(Maeno Tomoaki) ０５４　梅原裕一郎　「梅ごよみ」(Umehara Yuuichirou) ０５５　内田雄馬　「うちだっぷ！」(Uchida Yuuma) １０８　コラムスクランブル　天崎晃平／渡辺紘／ＤｅａｒＤｒｅａｍ／赤羽健治／西山宏太郎／畠中祐 (Amasaki Kouhei / Watanabe Hiroshi / DearDream / Akabane Kenji / Nishiyama Koutarou / Hatanaka Tasuku)

女性声優：

> PICK UP / gravure / interview

０５７　内田真礼「５ｔｈシングル　ＩＮＴＥＲＳＥＣＴ＋」(Uchida Maaya) ０６３　麻倉もも (Asakura Momo) ０７０　沼倉愛美「Ｍｙ　ＬＩＶＥ」(Numakura Manami) １２５　渡部優衣 (Watanabe Yui) ０７８　「ＶｉＶｉｄ　ＰＡＲＴＹ」【ライブイベントレポ－ト】１２７　山崎エリイ　Ｆｉｒｓｔ　Ｌｉｖｅ　２０１７　「Ｔｅｅｎａｇｅ　Ｓｙｍｐｈｏｎｙ　Ｆｏｒ　Ｙｏｕ」(Yamazaki Erii)

－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－

> Serialization / corner

０６８　夏川椎菜　「夏川椎菜、なんとなく、くだらなく。」(Natsukawa Shiina) ０６９　雨宮　天　「雨宮天の有頂天」(Amamiya Sora) ０７４　水樹奈々　「奈々が行く！！」(Mizuki Nana) ０７５　水瀬いのり　「しあわせいのり日和」(Minase Inori) ０７６　小倉　唯　「ゆいコレ」(Ogura Yui) ０７７　上坂すみれ　「上坂すみれの同志諸君に告ぐ」(Uesaka Sumire) ０９７　超！Ａ＆Ｇ＋ＮＥＷＳ！安済知佳 (Anzai Chika) ０９８　緒方恵美　「緒方恵美の晴天ヘキレキ！」ゲスト　Ｃｅｕｉ (Ogata Megumi, guest: Ceui) １００　松井恵理子　「松井恵理子のまつあに！！」(Matsui Eriko) １０１　ＭＵＳＩＣ　ＬＯＵＮＧＥ　新谷良子／春奈るな／たぴみる (Shintani Ryouko / Haruna Runa / Tapimiru) １０８　コラムスクランブル　諏訪彩花／藤田茜 (Suwa Ayaka / Fujita Akane) １１３　豊崎愛生　「らくがき４コマ」(Toyosaki Aki) １２１　小松未可子　「どこ行くの？小松さん『ちょっとそこまで』」(Komatsu Mikako) １２２　竹達彩奈　「いしからはじめるものがたり」(Taketasu Ayaka) １２３　悠木　碧　「悠木碧のプラネタルミナスｎｏｖａ」(Yuuki Aoi) １２４　寿　美菜子　「みなこめし」(Kotobuki Minako) １２６　伊藤美来　「みく色さがし」(Itou Miku) １２９　田所あずさ　「田所あずさのトラブルトラベル」(Tadokoro Azusa) １３２　飯野美紗子／岩淵桃音／田中有紀　「ＮＯＷ　ＯＮ　ＡＩＲの〇〇なう。」(Iino Misako / Iwabuchi Momone / Tanaka Yuki)

声優 JUNON

００４　柿原徹也「君の夢は?」巻頭15P Special インタビュー (Kakihara Tetsuya) ０１９　下野　紘「知らない世界、知らなかった自分。」(Shimono Hiro) ⏳ ０３０　沢城千春「これが僕のやりたかったこと。」(Sawashiro Chiharu) ０３６　羽多野渉 ✕ 斉藤壮馬「選んできた道、選ぶ道。」(Hatano Wataru x Saito Souma) ０４８　浅沼晋太郎「ＩＳ　ＨＥ　ＡＮ　ＡＤＵＬＴ？」(Asanuma Shintarou) ⏳ ０６０　堀江　瞬「甘いだけじゃない」(Horie Shun) ０６５　八代　拓「まっすぐな君が好き。」(Yashiro Taku) ⏳ ０７２　野上　翔「恩返しできる日まで。」(Nogami Sho) ０７７　大河元気「今日もしあわせだね」(Ookawa Genki) ０８４　梶　裕貴「“役者です”と胸を張れる人間に」(Kaji Yuuki)

Brand New Voice ０５７　鈴木崚汰 (Suzuki Ryouta) ０５８　笹　翼 (Sasa Tsubasa) ０５９　梶原岳人 (Kajiwara Gakuto)

０９６　Backstage Buzz & Present

Cool Voice

０１６　梶　裕貴＆鈴木達央＆福山　潤＆高木裕平『七つの大罪　戒めの復活』(Kaji Yuuki, Suzuki Tatsuhisa, Fukuyama Jun, Takagi Yuuhei) ０４８　前野智昭『覇穹　封神演義』(Maeno Tomoaki) ０５６　上村祐翔＆梅原裕一郎『ダーリン・イン・ザ・フランキス』(Uemura Yuuto & Umehara Yuuichirou) ０６６　下野　紘　１ｓｔミニアルバム『Ｃｏｌｏｒ　ｏｆ　Ｌｉｆｅ』(Shimono Hiro) ０７２　柿原徹也　６ｔｈ　Ｓｉｎｇｌｅ『ＤＩＡＭＯＮＤ　ＢＥＡＴ』(Kakihara Tetsuya) ０７７　沢城千春＆田丸篤志『Ａ３！』(Sawashiro Chiharu & Tamaru Atsushi) ０８２　増田俊樹　２５ｔｈ　ＳＰＥＣＩＡＬ　ＩＳＳＵＥ　ＶＯＩＣＥ　ＦＥＡＴＵＲＥ (Masuda Toshiki) ０９０　白井悠介２５ｔｈ　ＳＰＥＣＩＡＬ　ＩＳＳＵＥ　ＶＯＩＣＥ　ＦＥＡＴＵＲＥ (Shirai Yuusuke) ０９７　Gift for readers & interviews’ secret story (behind the scene) ０９８　羽多野　渉＆斉藤壮馬＆佐藤拓也『アイドリッシュセブン』ＴＲＩＧＧＥＲ (Hatano Wataru & Saitou Souma & Satou Takuya)

Notes

Repost of the scans is allowed, and saving / reediting them for personal use is also allowed. Credit is optional, but would be highly appreciated. (use either seiyuufreak, alwayskaji, or invichan8)

Scans will be posted part per part, so please be patient! Some of the scans have more pages than the usual ones, so it would take awhile to scan and tidy them up. I think I even need to divide some titles to parts because of that. Don’t worry, those I’ve put 🆙 with will surely be posted. Just please wait!

Lastly... I’m still new with Japanese, seiyuu, scanning and such, so please forgive me if there are any smudgy / blurry scans and misspelled names or translations. Kindly message me for any feedback regarding these!

Last but not least... ENJOY!

#seiyuu #magazines #request #声優 #声優雑誌 #seiyuu magazines #masterpost

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loverintranslations · 4 years

Text

『Happy Summer Wedding♡Genki･Yaruki･TanoShinjoー♡Solo Fes！♪*ﾟ』Makino Maria (2020-7-4)

✨TV Asahi (Kanto Region) ✨

2020/7/5 (Sun) 13:55～15:20

⚾『Super Baseball』⚾

⬆️

Please watch 🐰

⬇️ ⬇️

✨ABEMA✨

2020/7/5 (Sun) 13:55～15:25

⚾『Baseball Hour＜TV Asahi Joint Project＞Remote Cheering LIVE Nippon Ham vs Softbank』⚾

【Cast】

TimonD-san 🐰

Maeda Yuta-san❤️Takagishi Hiroyuki-san

Morning Musume｡'20 🐰

Makino Maria

[Baseball content has been omitted]

✨ Hello!Project presents…

「Solo Fes！」✨

TV Asa Channel １･SkyPa！On-Demand

2020/7/4 (Sat) 2:00pm～

MC：Yajima Maimi-san 💕

Narration：Hironaka Ayaka-san 💕

Commentators：Matsuoka Mayu-san 💕 Fukumura Mizuki-san 💕

Really thank you very much 💞

🎶 Happy Summer Wedding 🎶 🎶

Sung by Morning Musume｡'20 Makino Maria 🐰

After I finished singing、I was able to listen to Yajima Maimi-san’s talk about 🎶 Happy Summer Wedding 🎶、so Maria was super happy❤️

Commentators 💗 Matsuoka-san and Fukumura-san’s talk、made Maria super happy 💗 It gave me power to do my best✨

No matter what I want to join Morning Musume｡-san‼️

I’ll take another audition‼️‼️ A Dream Morning Musume。-san concert made me think this。

The 1st song was 🎶 Happy Summer Wedding 🎶。

I want to do a performance like my senpai did when 『Happy Summer Wedding』 was released‼️ This thought was really strong・ I want it to be the same‼️ So I watched footage of my senpai to practice 💕

But even when I wasn’t practicing、I watched loads of footage of them 🐰

They’re super cute 💗 💗 💗 I love them because they’re cute 💞 💞 💞

🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰

I love Morning Musume｡ more than anyone

🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰

I want to get closer to my beloved Morning Musume｡･･･

I’ll have fun and “Win against myself‼️‼️”

🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰 🐰

Because I could sing Happy Summer Wedding 🎶、Maria was super happy 💞

Thank you very much 🐰 💕

Morning Musume｡'20 Makino Maria

Take a look at MariSta 🐰 Makino Maria's Instagram

🍀 Makino Maria 🍀

Original - https://ameblo.jp/mm-12ki/entry-12608870891.html

0 notes

sweetdarkselfishness · 7 years

Photo

LIST IDOLS/ Rhythm games

Part1 Part2

UTA NO PRINCE SAMA:

http://utapri.com/cd/

STARISH: Takuma Terashima as Otoya Ittoki Kenichi Suzumura as Masato Hijirikawa Kishô Taniyama as Natsuki Shinomiya Mamoru Miyano as Tokiya Ichinose Junichi Suwabe as Ren Jingūji Hiro Shimono as Shō Kurusu Kousuke Toriumi as Aijima Cecil

QUARTET NIGHT:

Showtaro Morikubo as Reiji Kotobuki Tatsuhisa Suzuki as Ranmaru Kurosaki Shouta Aoi as Ai Mikaze Tomoaki Maeno as Camus

HEAVENS:

Otori Eiichi (CV. Midorikawa Hikaru) Mikado Nagi (CV. Yonaga Tsubasa) Sumeragi Kira (CV. Ono Daisuke) Eiji Otori (CV. Yuma Uchida) Kiryuin Van (CV. Takahashi Hidenori) Hyuga Yamato (CV. Ryōhei Kimura) Amakusa Shion (CV. Daiki Yamashita)

Tsukino talent production:

http://tsukino-pro.com/talent_artist/

Six Gravity Kaji Yuki as Shiwasu Kakeru Toriumi Kousuke as Mutsuki Hajime Masuda Toshiki as Kisaragi Koi Maeno Tomoaki as Yayoi Haru Hosoya Yoshimasa as Uduki Arata KENN as Satsuki Aoi

Procellarum

Aoi Shouta as Minaduki Rui Hatano Wataru as Fuduki Kai Kakihara Tetsuya as Haduki You Kondo Takashi as Nagatsuki Yoru Ono Kensho as Kannaduki Iku Kimura Ryouhei as Shimotsuki Shun

Soara:

Chiharu Sawashiro as Nozomu Nanase Makoto Furukawa as Sōshi Kagurazaka Taishi Murata as Ren Munakata Toshiyuki Toyonaga as Sora Ōhara Yuuki Ono as Morihito Arihara

SolidS:

Natsuki Hanae as Rikka Sera Sōma Saitō as Tsubasa Okui Takuya Eguchi as Shiki Takamura Yuichiro Umehara as Dai Murase

QUELL:

Kōtarō Nishiyama as Eichi Horimiya Sho Nogami as Ichiru Kuga Shugo Nakamura as Issei Kuga Shunsuke Takeuchi as Shu Izumi

Growth:

oshitaka Yamaya as Kensuke Yaegashi Daiki Yamashita as Ryōta Sakuraba Junta Terashima as Mamoru Fujimura Shun'ichi Toki as Kōki Etō

The Wizard Of Twins (Futago no Mahoutsukai ) Lico & Gli

Hirakawa Daisuke as Bisu Jr. Shimazaki Nobunaga as Gli Hidenori Takahashi as Dia Kaito Ishikawa as Lise Atsushi Tamaru as Stein Minase Inori as Lico

Tsukicro’s /Tsukikura (ALTAIR THEATER) : Rigel Regulus Sargas

Dynamic Chord:

http://www.honeybee-cd.com/dynamic/artist/index.html

KYOSHO: Showtaro Morikubo como Yorito Kisaka (voz) Shinnosuke Tachibana como Tokiharu Hanabusa (guitarra) Kaito Ishikawa como Yuu Kuroya (bajo) Taku Yashiro como Shinomune Sumiya (batería)

LIAR-S: Takuma Terashima como Sakura Hinoyama (guitarra y voz) Nobuhiko Okamoto como Chiya Suzuno (guitarra) Tetsuya Kakihara como Seri Yuisaki (batería) Souma Saitou como Soutarou Haruna (bajo)

Apple-polisher: Shouta Aoi como Narumi “NaL” Amagi (voz) Takahiro Sakurai como Yuusei “Toi” Atoishi (batería) Yoshiki Nakajima como Yuki “UK” Aoi (guitarra) Yuichiro Umehara como Shinobi “Kuro” Kurosawa (bajo)

Rēve parfait: Takuya Eguchi como Reon “King” Kashii (voz) Ryohei Kimura como Tsumugi “Bishop” Momose (bajo) Kousuke Toriumi como Kuon “Rook” Tsukinohara (guitarra) Yuuya Hirose como Aki “Knight” Kashii (batería)

IDOLISH:

http://idolish7.com/unit/

Idolish7

Toshiki Masuda as Iori Izumi Yusuke Shirai as Yamato Nikaidō Tsubasa Yonaga as Mitsuki Izumi KENN as Tamaki Yotsuba Atsushi Abe as Sōgo Ōsaka Takuya Eguchi as Nagi Rokuya Kensho Ono as Riku Nanase

Trigger:

Wataru Hatano as Gaku Yaotome Sōma Saitō as Ten Kujō Takuya Satō as Ryūnosuke Tsunashi

ZOOL:

Hirose Yuuya as Haruka Isumi Kimura Subaru as Touma Inumaru Nishiyama koutarou as Minami Natsume Kondo Takashi as Torao Mido

RE:VALE

Tachibana Shinnosuke as Yuki Hoshi Soichiro as Momo

Starevo:

http://starevo.jp/unit/

Pura net Ootori Kei: Okuyama Keito Kushiro Jun: Yano Shougo Kozuka Rin: Nagatsuka Takuma Suzume Chiaki: Ichikawa Taichi

4+U Shirokita Noel: Nakada Yuuya Saotome Seia: Tamaru Atsushi Tenma Kaito: Yashiro Taku Tsurugi Mio: Furukawa Makoto

Judgement Sumishiro Yuki: Terashima Junta Yagasaki Akira: Uchida Yuma Tendou Nozomi: Shirai Yusuke Asahina Senya: Nishiyama Kotaro

Niko*Ichi Namiki Tera: Tokutake Tatsuya Namiki Giga: Fukamachi Toshinari

Luna Lore Kanno Takuto: Ikuta Youji Harima Rito: Chiba Shoya Mikekado Shiita: Yamaya Yoshitaka

Glorious Hanabusa Mizuki: Sasa Tsubasa Hashizume Rudolf: Ookawa Genki Shidou Hayate: Zaima Kenta

Petit March Uomi Ai: Abe Daiki Ooguma Hitoshi: Yonai Yuuki Yagi Kanata: Fudemura Eishin

Mobius: (cast:unknow)

7colors:

https://dream.voltage.co.jp/anidol/character/

Yuto Suzuki Taku Yashiro Junta Terashima Yamaya Yoshitaka Yusuke Shirai Shunichi Toki Junya Enoki

Clarity: Tasuku Hatanaka Shunsuke Takeuchi Masatomo Nakazawa Shuuta Morishima

Bproject:

http://bpro-official.com/music/

Killer King‎: Koutaro Nishiyama: Terami Tsu Taku Yashiro: Terami Haruhi Shouya Chiba: Fudo Akane Takuya Eguchi: Shingaris Miroku

Kitakore‎: Ashuu Yuuta:Hanae Natsuki Kaneshiro Goushi :Toyonaga Toshiyuki Aizome Kento:Kato Kazuki

Moons‎: Yuuto Uemura as Masunaga Kazuna Tetsuya Kakihara as Onzai Momotaro Genki Okawa as Nome Tatsuhiro Toshiki Masuda as Sakimura Mikado

Thrive‎: Korekuni Ryuuji:Kishio Daisuke Kitakado Tomohisa:Ono Daisuke

I-CHUU:

https://www.i-chu.jp/unit/

F∞F: KENN Toyonaga Toshiyuki Iguchi Yūichi

Twinkle Bell: Morikubo Showtaro Kondō Takashi

I♥B: Hanae Natsuki Masuda Toshiki Yuuichirou Umehara Nakanishi Naoya Junya Enoki

POP'N STAR: Murase Ayumu Amasaki Kouhei Yamamoto Kazutomi

Lancelot: Maeno Tomoaki Shirai Yuusuke Uchida Yuuma

RE:BERSERK: Shimono Hiro Shimozuma Yoshiyuki Kakihara Tetsuya

Tenjyou Tenge: Saito Soma Kimura Ryouhei Ono Yuuki Minegishi Kei

ArS: Hirakawa Daisuke Matsuoka Yoshitsugu Kagura Hiroyuki Atsushi Tamaru Yachi Katsufumi Roa Kenji

Alchemist: Nishiyama Kōtarō Takumi Yasuaki Kobayashi Yuusuke

Dream Festival:

http://www.dream-fes.com/cd/

Ace: Asuma Ogasawara: Tatsuhisa Suzuki Eiji Katsuragi: Junji Majima Chikage Saotome: Atsushi Abe

Sankishi: Haruto Mikami: Toshiyuki Morikawa Makoto Susa: Fumihiko Tachiki Ikka Saotome: Hikaru Midorikawa

Dear Dream: Takuya Mizoguchi Soma Ishihara Kentaro Tomita Masaki Ōta Kaoru Masaki

KUROFUNE: Kimito Totani Hideaki Kabumoto

Pitagoras Production:

http://marginal4.net/artist/

Marginal 4: L Nomura by KENN Atom Kirihara by Toshiki Masuda Rui Aiba by Naozumi Takahashi R Nomura by Yuuto Suzuki

Unicorn jr: Shouta Aoi as Tsubasa Shindō Chiharu Sawashiro as Alto TakimaruToshiyuki Someya as Teruma Nakama

Lagrange point: Toshiyuki Toyonaga as Shy Makishima Genki Okawa as Kira Himuro

26 notes · View notes

shihalyfie · 3 years

Text

Adventure and 02′s production philosophy and its impact on the storywriting (or: “a series made with love is best understood with love”)

It’s hard to really judge a series too much by its production details, but Adventure and 02′s staff has been very open about discussing background and production to the point we’re able to involve it in discussions. In fact, to a certain degree, we’ve gotten rather reliant on said production notes to explain too many things that weren’t clearly depicted or stated in the series -- I’ve spent a fair share of time complaining about how frustratingly subtle this series is -- and you see a lot of strange conspiracy theories or myths about production that circulate in all sorts of different directions. Undeniably, it’s a series that spoke to a ton of people, but there are still so many things that have perplexed people over the last two decades, and when you ask someone “what’s good about this series?”, people struggle to say it in clear words, often only able to resort to a rather oversimplified explanation like “the character development is good” (but what is character development, anyway?). A lot of times, some small things that initially don’t seem to track have led to some pretty wild, far-reaching fanbase-endorsed theories, when in fact the actual reality of the situation is much more mundane.

I think, in general, the best way to “understand” Adventure and 02 is simply to have an open mind about everything in regards to it. This is something I can only say because we currently have more than enough evidence, given production testimony, that this is the kind of series that was made with that kind of philosophy -- I will not shy away from the fact that there are things in this world that are made maliciously, meant to “one-up” the audience or using half-baked explanations as a way to cover up the fact that it wasn’t well thought-through. But in the case of Adventure and 02 specifically, almost everything we have heard about it is to the contrary, and, in practice, I find one can get much more out of the series by adjusting one’s mindset to think about what they’re looking out for and not, because once you have, the beauty of the series opens itself up even in places you’re not looking for it.

Let’s talk a little about the production philosophy behind Adventure and 02 and how it shaped a series that left such an impact on so many kids, and what we can learn from it!

“Something important that we wanted to tell the kids who were watching”

The two most important figures to know when it comes to Adventure and 02 production are its producer, Seki Hiromi (who would eventually go on to produce Tamers and Frontier as well, along with being supervising consultant on Kizuna), and its director, Kakudou Hiroyuki. I would say that both of these figures are probably the most influential people in shaping the series as we know it, but in different ways -- Kakudou was the one most responsible for building the world of Adventure and 02 and setting up the standard for having all sorts of background worldbuilding details that weren’t shown in the series, whereas Seki was the one who pushed for them to include family backgrounds and things that ought to be relatable to the average kid, so that they could empathize with the problems shown on screen.

Both of them had different ways of going at it, which is all for the better because it allowed the story to be enriched from both sides, but the common thread between the two was that they wanted to use this opportunity to “show the kids important things”:

Kakudou is the kind of person I would say is very “media literate” -- he was very well-read in books and well-versed in cinema, not just Japanese but also internationally, and also very in-tune with the Internet by the standards of a director in 1999. (Part of the reason we know so much about Digimon production now is that he still keeps up with everything on social media and throws in a few comments here and there.) His comments on the final episode of Adventure include a list of all of the things he credited for inspiring him during this series, and he later stated that he had a goal of conveying all of those “interesting things” to the kids watching, so that they could also find it interesting. So in other words, Adventure and 02 were basically his love letter to everything in media that he’d come to appreciate.

Seki was the one who pushed for humans to be involved in the series so that the audience could empathize with them, and for all of the “real world worldbuilding” like the kids’ family backgrounds. She’s also functionally responsible for the base premise of 02 at all, having been thoroughly alarmed by the story of a young boy skipping grades into university (to the point this plotline resurfaced a whole 20 years later in Kizuna). It can be said that the heavy “human drama” elements and family background emphasis continuing into Tamers and Frontier are probably her doing, and in terms of Kizuna, she also was responsible for personally vetting the dialogue to keep the kids in character, and it was said that it came off like she loved the characters as if they were her own children.

The result is that, firstly, Adventure and 02 is a series that is very well-thought through. Ridiculously well thought-through, in both background lore and character backgrounds and mentality. So many surface-level criticisms of Adventure and 02 come with an accusation that the writers were “lazy” or “did a writing cop-out”, but we actually have more evidence that the Adventure and 02 staff thought out so many details in the background that they kept forgetting that they hadn’t actually told the audience about it yet. (No, seriously, there’s a thread of official staff repeatedly forgetting that they may not have actually outright mentioned one of the background details they’d planned out in advance.) Even despite all of the extra information we’ve gotten since in the drama CDs and Animation Chronicle and such, it seems there’s still way more information that was planned out that we still haven’t learned about, and it’s presumably why there are so many little things that are too consistent to be coincidental and yet were still never actually stated. It may have been awful at communicating those details well, but those details were most definitely there, and both series have a shocking amount of consistency in adhering to them.

The second is that not only did the producer and director want to convey those important things, they also encouraged the rest of the staff to do it too:

One of the concepts behind the prior series was for us to pack in as many interesting things that we’d seen, heard about, or read about as we could into it, so for 02, we thought, what else could we put in beyond even that?, and so we looked over what we needed to have, and put in all the things we could so that they wouldn’t be left out, and the story became a multi-layered one, overlapping and accelerating. It was to the point that, after we’d gone through 02‘s story, the scriptwriters told me that they’d worn everything they had out to the ground.

So in other words, Adventure and 02 were basically a sort of potluck where they encouraged everyone on staff to come up with interesting things that they wanted to show the kids, and throw it all in -- and it’s presumably why the second half of 02 is so “crowded” (more on this later), because you had everything from all of the writers on staff adding another thing into the potluck, until everyone could get it out of their system. Yoshimura Genki, one of 02′s head writers, said outright that she used the famous 02 episode 23 to convey her concerns about some very real and horrible things happening to kids at the time, and it’s easy to imagine that all of the other writers and staff members were given similar encouragement to do so. Even the (in)famous 02 episode 13 was something originally created from Kakudou seeing Dagomon, thinking he was really cool and wanting to make an episode about him, and remembering that Konaka was good at Lovecraft and basically going “he’s gonna love this, we should get him to do an episode.” In fact, it’s said many times that a huge attitude behind production was to “not be ashamed of anything” and try whatever they wanted.

Which means that the result is a series that isn’t actually all that well-organized in plot or structure -- 02′s plot writing is of course an infamous pile of knots, but even those who are willing to be a bit more critical of Adventure often point out that its plot is simply more linear, being basically a video game-esque boss rush of “evil enemy, followed by even more evil enemy”. Most people do not watch Adventure or 02 for the actual plot writing. What they do watch it for is all of this stuff mentioned above -- that all of these different people on staff were given the question “what do you want to say to this audience of kids?” and took the opportunity to say something fun or meaningful. And, hence, why it’s best to understand Adventure and 02 not necessarily by the minutiae of its plot, but rather, “what was this series trying to say?”

Writing the series as it went along, under massive constraints

In general, Japanese anime is produced as it goes along -- even the character writing is subject to change depending on the voice actors’ performance (this was cited for Adventure specifically, but it’s well-known common practice for non-adaptation anime in general). That said, Adventure didn’t even have a guarantee of how long it was going to be at first -- it was generally expected that it’d be a one-year series (like most Toei series), but they weren’t even sure about it. This resulted in a very “loose mindset”, in which they decided to basically wing it, and the only thing determined for sure was that the epilogue (that we now know as the 02 epilogue) was going to be at the end of it.

As I mentioned above, scrutinizing the plot of Adventure too closely reveals that it’s not actually that coherent of a narrative, just more linear -- and, even by official admission, Hikari wasn’t planned to be the eighth child at first nor was the Tokyo arc of episodes planned to be that long, and yet this entire section is one of the most famous parts of Adventure. A lot of the best parts of Adventure and 02 seem to be the result of sheer accident...

...Or was it accident? Can you say that “going in with a positive mindset and a desire to do something meaningful” is accident? Even if you didn’t plan things out from the beginning, if you go into everything with an attitude of wanting to make the best out of something and make the best out of opportunities you see and hear about, is that really an accident? Couldn’t you perhaps say that this kind of thing is why Adventure and 02 hit so well with people to begin with?

By the time we get to 02, 02 started off as a very different series from the get-go, and it’s always struck me as very odd that people act like 02 was tacked on and didn’t have nearly the exact same staff. It was Kakudou himself who petitioned for 02 to start off with a light atmosphere, and the series itself was fundamentally meant to be addressing the new concepts of “relationships” instead of Adventure’s “self-assertion”, and explore concepts that hadn’t been covered in Adventure. The reason 02 is so different from Adventure is exactly because the staff didn’t want to rehash things for another year, and instead wanted to take the opportunity to cover stuff Adventure didn’t. And the fact that 02 is lighter than Adventure at first, but quickly gets darker, is also by design:

The story had gotten rather heavy by the time of Digimon Adventure, so we decided to make it come off as brighter. And then, it actually ended up getting even heavier somewhere down the line, but there was no way we could just avoid depicting important life problems.

Which is also a similar sentiment reflected by Seki herself, when thinking about how her suggested plotline ended up making the story darker:

An overly intelligent child, prone to falling into loneliness, cut off from his friends and family, and with a Digimon slowly coming and staying close to him…I remember that kind of image forming. We were supposed to have been aiming to have them going to the Digital World with the mood of a picnic, but the fact it didn’t end up so easy for them may have been my fault…or so I remember thinking as I reflected on it.

02 didn’t get dark for the sheer sake of getting dark, and in fact it’s not like the staff necessarily wanted it to get that way, but there were so many meaningful things that they wanted to tell the audience of kids that they allowed it to. It’s also kind of odd how the fanbase has this idea of there somehow being staff conflicts or people bickering in order to produce 02, but there’s no indication of this at all -- at most, 02 unusually had two head writers instead of one, Yoshimura Genki and Maekawa Atsushi, but it was even said that they had a clear division of roles, with Yoshimura on the “villains” side and Maekawa on the “protagonists” side, and there’s no sign of conflict.

(A lot of people also tend to give more credit to Yoshimura since the villains are some of the most masterfully crafted part of both Adventure or 02, but this is still somewhat reductive; Maekawa is very open about the fact that he was rather inexperienced during 02′s production, and considering the fact that the 02 protagonists aren’t nearly as underdeveloped as the fanbase claims they are, and Maekawa would later go on to write a PreCure entry that basically saved the franchise and a very well-acclaimed Super Sentai entry, both with many parallels to 02, his role should not be discounted, especially since 02 is often liked by its fanbase for the duality between both its lighter and darker sides.)

So we had the staff basically on a roll of throwing in everything important they wanted to say to the kids, both “fun” and “meaningful”, and then, two things impacted the way it ended: firstly, they weren’t allowed to go with their initial proposal for the final enemy because it was too gory, and secondly, the decision was made midway through that they would not be making a third Adventure series, and would have to end more quickly than expected.

I think, whenever you hear stories of “we were originally going to do this but couldn’t,” people generally tend to assume that they should have done the original plan (especially if the original plan was particularly gory or brutal, because everyone loves to think that edgy is better), but, perhaps fittingly for a series that’s about not drowning in past regrets of “what should have been” and learning to move on, the staff has never really shown any indications of really, thoroughly regretting any of the decisions they made for 02, even if the second half came out messy. If you look at that original proposal they had for 02′s final enemy, in which it would be an enemy “reduced to an idea”, it certainly explains a lot about why BelialVamdemon was defeated by the power of sheer positivity in the final ending -- obviously that would make a lot more sense with a conceptual embodiment of malice, instead of a returning enemy from the prior series -- but at the same time, that loss of that concept led to the creation of Oikawa, Archnemon, and Mummymon, which have consistently been praised as one of the most compelling parts of 02 and its finale, and Yoshimura herself even gushed about the concepts they got. So it’s not “we couldn’t do what we wanted,” it’s more “we couldn’t do what we initially wanted and made something out of it, arguably an even better something in certain ways.”

And as for the lack of the third Adventure series, all indications point to the fact that this was something by personal choice of the staff, not by higher-up mandate -- not that I enjoy speculating about other people I don’t know, but if you actually follow what Kakudou has said about his work on Adventure and 02, and the fact that he considers his later work on X-Evolution to functionally be getting everything else out of his system (even saying that he liked Bandai doing a lot of the work for him), Kakudou doesn’t seem to want to be the main leader of his projects for the most part, mostly seeing Adventure and 02 as the one time he got to dump all of his one-time ideas that he personally wanted to accomplish, and otherwise being satisfied doing episode direction work for others -- testimony as to the handoff between 02 and Tamers consistently depicts him as expressing sentiments similar to “please let me have a break.” (As of this writing, he still does work for Toei, but has never been lead director on a full series since.) Kakudou didn’t like having to deal with a bunch of increasingly canon-contradictory works because, as an infamously detail-oriented and consistent person, dealing with that kind of thing didn’t really seem to agree with him, and moreover it’s understandable that he (and the other staff) would feel that it was better to end it there instead of overstaying its welcome and stretching things out.

Certainly, when you look at the second half of 02, its plot is “crowded” in nearly every direction (not as incomprehensible as people like to claim it is, but definitely going in a lot of places at once). The infamous 02 epilogue is probably the biggest example of the disparity between staff thought and how it came off; remember that it was one of the first things decided about the series at all, meaning that the staff was deliberating over it and under the impression they were building up to it for a whole two years, but when it finally dropped everyone was blindsided and even often made accusations of the staff coming up with it at the last minute while drunk or something (not helped by the staff clearly being so fixated on their own production that they even included details that were completely incomprehensible to anyone not aware of the potential third series plotline). Yet, ever since then, many people who have sat down with it have figured out that it’s not that incomprehensible and that many of the aspects of it make sense on a theoretical level or are foreshadowed in the series -- it’s just that they tacked it onto the end of an excessively crowded finale with no warning and didn’t sufficiently communicate their reasoning for it, requiring people to spend the next 20 years puzzling it out and Kizuna to come around to drop even more clues, and also failed to realize that one of humanity’s most die-on-a-hill issues about media (shipping) would make people a lot more offended than they likely intended. (PreCure has successfully pulled off “adult timeskip” epilogues in recent years, and they’ve all been received well, but the difference is that they actually pad out the episode with a proper lead-up instead of just chucking it in your face right after Oikawa dies.)

And, ultimately, the staff has never shown any signs of having regret over this. Kakudou takes the stance that they were able to close out 02 in a good way, despite all of the circumstances. The rest of the staff, including Seki herself, and overall Toei as a whole, has doubled down further on the latter half of 02′s plot events and the epilogue’s place in canon despite the infamous controversy around it, and I have to say that I do at least understand why they’re like this when you consider the circumstances and their likely feelings on it -- regardless of everything, they’re proud of the work they did on it, and even if not everything went according to original plan, they loved taking the opportunity to use the sandbox to express things they may not have been able to in their other projects, and the epilogue was their baby that they’d been raising for two years. It’s the ultimate question of “satisfying the creators vs. satisfying the audience” -- not to say that I completely agree with the call to be this unaware of how people were going to read this, because it’s not good to blindside your audience or hurt their feelings, but at the same time, it’s said that you will never be able to satisfy an audience at all if you’re not satisfying yourself first. And in the end, despite everything, that something in Adventure and 02, built out of that earnest desire to say something, came across in some ways and touched the hearts of kids all over the world.

So the result was that the Adventure and 02 staff did everything they wanted, got it out of their system, and handed an imperfect but carefully-crafted baton to Seki, who decided that it was a good opportunity to do something completely new, and deliberately picked Tamers’s director Kaizawa on the grounds that he’d had no experience with the series before. Remembering that Seki was on Adventure and 02 and was clearly happy with it, her decision to do something new with Tamers was just that -- to do something new -- and it’s honestly kind of saddening that the series’ respective fanbases treat each other with significantly less respect than their actual creators do, since both series still shared a lot of staff, Kakudou went on to be an episode director for Tamers (and even calls it a “masterpiece”), and Konaka clearly has a lot of respect for his predecessor series as well, with Tamers being its own product made with conscientiousness and a desire to make things meaningful for kids (Kaizawa himself has expressed a lot of strong opinions on this topic). A lot of anti-02 folks have often spread a conspiracy theory that Tamers came out of a “writer revolt” because they hated being “restricted” by 02 and wanted “more freedom” -- but that is completely contrary to the above evidence where 02′s production process arguably gave the writers too much freedom, and Tamers head staff was picked deliberately due to their lack of connection to the prior series so that they could do something conversely new and fresh...

One thing that’s interesting about Kizuna is that its director, Taguchi Tomohisa, has spoken very often about his love for the original series, right down to respecting its ability to cover very serious topics. His recruitment philosophy for the movie also seemed to have “being a fan of the series” as a big plus factor, and he moreover shows a lot of respect for the staff members involved in production, both the people he recruited and the long-timers like Seki. “Being a fan of the series” doesn’t necessarily constitute skill by itself, but there’s a lot of similar sentiments in “let’s make something that shows respect and does something interesting and important” and “let’s make sure the staff gets to do something without regrets” also seem to be pretty huge factors in consideration here, rather similar to the original series...

What this means in terms of understanding the series

I do not think that, just because a creator clearly had good reasoning for putting in what they did, the audience necessarily has to accept that. It may have had good intentions, but "intentions” don’t justify things coming off the way they do, or at least, the 20/20 hindsight can make us all get together and think “if that was your intention, there were probably a million better ways to execute that.” And, as someone writing this blog, there are times I really think “if you could have please just thought a little harder about making those ideas clearer so we wouldn’t have to have these arguments...”

However, I do think there is something illuminating about the idea of “adjusting one’s mindset” in response to the above revelations, and going in with an open mind when trying to get something out of the series for one’s own sake. I mean this truly in the sense of encouraging others to find something interesting and new -- this is not a blog I write expecting people to see things the same way I do, as much as I like encouraging people to look out for things they might have not noticed beforehand.

I started writing for this blog regularly last year (I hadn’t even planned to start regularly doing it) after a rewatch of Adventure and 02 with some friends and some honest discussion about the series after it, and one thing we all agreed to do when we did that rewatch was “we are not going to go in with the intent to criticize it.” That is to say, we decided to throw out all of those sentiments that you have to “admit” everything wrong with any series when even bringing up its name -- which is not to say that we’re glossing over potential criticisms or their validity, just “we’re doing this rewatch to have fun and to enjoy and appreciate things, and that will be our priority going in.” After making that agreement, something really magical happened, and it was that we started catching things without even looking for it, things that had clearly been planned but hidden in the background, or things that were caught by one person in the group watch chat and pointed out to the others, and it turned out that a huge chunk of the “criticisms” we might have originally gone in with actually did have answers, we just hadn’t realized it because we were too brainwashed into the mindset of dismissing things as “well, that part’s just bad writing.”

Of course, we’ve seen bad writing -- it’s not like we were going out of our way to absolve everyone for every mistake -- but that base mindset allowed us to better appreciate things we might have missed earlier that weren’t immediately apparent. I’ve said many times that I don’t think the things I write on here are that huge speculation -- in fact, in writing meta, I often throw out a lot of stuff because I think “yeah that’s too absurd, let’s just stick with the simplest explanation” -- as much as I just thread things that are in the series but are frustratingly subtle, because I’m taking things that seem like throwaway details and going “hm, well, instead of just dropping it the first time like ‘probably bad writing’, let’s maybe look at this one more time and see if there was a reason?” And those reasons present themselves surprisingly easily without even that much effort, and after a while you come to realize: this is a really consistent series!

It’s actually very rare that things outright contradict themselves, because it really does not take long to piece together a rational explanation (because those things are in the series, just buried)! This was a detail-oriented series that had a ridiculous amount of attention paid to it, even if it didn’t communicate that! Whenever I post meta, I often get comments from people who say outright that they’d had the same impressions, they just didn’t know how to put it in words! There’s been multiple cases of people independently coming up with readings of the series that the fanbase historically dismissed as a reach, only for official to come out and confirm they were absolutely correct, and a common thread between all of these is that they were referenced in the series, it’s just that people kept wanting to dismiss them because “there’s no way they’d be that detailed”! A truly contradictory series falls apart when you subject it to higher scrutiny (even when you’re being optimistic about it), but there’s a strange thing about Adventure and 02 in that they actually fit together even more when you look closely -- and, again, things start coming in when you don’t even expect it, just because of your mindset.

I suppose the take-home here with all of this is that a series like this is best understood when you have an open mind and a desire to listen to what it has to say. As I said before: Adventure and 02 (and especially 02) are not series that most people watch for the plot, and, to be honest, it’s clear that plot wasn’t even a priority for all of the staff in the first place as much as it was about conveying important ideas and sentiments. And I’m not going to say whether not prioritizing plot or not is a “good” or “bad” thing -- for some people, that kind of thing is understandably very important, and a series like 02 can be very frustrating to deal with as a result! -- as much as, for those who have a genuine interest in sitting down and understanding these series, I cannot recommend scrutinizing the plot too much simply because it will not get you very far, and, to be honest, whenever I see a lot of analyses of Adventure and 02, I really do often wonder if they actually understand the core of the series and the sentiment and emotion behind it, or whether they’re just doing it on a technical surface level so they can say they did (which is usually partially as a bid to passive-aggressively dunk on later series to prove Adventure is superior). The entire concept of objectivity is a lie in itself, but this is not a series that you can get much out of if you try to evaluate it with that kind of detachment; it’s a series that spoke to you through theme and passion first and foremost, and to receive that message and “enjoy” the series is most effectively done when you detach all of those doubts and approach the series without malice.

(By the way, this is not me claiming I’m inherently a “better” analyst just because I also prefer to use this mentality when approaching it; it’s just that I’m a bit frustrated that this kind of approach is so hard to find, despite Adventure’s popularity, because losing out on the heart causes so much rich potential to get lost. This is also the reason I recommend @analyzingadventure‘s work so much -- I’m so sorry about tagging you for the third time here! -- because they’re as positive about Adventure as I am about 02, and their insight and thought into the series coming from the angle of “appreciating” it with genuine positivity is something I believe is truly valuable in a climate where this is very hard to find.)

And this is what I mean, “to approach it without malice”. I don’t mean that you should go in prepared to never have criticisms of it ever again, nor that you should just absolve everything and assume that everything is fine, but rather that going in with a mindset of “we’re going to look for things to love” instead of “we’re going to ‘look past’ the bad” alone has the magical effect of shifting your entire view of the series, way more than I would say with any other. And, again, that’s only something that can happen when the base product was made with this much sentiment and honesty to begin with, and moreover fighting against the mindset to criticize is tough when we’re dealing with a fanbase that’s acted like being “fair” requires “acknowledging” the faults of everything in the same breath you praise it until the horse is beaten for two decades and everyone’s exhausted. (And then yells at you if you dare criticize anything that’s put on the fanbase’s pedestal.) It’s kind of the question of: should this really be about media criticism and whether it’s “objectively” good or bad, especially since this has been brought up so often for two decades now, or might it be better to think about how to have a more positive experience with something that you may not have had before?

Once you get rid of that mindset of “critical by default”, you start to realize things that the series did knock out of the park, or were exceptional, that got too obscured by the distractions of fixating on its plot -- 02 is a plot mess for sure, but I have never seen any series that is so sincere and earnest about its actual themes and things it wanted to say, and it’s something I love it even more for. And buried under that criticism of everyone not getting “equal attention” from an evolutionary forms perspective is the fact that, from a story perspective, they deliberately went out of their way to make sure everyone gets mostly equal focus, which is something that sticks out especially when you start watching other long-running series that aren’t as good about this, and although it’s not completely perfect by any means, they do a damn good job keeping everyone in the 8- and 6-person groups relevant to the very end, which is pretty impressive! And, in the end, you end up having a much healthier relationship with the series -- again, it’s not glossing over everything to pretend nothing is wrong per se, but rather, you’re able to appreciate it and love it for what it is, instead of constantly feeling like you’re making up for its “mistakes”.

#digimon #digimon adventure #digimon adventure 02 #digimon adventure last evolution kizuna #shihameta

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