#REPEAT ADV CHOSEN

[izzyizumi]

m E, Digimon Advs+02 Fan: Good morning to Hikari Yagami and Hikari Yagami oNLY

[taichi-x-koushiro]

Meanwhile with KouTai {+Yama}

TAICHI: {SIGHING...} YAMATO: Yamato: ...What's going on?? Taichi: Taichi: Well, you see... YAMATO: TAICHI: MIMI-CHAN got Koushiro, as a gift, this set of... I think they're called -- Y A M A T O: TAICHI: "NECO-MIMI" 'Ears', and--- YAMATO, MENTALLY FACEPALMING: TAICHI: Koushiro actually tried them, but it's ... Yamato: "Unusual" of Koushiro?? Taichi: ... ..I'm not sure "unusual" is the way to say it but... Yamato: Was Koushiro acting unusual about it? Taichi: NO, that's the thing about this! YAMATO: T A I C H I: Koushiro was trying them out, but doesn't really like wearing them in public. So Koushiro wore them while around Hikari and me for a while. Yamato: ("Ah.") Taichi: And that's what happened! So when the ears moved... (*leans in, conspiring-like but louder*) Koushiro wasn't acting very different at all!!! Yamato: Koushiro Wasn't. Taichi: No... like, Koushiro would be looking really blankly at us, like what happens a lot, and they'd sit straight upwards. Yamato: (Koushiro was PAYING ATTENTION to you---) Taichi: Then, Koushiro got super interested in the Pibook again, and they were ALSO sitting straight up AND moving back and forth a lot, but Koushiro wasn't DOING MUCH, just using the Pibook like usual...!! YAMATO: (*LONG GROANING in Taichis general direction*) ('YOU ALREADY KNOW WHAT IT MEANS, IT MEANS KOUSHIRO'S 'INTERESTED' IN-') TAICHI, BANGING FIST INTO PALM: AND THEN!!! And then, when I finally {'Got Koushiro's Attention' implied} asked Koushiro about playing a game, the ears were lowered!! YAMATO, AGAIN MENTALLY FACEPALMING: Taichi: I-It means Koushiro DOESN'T want to, with me-- righ-- Y A M A T O: (KOUSHIRO WAS SO HAPPY YOU ASKED THAT KOUSHIRO DIDN'T KNOW HOW TO RESPOND TO YOU!!!!)

[comicaurora]

Have you seen the new Willow show? It’s vibe reminded me about of Aurora since it’s a high fantasy show that doesn’t try to be super serious or edgy and actually has fun

I got most of the way through the first two episodes and might try and pick it back up. It's fun in places, but in others it feels a little shaky and the pacing's kinda weird. I can't decide if it's comfortably tropey or just a little too comfortable with its tropes. I laughed out loud when the old mentor guy got one-shotted literally seconds after crossing the barrier.

The characters also sort of oscillate between being too cool for school and bathos-ing up all their emotional moments, and being weirdly non-genre-savvy when it's convenient for them to be immersed in the plot. For instance, absolutely nobody reacted to the mentor dying in any way and the characters were quipping seconds later, making them seem Very Rad and Uninvested. But then when it comes to the frankly extremely tedious second episode where the entire premise is Elora sucking at magic, nobody points out the seemingly crucial detail that she passed through the giant magic barrier that keeps the entire kingdom safe. The rest of the gang know she didn't cross through the gate with them but don't seem to question how she got out, and she knows she moved through the barrier, so it feels very weird that the entire episode is spent with her constantly repeating that she can't be magic, she can't be the chosen one, she's just on this trip to rescue her boyfriend she's been dating since yesterday tops, etc etc. Sitting around waiting for the characters to acknowledge or accept or figure out something very obvious is tedious, especially when they have no reason not to.

Kit also stands out to me, because she's quite an interesting mass of contradictions, though I'm not sure if that's intentional characterization or indicative of the same inconsistent writing. She's introduced defeating Jade in a fight, who is herself a clearly extremely talented knight if the royal guard are willing to make an exception to accept her - and Kit says she wins because she's got skill and talent and that's what makes her better than Jade, which characterizes her as arrogant, but perhaps justifiably so considering her ability - after all, she is introduced as a better ass-kicked than the story's designated ass-kicker. Then Kit plans to literally run away to escape her arranged marriage, abandoning her role as heir to the throne because she feels trapped in her life - which totally tracks, that's all consistent. She's a spunky warrior princess who doesn't wanna marry some rando for political reasons, that's a very classic tale as old as time. But then as soon as the squad of bad guys show up and storm the castle, Kit is shown panicking and handling herself much worse than Jade, who also doesn't do particularly well in that fight - which is another stock story beat, the equivalent of the "home village gets torched by BBEG" event. This makes it seem like Kit, despite being prepared to win a sparring session, is not actually ready for a real fight. That's a good angle on this character, and it makes sense for a sheltered princess longing for adventure; she's trained, but that doesn't mean she's ready. She's arrogant, not because she's experienced, but because she's the big fish in her small pond. Okay, that's fair. Different than her introduction and not really highlighted in-story, but still workably consistent. It indicates that Kit will have an arc about becoming a more badass fighter through experience, maybe a bit less arrogant as she accepts that the "talent" she boasted about literally means nothing in a very dangerous world - maybe Jade will get more opportunities to shine as an actually experienced warrior who's seen more combat than her talented princess. Jade has also clearly had a less sheltered life than Kit, so that might be a good dynamic to explore as character foils now that they're experiencing a fraught adventure that is clearly much harsher than Kit was ready for. Then as soon as Elora is revealed to be the real magical chosen one this story is all about, Kit shifts to being the cranky lancer complaining about how Elora sucks and isn't important and probably isn't really the chosen one anyway and shouldn't they be focusing on charging straight at the main bad guy right now. She also calls out Elora on having never been in a real fight, which is either a very interesting bit of hypocrisy from one sheltered princess to another, or a bit of inconsistent character writing caused by Kit being suddenly recast as the lancer to Elora's de facto protagonist status. It also highlights another inconsistency, because if Elora is who Willow thinks she is - the chosen one savior one true queen who'll rule the kingdom - then Kit is free from that royal responsibility she demonstrably hates.

So either this is the messy behavior of a complicated, imperfect heroine suddenly experiencing a large amount of very stressful things at once - or it's inconsistent character writing. Schroedinger's storytelling.

There's a few other things that threw me. Some of the editing in the first episode feels really weird, especially during the aforementioned Bad Guy Invasion - which itself smacked of rough choreography, shot in a dark and foggy environment with a lot of camera-shake to seemingly compensate for a lot of very wide swings with swords and spears.

It was an interesting watch, and I might go back to it because of the bits that are rough around the edges. Seeing the parts that weren't working for me helped me identify the parts that were working and why. The show's certainly not awful, and there's a lot of solid stuff in it; it's just the shaky parts that are interesting to me, because they're the parts you can learn the most from.

[grandhotelabyss]

Can you say more on Moore's "Jerusalem"? Think logo allways mentions it in a positive light, so I'm interested what you disliked about it

This is what I wrote here:

Incidentally, since I mention Moore’s long novel Jerusalem in the first paragraph of my review, you might be wondering if I ever finished reading it. I did not, unless skimming the last two-thirds counts, and it doesn’t. My attention drowned in its sea of prolixity. It is a novel by the writer who wrote those legendarily mammoth scripts: every imaginary element in the imaginary visual field is described down to its imaginary atoms. What ever happened to the telling detail? (Nathan “N. R.” Gaddis is good on this “picture thinking” element of the novel.)

And here is a passage from the Goodreads review I linked, which I agree with as a pragmatic description of what's wrong with the book, even if I might dissent from the totalizing Hegelian prescription:

And so for the prose. Let's be positive first. There is something of the big and the fat to it ; not much, but he does get some windey sentences in there and of course we have to give him some credit for the performances in Part Three. But for the most part what you get is every noun its adjective and every verb its adverb. Which results then in a very picture-centric prose. Everything is picture picture picture. As if he should've chosen a more visual medium for this project. There ends up being an uncanny rhythm to this adj-noun/adv-verb overdose, but it's just so pictoral. And fittingly of course. Not just because Moore is a comic book guy, but his thinking itself is a picture thinking. Picture prose. In Hegel, the stage just before philosophy (which is thinking the concept, thinking conceptually) comes religion which is characterized as 'picture thinking'. Which is how Moore relates to his Eternalism appropriately enough. The thing to note here is that for Hegel both philosophy and religion have the same content, take the same object as their object (although the object is changed accordingly). Moore takes his Eternalism religiously in this sense (just like Tom Robbins takes his Easternism religiously) ; were he to take it philosophically (conceptually) we would see more movement of thought, some distance from the position rather than an immediate embrace of it, something more like what we get regarding paranoia in Gravity's Rainbow (is Pynchon really a paranoid? it's undecidable). In other words, unlike the prose in, say, Women and Men where we can see the full movement of thinking, in Moore we merely have a picture grasped in words. Further illustrative of my claim here is what happens repeatedly in the Part Two (up in 'heaven)--a character (usually the three year old protag) encounters some totally unfamiliar and baffling object ; the object is first described in all its bizarreness and then immediately the object and its function etc is explained, thoroughly and without ambiguity, to the three year old (yes, a three year old, but Moore technically slips out of that noose on this point). Describe explain, describe explain, repeat.

[miloucomehome]

Thoughts, feelings, theories and assessments (esp. the 02 kids and adventure kids’ relationships) before the premiere of the final chapter

This sort of morphed from a short thread on Twitter with some friends a while back and it was as if a lightbulb went off in my head. There might be some holes and here and there, but hear me out (It’s long. I’m so sorry. Go make tea, a snack and come back and read)

First: If you haven’t already, rewatch the first 5 movies. It’s well worth it.

This post contains spoilers for Parts 1 through 5. No spoilers from the advance screenings of Part 6 are in this post. (I’m a spoilerphobe with tri of perhaps the highest order)

So here’s a few things:

All 12 of them seeing each other at once was not a regular thing. It wasn’t in 02 for the Adventure kids, that’s for sure and each episode showed this early on.

Them not being in daily communication for days or weeks was probably normal too given how things may have become for them as Chosen. They had no reason to worry--there was peace. Everyone was busy and had their lives

Whatever the 02 kids encountered prior to Part 1, it may have occurred swiftly. In other theories I’ve tried to come up with, this is one thing I think is a strong possibility. There’s been theories floated that maybe Maki deliberately sent them there because they were the active team, but what if in an emergency with no way to directly communicate, in desperation the 02 kids were sucked into the situation out of a sense of  duty and urgency?

Say in an emergency, Gennai (good) urgently tries to get a hold of the Chosen--anyone they can get--and they discover that communications have been hampered. They try and try and get a hold of the 02 kids first. Not all at once, but maybe somehow Ken, Daisuke, Iori and Miyako were able to link up. Maybe even Iori and Miyako suggested they try and get Takeru and Hikari, but they can't--time is of the essence and their help is needed post haste so they leave...and end up in an unwinnable situation.

While faced with this, the kids try to message for help as one by one--Imperialdramon, Hawkmon and Armadimon’s evolutions--are taken out, but they realize their message can't get through much like how Takeru's D-Terminal couldn't send messages in Part 4. (Maybe related: Koushiro notes he can’t get a hold of Gennai in Part 4) They're stuck with no way out nor way to call home and before they can run and seek shelter, they're all taken out (image of the final panning shot)

Due to the state of their relationship and not being in constant communication with one another, their “non-responsiveness” hasn't raised flags yet given the timeline of the films and ever-evolving and rapidly changing priorities. It could be in Part 6, albeit a bit late, they will realize they need them and *thats* when things click. I’ll concede that there is a bit of explaining to do on this point whether it’s a friendship question, or that “External Forces” (Homeostasis, the Agency, Mysterious Man, the World/Digital World) are at play.

(More after the jump!)

The 02 kids are missing because of an event out of their control that we can see from the opening act of Part 1: Reunion.

What happened before that dramatic moment is where my theory comes in.

We know from Takeru in Reunion that the Digital Gate has been closed for a while and even though the Adv kids are in the Digital World right now, they got there through unconventional means which bypassed that block. Let’s assume that when the Digital Gate closed, for whatever reason, it was after a period of extended peace in the Digital World--Gennai (the real one) decided that they should let him and the Agents take care of fixing it and let them relax. After all, they had defeated BelialVandemon and Oikawa became an extra barrier for the safety of the Digital World, there wasn’t any need to be worried.

Over time, maybe during this peace, the 02 kids and Adv kids find themselves in a kind of “retirement” or hiatus from their duties as Chosen. They’re not rushing to intercept trouble or prevent anyone from taking over the Digital World or being summoned by the Sovereign Digimon to reinforce the barrier between the Worlds so they all aren’t really needed at the time.

It’s very in-character for Gennai to tell the kids to take it easy. I could see him not having any reason to be concerned. “We don’t get together as much as we used to anymore”

I strongly believe Koushiro’s line in Part 1 wasn’t just a cute reference to Our War Game--where they were hampered by the fact that they could not communicate to assemble everyone, handicapping them at the start versus Diablomon--but actually a comment on the current state of their relationship between the 12 of them.

Perhaps in a similar way to Our War Game, the 2nd original film, the kids slowly settle into “normal” routines and “normal” lifestyles as Jr and Sr High School students. Perhaps as a result of this state, the Adventure kids and 02 kids aren’t really communicating or seeing each other as much--not because they’re no longer friends, but simply because there is no reason to. They’re not having hush-hush meetings in the computer lab nor strategizing at Koushiro’s apartment over the latest Digital World developments. They drift apart somewhat, but, they’re still in touch. Life is good for all involved from 2003 onward.

Joe and Miyako being in their respective final years of High School and Jr High are likely becoming consumed by their studies (but Joe isn’t quite at the stage we see him at in Part 2) everyone is leading their own lives waiting until the day they’re called again (though not expecting). Rewatching Part 1, you can see that Taichi wasn’t terribly aware of Yamato’s band activities. It’s played as a normal conversation for laughs, but I’d say it’s another way the story demonstrates how little they hang out compared to before.

I think we can safely assume their relationship is in the state it’s in is close but not I-know-every-detail-of-your-day level. After the events of Part 2: Decision/Determination, Hikari and Takeru go and try to find out what’s going on--no one answers at the Ichijouji residence (Empty? They could be out for the day (or town) and Ken is busy himself given they may not be aware of his daily activities), Takeru fires off a text to Daisuke and presumably the others. Had things not escalated as much in Part 3, they probably would’ve had more time to sleuth around and investigate and take notice of the flags, but then the infection and Meicrackmon took priority. Had this had their undivided attention, I’m sure the story would have had them speak to the older Chosen to note they couldn’t get a hold of the other four. 

(What I also find curiously interesting is that Daigo is also aware in Part 3 that the 02 kids are missing. Whatever his implication is in the events that led to their status, it’ll be interesting to learn the extent of what he knew. Given how crushed he was by the fact Maki was lying point blank to Yamato and to himself, I wouldn’t be surprised at this point if all he knew was they had lost communication with them, not that they had been ambushed)

Closed Gate = Closed Communications

We know from a few things in Part 3: Confession that, granted we are seeing a post-reboot DW, communication between the Digital World and Real World seems to be hampered as seen when Takeru tries to use his D-Terminal to message Maki but the message doesn’t go through. We could chalk this up to it being a reboot bug, but what if this “lack of reception” had been around the time when the Gates remained closed? Now wouldn’t that cause problems if any of them made it into the Digital in an emergency through unconventional means but had no ability to communicate back for help? If this had been the case, neither of them would know this was a problem. Keep this point in mind.

Something occurs suddenly in the Digital World. Maybe only the 02 kids, or only Daisuke, Iori, Miyako and Ken, are able to get to a Gate. They get there, try to get a handle on the situation they’re facing only to be up against something they couldn’t fathom even keeping at bay. Maybe the Gate was closed,(maybe those screens we see in the canyon in Part 4 were Gates that were out of service) so somehow they go in through an unconventional method, but when they get there and things escalate too quickly. Even though they may have sent messages for help...maybe they were never able to send at all.

What also occurred to me is that Meicoomon’s nature distorts with digital communications. Would its existence in the Digital World have begun a slow corrosion of digital infrastructure there? (That is: The Gate, the D3s’ Gate opening abilities, D-Terminal/Digital communication between the Real and Digital World) We can also see from Part 3 onwards that access to the Digital World is currently only being done through the distortions.

The Role of  the 02 Kids in the Final Film

Difficult to pin, but I have confidence (blind?) that we are not in for a repeat of the role of the Adventure kids during the events of Movie 3 (Hurricane Touchdown), granted there are similarities to tri.: Missing kids, a tamer with the burden of caring for a Digimon partner gone berserk who harms/kidnaps one team. In fact, I truly believe that Miyako, Daisuke, Iori and Ken are key to unlocking Omegamon Merciful Mode, like how Imperialdramon Paladin Mode was unlocked by a sacrifice, of sorts, by a heavily damaged Omegamon in Movie 4, Diablomon Strikes Back. Maybe Imperialdramon FM will reappear and sacrifice part of itself to unlock Merciful Mode, then all the kids will unlock or power the new blade it wields.

I am also Team They Will Speak (or Some Will Speak) and not Team Brief Cameo. ;;;;;

Final comment -- Regarding one scene from Part 1:

This might be random but, hear me out--Much of the thinking surrounding this opening shot with Taichi is that he was maybe feeling guilty for something, but what if it was nostalgia? Koushiro did mention that they all don’t get together or talk much anymore.

What if not only that, but what of Taichi’s scene --when coupled with his vague comment to Daigo (as teacher) about going to see some friends often but not anymore--wasn’t just about the Digimon, but just...everyone? The other Adventure kids and the 02 kids included. Peacetime and an unexpectedly long one without their Digimon and without being wound up in something with his friends….what does one do but reflect on “happier” times when in times of trouble, they were with their friends almost every day?

Everyone’s going on growing up and here he is struck with a strong sense of wanting to return to the “Good ol days” with everyone, maybe. It’s probably possible he believes that going back to that would assuage his worries a little about changes..

We’ll see what happens in the final chapter of this wonderful series on Saturday!

[chameleonspell]

Wondrous Love: a Translation and Commentary

This verse was collected from the Urshilaku Ashlanders of Northern Vvardenfell. It is here transcribed, translated and annotated by Fr. Minervus Meno. Read with Mara's blessing.

Rilu Beran Wondrous Love

Rilu shir beran sayu            1 What a wondrous love it is Manebadon kaushummi, To bind two souls in faith, Ahalami adshessu Chained completely together Azassud malkuni With never a false word, Zenabi, zalkin, ahlku.           5 Weal and woe, wish and real, Puemmu ummami Woven each together Min tuni-sen’t ab’ashishi, From first kiss to last breath, [Scrawled in margin of book: WRONG.] Anasouri sun-rilu. First and last whispered in love.

[Further scholarly elucidation follows below the cut.]

Vocabulary:

ab- see: min adshessu (v.) present indicative passive masculine positive form of adshennu, to bind physically. ahalami (adv.) a compound of ahal, deeply, and ami, together. ahlku (adj.) true, real. anasour(i) (n.) whisper(s). ashishi (n.) =hashishi, last breath, hekem elided after ab. azassud (v.) present indicative passive masculine negative form of azannu, to speak. beran (adj.) wondrous, marvellous, unusual, strange. kaushummi (n., adj.) a compound of kaushi, ghosts and umma, two. malkuni (n.) plural only, lies. manebadon (v.) active positive gerund form of manennu, to bind ritually. min… ab- (part.) temporal, from… until. puemmu (v.) present indicative passive feminine positive form of puennu, to weave. rilu (n.) love. sayu (prn.) =sa, impersonal pronoun, nominative. sen’t (adj.) contraction of senat, first (in numerical order). shir (part.) exclamation, how...! what a…! sun- (prep. prefix) inside, within. tuni(a) (n.) kiss(es). ummami (adv.) a compound of umma, two, and ami, together. zalkin (adj.) hopeful, hope. zenabi (adj.) comparative/intensive form of zenar, deeply sad, grief-inducing.

Notes on translation, ordered by line number:

The first thing to be noted here is the unusual word order, which would sound very odd in spoken Velothis, but the poetic form makes allowances. That said, a Zainab variant has also been collected, in which the first line is the rather more natural: Shir beran, sa’eth rilu. However, the word order of the Urshilaku has here been retained, for reasons which will (it is hoped) become clear. In order to preserve the rhyme scheme, the Urshilaku version resorts to archaism: the sayu form of sa, and (as is common in the case of yennu, to be) dispenses with a main verb entirely.

Literally, “two ghosts ritually bound together”. What more enlightened cultures of the Empire recognise as the soul, Ashlanders crudely refer to as a person’s kausha (in some dialects, kausa), or ghost. In order to maintain the palatability of the translation for Western readers, certain liberties of interpretation have accordingly been implemented. [In margin: GET BLIGT NWAH]

Adshennu is an interesting verb choice, here. Like manennu in the preceding line, it means to bind. However, where manennu refers exclusively to magical bonds (and thus would be in a feminine case, were it not a sexless gerund), adshennu refers exclusively to physical bonds. This is a pleasing reinforcement of the central theme of this traditional marital verse - the myriad levels upon which the conjugal couple are to be mutually affixed. There is, however, a certain jarring shock to the appearance of adshennu in this otherwise clement context: the common usage of the verb among Ashlanders as a casual euphemism for slavery. While the Velothi people practice enslavement far less frequently than their House cousins, this is for practical and traditional, rather than morally elevated, reasons. Ashlanders have no sympathy for the enslaved, giving credit only to the rule of strength. To require slaves is weak, but to allow oneself to become one? Despicable. Therefore, the implication - surely deliberate - that lovers are enslaved to one another must be rather shocking, subversive, even, to an Ashlander audience, suggesting, as it must, that love itself involves some measure of submission and even degradation. [In margin: THERE IS SUCH A THING AS READING TOO HARD SWIT] It is difficult to convey a similar sentiment in translation, but the use of chained will, it is hoped, provide some measure of disquieting frisson.

Little to note, except that the lack of any known singular form of malkuni, lies, could be said to imply that where there is one lie, there is always another. Or, given the cognate term: malkut, traitor, that each word of a liar’s speech is an individual act of treachery against the listener, clustered together into one mutinous sentence.

Here are found three adjectives in sequence, seen in their common Velothi double-usage to refer to, not descriptions of specific things, but to stand in for abstract concepts: grief, hope, reality. Dunmer are irretrievably dour and pessimistic in nature, and Ashlanders no exception. [In margin: I CANT THINK WHY] Zalkin, hope, should therefore not be understood as a purely positive concept. These three words mark a progression that the loving couple must undertake to perform together. Zenabi, grief, is painful, but zalkin scarcely less so. The ultimate goal is alkhu - truth and a proper conception of reality, free from both despair and delusion. The translation attempts to recreate the assonance of the repeated zyr and lyr-koht phonemes in this line, though clearly in Tamrielic, other letters must be chosen.

Puennu, to weave, is here seen in its sole, feminine, form, as befits the gendered nature of the activity. [In margin: STUPID NWAH THATS NOT WHY ITS SINTALAZUNI IT DOESNT MEAN WEAVING A BLIGTED BASKET ITS FOR ENCHANTMNT ITS A MAGIC THING]

Here translated as last breath, hashishi literally means ash-sigh, the soul separating from the burned body. [In margin: FINE BUT TUNI ISN’T KISS. YES INVOLVS MOUTH, BUT NOT FISICAL, MEANS MORE LIKE FIRST WORDS. ECHOS HASHISHI - AIR/BREATH IMAGE. KEEP UP NWAH.]

The whispers are literally placed sun-rilu, within the love. An effective touch, evoking as it does the warm privacy of the darkened yurt, where lovers may exchange secrets in intimate bliss. [In margin: KEEP YOUR PANTS ON SWIT HAVE YOU EVER BEEN IN A YURT? SOUNDS GO STRAIT OUT, GUAR GO STRAIT IN.] The last line in the original does not contain the repetition of “first and last”, however the decision has been taken to include it (partly, it must be confessed, to inflate the syllable count for scansion’s sake) but to emphasise the encircling nature of love, represented in the original by both the first and last words of the poem being rilu.

Additional Note: The above translation may be arranged and sung to the well-known tune, "By Limpid Lake Rumare I Espied A Bounteous Maiden". [In margin: HOW??? ALSO IF YOU DO BY AZURA I WILL HUNT YOU DOWN.]

While undoubtedly rooted in barbarism, there are yet still pearls of wisdom and beauty to be found in such verses, if we remember, as in all our lives, to translate that which we encounter through Mara's Light and Love. [In margin, ending in incomplete pencil-drag scrawl: TRANSLATE THIS: ARRAKUH UHSUN-MAHAN ZERRABIBI ILK-H----------------------------]

[koushirouizumi]

Digimon Adventure+02/tri./Kizuna/(+Adventure:) {2020 Reboot} + Digimon Adventure 02: The Beginning (+minimal Kizuna) A.M.V x “Apologize” {David Archuleta} Live Concert Version Featuring Characters/Duos/Ships: + {+2020!}/{Kizuna!}KOUTAI, {02!}KENSUKE, (Implied/Former?/Un-requited??) YamaSoraTai/Yamachi, {briefly/+also from Yamato's end); Adventures Chosen; (Overall 02 Chosen-Leaning +Side KouxTai)

“I’m hearing 'what' you say…”

“Take a Fall {?}”–

“I Need you like a heart 'needs' a BEAT– … BUT that’s Nothing {N E W…}”

“{’XXXXX’} like the A N G E L…"

“IT’S TOO– (???)”

"...Ten feet..."

Comment: If you think I'M not in this CROWD somewhere, {despite the fact my voice is really soft 'irl'} you might just be Mistaken,,,,, (Also - This is my overall personal 'final thesis' on The Beginning.) {If you watch, please genuinely try to FOLLOW the themes presented.}

{Note: Tri Pt. #6 Bokura no Mirai/"Our Future" Spoilers, Major The Beginning Spoilers, (select scenes from opening, final battle, FINAL Post-credits scene at very end clip) + middle part Big spoiler (Rui’s eye & Ukkomon) {Notes: Eye Trauma/Injury; Blood}

Original Song © O.n.e.R.e.p.u.b.l.i.c Archuleta cover from AUGUST 1st 2009’s Sunrise, Florida Concert {“Hey O.P., can you explain that GAP in your blogs' hISTORY of this fANDOM—???”} [Do you hear 'THEM' here???]

*Edited in about 5 hrs 10~ min overall (Preparing for this however took at least four days of off-and-on out-lining) {Any final fix's will come in the future...!!}

{*Slightly LOUD/Low quality audio at points!!} (*Contains cheering, as its LIVE Ver.)

by Me/Hikari M. Productions @hikari-m/@koushirouizumi/@izzyizumi {DO NOT Repost} {DO NOT Copy} {DO NOT Reproduce my Work/Video Edits Without my Permission Under any Circumstances}

[thekimmelwindows-blog]

V O I C E S | spotlight on the artist: Tashina Lee Emery

Tashina Lee Emery, Ojibwe is currently working on her MA in Arts Politics in Tisch’s Art and Public Policy program where she will graduate later this year. 

Enrolled in the Keweenaw Bay Indian Community of Baraga, MI, Misanaquadikwe is her Native American name: The one who can clear a cloudy day. If you ever have the opportunity to meet Tashina (hint, she’ll be at the exhibition’s reception on April 17th 5:30-8pm in the Skirball Performing Arts Center Lobby, and so should you!), you’ll see what a perfect name this is for Tashina; she truly radiates the sun. 

Her artwork, Anishinaabekwe, is featured in V O I C E S @nyukimmelwindows and we had the chance recently to sit down with the artist to learn a bit more about what inspires her creative process. Check it out! 

Who are the women you have portrayed in your piece and what informed/inspired you to select these 7?

Mikah and Aubree. Jailyn. Sydni. Ginger. Shani. Jeanne. Victoria. Seven humans. Seven bodies. Seven physical places in life moving at once. I obscure through layers the magic of tradition, a sacred secrecy to withhold but instead asserting the wonders of existent real women and their roles in raising villages. The thick and heavy central role of the woman’s strength on the reservation that I witnessed. I celebrate their resilience to generations of trauma, now bearing the weight on my shoulders from my mother. I validate the vigor carried by blood from the collective power of the women who surround me. Glorifying my optimism through the delicate and intimate chiffon silk marking a statement of survival, the ones still here. My work shares the tenacity and superpowers of legacy. Drawing questions of the decisions we make today and how it will affect the future seven generations.

Where did you grow up and how do you feel that contributes to the person you are today?

I grew up on a small reservation of the shores of Lake Superior, the Keweenaw Bay Indian Community in Baraga, Michigan. I was raised traditionally and always had a house full. My mother raised villages, she took in anyone in need. Rez life was always something I wanted to escape growing up. Any opportunity, I took it, the more I left, the more I want to return. The more I return, the more I want to leave. However, I love my home. The awareness from a distanced perspective gives me the vigor for a healthy community, my people deserve.

What materials did you use and can you speak a little about your artistic process?

The silks transparency, the soft touch of see through that flows following the bodies fluid movements. I created seven chiffon pieces to hold the seven women of my inner circle of strength and struggle, woven elegance and damage.

I had invited all the woman in my immediate family during Thanksgiving break to spend the day in Zeba, MI with me, bringing back memories of were my mother and aunties grew up. Originally there was supposed to be a few more chiffon pieces. My cousins, aunties, sisters, and mother dressed across from deep frozen waters of Lake Superior. We did our makeup together and I made sure to bring an immense collection of my own jewelry, which anything they wore they were able to have after. An offering for their time and help in my project. My poems and short proses adorning the woman who raised me and the future generations we too, will one day effect.

My stories come from the hardships I bared, the trauma that my family has. I disguise the complex narratives of hurt and hope with stacked layers, to beautiful burden the viewer. The reader is forced to look deeper. A strategic transparency the viewer will have to work for.

You include what appears to be handwriting in the some of the pieces; who's writing is this and is there more of a story to how and why you've chosen to incorporate this in places?

My mother’s handwriting was such an important piece, representing a thread between all the pieces. The Ojibwe floral layer is the bond between the women, but my mother’s words, some in Ojibwe, are the realistic spots creating a decolonized version of the map, a fabric framework of place. A bit of her being, reclaiming her voice.

What are seven things that inspire you in life and in art-making?

My home. The thick woodlands, and the crystal lake Lake Superior shores. My reservation right near the water's embrace. I vow to surround myself again with the trees and water.

My mom. She is my best friend and her stories however horrific come with a tinge of humor, happiness, and hope.

Indian Country. The social movements and political progressions excite me. I am honored to witness the privileges my ancestors fight so hard for coming into fruition.

My nieces. I try to crave out terrain that one day, they can one day exceed expectations too.

Raw natural materials, their carried stories. I cherish the traditional medicines, the plants, and the decolonized memory and making.

Healing. I come from a Tribal Public Health background and the practices of other first Nations is power. Culture is medicine.

Traveling. The mobile Native or body of color has been a new fascination, especially coming from a reservation enacting my dual citizenship, a double consciousness.

Below are detail images of the installation along with translations of their accompanying poems; be sure to swing by and see the works in person! 

Nieces - Mikah and Aubree - Panel 1

Beautiful Baby.

I look at the light skinned dark babies, the babies born mixed, the mothers who hold shades lighter, the black haired mothers who protect their redheaded daughters.

The worlds purposeful intentions, reminding us that difference is okay, humbling our mothers, my mother. This beautiful baby, we created in our body’s came out into harsh world, the very not memory of the past colonization, not our light skin, not only the light hair. Not the colonizers wounds, it’s a reminder to love one another. To find new forms of securities, new love,  new radical change.

I watch a mother of dark complexion cradle her little lighter joy and embraced the baby’s new warmth, she holds the entire world in that little girl. Her eyes didn’t look like her mothers but she loved her to the moon, I traveled to witnessing her joy.

Nieces - Mikah and Aubree - Panel 1

Bright Pink Fuel.

Bright pink, yes, our favorite color! The colorful toes were adorned in glittered, glamorous, tall, jeweled heels walked through the cold, dark rain. The studded emeralds were the only pieces in color in the gray, murky video as they moved closer towards us, with sass. Then, guess what the fabulous feet did? They brought forward one beautiful foot in slow motion, swung the tattooed leg with just enough force to smash the window, glass in front of them. The glass's sharp edges bursting everywhere.

Be careful where you step, but good thing the feet had heels on.

I see the power in the person wearing those heels, a fight in heels is a tougher work then most. A similar work you’ll have, as women of color, your heels is the shade skin you wear. The height of the stem should empower you. Stand up straight, walk with vigor and purposeful, with finesse. The heels you wear are adorned with jewels of your ancestors carrying you as you sustain them. Please know those heels come with baggage, the pain, the ache in your foot, feel that with every step you take and use it as bright pink fuel.

Cousin - Jailyn - Panel 2

Baamaapii.

Baamaapii. adv tmp temporal adverb - later, after a while, eventually. In Ojibwe, we do not have a “goodbye”. What a beautiful reminder that the permanence of leaving or being gone is unrestricted and open ended to possibilities. We also view death as “passing on”, no one “dies”, but “passes away”, just moving on until we meet again. As a wanderer, these notions of the “see you later” are comforting. I learned very young, my home will always be there - the fresh cold water of Lake Superior, the dark woodlands, the dirt tireless roads, and the vast open fields to roam.

I take my passion, my dreams, the unknown with me to New York City. I left my appreciation, with cooked dinners and movie nights with my mom. I left my joy with my nieces and sisters spending days at the beach. I left my strength with the women in my family, to carry on the raised villages. I left my future with the hardest worker and most compassionate boy, my best friend.

My values of family and my rural home, are so ingrained that I have a innate need to settle and have a family. The reservation calls my name even 1,137.2 miles away. The content lifestyle of the midwest is seducing because it was all I ever was exposed to, it was the norm. I can’t stop moving, I need to explore. The unknown captives me more, but I known in the back of mind I can have it all. My autonomy is so strategic, that I will prove you can be a found soul. Baamaappii.

Cousin - Sydni - Panel 3

Speak or fashion or eat or adorn and repeat.

“Decolonize” has been such a buzz word it’s on fire, the trend game is so strong. Do not get me wrong, we need the framework, decolonization seeks revolutionary change and a sense of peace we all need. Decolonize, a mindful act, has always been an unspoken truth for Native communities, an existing way of life but now it is law. A term to police each other, another quantum to test my blood. A verbiage to see my percentage of authenticity, but guess what I’m not prefect. Strip down bare, bring fire to everything, live in this past world, listen carefully to every word you say. How dare I accuse someone for not wanting to suffer? Not assimilation, but to live a life our ancestors fought to be apart. Yes, I will be educated. Yes I will speak and write in english. Yes, I will shop online. Yes, I will move in and out of the reservation. But, I do everything with my values of my mother and her’s before her.

I hate the word, but I’m not saying to not purse practices, change the agenda, but bring awareness to use words that aren’t even ours. Maybe I’m writing for myself to digest the words of criticism, of hate, of intolerance or unawareness. Decolonize is a tool or maybe a truth to get some where new, but it should never be a way to beat someone up. “If you don’t speak or fashion or eat or adorn and repeat in decolonization, then your Native authenticity is lacking.” More ways of classification, as taunting as measuring my relations to my people, my community and my land. Yes, there is a difference between decolonize and pride, one doesn’t force you to follow along in the boasting of Nativeness.

I’m not the colonizer.

Cousin - Sydni - Panel 3

A part in my heart where no trust lives.

On Saturday morning at 3:21 am, I called the police with an almost calm voice and simply but accurately stated ", I recently had a home invasion with assault." How bleek, I had no emotion, but I spoke in their words so they could hear me.

My face was marked with blood and burned with stinging pain along my eye and a few intense deep scratches on my cheeks. I felt woozy so I sat down with my phone in my hand, numb. I sat alone.

I had already outlined the situation in my head. Trying to replay the events in my head, trying to label and fully understand what happened, trying to remember how to start and finish. I was there, but I couldn’t grasp time anymore. I'm trying to wrap my freshly onset of dizziness, but I was blurry from the outside deep down within, the world flew out softly and left me shuddering on the floor of my living room.

I sat in my house empty. Sending a photo to my best friend first, labeled should I call the police?

I am mad, I am pissed, I have rage. I have a part in my heart where no trust lives. No home or shield that will protect me. The part that reminds me to lock my doors twice. I sit back and observe everyone. I want them to know they ignited a tiny fire and it is a reason to speak even louder, to scream next time. I want accountability. I want justice. I want that if she was a guy, she'd be a prisoner. I want credibility. And this isn't acceptable.

But survival you do alone, when breathing becomes essential. I’m not saved or healed, but I breathe. Take deep breaths.

It is not with the cloak of physical wounds I carry, but the adusatity you have of boasting about the events. The fact that you claim the victim. How does the idea come to your head that you “win”? That you even want to “win”.

My case wasn't taken seriously, so I sparked flames. I couldn’t break the cycles of hurt, because hurt people, hurt people. I am broken, but the fight of a shattered person is effective when saving other shattered people.

Cousin - Ginger - Panel 4

A cloud that dropped everyone to their knees.

I braid the hair of the bridesmaids, and ending with the little flower girls because the restless toddlers couldn’t sit long enough. Their pearl crowns in place, the small crowded house seemed to get louder with anxiousness. My aunty in all white, her voice shook as she entered the room, she held her phone. Already she was the center of attention, we paused everything for the bride, we grew silent listening to the beautiful text her son had just sent. He wished he could be there and was sorry he wasn’t able to see her beauty on her big day. He was called out to a wildfire in Utah at 3 am the night before. The ceremony was near, I was helping with last minute highlight, adding more or less creme blush, we choked on hairspray, sipping wine and beer to ease the excited tensions. I was the last to be ready, the bridal crew escaped leaving me behind while I applied my last touches of peach shadows, hands shaking applying my matte liquid wings. The primer, creme foundation, and the powder setting, can not forget the setting.

The world went blurry, the bride was limp, numb to the news. The alcohol that was just setting in, did not ease the pain I saw and couldn’t digest. Everyone’s shock was a slight buzz, a cloud that dropped everyone to their knees. The disbelief traumatized everyone. His sisters, my sisters screaming out, “he is gone”. She sharply snapped, yelling at my optimistic skepticism. She wanted to punch me with the truth. She could have and I still wouldn’t have listened. The police arrived to confirm.

The trauma of that evening broke my whole family, broke my community. The firefighters never made it outside of Minnesota. Two years have gone by and there is not a day that goes by when I don’t think of the Jimmy, James Frederick Shelifoe Jr. Again, we met at my mother's house to struggle together and we still do.

It wasn’t the day after when the world stopped, it wasn’t the weeks after when a being who was presence no longer existed, it wasn’t the months after where every meal around a table meant Jimmy wasn’t there.

Sister - Shani - Panel 5

Lineage.

My lineage stems from strong powerful women, the strength of wounds that still need healing. The endurance, the resilience mirrored in their our young. They say a higher power, gives you only what you can handle. The generations of women in my life handled what can only be told in stories surrounded by laughter, because you wouldn’t be able to hear the truth in seriousness. My mother comes from broken parents, split in half by trauma. My grandfather beat my grandmother into suicide. His drinking came from the abuse he received himself and so on. At 11 years old my mom and her siblings fended on their own in homes of a broken community - Bridgette, Cathy, Jerry, Jim, Vicki, Miino, Baghi, Wausa, Waba, Allen, and Steve. They carried the heaviness of loss entering this already harsh world.

The pain and hurt has descended to my shoulders, and that’s just the pain I witnessed. Dare I even go back further? Do I want to know? What I do see is the baggage on my cousins, their little ones. We are normalized to the hurt, content with the struggle of barely making it through. That is all we ever known. Three of my uncles are currently incarcerated, more than half addicted to numbing the pain, three have passed on because some couldn’t “handle what the higher power gives you”. The damaged but tenacious beings who now are raising kids. I would ask my mom how do you handle losing a sibling, more than one because, at my age, I didn’t know how to grip the hurt, pain and hate that comes from the loss of a young soul, we were supposed to be the generation of stopped cycles. She never really responded but, just lead the way, just kept moving. It was like an initiation to the club. I have learned loss at age 5 years old. My mother lost her younger sibling and my cousin became my sister.

Now take this hurt, times the built up tonnage by *1,130 and trap it in one place called reservations.

How are you not mad? How do I accuse someone of not wanting to suffer? Because sometimes, I am so heated that I want to fight. I want to break walls, punch, kick and scream - but I don't I use my words and stories. Stories you can only tell in laughter.

*The # of Keweenaw Bay Indian Community Tribal Members Enrolled residing in Baraga County

Mother - Jeanne - Panel 6

Degree of Holiness.

My cousins tease that my mom is a Catholic saint, our lack of Christianity didn’t deter us from labeling her a powerful being having an exceptional degree of holiness, likeness or closeness to God. We did, however, know she was the Native version of a saint, she was a Native Saint.

My mother has an exceptional degree of holiness, a likeness and a closeness to the Creator. She always has, she'd tell us stories of when she was little, she'd sing in the woods as if that was further confirming her sainthood. I think it’s funny, her Ojibwe traditional knowledge is most prominent but I see subtle hints of the colonizer she adapted in her own reclamation. I wonder what my people, called prayers or messages to the Creator before Columbus. Even the Ojibwe word Anama'e, which means prayer translates to “church, Christian”. But the act, the ritual, the modern day ceremony of her prayer creates her own resistance through her blend of worlds.

She offers her Asemaa, tobacco, usually from her fresh pack of Seneca's because Marlboros are now too expensive. She closes her eyes holding them shut, with the same tension as she holds the small grains of the whitewashed Kinnikinnick, smoking herbs. The "old Indian way" would have maybe Bearberry leaf, Mullein leaf, Deer's Tongue, Osha leaf, Red Sumac leaf, and Spearmint leaf in their mixtures. Although now most First Nation’s natural resource departments harvest their own real traditional sacred tobacco, the plant Nicotiana Rustica, successfully and unsuccessfully. But she acts on the call of prayer, which is spontaneous and always urgent. She introduces herself, connects herself to the land, and connects herself to her role and community. I see her mumble the thoughts, the wishes, the needs of my people. I can even hear her inner voice ending each phrase “in a good way”. I give her, her space as she mends those around me.

“Aunty Jean, can you pray about my Dad he is in the hole again.” “Mom, can you pray for my Cats they keep peeing in my bed.” “Can you have your mom pray for me as I go into this final nursing exam.” “Aunty Jean, can you pray for my rez car, I about to bring it to the shop again.” “Mom, can you pray for my IUD procedure Friday.”

This is my meeting place, where my Ojibwe tradition encounters contemporary western society.

Then, the ritual starts again. My mother introduces herself. Nindizhinikaaz Namid Migizi. My name is Dancing Eagle. Nindonjibaa Baraga. I am from Baraga. Mikinaak Nindoodem. My clan is Turtle. She continues sharing her courage with me to do the same.

Mother - Jeanne - Panel 6

Because you are my daughter.

I have never been so filled with anxiety. I see mixed messages on every social platform. My brain is constantly talking to itself and all I’m trying to do sleep for the two hours I have left before the new day starts. For the first time at least since I can, remember I feel like I’m constantly questioning my own work, and my own authenticity, why am I the one allowed too be here, to create? Am I stressed because I’m not apart of my Native community? Or is because I’m the only Native dealing with this new place by herself?

Is this what rewarding risk taking feels like?

Decolonize has always been an unspoken truth, but now it is law. If you don’t speak or fashion or eat or adorn or repeat in decolonization then your Native authenticity is lacking. The new classification is as taunting as blood quantum, measuring my relations to my people, my community and my land. Yes, there is a difference between decolonize and pride, one doesn’t force you to follow along in the boasting of Nativeness.

I have never questioned myself more since coming to NYU, so I asked my mom why do I get to do what I do?

“Because you are sweet and because you are my daughter.”

Aunty - Victoria - Panel 7

Fucking Tough.

Learn to be fucking tough, does being an artist mean I have to be tough? Which I thought I was.

I’m just as valid in my own way, my work is valid and means shit, I need to represent it as is, fight for it, that's my toughness.

I’m just as right as you and I accept you.

Recognize the conversation you now play with everything to the past? Do I have to respond or is it okay to just be?  “I have to be tough, I have to be tough, I have to be tough, I have to be tough” I grow thicker skin, the more I say it.

Aunty - Victoria - Panel 7

Deviant.

The second you don’t feel the fear, you’ll see the future so clear. I’ll keep telling myself that.

And what if my change I try to push, comes before they are ready, is there a better time? Maybe it’s not timing, but it’s more about the process, the way you teach and not scare. Because if you change in a Native American community, then we are gone, we are extinct. The second I’m deviant, an artist, when I break the rules or go against tradition, prove, maintain, and represent I’m still Native. How can I create conditions to change, formation.

Aunty - Victoria - Panel 7

Through Exhaustion.

Both of these worlds, want to refer to me in the trapping past or always a near future, but never the present here and now. I appreciate the challenge, but to be apart of the conversation I physically, mentally and wholeheartedly beg, strive, fight to represent my past with integrity then, I do the exact same to represents the future. Through exhaustion, tirelessly because if I don’t, who will. My nieces and my own children will one day have too, and that makes the urgency even more. I tell myself to grow thicker skin, I need to be tough.

[nickelodeonstyle-blog]

Official Rules: Nickelodeon Style SpongeBob Moschino Backpack Sweepstakes

Sponsor: Viacom Media Networks, a division of Viacom International Inc., 1515 Broadway, New York, NY 10036.

1.             NO PURCHASE NECESSARY TO ENTER OR WIN A PRIZE. A PURCHASE WILL NOT INCREASE YOUR CHANCES OF WINNING. VOID IN PUERTO RICO AND WHERE PROHIBITED OR RESTRICTED BY LAW AND OUTSIDE THE UNITED STATES. IF YOU ARE UNDER THE AGE OF MAJORITY IN YOUR STATE OF RESIDENCE, YOU MUST HAVE YOUR PARENT OR LEGAL GUARDIAN’S PERMISSION PRIOR TO ENTERING. MANY WILL ENTER, ONE WILL WIN.

 2.             Entry Period: The “Nickelodeon Style SpongeBob Moschino Backpack Sweepstakes” (the “Sweepstakes”) entry period shall commence at 10:00:01 a.m. Eastern Time (“ET”) on March 26, 2017 and shall end at 11:59:59 p.m. ET on March 29, 2017 (the “Sweepstakes Period”). Sponsor’s computer is the official time-keeping device for this Sweepstakes. All entries must be received by 11:59:59 p.m. ET on March 29, 2017. The odds of winning depend on the total number of Eligible Entries (hereinafter defined) received during the Sweepstakes Period.

 3.             Eligibility: The Sweepstakes is open to individuals who are legal residents of one (1) of the fifty (50) United States or the District of Columbia and who are at least eighteen (18) years of age or older at the time of entry. Any entrant who has not yet reached the age of majority in the jurisdiction in which he/she resides (18, except AL and NE [19] and MS [21]) must obtain permission from his/her parent/legal guardian (“Parent”) in order to enter and if chosen as the Grand Prize (as defined below) winner, such Grand Prize will be awarded in the name of his/her Parent. Entrants must have an Instagram account in order to enter. Employees and their immediate families (i.e., parents, spouse, children, siblings, grandparents, step parents, step children and step siblings) of Viacom Media Networks, a division of Viacom International Inc. (“Sponsor”), Instagram, LLC (“Instagram”), Aeffe S.p.A. and SINV HOLDING S.p.A. (collectively, “Moschino”), all prize providers and each of their respective affiliated parents, companies, sponsors, subsidiaries, advertising agencies and third party fulfillment agencies (collectively, the “Sweepstakes Entities”) are not eligible to enter this Sweepstakes. By participating in this Sweepstakes, entrants: (a) agree to be bound by these Official Rules and by the interpretations of these Official Rules by the Sponsor, and by the decisions of the Sponsor, which are final in all matters relating to this Sweepstakes; (b) release and hold harmless Sweepstakes Entities and their respective agents, employees, officers, directors, successors and assigns, against any and all claims, injury or damage arising out of or relating to participation in this Sweepstakes and/or use or misuse or redemption of the Grand Prizes; and (c) acknowledge compliance with these Official Rules.

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You must tag a friend in the comment section of the SpongeBob SquarePants Moschino backpack image that also includes the designated hashtag #NickStyleSweepstakes during the Sweepstakes Period on Instagram in order to obtain one (1) entry into the Sweepstakes. Limit of five (5) separate and unique Instagram comment entries per person/Instagram account/household per day during the Sweepstakes Period. You must submit your own entry. Automated posts or posts sent via a bot will be disqualified. All entries submitted in accordance with these Official Rules shall be hereinafter referred to as “Eligible Entries”.  In the event of a dispute over who submitted a winning online entry, the authorized subscriber of the Instagram account, as applicable, used to participate in the Sweepstakes at the actual time of entry will be deemed to be the entrant. The authorized account subscriber is defined as the natural person who is assigned an Instagram account by Instagram. Potential Winner may be required to show proof of being the authorized account holder to the Sponsor or forfeit the prize. Multiple participants are not permitted to share the same Instagram account.  All entries become the property of Sponsor and will not be acknowledged or returned. All entries must comply with the applicable platforms’ Terms of Service and rules available at the Instagram Web Site.  Any attempt to obtain entries in excess of the limit on entries as set forth in these Official Rules, including by using or creating multiple Instagram accounts; by using multiple and/or different identities, forms, or registrations; or by any other methods, will void all of the relevant participant’s entries, and that participant may be disqualified at Sponsor’s discretion. Important note: If your Instagram account is set to “protected mode,” your updates/responses may not be visible in Sponsor’s @NickelodeonStyle inbox and may not thus be received by Sponsor unless you previously consented to permit Sponsor to see the your Instagram updates. Normal Internet access, phone, and usage charges imposed by your online or phone service may apply. If you opt to use Instagram via your wireless mobile device (which may only be available via participating wireless carriers and is not required to enter the Sweepstakes), standard text messaging and/or data rates may apply for each message sent or received from your handset according to the terms and conditions of your service agreement with your wireless carrier.  Other charges may apply (such as normal airtime and carrier charges) and may appear on your mobile phone bill or be deducted from your prepaid account balance. 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5.             Grand Prize Winner Selection/Notification: One (1) Grand Prize winner (the “Winner”) will be randomly selected on March 31, 2017 by Sponsor from the Eligible Entries received during the Sweepstakes Period. Sponsor will make one (1) attempt on or around March 30, 2017 to contact the potential Winner. If a potential Winner does not respond within four (4) days of being contacted, such potential Winner will be disqualified and an alternate potential Winner will be selected through a random drawing from among the remaining Eligible Entries received. This process will be repeated until a potential Winner responds, if time permits.  

 6.             Prize Winner, Verification: The potential Winner must prove eligibility, including, without limitation, proof of age and residence, within forty-eight (48) hours of being notified as a potential Winner. In the event of non-compliance by a potential Winner, such potential Winner shall be disqualified and all privileges otherwise due as a Winner shall be terminated and an alternative potential Winner may be chosen through a random drawing from among all of the remaining Eligible Entries received during the Sweepstakes Period, if time permits, in Sponsor’s sole discretion. Winner must sign (or Winner’s Parent must sign if such Winner is not the age of majority in the jurisdiction in which he/she resides) within forty-eight (48) hours of receipt of the following documents from Sponsor: (a) an affidavit of eligibility and release of Sweepstakes Entities and its respective officers, directors, employees, agents and members (“Releasees”), from any and all liability, loss, claims, demands, and causes of action for personal injury and/or damage, theft, loss, or any other harm suffered in connection with this Sweepstakes or the use/misuse or acceptance of a Grand Prize (as both terms are hereinafter defined), as applicable, or any portion thereof to be eligible for a Grand Prize; (b) except where prohibited by law, a publicity release granting Sweepstakes Entities the right to use the Winner’s names, Instagram usernames and likenesses for advertising and publicity purposes without additional compensation; and, (c) any other documentation required by Sponsor, including a W2 form and Winner’s social security number for tax purposes (collectively, the “Releases”). Entry into this Sweepstakes constitutes agreement to sign such Releases. The Winner also must acknowledge that Sponsor has not and will not obtain or provide insurance of any kind relating to the Grand Prize and that Winner (or Winner’s Parent must sign if such Winner is not the age of majority in the jurisdiction in which he/she resides) will be responsible for obtaining and paying for any life, travel, accident, property or other form of insurance relating to the Grand Prize, if applicable. The Winner must also complete any additional legal documents provided by Sponsor (or third party on its behalf, if applicable) with respect to the Grand Prize and return them as instructed within the time frame specified by Sponsor or the applicable Winner may forfeit the Grand Prize (as applicable) at Sponsor’s sole discretion. Failure to return all such documents and comply with the aforementioned deadline, noncompliance with these Official Rules or the return of any Grand Prize or prize notification will result in disqualification and selection of an alternate Winner(s). All decisions of the Sponsor relating to the Sweepstakes are final. Sponsor expressly reserves the right to delay the announcement of the Winner for creative or technical reasons or for any other reason Sponsor deems necessary.

 7.             Grand Prize: One (1) grand prize (the “Grand Prize”) is available to be awarded in this Sweepstakes. The Grand Prize shall consist of a SpongeBob SquarePants Moschino backpack. The total Approximate Retail Value (“ARV”) of the Grand Prize is $2,195.00.

 8.             General Prize Terms: A Grand Prize shall be awarded to the Parent of the Winner if such Winner has not reached the age of majority in his/her state of residence. Sweepstakes Entities are not responsible for any mechanical difficulties or failure connected with the Grand Prize, or any act or omission whatsoever. No transfer, substitution, or cash equivalent for a Grand Prize is allowed except at Sponsor’s sole discretion. Sponsor reserves the right in its sole and absolute discretion, to substitute a Grand Prize or Grand Prize component with a prize of equal or greater value if a Grand Prize component cannot be awarded as described for any reason. The Grand Prize is non-transferable and may not be given, bartered, substituted, sold, or exchanged for cash or another prize. Unused components of a Grand Prize have no redeemable cash value. Any difference between the ARV and the actual value, if any, of any Grand Prize will not be awarded. In the event that a potential Winner chooses not to accept his/her prize, or is unable to be notified, an alternate potential Winner will be randomly selected from all of the remaining eligible entries received during the applicable Sweepstakes Period, if time permits.

 9.             General Terms: Receipt of a Grand Prize in this Sweepstakes is conditioned upon compliance with any and all applicable federal, state and local laws, rules, and regulations. Noncompliance with any of these Official Rules may result in disqualification. ANY VIOLATION OF THESE OFFICIAL RULES BY THE WINNER(S) OR ANY BEHAVIOR BY THE WINNER(S) THAT WILL BRING SUCH WINNER(S) OR SWEEPSTAKES ENTITIES INTO DISREPUTE (IN SPONSOR’S SOLE DISCRETION) WILL RESULT IN SUCH WINNER(S) DISQUALIFICATION AS A WINNER OF THE SWEEPSTAKES AND ALL PRIVILEGES AS A WINNER, AS APPLICABLE, WILL BE IMMEDIATELY TERMINATED. Entries generated by a script, computer programs, macro, programmed, robotic or other automated means will be disqualified. Entries that are incomplete, illegible, corrupted, false, lost, late or misdirected, deceptive or otherwise not in compliance with the Official Rules may be disqualified from the Sweepstakes at Sponsor's sole and absolute discretion. Proof of sending or submission of entry will not be deemed proof of receipt by Sponsor.  If, for any reason, the Sweepstakes is not capable of running as planned, including, without limitation, unauthorized intervention, fraud, or any other causes beyond the control of Sponsor which corrupt or affect the administration, security, fairness, integrity or proper conduct of this Sweepstakes, Sponsor reserves the right in its sole discretion to cancel, terminate, modify or suspend the Sweepstakes. Should the Sweepstakes be terminated prior to the stated expiration date, the Grand Prize may be awarded to Winner to be selected from among all Eligible Entries received up until and or after (if applicable) the time of modification, cancellation or termination or in a manner that is fair and equitable as determined by Sponsor. All interpretations of these Official Rules and decisions by Sponsor are final. CAUTION: ANY ATTEMPT BY ANY INDIVIDUAL TO DELIBERATELY UNDERMINE THE LEGITIMATE OPERATION OF THE SWEEPSTAKES IS A VIOLATION OF CRIMINAL AND CIVIL LAWS AND SHOULD SUCH AN ATTEMPT BE MADE, SPONSOR RESERVES THE RIGHT TO SEEK DAMAGES FROM ANY SUCH INDIVIDUAL TO THE FULLEST EXTENT PERMITTED BY LAW. THE NEW YORK COURTS (STATE AND FEDERAL) SHALL HAVE SOLE JURISDICTION OF ANY CONTROVERSIES REGARDING THE SWEEPSTAKES AND THE LAWS OF THE STATE OF NEW YORK SHALL GOVERN THE SWEEPSTAKES. EACH ENTRANT WAIVES ANY AND ALL OBJECTIONS TO JURISDICTION AND VENUE IN THESE COURTS AND HEREBY SUBMITS TO THE JURISDICTION OF THOSE COURTS. Entrants agree to indemnify and hold harmless Sweepstakes Entities from any and all liability resulting or arising from the Sweepstakes, to release all rights to bring any claim, action or proceeding against Sweepstakes Entities, and hereby acknowledge that Sweepstakes Entities has neither made nor is in any manner responsible or liable for any warranty, representation or guarantee, express or implied, in fact or in law, relative to the Grand Prize.  Sponsor’s failure to enforce any term of these Official Rules shall not constitute a waiver of that provision.

 10.           Release and Limitations of Liability:  By participating in this Sweepstakes, Entrants agree that Sweepstakes Entities and their respective employees, officers, directors, agents, contractors, members, and representatives (the “Released Parties”) are not responsible for:  (1) any incorrect or inaccurate information, whether caused by entrants, printing errors or by any of the equipment or programming associated with or utilized in the Sweepstakes; (2) technical failures of any kind, including, but not limited to malfunctions, interruptions, or disconnections in phone lines or network hardware or software; (3) unauthorized human intervention in any part of the entry process or the Sweepstakes; (4) technical or human error which may occur in the administration of the Sweepstakes or the processing of entries; or (5) any injury or damage to persons or property which may be caused, directly or indirectly, in whole or in part, from entrant’s participation in the Sweepstakes or receipt or use or misuse of any Grand Prize. No more than the stated number of Grand Prize will be awarded.

 BY PARTICIPATING IN THIS SWEEPSTAKES, ENTRANTS AGREE THAT THE RELEASED PARTIES WILL HAVE NO LIABILITY WHATSOEVER FOR, AND SHALL BE HELD HARMLESS BY ENTRANTS AGAINST, ANY LIABILITY FOR ANY INJURIES, LOSSES OR DAMAGES OF ANY KIND TO PERSONS, INCLUDING PERSONAL INJURY OR DEATH, OR PROPERTY RESULTING IN WHOLE OR IN PART, DIRECTLY OR INDIRECTLY, FROM ACCEPTANCE, POSSESSION, MISUSE, OR USE OF A GRAND PRIZE, ENTRY, OR PARTICIPATION IN THIS SWEEPSTAKES OR IN ANY SWEEPSTAKES RELATED ACTIVITY, OR ANY CLAIMS BASED ON PUBLICITY RIGHTS, DEFAMATION OR INVASION OF PRIVACY, ACCESS TO AND USE OF ANY INTERNET SITE ASSOCIATED WITH THIS SWEEPSTAKES OR THE DOWNLOADING FROM AND/OR PRINTING MATERIAL DOWNLOADED FROM SAID SITE, OR MERCHANDISE DELIVERY.  THE RELEASED PARTIES ARE NOT RESPONSIBLE IF ANY GRAND PRIZE CANNOT BE AWARDED DUE TO ACTS OF GOD, ACTS OF WAR OR TERRORISM, NATURAL DISASTERS OR WEATHER EVENTS.  

 WITHOUT LIMITING THE FOREGOING, EVERYTHING REGARDING THIS SWEEPSTAKES, INCLUDING ALL GRAND PRIZES, ARE PROVIDED “AS IS” WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, OR NON-INFRINGEMENT.  SOME JURISDICTIONS MAY NOT ALLOW THE LIMITATIONS OR EXCLUSIONS OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES OR EXCLUSION OF IMPLIED WARRANTIES, SO SOME OF THE ABOVE LIMITATIONS OR EXCLUSIONS MAY NOT APPLY. CHECK LOCAL LAWS FOR ANY RESTRICTIONS OR LIMITATIONS REGARDING THESE LIMITATIONS OR EXCLUSIONS.

 11.           Publicity.  EXCEPT WHERE PROHIBITED BY LAW, WINNER (AND SUCH WINNER’S PARENT OR LEGAL GUARDIAN IF SUCH WINNER IS UNDER THE AGE OF MAJORITY IN HIS/HER STATE OF RESIDENCE) GRANTS TO SPONSOR (WHICH GRANT WILL BE CONFIRMED IN WRITING ON REQUEST OF SPONSOR), ITS PARENT, SUBSIDIARIES, AFFILIATES, AGENTS (INCLUDING ADVERTISING AND PROMOTION AGENCIES), CONTRACTORS, SUPPLIERS, AND THOSE ACTING PURSUANT TO ITS AUTHORITY, THE RIGHT AND PERMISSION TO PRINT, PUBLISH, BROADCAST, AND USE, WORLDWIDE IN ANY MEDIA NOW KNOWN OR HEREAFTER DEVELOPED, INCLUDING BUT NOT LIMITED TO THE WORLD WIDE WEB, AT ANY TIME OR TIMES, SUCH WINNER’S NAME, INSTAGRAM USERNAMES, PORTRAIT, PICTURE, VOICE, LIKENESS, AND BIOGRAPHICAL INFORMATION FOR ADVERTISING, TRADE, AND PROMOTIONAL PURPOSES (INCLUDING THE ANNOUNCEMENT OF HIS OR HER NAME OR INSTAGRAM USERNAMES ON TELEVISION OR RADIO BROADCAST) WITHOUT ADDITIONAL CONSIDERATION, COMPENSATION, PERMISSION, OR NOTIFICATION.  ENTRANTS AGREE THAT SPONSOR SHALL OWN THE ENTRIES, WHICH WILL NOT BE ACKNOWLEDGED OR RETURNED, AND THAT SPONSOR AND ITS DESIGNEES SHALL HAVE THE PERPETUAL, WORLDWIDE RIGHT TO EDIT, PUBLISH, AND USE THE ENTRIES IN ANY WAY AND IN ANY MEDIA FOR TRADE, ADVERTISING, PROMOTIONAL, AND/OR OTHER PURPOSES AS SPONSOR AND/OR ITS DESIGNEES MAY DETERMINE WITHOUT FURTHER CONSIDERATION TO ENTRANTS OR ANY THIRD PARTY.  

 12.           Governing Law/ Jurisdiction.  THE NEW YORK COURTS (STATE AND FEDERAL) SHALL HAVE SOLE JURISDICTION OF ANY CONTROVERSIES REGARDING THE SWEEPSTAKES AND THE LAWS OF THE STATE OF NEW YORK (AS DISTINGUISHED FROM THE CHOICE OF LAW RULES) SHALL GOVERN THE SWEEPSTAKES. EACH ENTRANT WAIVES ANY AND ALL OBJECTIONS TO JURISDICTION AND VENUE IN THESE COURTS AND HEREBY SUBMITS TO THE JURISDICTION OF THOSE COURTS. Except where prohibited, as a condition of participating in this Sweepstakes, each Entrant agrees that any and all disputes, claims and causes of action arising out of or connected with this Sweepstakes, the Grand Prizes awarded, or the determination of the Winner shall be resolved individually, without resort to any form of class action.  Entrant further agrees that in any cause of action, the Sweepstakes Entities’ entire liability will be limited to the cost of entering and participating in the Sweepstakes, and in no event shall the Sweepstakes Entities be liable for attorneys' fees and/or experts' fees and costs. Entrant waives the right to claim any damages whatsoever, including, but not limited to, punitive, consequential, direct, or indirect damages and participant further waives all rights to have damages multiplied or increased.

13.           Privacy and Use of Information: By entering the Sweepstakes, each participant agrees that participant’s entry and any other personally identifiable information collected or used in connection with the Sweepstakes is subject to and may be used by Sponsor in accordance with its Privacy Policy, as posted on http://www.nickjr.com/privacy-policy/.

 14.           Request for Names of Prize Winner and Official Rules: For the name of the Winner and/or Official Rules, send a self-addressed stamped envelope by May 30, 2017 to: “Nickelodeon Style SpongeBob Moschino Backpack Sweepstakes” c/o Nickelodeon, 1515 Broadway, Space #42-53D, New York, NY 10036. Please note on the front left-hand corner of your outer envelope whether you are requesting “Official Rules” or the names of the “Winner”.

 15.           Sponsor: Sweepstakes is sponsored solely by Viacom Media Networks, a division of Viacom International Inc., 1515 Broadway, New York, NY 10036. While Instagram’s terms and conditions apply to Instagram use, Instagram is not a sponsor of the Sweepstakes, nor is Instagram in any way responsible for the administration of the Sweepstakes, the verification of winners or the fulfillment of the prizes. All inquiries regarding the Sweepstakes should be directed to Viacom Media Networks, not to Instagram.

 ©2017 Viacom International Inc. All Rights Reserved. Nickelodeon, SpongeBob SquarePants and all related titles, logos and characters are trademarks of Viacom International Inc. SpongeBob SquarePants created by Stephen Hillenburg.

[koushirouizumi]

{Digimon Adventure} ~ Ep24 (J.P.N Ver.)

"The INQUISITIVE HEART Will be placed right next to the IGNORANT Heart!"

"If there are people who will throw away their hearts..." -Vadermon, about Koushiro {throwing away Koushiro's Inquisitive Heart}

{IMGs by Me} {DO NOT RE-POST} (Please ASK to Use)

[koushirouizumi]

Meanwhile with Steve and Frigimon {Digimon Adventure 02}

Steve: ...Hey, Rui-kun? Rui: Yeah?... Steve: I understand "a lot" happened with Ukkomon, but why couldn't your birthday just be celebrated in {rambles Hebrew calender dates/months}??.... Rui: RUI: R U I: WHAT STEVE: STEVE: ( What ? ) Frigimon: (Rui didn't know this was an option.)

[koushirouizumi]

D02's "The Beginning" if Toei let 02 Chosen think this through even more Rationally

02 Chosen: (*seeing a YOUNG TAICHI & HIKARI*, VERY Confuse) Someone like Daisuke or Hikari: But HOW do we get back HOME?? ? Ken: If Taichi-san and the younger Hikari-san are here, then *the rest could be*, too. Ken: Which could *also mean*, *KOUSHIRO*-SAN... We *could* 'LOOK' *for Koushiro*. Hikari: I remember where Koushiro-san's {place} is!! Miyako, worried: But wouldn't Koushiro-san be *very young* here?? Ken: *Maybe*... but it's *worth a try*. DAISUKE: HOW would it be *worth a try* if Koushiro-san is like a 5-going-on-6 year old?!?? KEN: Koushiro-san probably had at least a *starting* computer setup *even back then*. EVERYONE: !!!!! Iori: Koushiro-san's computer might be able to open up the Digital Gate to take us back home!! Takeru: That's right!! Even *at a young age*, Koushiro-san had an interest in gathering knowledge, and *may* even have had a computer - or the laptop - even back then!! KEN: If *I* try to go back home and use *ours*... KEN, HESITATING: (OSAMU would likely find me.) KEN: (If Osamu found us, it could turn out BAD.) Ken: (Because Osamu would likely *instinctively* Know it's Me, somehow...) Ken: ... It wouldn't be good if someone from "our time" sees and recognizes us, but Koushiro-san *doesn't know us Yet*. Hikari: Koushiro-san is very dedicated to our cause, if it came to it, Koushiro-san would keep our secret! Miyako, getting kind of excited now: So it's settled! Let's *look for Koushiro-san* then!! DAISUKE: I can't believe we're seeking the help of a *five-going-on-six year old* Koushiro-san... Rui: If it means we can *find and HELP* Ukkomon, I'm willing to try, even if I don't know Izumi. (They reach the Izumi household...) Young Koushiro, upon outside the Izumi household already, looking at them as if they're SUSPICIOUS (because They Are): Who are YOU??? DAISUKE: (*ERK*...) (To Be Continued, Maybe...!!)

[koushirouizumi]

{D I G I M O N} Adventure (Series) ~ REPEAT?_verse vs. Digimon Adventure: [2020 Reboot/Spinoff Anime] (Later Arcs) {Comparing} (Purely for Fun) Lines from my Story vs. Lines BY Toei Animation on Koushiro & Taichi {+Koushiro & Tentomon's Friendship} + The 'DIGITAL' World

"THAT'S {More like...?} [You], Izumi Koushiro." - Datamon

REPEAT?_verse began in 2k18: (In actuality I had begun outlining it by early Apr. 2k18, before Tri had even ENDED.) {"Bokura no Mirai" had not (Yet!) released.} - Adventure: {2k20} Ep. #59 hadn't aired until August 1st 2k21.

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[koushirouizumi]

undefined

Digimon Adventure{s}/02/Kizuna ~ A.M.V. Preview {Unfinished} / [In-Progress] / W.I.P: - "BRO-FIST" {R.P.G Maker Track} Featuring: Taichi Yagami & Koushiro Izumi + Adventure{s} Chosen (Eventually) & Digimon

Digimon Adventure {Franchise} © Toei Animation / Akiyoshi Hongo

Disclaimer: I do not own Digimon. This is fanmade. No $$$ is being made off this fanwork.

Notes:

This A.M.V. is currently UNFINISHED. Hopefully you find some enjoyment so far though! {The intent is to complete the full track throughout the entirety of 02, possibly with other series sprinkled in Depending.}

{Spoilers for Eps 01~13 of Adventure} / Devimon Arc

[Note: Tags/replies that are Positive/respectful are OK!]

[koushirouizumi]

Me, looking around my old Digi-O.C.s site C.D.: ... "Myotismon" in this super old thing I wrOTE: "This {"world" you live in} is *an alternate world* {from 'my own'}! You can thank (TAKERU) T.K. TAKAISHI and his silly NOVEL for THAT. Because of HIM, this {real} world is a NEW reality in which THE {Original} DIGI-DESTINED {I KNOW} never EXISTED!" m E: (GENUINELY having forgotten I wrote that in) I can't BELIEVE ""T.K."" ALSO accidentally created the Repeatverse {+before This Site even Existed}