#Hideyoshi Tsuchiya

[mewmewchann]

Danganronpa: Hope's Chains - 4th anniversary

...Wow. Time is a cylinder.

Today is the 4th anniversary of Hope's Chains! To commemorate it I drew something I've been meaning to draw for a while; art based on the Stations of Awakening from Kingdom Hearts! I've always loved those and wondered what they would look like for my characters :3

Anyway. Yeah. Woah. Can't believe this project is already 4 years old.

Chapter 4 deadly will be starting soon, I'm very excited for it~

But above all else, thank you all SO MUCH for the support! It really does mean a lot!! <3

[mydreamsarejanked]

good morning baka and test fandom, im tired

[dannnspoopyie]

Hideyoshi, Yoshii, Kouta, and Kirishima are the best characters in Baka and Test. I don’t make the rules.

[salesmaakie]

Item: Baka to Test to Shoukanjuu Sensu - folding fan with: Himeji Mizuki, Himeji Mizuki's Shoukanjuu, Kinoshita Hideyoshi, Kinoshita Hideyoshi's Shoukanjuu, Sakamoto Yuuji's Shoukanjuu, Shimada Minami, Shimada Minami's Shoukanjuu, Tsuchiya Kouta's Shoukanjuu made by Enterbrain and Taito

Sale price: 10 euro

Shipping costs: Medium cost shipping in an bubble mailer. When you are interested in an item on this blog, please message me for an exact estimation to your country! Shipping is from the Netherlands, Europe.

All items are standard shipped without tracking or insurance. I can offer options for both, but keep in mind the shipping costs will get higher.

I’m also open for trades, so feel free to ask me for a list of items I’m looking for!

My other Tumblrs:

Fashion Maakie: https://maakie.tumblr.com/ Cosplay Maakie: https://cosplaymaakie.tumblr.com/

[felifeltfrog]

A Baka Test AU where the group plays D&D:

Yuuji: The DM, because he wanted to find new ways of tormenting Akihisa with. He's never DM'ed before but has read up a shitton on it so he can find any way to bend the rules and make sure that Aki suffers. Any complaints will be brushed off with "I am the DM, I make the rules."

Akihisa: Your local half elf wizard. He rolled exceptionally shitty on all his stats (and blamed Yuuji for giving him staged dices). He proceeds the shitty rolls throughout the whole campaign, and has the highest near-death rate of the whole party. By far.

Minami: The most butch half Orc woman you’ve ever seen. She wanted to play a barbarian for the convenience, and during character creation made sure to emphasize that her boobs are massive. Yuuji made her roll for it, and she rolled a nat 1. Bonus: After that roll, Aki was almost strangled with his own socks for laughing at her bad luck. She makes it a point to hurt his character a lot in the campaign.

Himeji: An adorable Halfling or Gnome Druid with pink cotton candy hair. At first she didn’t know what class to play as, but when Yuuji told her that she can change into animals as a Druid she chose that quick as the wind. She rolls surprisingly well and crits a lot. She has a tame bunnyrabbit named Punyuu, or something in the likes.

Hideyoshi: The party healer, who play as an Elven Cleric (later multiclasses as Bard). That One Party Member™ who’s 110% into character and has a long elaborate backstory that bring the rest of the party to tears. Has figured out a voice and accent for his character and uses it even when the party consults their plan out of character. Bonus: Though he set “male” as his character’s gender, the first roll Aki made was to “use his magical powers” to turn him into a female. It was the first and only nat 20 Aki ever rolled. DM Yuuji was way to shocked to even protest.

Kouta: Plays a rogue/assassin type character, and is the only human in the party. Though he rolled exceptionally well and has very high stats he basically never uses any attacks, and spends every initiative with rolling perception checks for any panty-shots. Yuuji stopped protesting after five sessions and just let it happen. Somehow he also carries the most riches of them all. Nobody knows how or why.

Shouko: Only in the party because she “insisted”, and Yuuji didn’t dare turning her down. She plays as a Tiefling Paladin, and when Yuuji asked her for what god, she looked straight at him with a blush and said “the DM”. Yuuji wasn’t impressed but tried go around it by making up a close-to-DM god in the universe.

[figfrontier]

The rest of March will be dedicated to loveable nonsense that is Baka and Test. First up are the Class F boys - Hideyoshi and Kouta!

[anlimee]

[chanoyu-to-wa]

A Brief Introduction to the Nampō Roku.

The Nampō Roku [南方錄] is a collection of the classical teachings of chanoyu arranged in seven books, according to content.  (The presentation copy of the Nampō Roku, that Tachibana Jitsuzan made for the Enkaku-ji in Hakata, is shown below, placed in the tokonoma of the copy of the Shū-un-an that Kanshū oshō erected on the grounds of the reconstructed temple.)

    The material included in the Nampō Roku was collected from the various documents preserved¹ by Nambō Sōkei [南坊宗慶; ? ~ 1593] (the resident of the Shū-un-an [集雲庵], and one of the senior monks² of the Nanshū-ji [南宗寺] in Sakai -- one of the major Zen temples of that time³), many of which were based on teachings that Sōkei received (directly or indirectly) from Rikyū.  That said, the material was subsequently edited (sometimes quite heavily) by Tachibana Jitsuzan [立花實山; 1655 ~ 1708], when he arranged it into its present form.

    Tachibana Jitsuzan was a samurai and retainer of the Kuroda [黒田] family (his father was the karō [家老], or senior minister, of that clan; though Jitsuzan, as the second son, was largely free to pursue his own interests, and he retired from service in 1688), and a follower of Tsuchiya Sōshun [土屋宗俊; his dates of birth and death are not known].  Tsuchiya Sōshun⁴ had been, in his turn, a disciple of Ōno Michinori [大野道可; his dates are unknown; his personal name is also written 道加], the sadō [茶頭 or 茶堂], tea official, of Kanamori Sōwa [金森宗和; 1584 ~ 1656] (who had been a disciple of Rikyū's biological son, and heir, Sen no Dōan [千道安; 1546 ~ 1607]).  Jitsuzan was inspired to seek out this collection of documents after obtaining and studying a copy of the Rikyū Chanoyu Sho [利休茶湯書]⁵ -- which study put him at odds with the disciples of Sen no Sōtan [千宗旦; 1578 ~ 1658] and their way of practicing chanoyu⁶.

    The Nampō Roku is divided into seven books:

￮ oboe-gaki [覺書],

￮ kai [會],

￮ tana [棚],

￮ shoin [書院],

￮ daisu [臺子],

￮ sumi-biki [墨引], and

￮ metsu-go ・ oboe-gaki [滅後・覺書].

    Oboe-gaki  [覺書] (Jitsuzan’s cover of this book is shown above) means a note or memorandum.  The collection of 33 essays, of varying lengths, that make up the first book were supposedly written down by Nambō Sōkei (perhaps in a sort of notebook) while Rikyū was still alive.  Some, however, may have been fragmentary specimens of Rikyū's own writings (or Sōkei's transcriptions of the same).

    Kai  [會] is another of Rikyū's personal kaiki (containing the particulars of some 54 chakai), apparently dating from the first year of Rikyū's residence in Hideyoshi's household (it records the details of gatherings held from the beginning of the ro season of Tenshō 14 [天正十四年], 1576, until the end of the furo season of Tenshō 15 [天正十五年], 1577).

    This document may have come into Nambō Sōkei's hands when Rikyū moved his Sakai household from the neighborhood of the Nanshū-ji to the newly developed Mozuno area of the city-state, along with other papers that Sōkei states he removed from the waste paper bin⁷ at that time.  (This kaiki is structurally similar to the Rikyū Hyakkai Ki, and will be handled accordingly here.)

    Tana  [棚] is a collection of descriptions of the way to arrange utensils on the various oki-dana [置棚] that were being used for chanoyu during the second half of the sixteenth century -- primarily the contents deal with arrangements of the fukuro-dana [袋棚], but the book also includes details related to several mizusashi-dana [水指棚], as well as the tana-ita [棚板] (the special smaller naga-ita that was used with the ro,-- the furo-sized naga-ita is dealt with in the Daisu book -- which was derived from the ji-ita of the kyū-dai daisu [及第臺子]), and Jōō's ko-ita [小板] and ō-ita [大板].  This book contains 26 sections, of which several contain multiple sketches.

    Shoin  [書院] discusses the classical arrangements for the various places (tokonoma [床の間], chigai-dana [違い棚], dashi-fu-zukue [出し文机]) in the shoin where objects may be displayed (many of these arrangements date back to Nōami's Kun-dai Kan Sa-u Chō-ki [君臺観左右帳記]).  35 entries.

    Daisu  [臺子] contains a series of arrangements for the daisu, many of which date from the time of Ashikaga Yoshimasa's first interest in chanoyu (the period preceding the burning of Yoshimasa's storehouses during the Ōnin wars, when most of his utensils were destroyed), and so were based primarily on Nōami's [能阿彌; 1397 ~ 1471] teachings.  The Enkaku-ji version of this book was damaged, and at least one of the entries (and possibly several) is partially missing.  The present total is 68 sections.

    Sumi-biki  [墨引], as a word, means to obliterate a written text by smearing ink over it (the equivalent of erasing something).  This book contains 57 entries that mostly deal with the measurements of the classical daisu (on which kane-wari was based, and which differ from the version of the daisu used by Rikyū after Hideyoshi banned him from teaching the gokushin futatsu-gumi temae without specific permission), the six large trays (used by Ashikaga Yoshimasa), and a number of other utensils, together with a discussion of the daime, all of which contribute to the knowledge that makes kane-wari understandable.

    Metsu-go ・ oboe-gaki  [滅後・覺書].  Metsu-go [滅後] means “after [his] death.”  This book, like the first, is a collection of some 83 essays (oboe-gaki [覺書]) on a variety of topics.  Supposedly the contents of this book were written down (in a notebook, or on a single long sheet of paper) between the end of the memorial service for the repose of Rikyū's soul that Nambō Sōkei performed at dawn on the third anniversary of Rikyū's death (on the 28th day of the Third Month of Bunroku 1 [文祿元年], 1593) and the time (no later than mid-afternoon, and probably earlier, given the distance to the nearest cliffs of a suitable height) when Sōkei locked this document together with his other papers in a wooden chest, and then, after closing up the Shū-un-an, went off to the mountains with the intention of committing suicide by throwing himself off a cliff⁸.  The material contained in this book, however, would have taken days (if not weeks) to write down, thereby making it impossible that Sōkei actually wrote it in its entirety on that day.  As a matter of fact, it appears that, in addition to whatever reminiscences of Rikyū's life and teachings Sōkei did actually write on that occasion, Jitsuzan included everything else (at least that was as of then unpublished) that he found in the wooden chest -- a number of which documents seem to have preceded Sōkei's connection with Rikyū (and so represented earlier machi-shu practices that developed between Jōō's middle years and when Sōkei first reached out to Rikyū -- as Jōō's successor -- around 1573).   Thus care must be taken with the contents of this book especially; and where the material deviates from Rikyū's known writings, those sections must be purged in accordance with Rikyū's teachings.

    In consideration of such things, the Nampō Roku, then, is at best largely a second-hand (and more often a third-hand) compendium of a selection of Rikyū's teachings.  That it is more highly appreciated by most modern tea schools than Rikyū's own writings (i.e., the so-called Rikyū densho [利休傳書]) is an unfortunate consequence of the fact that Jitsuzan's represention of these teachings is much more amenable to reinterpretation (in accordance with the modern school's preferred teachings) than are Rikyū's own writings.

    In this translation, it is my intention to use Rikyū's teachings as the standard through which to view and understand the Nampō Roku; and deviations from his teachings will always be noticed accordingly.  Furthermore, I am not planning to translate those portions of the text that are clearly spurious additions produced by Tachibana Jitsuzan (such as the Buddhist-style poems -- in extraordinarily bad pseudo-Chinese -- that close each of the books, since they add nothing to the Nampō Roku as an exposition of Rikyū’s teachings -- and, indeed, tend to detract from this purpose by making the collection seem to be more about Tachibana Jitsuzan and his personal enlightenment than about Rikyū and his vision of chanoyu).  I will leave it to one of the schools that like to promote the Nampō Roku as being a validation of their own system of practice to provide the public with translations of these things.

_________________________

¹Nambō Sōkei seems to have had a scholarly interest in chanoyu, specifically in the earlier forms that had preceded the revolution that followed Rikyū's return from the continent in 1554.  For this reason, he seems to have been late in reaching out to Rikyū (their earliest exchange of letters, which has been lost, seems to have taken place in 1573; this was followed, a year later, by Rikyū's presenting the document now known as the Nambō-ate no densho [南坊宛の傳書] to Sōkei a year later -- according to Rikyū's own introductory remarks).

    However, while an intimate relationship developed between the two men (there is a suggestion that Sōkei became a sort of unofficial steward for Rikyū's Sakai household after Hideyoshi required Rikyū to live with him in Kyōto), Sōkei never assumed the position of tea teacher, and, rather than disseminating this precious information to his contemporaries, he locked his collection of documents away in a wooden chest before going off to the mountains to commit suicide on the third anniversary of Rikyū's death.

²Nambō Sōkei was the shuzo [首座], or head of the monks of the Nanshū-ji.   This would have made him the second or third most powerful monk of that temple.

    In addition to being the shuzo of the Nanshū-ji, Sōkei was also the jūji [住持] (head monk, or resident monk) of the Shū-un-an [集雲庵] (shown above), a subtemple of the Nanshū-ji that had been established by Shū-un-an Giō Jōtei [集雲庵岐翁紹禎; 1428 ~ 1522] (who was also sometimes known as Nambō Jōtei [南坊紹禎]), the biological son of the great Ikkyū Sōjun [一休宗純; 1394 ~ 1481].

³Many of the head monks of the Daitoku-ji were trained at the Nanshū-ji -- and for many years it is said that the Daitoku-ji was considered to be a subtemple of the Nanshū-ji.

⁴While Tsuchiya Sōshun is officially regarded as a disciple of Ōno Michinori (who would have practiced chanoyu more or less in accordance with Sen no Dōan's teachings), he also lived for a time with Furuta Sōshitsu, and it was during this time that Oribe's ideas also began to influence Sōshun's way of understanding chanoyu.

⁵This collection (of six books) has been translated previously in this Blog.

⁶During the early Edo period, Sōtan's way of performing the temae was held to be the standard form of the practice, and deviations from his temae were (theoretically) considered treasonous.  As a result, while Tachibana Jitsuzan's lineage might appear to be quite different from Sōtan's, it seems that the major influence of his forbears was on Jitsuzan's attitude -- fostering a skepticism, which a study of the Rikyū Chanoyu Sho could not but help but enhance.  For this reason, Jitsuzan has been considered a disciple of Sōtan (or Sōtan’s tradition), according to some scholars.

⁷Waste paper was recycled by selling it to the kamikuzu-kai [紙屑買い] (waste-paper-collector), and Sōkei says that he surreptitiously went through the sheathes of documents before putting them out for collection -- and removed those in which he had an interest.

⁸Following ones master in death by committing suicide on the third anniversary of that person's death, as a gesture, had (by convention) to be performed on the same day as the anniversary.

[ao3feed-danganronpa]

Danganronpa: Hope's Chains

read it on the AO3 at https://ift.tt/3itH2zI

by AmazingMewtwo_Writes

Years have passed since the Tragedy and, with the world rebuilding, Ultimate Despair's grip has all but vanished and the killing games have become a distant memory. Now, a new class have been forced to fight for the right to survive. Sixteen students. One hostess. One way out. The Nouveau Killing Game has begun.

~~~

Currently on - Prologue - Killing Game Nouveau

Words: 5891, Chapters: 1/?, Language: English

Fandoms: Dangan Ronpa - All Media Types

Rating: Mature

Warnings: Graphic Depictions Of Violence, Major Character Death

Categories: Gen

Characters: Original Characters, Original Male Character(s), Original Female Character(s), Original Non-Binary Character, Original Trans Character(s), Katsumi Akira (OC), Hideyoshi Tsuchiya (OC), Hotaru Tachibana (OC), Naoki Sato (OC), Daisuke Ito (OC), Other Character Tags to Be Added

Relationships: Other Relationship Tags to Be Added

Additional Tags: Fan Killing Game (Dangan Ronpa), Fanganronpa, Original Character Death(s), Angst, like a lot of it, Implied/Referenced Suicide, Dangan Ronpa Spoilers, It's set after the HPA arc so spoilery stuff is referenced, Implied/Referenced Character Death, Female Protagonist, Semi-Illustrated, Other Additional Tags to Be Added

read it on the AO3 at https://ift.tt/3itH2zI

[enami17]

Meijiza no Hen - Kirin ni noru

("Le Hen" for short) will be this year's installment in Le Himawari series.

The play "Kirin ni noru" will retell the events leading to the Honnouji Incident, a forced suicide of Oda Nobunaga. The show is titled "3.5 jigen butai - Nihon no rekishi" (3.5-D stage play - History of Japan).

Complete Cast and Historical Personalities

Hirano Ryou - Akechi Mitsuhide

Anzai Shintarou - Oda Nobunaga

Kaminaga Keisuke - Akechi Samanosuke (aka Akechi Hidemitsu)

Kinomoto Minehiro - Toyotomi Hideyoshi

Takiguchi Yukihiro / Ooyama Masashi - Azai Nagamasa

Isaka Ikumi - Takenaka Hanbei (aka Takenaka Shigeharu) (timeslip character)

Matsuda Gaku - Araki Murashige

Kobayakawa Shunsuke - Shibata Katsuie

Yoshimura Shunsaku - Mori Ran

Tsuchiya Shimba - Mori Maru

Hayashi Tsuyoshi - Honganji Kennyo (aka Kousa)

Yato Ryouta - Ishida Mitsunari

Kawasumi Bishin - Ashikaga Yoshiaki (the 15th and final shogun of the Ashikaga shogunate)

Nihei Takuya - Sakuma Nobumori

Ibuka Katsuhiko - Akechi Hiroko (Akechi Mitsuhide's legal wife)

Katou Kei - Kirin (giraffe / Qilin)

Nakamura Ryuusuke - animal keeper Tamura-san

Tsubaki Oniyakko - Kichou (aka Nou-hime; Oda Nobunaga's legal wife)

Ouki Kaname - Oichi (Oda Nobunaga's younger sister)

Tsujimoto Yuuki - Oogimachi-tennou (the 106th Emperor of Japan)

Awane Makoto - Occhan (narrator)

Naitou Taiki, Harada Yuuichi (double cast) - Tokugawa Ieyasu

Tawada Hideya, Satou Takashi, Sana Hiroki, Nagata Seiichirou, Sugie Taishi, Kondou Shouri, Yamazaki Taiki, Harada Yuuichi (higawari cast) - Luís Fróis

Director: Harada Yuuichi

Script: Akazawa Mukku

2019.12.28-31 Tokyo, Meijiza

Official site: https://le-hen.jp

[mewmewchann]

My Confession

Katsumi hones in on a suspect, but a surprise admission changes everything...

trial 4 part 2 baybeyyyyyyyyy anyway I hope you enjoy me saying "I've been waiting for people to see this for 4 years" because I'm gonna be saying that about this trial a lot skdhgkjsdhgkj And this chapter has a few fun illustrations too!

I hope you guys enjoy! If you wanna scream in my inbox after this please feel free to do so (and you're gonna need to. :3)

[mewmewchann]

I'll Bet My Life On It

The fourth trial begins, but everyone quickly realises how little information they have...

Ready for the insanity to begin? I hope you're ready! This trial was a LOOOOONG time coming and I'm so excited to finally release it! Hope you guys enjoy! <3

(also please yell in my inbox I love yelling in my inbox)

[mewmewchann]

One-Winged Bird

What happens if even after all your hard work, all of your blood, sweat and tears...You didn't reach your happily ever after?

*FALLS IN THROUGH CEILING* HI I AM SO SORRY FOR HOW LONG THIS TOOK Chapter 4 Deadly is a doozy and this investigation is certainly no different lmao

But it's here! I hope you guys enjoy it! Because I certainly did. :3

(if you wanna yell at me in my inbox please do I love it when people yell at me in my inbox)

[mewmewchann]

Face Off

Katsumi has her suspect on lock, but said suspect brings up a point that throws a wrench into her argument entirely. Will she be able to end this trial…?

CHAPTER 3 FINALE IS FINALLY HERE!!! *PARTY HORN NOISE* You guys better strap yourselves in because this chapter is real fun. And also has some of my favourite illustrations of this Fangan so far so that's cool haha

I hope you guys enjoy!

[mewmewchann]

Prepare for Trouble…

The third class trial begins, and it's up to the remaining class to take apart this confusingly complicated mystery one step at a time.

~~

I'm so hyped for you guys to see this trial you have no idea. :) Anyway CLASS TRIAL TIME WOOOOOOOOOO And this one's a doozy.

I hope you guys enjoy!!

[mewmewchann]

Look Who's Inside Again

Well, well...Buddy, you found it. Now come out with your hands up. We've got you surrounded.

The finale of Chapter 4 daily life. What the hell is going on? Let's find out >:)

I hope you guys enjoy!!