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waitmyturtles · 6 months

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Turtles Catches Up With Old GMMTV: The Bad Buddy Rewatch Edition, Part 3b -- More on BBS and Asian Cultural Touchpoints

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. Today, I offer the second half of the third (ha!) of five posts on Bad Buddy. I'll look today at themes that myself and fellow Asian fans of Bad Buddy have caught and related to in this wonderful show.]

Here are links to part 1, part 2, and part 3a of the BBS OGMMTVC Meta Series. Today's post is a continuation of part 3a. Part 4 is here.

Yesterday, I began an unwinding about what I am calling the "Asian Cultural Touchpoints" of Bad Buddy -- the Asianness of Bad Buddy that is rooted and coded in the way people interact with each other.

As a quick recap from yesterday: I have been insanely lucky to engage in conversation with a number of legendary Asian BBS stans about the Asianness within Bad Buddy: huge shout-outs and thanks go to @grapejuicegay, @recentadultburnout, @telomeke, @neuroticbookworm, and @lurkingshan (who is not Asian, but has Asian relatives and is well-versed in the nuances of our cultures!). We captured a lengthy list of Asian cultural signposts in Bad Buddy and we've been having great discussion around them, including:

1) saving face, 2) intergenerational/inherited trauma, 3) the unique nature of secret-keeping in Asian cultures/societies, 4) enmeshed family boundaries, 5) setting up children to compete against each other for the sake of familial pride, 6) patriarchy, sexism, and the reversal of sexism among next generations, 7) the inset/assumed roles of family members based on patriarchy and elder respect, 8) assumed community within and external to one's family, usually based on where you live and where you go to school, 9) how one's identity is defined based on patriarchy and individualist vs. collectivist cultures, 10) how various cultures within an Asian nation live peacefully (or not) together (for example, what makes Pat and Pran different by way of Pat's Thai-Chinese heritage vs. Pran's ethnic Thai heritage),

and many more.

I unwound yesterday on the cultural touchpoints of saving face, intergenerational/inherited trauma (partly as a follow-up from my very first thesis on Bad Buddy), and the singular nature of secret-keeping in Asian cultures.

There's no way I can get through this entire list in two posts, but I do want to touch upon competition, enmeshed family (and friend, sometimes) boundaries, and patriarchy and sexism as three other cultural touchpoints that engendered quite a bit of conversation among our BBS mini-village.

Competition: ALL OVER BAD BUDDY. All over it, and we know it, and for the most part, we love Pran's and Pat's little love battles. Pat and Pran are constantly competing. Pat gets Chief Phupha into it in Our Skyy 2, dang it ("I'm Pha Pun Dao's top-notch," Phupha, psh). We don't know if the guys can function without having a competition going between them at any given point.

We know this structure started with their parents. As I talked about yesterday, considering the trauma that Ming and Dissaya faced in their young lives -- the trauma that they passed down to Pat and Pran, the rivalry and almost unbridled hatred that they expected Pat and Pran to embody -- all of that emanated through competition between the guys. Their parents asked them, daily, how the other kid was doing in school, making sure that their son was winning on top. As we know from Pat's rooftop monologue in episode 5, that was baggage he carried with him his entire life.

So many of these cultural touchpoints can be connected to the idea of saving face, as I wrote about yesterday. It is an overarching rule of any Asian child's life that Asian parents demand to be able to brag about their kids. Give me an Asian kid whose parents didn't do that to them, and I'll give that kid a huge hug, a gold medal, and a wish in an envelope that I could have had their childhood. Awards, top grades, top class positions, top university admissions: the need to be the best is neverending, for the sake of a parent not losing face for their child not succeeded at the top level of everything.

@telomeke notes the inherent cultural demands of Pran's and Pat's family in the competition paradigm that Pat outlines above.

[Re: Ming and Dissaya]: [E]very time [the children] do well, the bar often gets pushed a little higher. We actually see Ming doing this to Pat in Ep.1 ... when Pat tells him he was made class president. Ming says something like "get yourself a gold medal for rugby and then I'll let you brag"; Pat's achievement (though not dismissed) is downplayed rather than celebrated, and another goal is set. Anyway, my read is that both the boys had caliber to start with; it's natural to Pran (we don't see Dissaya really pushing him to excel), and I think he pushes himself to excel, to be the virtuous paragon of everything, as a barrier to the outside world, and to protect his vulnerable, secret interior. ... And Pat was pushed by Ming to match Pran's achievements, though not for the usual Asian parent reasons – it was to continue his own efforts to best Dissaya, IMO...

What @telomeke outlines here correlates perfectly with my own experiences of my Asian childhood: that even in the face of successes that my parents demanded, the reward was only a passive comment that I had to be doing more. There was never a moment where a parent's cup of happiness was truly filled from the child's perspective.

However, in the case of Pran and Pat specifically: @grapejuicegay had a further illumination that highlighted the utter pain and sadness of the outcomes and consequences of their lifelong competition. We know they were perfectly paired as a couple in love. But ultimately? Because of the pressures they faced as children vis à vis each other -- they also become the only people who could compete with each other. AND, because of that reality -- a new kind of empathy sprung up between them, what I called in part 1 of this series a radical empathy of a kind we don't always see between enemies to lovers. @grapejuicegay's thoughts:

I'm just thinking about the first family interactions we see for Pat and Pran and how Dissaya is framed as a concerned parent with her main worry being Pran taking on too much on his plate with being the head of the department. But also how that's so far removed from what her influence had made of him - an overachiever to the highest degree. ...[T]he whole point of Pat and Pran is that they're evenly matched in everything (which works so well because they're both such EXTRA little shits with so many lil' interests), and it's been there since the [original] trailer. They both keep competing to see who can get the most achievements to brag about, eventually settling down to a point where they help each other out because they're each other's only worthy competition because they're the only ones who can keep up with each other [emphasis mine]. So.... Dissaya's concern is nice and all, but she created this monster who not only can handle having so many responsibilities, but ENJOYS it. And Pat's help is always pushing him to do all of it, just have some help along the way so he's not doing it all alone. Wai helps, but he has to be manipulated into it. So the only person ACTIVELY helping Pran even when neither of them thinks he needs it is Pat ("I know you can do it, but I want to do it for you").

I was tremendously moved when @grapejuicegay shared her read with me on this, because not only did it land fully with me -- but it served to highlight the sadness and loneliness that existed in the gulf between Pran and Pat prior to their union. In other words, because they knew, so well, HOW to compete with each other -- if they needed help, they were the only ones who knew HOW to help each other. Pat showing up at the dilapidated bus station; Pran showing up at the empty auditorium. They could vibe when each other needed a little push. They knew WHEN and HOW to help each other, with the fluency they had ABOUT each other, even before their relationship began -- because they had been competing all their lives. As Pat said in Our Skyy 2: "we've been neighbors all our lives." They knew each other's ins and outs better than even their families did.

The competition that Pran and Pat engaged in had significant cultural roots. But the long-term impact of that competition? It rendered the guys on their own lonely island, a place where only the two of them could understand each other fully. It's a romantic conclusion -- to know your partner so well like that, it can fill your heart with nostalgic reckoning. But as Pat said above and to his father -- it was a bruising path, for the both of the guys.

There's a lot to enmeshed boundaries in Bad Buddy. The boundaries that SHOULD exist between two people that regularly get crossed. I definitely want to acknowledge, before I unwind on these boundaries, that Western vs. Asian viewers will have different expectations of exactly what enmeshment looks like and what it means. I'll have more on this in a bit.

When I think of enmeshed boundaries in Bad Buddy, I think of Dissaya having almost total control over Pran's physical placement. Of Ming knocking on Pat's dorm door, unannounced. Of Pat's expectation that Pa would do his laundry (which will speak to the sexism I'll talk about in a bit). @neuroticbookworm noted how hilariously Asian it was that Pat and Pa -- older brother and younger sister -- literally shared a dorm room. Pat could scuttle to Pran's solo room, to their love nest, to leave their shared room alone for Pa and Ink. But: what an Asian set-up, to have big bro sleeping on the floor, while little sister got the bed.

But besides what Western viewers might traditionally think of as "unhealthy" enmeshed boundaries, there's also a conversation about how Asian families engage -- or, don't engage -- with expectations of privacy. The biggest and most obvious example of a violation of personal privacy in BBS is that Pran's and Pat's parents forbid their children from having friendship with the kid next door. We know, in the end, that the parents cannot control that behavior of their kids, and yet, the parents try to do so anyway, with traumatic results.

@telomeke talked in our mini-village about the everyday functionality of Asian families crossing borders of assumed privacy. These are crossings that I fully relate to: for instance, I wasn't allowed to lock my bedroom door very often when I was growing up, to allow for complete access to my "private space," even and especially while I was in it.

I remember this as a thing growing up, that it's perfectly fine in [Asian countries] to drop in unannounced when it's family (though I think with widespread cellphone availability, people do check in beforehand now – however it could also be just to make sure there's someone in to receive them when they drop by!). It's a bit of a truism that the more traditional Asian parents will be in every part of your life and may not always know how to give you more distance when you grow older. ... For the more traditionally-minded, I think this phenomenon would be even more pronounced. And we definitely see this with Pat and Pa too.

The stories I heard about parents busting in on their Asian kids in compromising positions because the kids HAD to leave the doors unlocked? Stories about full-grown adults being interrupted in their intimacy because their parents came into the house? Countless stories. Us as Asians -- we might laugh about it, but there's also an unspoken and inherent sense of annoyance, of fear, of "how do I explain this now?" that's like a dull, permanent foreboding.

In thinking about how these boundary-crossings were inherited vis à vis Pat and Pran, into the next generation, of course -- all we have to think about are the many, many times we saw Pat crossing into Pran's threshold at Tinidee. That shot of Pat wrapped in his comforter as he shuffles to Pran's door.

However, @grapejuicegay flagged for me an utterly legendary Bad Buddy meta post written by @transpat now nearly two years ago, describing the Indian concept of haq, a concept I know very dearly well. To quote @transpat on the definition of haq:

in context of relationships, we use it to describe the entitlement ppl we keep close are allowed over us. in our culture, with every bond we form and built, we owe those ppl certain rights over us. like our filial duty to our parents, supporting our siblings and relatives emotionally and/or financially, the loyalty to our friends. lovers and spouses are ppl given all the rights of a family member by choice and obv other stuff like touching u in ways others can't, sharing worries and secrets you wouldn't indulge others w, the permission to carry and lighten ur burdens.

We know so well that Pat didn't just cross the hallway of Tinidee; he climbed through and over windows, over roofs, to get to Pran. And Pran... let him in. We know now what Pran's feelings were all that time, at least from 10th grade to university. Of course, Pran would let Pat in, because he had already let Pat into his heart. Maybe not into his psychological safety zone -- that had to take much longer. But in a much more primal sense, Pran had let Pat in, for so many reasons beautifully illustrated by @transpat in their piece, and for the examples up above, especially by way of the inadvertent closeness they achieved through their never-ending competing with each other.

I want to take a quick moment to highlight the two concepts I bolded above in @transpat's description of haq. I don't know if I have the words to describe this as well as @transpat, but to the point of entitlement and having rights over someone... there's a certain sense in Asian group dynamics, that one's business is everyone's business, if that makes sense. Think about cliques when you were growing up. Those cliques were formed on similar desires and interests -- being rich, beautiful, "cool," etc.

I feel like Asian group dynamics go a bit beyond this. Because you are in a group, it must go that any one single person's business is everyone's business. There is an entitlement to information about other people. In the States, we value individualism, and when these cliques are being formed in our youthful years, there's certainly a clash with people wanting to express themselves as individuals; very often, the group dynamics do not allow for individual expression. I would argue that that's even more strong in Asian circles.

If I could describe what I think was happening when Pat was climbing into Pran's window to, say, make that first deal about getting Wai to apologize -- I do very much believe that Pat felt it was his intimate right to go into Pran's room, as it had been established that they were, once more, schoolmates and neighbors, now that Pran was back in his family home. If Pran filled those roles -- schoolmate, neighbor -- it automatically clicked into Pat's social expectations that Pran was there to be talked to and engaged with, no matter if Pran would try to push him out. We know that Pran would give up on pushing Pat out, because Pran had feelings for Pat. BUT: what I love about @transpat's INCREDIBLE meditation is that Pat also clicked into unspoken social roles that allowed him to seek out a moment of friendly intimacy with Pran. (Besides the fact that it's more theorized now that Pat had unknown attraction for Pran during high school -- but I don't think attraction was what brought Pat into Pran's room to discuss that very first deal.)

I think this meditation on enmeshed boundaries, as I mentioned earlier, feeds nicely into the final points I want to make about the last cultural touchpoint for analysis, that of patriarchy and sexism in Asian families.

The BBS mini-village sliced and diced the incredibly overarching examples of patriarchy in this story, as emanating mostly from Ming: Ming's role as the head of the family and doling out roles; Ming ensuring that Pat would "not forget" Ming's reputation at university; Ming's parents doing nothing to interfere with Pa's role as serving Pat; Pat reinforcing that role to Pa in the family home.

Why Ming? As @telomeke broke it down for us: Ming is the head of the household of a Thai-Chinese family. It's not to say that patriarchy and sexism don't exist in ethnic Thai families -- but a patriarchal dynamic isn't shown in Pran's house, as Dissaya is the one who holds the emotional control over the Siridechawats. It's in the Jindapat household that we see old-fashioned roles of men and women doled out.

In traditional Chinese society (before the Communists came to power in China), sons had absolute pride of place in Chinese families, and we see Ming giving special treatment to Pat, while Pa was made to clean up after Mr. Jindapat Jr, doing his laundry, having the piece of chicken she wanted stolen by him in Ep.1, etc... Ming invited Pat home for a meal in Ep. 7, but didn't mention Pa, and Pat had to say he'd bring her along. But Pat and Pa, away from home didn't care for any of this, (e.g., when they were kids Pat let Pa win the bicycle race and skip washing up duties, in the Ep.1 flashback), and while Pa would begrudgingly do Pat's laundry, she would give as good as she got as well whenever they tussled (verbally).

As @telomeke says above, we see Pat, within his generation, to Pa, in their own private space of bicycling outside or moving into his own dorm room, quietly dismantling that patriarchy and sexism of Ming's and Pat's mom -- letting Pa win the bicycle race; talking out of earshot of their parents about Pat protecting, instead of hurting, Pran. [Another great example, a little outside of the patriarchal example but still worth noting, is Wai's role, as a stand-in for Dissaya, sticking to the definitions of the role of Pran's best friend, but showing -- within the cohort of his own generation -- that he CAN change to accept Pat in Pran's life, as opposed to Dissaya's inability to do so (scroll down through the whole liveblog post for the commentary!).]

@telomeke mentioned in our conversation about patriarchy and sexism that he was surprised that he'd see a parent as young as Ming -- a parent to a student of Pat's age, much younger than myself and @telomeke -- keep up with these traditional, old-fashioned values. I think that's a great point, especially in the way that Ming ignores Pa only until the end of the series, when he's instead cut Pat mostly out of his caring reach for disobeying him. We know from the Soonvijarn analysis and reaction videos by Aof Noppharnach and his collegial community of filmmakers, that Aof took inspiration for Ming stealing the scholarship from Dissaya from a real-life occurrence of the same story. I think Aof intentionally had such strong patriarchal structures in Bad Buddy vis à vis the Jindapats in order to highlight what a stronghold old-fashioned notions of life have on generations -- and intended to have a conversation vis à vis Pat, Pran, Pa, and Wai, that the ways in which these old-fashioned notions are updated over time, is through the work of the subsequent generations of children growing up and learning and knowing better.

The coded Asianness of Bad Buddy... god. I could sit with my fellow Asians and talk about the coded Asianness of Bad Buddy for at least weeks, if not maybe even a year or two. We could laugh about the comedy of many of the experiences or traumas we have faced vis à vis the cultural touchpoints that I've listed and analyzed, and we could also share our shared pain, our shared joys, our shared ways in which we express emotion, love, our highs and lows, through our shared Asian cultures. Talking about this makes me tremendously glad that there's national and international fandoms watching Asian shows -- even if, say, Western viewers can't exactly pinpoint what's happening by way of a culturally contextual moment in Bad Buddy, at least there's a community of Asian bloggers out here that can unwind what might be confusing.

Once more, I want to thank @recentadultburnout, @grapejuicegay, @telomeke, @neuroticbookworm, and @lurkingshan for engaging me in such amazing and extensive conversation about the best show ever Bad Buddy. More than education -- the process was INCREDIBLY fun and rewarding.

(Tagging @dribs-and-drabbles, @solitaryandwandering, and @wen-kexing-apologist by request! If you'd like to be tagged in this series, please let me know!)

[WHEW! SEVENTH INNING STRETCH, FRIENDS, stand up and stretch yer arms as I crack my knuckles one more time for this fabulous show! My last post for the BBS OGMMTVC Series -- a breakdown of my theorized reasons and timing regarding Pran leaving for Singapore -- drops next week. Stay tuned!

And after this, I take the tiniest break from the OGMMTVC to review one of the most important shows of 2023: La Pluie. And then I'm back on my tip with Secret Crush On You and an end-of-the-year rewatch of KinnPorsche. So, much more to come!

Here's the status of the Old GMMTV Challenge watchlist. Tumblr's web editor loves to jack with this list, so please head to this link for the very latest updates!

1) The Love of Siam (2007) (movie) (review here) 2) My Bromance (2014) (movie) (review here) 3) Love Sick and Love Sick 2 (2014 and 2015) (review here) 4) Gay OK Bangkok Season 1 (2016) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 5) Make It Right (2016) (review here) 6) SOTUS (2016-2017) (review here) 7) Gay OK Bangkok Season 2 (2017) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 8) Make It Right 2 (2017) (review here) 9) Together With Me (2017) (review here) 10) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 11) Love By Chance (2018) (review here) 12) Kiss Me Again: PeteKao cuts (2018) (no review) 13) He’s Coming To Me (2019) (review here) 14) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 15) TharnType (2019-2020) (review here) 16) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 17) Theory of Love (2019) (review here) 18) 3 Will Be Free (2019) (a non-BL and an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 19) Dew the Movie (2019) (review here) 20) Until We Meet Again (2019-2020) (review here) (and notes on my UWMA rewatch here) 21) 2gether (2020) and Still 2gether (2020) (review here) 22) I Told Sunset About You (2020) (review here) 23) YYY (2020, out of chronological order) (review here) 24) Manner of Death (2020-2021) (not a true BL, but a MaxTul queer/gay romance set within a genre-based show that likely influenced Not Me and KinnPorsche) (review here) 25) A Tale of Thousand Stars (2021) (review here) 26) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (re-review here) 27) Lovely Writer (2021) (review here) 28) Last Twilight in Phuket (2021) (the mini-special before IPYTM) (review here) 29) I Promised You the Moon (2021) (review here) 30) Not Me (2021-2022) (review here) 31) Bad Buddy (2021-2022) (thesis here) 32) 55:15 Never Too Late (2021-2022) (not a BL, but a GMMTV drama that features a macro BL storyline about shipper culture and the BL industry) (review here) 33) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch (The BBS OGMMTVC Meta Series is ongoing: preamble here, part 1 here, part 2 here, more reviews to come) 34) Secret Crush On You (2022) (on pause for La Pluie) 35) KinnPorsche (2022) (tag here) 36) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For the Sake of Re-Analyzing the KP Cultural Zeitgeist 37) The Eclipse (2022) (tag here) 38) GAP (2022-2023) (Thailand’s first GL) 39) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 40) Moonlight Chicken (2023) (tag here) 41) Bed Friend (2023) (tag here) 42) Be My Favorite (2023) (tag here) 43) Wedding Plan (2023) 44) Only Friends (2023) (tag here)]

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mybeingthere · 5 months

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Koen van den Broek (b 1973, Belgium) currently lives and works in Antwerp in Belgium. He received a BA in Architect in KU Leuven and studied painting in St. Joost School of Art & Design, Breda and in Royal Academy of Fine Arts in Belgium.

He studied architecture before completing MAs in Painting at several universities, exploring figurations of urban constructions such as signposts, car parks, grid-pattern pedestrian passages, bridges and borderlines of roads easily discovered in cities and their peripheries.

‘The sheer strength of observation’ he has developed as an artist enables him to concentrate on hidden elements and colours of the sites and objects instead of simply regarding them as a framework supporting the city.

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jeremy-ken-anderson · 2 months

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So the other day I saw a video of a gamer showing BG3 to a non-gamer and one thing that struck me - especially in light of recent negative game media coverage of "yellow paint" (that is, overt signposting, sometimes without in-world logic backing it up) - was that she immediately attempted to do several things the game couldn't allow for.

Baldur's Gate 3! The game lauded for how permissive it is, how the devs "thought of everything!" That one! Even that, and ten minutes out of the prologue she'd learned you couldn't climb surfaces BotW style, couldn't walk the seemingly-walkable exterior ledge of one fortress, and also couldn't direct conversations toward a specific topic to, like, stay goal-oriented in your encounters with new people.

I definitely think that video impacted how I think of the "yellow paint" problem. Because in any game you want SOME kind of signposting for how things can and can't be done. If there's a jumping puzzle that requires the Whirl Dash you don't want it to be close enough that the player thinks they're failing due to bad timing. Putting the jump clearly out of reach even for a perfect jump is itself a form of signposting. And you do want that language to be clear! A lot of times the reason for the yellow paint itself is because the interest in "realism" in video games produces a muddied visual landscape.

Now, sometimes this serves a purpose. It's cool getting a jumpscare or two out of a well-camouflaged monster that was standing still right in front of you the whole time. But that kind of thing is almost never part of the to-do list in an action title like Far Cry.

Nonetheless, fidelity to photorealism has been treated as a gold standard as tech has continued to improve how cool we could make things look. This has universally been a mistake. Stylized art that looks like itself (see: Mario, Devil May Cry, Persona, or Warcraft) is WAY more valuable for the tasks of guiding the player through a memorable experience, engaging them with your created world, and maintaining the strength of your game's brand (which in turn means turning a better profit with the title). The zombies of Plants vs Zombies are as artistically valuable as the zombies of Left 4 Dead, and FAR more copyrightable.

Between those two issues - a generally muddier visual landscape and a tendency for players to come up with a million theoretically viable solutions to problems, which not even Larian Studios can afford to program for - you need something to let players know when they're on the right track and when they're headed out-of-bounds (whether physically or...metaphysically). While it's perhaps overused, yellow paint serves that purpose. And like the noble Health Bar before it, the more it's used the more it becomes part of the accepted visual language and therefore the more useful it gets.

I do think it's overused and unrealistic, but I also think it's used because it serves a valuable role and there haven't been a lot of other good answers put forward in the "make everything photorealistic" crowd. My preferred answer, as I explained above, is "don't shoot for photorealism," but I don't get to dictate the trends for the industry, which even I'll agree is for the best.

#game design #game dev

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burlveneer-music · 1 year

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Zaliva-D - 孽儿谣 Misbegotten Ballads - new album from China’s (rough) equivalent of Einstürzende Neubauten

孽儿谣 Misbegotten Ballads is the long-awaited fourth studio album from Beijing based A/V duo Zaliva-D. The years are passed on to the elderly, and the elderly sing to the children. Unfamiliar and uncomfortable. A song for several lifetimes, then blurred and reduced to a hum. People who have forgotten where home is, believe in deceptive signposts. Festive steps backwards, one step to the left, two steps to the right, singing without using the mouth, humming, not knowing who is who. Faces ingress into kids, laughing and jumping, shouting and pissing. Darkness pours into midnight musume, floating in the water, two eyes, three eyes, not me, not me either. The river waves all the way. Stars that lead the singing, towards the ripples of the bells, stumbling and untidy.

#Zaliva-D #china #experimental #electronic #industrial #2022 #svbkvlt

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sweetcicelymiracles · 1 year

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Full Moon & Lunar Eclipse in Scorpio: 🍒Little Red Riding Hood & The Wolf 🐺

(Photo credit: Kellscraft Studio, 1999 - 2007)

On 5 May, 2023 the Penumbral Lunar Eclipse in Scorpio will be affecting the collective greatly in terms of questioning our previous assumptions of the world in relation to our deepest desires and fears.

Yesterday I had just gone through an intense ending of something that I thought would be an integral part of my life. As I contemplated on the energies of the eclipse, I pulled out an oracle card titled 'Indecision', which showed a figure in a red cloak standing in front of two signposts in the middle of a dark forest. This reminded me of the tale of Little Red Riding Hood. The tale's symbolism may be a significant lesson for some who are particularly feeling the intensities of the full moon eclipse lately. Some questions that may come up during this time include:

🧺 Which people in my life genuinely wish the best for me and which people only pretend to do so? 🧺 Do I really know who someone is underneath and not just projecting my fantasies onto them? 🧺 What is the difference between being nice and being kind? 🧺 Am I ignoring my gut instincts when it comes to feeling unsafe around some people/places/ideas, etc? 🧺 How can I protect myself/my loved ones/resources/time better? 🧺 Are there any aspects of myself/life/the world which I am ignoring? 🧺 How can I strengthen my intuition or my senses so that I am better equipped to handle future obstacles such as being manipulated, victimised or taken advantage of?

#divination #full moon #lunar eclipse #astrology #planetary transits #tarot #oracle reading #scorpio #taurus

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girlfriendsofthegalaxy · 2 years

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tuesday again 9/13/2022

even though it is very clearly not a friday i still have a fondness for the thirteenth of each month. VERY long making section

listening Bark Like A God by Sloppy Jane. this is what i can only call "sludgy". it sounds like bruised knees and thumbprints on your hips. it sounds like if a VFW basement bar was also a strip club. this sounds like doing your best in an environment that's a mixture of flickering fluorescents and incandescent tubes that haven't burnt out yet, and a drop ceiling that's mostly water stains.

Do you believe in Frankenstein? Dressed up, half-dead, and feelin' fine He looks so sick, I wanna take him for a walk

Baby, let's get down, I wanna bark like a god

this may have already been a tuesdaysong but i have not kept up with "adding the tuesdaysongs to their playlist each week" so who's to say. there was no particular song stuck in my head this week so it's the one i liked most out of what came up on shuffle when i went to go get groceries. i think it is off a spotify-made halloween playlist i played on a whim last fall.

reading on an indirect rec from @believerindaydreams , The Skylark of Space by E. E. Smith and Lee Hawkins Garby, widely considered to be the first space opera. we have not gotten off earth yet, but found the part where the hero's fiance bodily removes him from the lab where he is overworking himself to death, feeds him an enormous dinner, goes "i am now going to play the violin for you :)" and plays him lullabies until he falls asleep. what the FUCK that's so charming

watching Snow White and the Huntsman (2012, dir. Sanders) for this shot and this shot only

playing stray! my god does this game have incredible set dressing. i am lightly annoyed that it didn't clearly signpost when i was leaving a specific area and couldn't come back, but i'm hoping it'll let me back in eventually. i wanna find the rest of the music sheets. the BLUETWELVE dev team is mostly ex-Ubisoft Montpelier folks, which really shows in the forgiving nature of the platforming and the ways you're guided through the (fairly) linear levels. i was surprised to find the Montpelier folks are mostly the Tom Clancy studio with some other weird experimental platformers you've never heard of, bc i really expected this team to have more overt assassin's creed experience. unlike assassin's creed, you are nudged toward hidden bonus secrets and encouraged to explore all the corners but they are infrequent and you are not literally led by the hand to them, which is nice.

youtube

making beloved mutual @dansedan sent me a gorgeous linocut to adorn the lair!!! it will not be shown until the end to heighten suspense

by magic, i found an uncommon size frame in the first thrift store i went to, a store not known to me for its selection of particularly good art or frames. here is the back. the art+mat+backing is held in place with those two wooden strips that swing in and out which is neato

the rest of the process was: go to Michaels, get extremely distracted by Halloween decor, buy paint and precut mat. realize i will have to cut the mat down but that’s fine as long as i don’t have to cut the interior mat opening bc i fucking hate doing those. with the frame, this was about twelve bucks total (eight dollars for the mat).

clean frame (wipe down with barely damp paper towel, realize my mistake, vacuum the paper towel shreds off and vacuum the spiderwebs out of the back), took some nail polish remover to the glass, took the glass into the tub to wash it bc there was some very stubborn dirt, end up scraping it off with a razor blade.

notice there are gaps in the frame corners. try to tap it back into square with a rubber mallet. fail. decide to gently tap it apart and reglue it. still gaps. fill in the gaps with wood glue on a toothpick and hope the paint covers it (yes, mostly). jam it into a square corner, reinforce the edges and weigh the corners down bc it really wants to twist.

leave alone for twenty four hours (difficult). it got two coats of aforementioned black matte acrylic paint. this is a pretty cool frame but 1) it’s not that old and 2) was painted to begin with, and this water based acrylic paint will be fairly easy to remove should someone want to reverse my changes. especially bc i didn’t bother sanding.

put the thing in the thing. slap a piece of watercolor paper in there also so the back of the thing doesn’t touch the wood back of the frame. no idea where I’m hanging this yet but it is ready to be hung wooo!!! i have no pictures of this in natural daylight bc i am writing this at 9 PM. i will straighten the print out before i hang it bc it is JUST barely not quite level

thinking about going back over the frame with some sort of iridescent sheen, bc everything in my house has to be weird or i die, but all my frames are either black, gold, or black and gold and I’m reluctant to switch that up. plus this way the focus is on the sick print. thank you again dan!!!

#tuesday again #tuesday again no problem #Youtube

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ljaesch · 11 months

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Anime Spotlight: My Clueless First Friend

My Clueless First Friend is based on the manga series by Taku Kawamura. The anime was produced by Studio Signpost and directed by Shigenori Kageyama. The 13 episodes of the series aired on Japanese television from April 2-June 25, 2023. As of this writing, Crunchyroll holds the North American license for the My Clueless First Friend anime. The series starts by focusing on a fifth grader named…

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#anime #My Clueless First Friend

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5amfever · 1 year

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VIOLENCE JACK: EVIL TOWN (1988)

Rod Serling steps into view, looking just a little more rundown than usual. "Picture of a man," he starts, "a man so violent they named him Violence Jack. Now, picture if you will, a town so vile they named it Hell Town. A subterranean town of debauchery and dastardly deeds. A town that would go on to inspire an OVA so evil it would take on the moniker of... EVIL TOWN."

He takes one final drag of his cigarette, sighing deeply. "That's the signpost you see up ahead. The signpost that signals your entry into… 1988's VIOLENCE JACK: EVIL TOWN." Thinking the crew is no longer rolling film or sound, Serling spikes his smokes on the floor. "This thing is just vile, repulsive even. This Go Nagai fella, well, he's just a nasty little freak!"

In the world of post-apocalyptic media, you have everything from shows and movies about zombies to funky little Italian dune buggies. Dwindling resources. Familial bonds put to the test along endless stretches of barren asphalt. And then you have one of the best sub-genres: Inexplicably Big Dudes. Like Fist of the North Star, Go Nagai's Violence Jack manga fits right into that mold. Unlike Kenshiro and co., though, Jack is willing to explore every dirty little nook and cranny of what our bleak future has to offer.

Folks, it ain't pretty.

Deep in the depths of the appropriately named Evil Town, a small group of survivors crack open a wall to find the colossal Violence Jack just kind of standing there. Apparently he's been standing inside this wall for six months? When they let him out he's just kind of like, "thanks." From there we transition into a battle between Evil Town's A, B and C Zones, each with their own unique brand of denizens, with Jack ultimately playing a pivotal role in who lives and who gets torn to shreds.

At first Jack partners up with the Zone A folks, promising to help them take on the slice of beef known as Mad Saurus, who hails from the extra loathsome B Zone. Before long, though, he finds himself teaming up with the women of C Zone, who are almost all fashion models—with a couple wrestlers thrown in for good measure—since they were heading to a fashion show in Kyoto when disaster struck. How convenient! Jack is tasked with protecting them from the brutes and rapists of both A and B Zones, so either way you slice it this is destined to culminate in a Big Dude versus Big Dude Beefdown.

Over the course of roughly one hour, kids die horrible deaths, women are savaged in the most unpleasant of ways, there's cannibalism, necrophilia; basically nothing is off limits in the world of Violence Jack, more so here than anywhere else. It's all fairly reprehensible… and the animators at Studio 88 went obscenely hard on it! Director Ichiro Itano—yes, he of the famed style of action sequence that came to be known as the "Itano Circus," featuring incredibly stylized aerial combat and missile volleys—made sure his animators put all their blood, sweat and tears into the blood, sweat and tears on screen. Everything from the extremely gross depictions of sexual assault to Jack's expert knife play, which usually ends up splitting heads in half or sending punks into a somersault of guts, is depicted with the kind of love and care one might put into a sentimental Mother's Day card.

So yes, VIOLENCE JACK: EVIL TOWN is pretty nasty, and I'm worried I'll be put on a watch list if I don't add that caveat. It still hits just as hard now as it did over 30 years ago, though, shocks and all. If this is our future I'm good with checking out now... but if for a quick, tasteless glimpse. A peek, if you will, into the mind of Go Nagai, who is etched into history as one of the pillars of the manga and anime industries and, as good old Rod Serling famously put it above, a "nasty little freak."

#violence jack #violence jack: evil town #ichiro itano #anime #horror anime #studio 88 #discotek media

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heronetworkgg · 1 year

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El anime de romance y comedia ‘Jijou wo Shiranai Tenkousei ga Guigui Kuru’ estrena nuevo video promocional y confirma su estreno para abril

A través del sitio web oficial de la adaptación al anime de Jijou wo Shiranai Tenkousei ga Guigui Kuru (En inglés My Clueless First Friend), se ha compartido nuevos detalles de la serie, entre ellos se ha compartido un nuevo video promocional, además, se ha confirmado su estreno para el 9 de abril del 2023. […]

Ir a la noticia completa

#Jijou wo Shiranai Tenkousei ga Guigui Kuru #Studio Signpost #Video Promocional #Anime

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b3crew · 1 year

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REVIEW | "My Clueless First Friend" | B3 - Boston Bastard Brigade

Even when watching a sad film or TV series, I rarely ever cry. Yet there I was, with tears running down my cheek as I watched My Clueless First Friend, the latest series from Studio Signpost (formerly Pierrot Plus). Based on the manga by Taku Kawamura, the anime showcases a down-to-earth take on bullying, with one simple premise: what if the most bullied kid in school finally made a friend? The end result is something that’s not just magical, but has the potential to be life-changing.

The bullied kid is fifth grader Akane Nishimura (Konomi Kohara), who is teased for her goth-like looks. Every student there calls her “Grim Reaper”, and says that hanging out with her will give anyone a curse. That’s when transfer student Taiyou Takada (Shizuka Ishigami) enters her life. Not only is Taiyou not afraid to talk to Akane, but he thinks people calling her “Grim Reaper” is the coolest thing ever.

From there, Akane finds herself with her very first friend. Taiyou is in awe of Akane, with him constantly asking her questions about her “Grim Reaper” powers. Akane does her best to brush it off, but Taiyou manages to make the girl fluster with the level of positivity he spouts from his mouth. Even as other students like Kitagawa (Kohei Amasaki) and Kasahara (Waianae Maruoka) warn Taiyou that hanging with Akane will leave him cursed, Taiyou welcomes the chance to gain such curses, as it’ll bring him closer to Akane and her “coolness”.

Although it’s called My Clueless First Friend, Taiyou may actually be on the ball when it comes to Akane’s treatment by others. He often calls their bluff when they bully her, with a power that only a Reverse Uno card normally dishes out. From saying that he’ll gladly eat Kitagawa’s servings of the stew Akane helped make to twisting Kasahara’s words into making her cruelty sound more positive, Taiyou manages to find a way to keep Akane’s head held high during their time in class. There’s even a moment where he gets Kitagawa to admit that Akane’s a normal girl, to which Taiyou asks: “Well how come you’re treating her so differently?”

Click here to read the rest of the review!

#king baby duck #anime #reviews #boston bastard brigade #animation #cartoons #pierrot #crunchyroll #black compat #review #my clueless first friend #事情を知らない転校生がグイグイくる。

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ew-mycluelessfirstfriend-au · 1 year

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Hello, and welcome to my “short” blog post about my new AU!

✎

So for those Wondering, What is My Clueless First Friend?

Well MCFF is a now AniManga, Having the Manga Originally Created by Taku Kawamura, and the Anime Created by Studio Signpost, and directed by Shigenori Kageyama.

— Synopsis ::

Akane Nishimura is a quiet, almost goth-like, girl who everyone nicknames "Grim Reaper" due to the way she looks. When a boy named Taiyō Takada first enters the class, he obliviously chooses to become friends with Akane and together form a friendship that will forever change both of their lives. (Source :: ✨)

So, why did I decide to make this into an Eddsworld AU?

Well for starters I Really liked the manga and the anime, as well as the nice simple concept of it, so Why Not make an AU about it with my favorite characters and my ship! I honestly love the dynamic between Nishimura and Takada, and it reminds me of Jon and Eduardo if they were kids so I thought it would be so cute and adorable to make a wholesome au with the two.

☆

So, Which Roles are Which? Well I’ll tell you!

Akane Nishimura :: Eduardo Hernandez, Taiyō Takada :: Jon Yume, Daichi Hino :: Mark Raeman, Umi Adachi :: Todd Carrson, Sumire Kasahara :: Edd Taylor, Kotaro Kitagawa :: Jax Adams (The Bullies)

Reminder that this AU is Currently a WIP! (Work in Progress) as of now I have Jon and Eduardo’s designs done, I’m going to do the rest of them as soon as I have the time to. I do have a life to attend to after all so this will may take awhile for any other updates :Pc

#eddsworld #my clueless first friend #eddsworld au #Jon x Eduardo #Jon x Eduardo au

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l-1-z-a · 1 year

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Sims 2: Nightlife Interview

POSTED: APR 7, 2005 1:27 AM

Rod Humble and Tim LeTourneau give us the scoop.

Although there is a vocal group of gamers who turn their noses at the idea of yet another Sims expansion pack, there's no denying that this is popular stuff. And as we learned below, the Sims appeal is even more broad than you might expect. Don't be surprised if your neighbor or roommate, who was just poo-pooing The Sims the day before, sneaks home with a copy. In light of the recent announcement of Nightlife we were able to sit down with Rod Humble, new to Maxis but not to gaming, and Tim LeTourneau, who's working on Nightlife and also did Hot Date for the original The Sims. So read on for the scoop, with a topping of hot nuggets.

IGNPC: So, tell me about yourself. What were you doing before you went over to Maxis?

Rod Humble: Well, before here, I was running Studio One, Sony Online, which is the EverQuest studio, which did EverQuest Online Adventures, EverQuest II, and we incorporated PlanetSide towards the tail-end, as well.

IGNPC: And how long had you been over there?

Rod Humble: I was there for--let me see--five years. And before then, I was at Virgin, where I made Subspace. And before that at Game Tech, where I worked on lots of Wheel of Fortune games.

IGNPC: So what made you decide to go over to Maxis? Besides a fat paycheck or something like that.

Rod Humble: [Laughs] Actually--I figured out that about half of my career, ever since Subspace, working exclusively on online games…I wanted to get back to games that were more about a single-user experience.

IGNPC: What was your reasoning behind that?

Just in terms of spreading creative wings, and not wanting to lose touch with--without sounding too wanky--the full repertoire of creative thought processes. You know, there's a big difference between making a game for one person on the other side of the keyboard who maybe wants to play and have fun for twenty minutes, versus an online world where you have to support the population of a city, constantly. And, you know, nothing wrong with that sort of game--I'm really glad to see Sony still doing really, really well, I love those guys…For me, it was just a chance to do something different.

IGNPC: But it was an amicable departure?

Rod Humble: Oh, gosh yes.

IGNPC: So, what attracted you to the Sims 2 franchise in particular?

Rod Humble: To me, it's because it's such an exciting user creativity tool. I think one of the exceptional things about the Sims product it's a game where you play 50% of it in your head, and 50% of it on the monitor, so you can tell your own stories. I find that to be a really interesting vein that we can explore. So, for example, the Sims I'm playing at the moment: A secret agent has come to spy on the servant, who lives in a shack at the end of town, and he joined the police department to get an inside track to work his way up inside the organization to spy on them. And in my head, I have a secret radio in the bookshelf.

Then he meets a girl at the police department who's in the SWAT team, marries her, falls in love, and wants to do paintings of her, and maybe is changing his mind--that's really not the sort of gameplay you get in other products. Some of it, of course, is not part of the game--that's stuff that's going on in my head. What I'd like to do is, going ahead, for each expansion pack to have extra signposts and stakes in the ground that allow users to have more of those stories going on in their heads, and encourage it.

IGNPC: That's one of the things I noticed about Sims 2, when Dan [Adams] did that series on the family--he created the IGN editors as a family--and he was just able to go off, explaining all these things that were going on. It was absolutely hilarious.

Rod Humble: And 90% of it, like I say, is just the user telling stories, but that's kind of the point.

IGNPC: The situations create themselves, and you just write about them. So what part of the franchise in particular are you working on right now?

Rod Humble: I'm coming up to speed, and I'm enjoying working with the team and Tim [LeTourneau], focused on Nightlife, and, going forward, working on what kind of experiences we're going to be able to bring to our customers.

IGNPC: And what can you tell us about Nightlife right now?

Rod Humble: Well, we just announced it last week. So, we're doing the usual routine of telling you the stuff we know for sure we're going to be able to build, and then later on, our "surprise features" will be things we can actually get done on time.

IGNPC: What can you tell us about the game right now?

Rod Humble: Well, it's an attempt to enhance and deepen the community lots from the original Sims 2 products. There are things to do outside your home, and the ability to create new stories out there--going to nightclubs, and casinos, and going out and meeting people. First of all, you'll be able to make new friends, and start off new relationships and stories. And secondly, obviously, you can date and find more compatible mates out there for your Sims and see how that affects your home life.

IGNPC: So it's more about filling a niche that you felt was missing from the original Sims 2?

Rod Humble: Right. There really isn't a good place to meet friends currently. Sims 2 University did that for the younger-age Sims, but when you get past that level… There are places to go and socialize, and community lots right now tend to be where you go to shop, so in Nightlife, these locations are going to be about socialization and meeting people.

IGNPC: So, would it be fair to call Nightlife the Sims 2 version of Hot Date?

Rod Humble: I think it's fair, I think there are going to be people who are going to say that, so we may as well embrace it. But I hope that, as with University, we can add a whole bunch of new, deeper gameplay experiences, where people will say, "Hey, they really were a bit more bold with that." Actually, Tim, go ahead and say--I've got Tim right here, over my shoulder…

Tim LeTourneau: So, the other thing I was going to say is that one of the things that we've added… Specifically, because we don't want--You draw comparisons to Hot Date, and as the producer of Hot Date, I can't complain too much about drawing comparisons, because it actually was one of the very most successful expansion packs. One of the things we did is…We want this to be a Sims 2 experience, so we've added a new Aspiration to the game that's going to be part of Nightlife, which is the Pleasure Seeker. And it ties into a lot of the gameplay that we're adding and a part of Nightlife. It's about the Sims going out, it's about the Sims seeking fun, having fun. And the wants and fears that that [Pleasure Seeker] Sim is going to have are really going to relate to that idea of seeking pleasure in life.

So, obviously, there's a lot of comparison to Hot Date, because it's about dating and going out, but it's not solely about that. It really is… For every expansion pack, you want to do something that adds gameplay and really brings people back into it, reinvigorates that gameplay, and allows them to tell stories. And Nightlife is really about telling a community story: getting them out, having them interacting with people from throughout the neighborhood, and then, with these others veins, like the Pleasure Seeker Aspiration added to it.

IGNPC: So if somebody wanted to buy the expansion pack just to get things like new furniture, new objects, maybe new jobs, would they be satisfied with Nightlife, or is this oriented toward this new model you described?

Tim LeTourneau: I would say that it's always our goal, as we design expansion packs, to support all the different play styles that our players have. And we recognize that there are some players, that the only reason they're going to buy the expansion pack is to get the new objects to decorate their houses. So it's absolutely incumbent upon us as designers and game makers to support that style of gameplay. There are going to be people who just want to see what new building tools there are to allow them to build different or more dynamic houses. So as we design expansion packs, we always have to think of all of those different play styles.

Rod Humble: It's really interesting--As part of my "coming up to speed" process with the franchise, I was taken aback at just how broad the player base is--from hardcore gamers to young people at home who just want to do social experimentation--and the different constituencies, the amount of thought this team puts in to serving each constituency, is pretty impressive. As you said, there are a whole bunch of people who will regard [Sims] expansion packs as, "Well, I only buy them for the objects." And they will get objects. There's also an equally large group who will only buy it for the gameplay, and an equally large group who buy it for meeting new Sims, or new locations. And I just found it interesting that it was that broad. I haven't experienced a product like that before.

Tim LeTourneau: Yeah, I would say that… One of the things that you have to think about when you think about [developing] The Sims is that it's our job to add depth, even though some players may never experience it. And the best example I can give of that is Create-A-Sim in Sims 2. It's an incredibly deep tool. And I could, as a player, spend ten hours using it to create a Sim. At the same time, I can push a button and say "Random," and just take the Sim that it makes, and be out of Create-A-Sim in ten seconds. So for us, we always have to invest that effort in ensuring that every area of the game is that deep, even with the recognition that some people will never use that particular feature.

IGNPC: One other question I wanted to ask you--Is this going to be on a CD or a DVD? I've noticed that you guys are starting to gravitate more towards DVDs.

Rod Humble: That's a really good question.

Tim LeTourneau: With University--University is on two CDs. We didn't do it as a DVD release. It's mostly just a space thing. It depends on how much space it's going to take. The CDs are still, right now, for us, the preferred method of delivery, because it means that everybody can use it. There's still a lot of people out there who don't have DVD drives. But any premium releases, I think you're going to see them come out on both CD and DVD. And I would say, over the course of the next year to two years, you're going to see everything come out exclusively as DVD.

Rod Humble: What's your feedback been like, with games? My hunch is that, for software now, the split is about 70% that want DVDs and 30% don't--would you say that's true?

IGNPC: Yeah, I would say between 65 and 75 percent.

Rod Humble: Because it's all I want, I agree. But there's a lot of machines out there that don't have DVD drives.

Tim LeTourneau: Well, I would also say that, with The Sims, the thing that we have, is that we have a much broader demographic than a lot of the games that are coming out. Not only do we have a broader demographic, a lot of that demographic is not terribly computer-savvy. You know, they bought their system at Costco or Best Buy, and they just bought it and stuck it on a desk, and they don't really even know what their equipment is. So, what you don't want the user experience to be is that they buy something and not be able to use it. We had that with Sims 2, where there were a lot of people who bought the DVD version, got it home, and couldn't use it in their system, because they thought that it just meant it had a DVD that went on their DVD players.

IGNPC: I noticed that on the new boxes, EA is printing, in very bold letters, "DVD" and "CD."

Tim LeTourneau: And that partially came from The Sims 2, of us going back and going, "Wow, our users are not as educated we even thought that they were, as to what they have on their desktop." Along that line, I suspect that in a year's time, it won't be an issue. But it's still somewhat experimental.

IGNPC: The sooner the better, I think.

Rod Humble: I'm with you.

Tim LeTourneau: The problem is that you still have to fill up that DVD with content.

IGNPC: So have you guys slated a release date? Is this going to be a Fall thing?

Barbara Gamlen (EA PR): It's Fall, yeah--we don't have a firm release date yet.

#sims 2 #ts2 #sims2 #the sims 2 #nightlife ep #the sims 2 nightlife #ts2 nightlife #nightlife #interview #ign #Tim LeTourneau #Rod Humble #Barbara Gamlen

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newsintheshell · 1 year

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ANIME RECAP: PIAZZO IL NUOVO TRAILER DI SAINT SEIYA IN LIVE ACTION E IL BLOG VOLA

Con il nuovo megapost vi porto tanti nuovi video, locandine e anche qualche data. Spoiler: l'anime di Shy è programmato per quest'anno!

Fra scosse di terremoto che mi hanno fatto perdere anni di vita e altre questioni sempre non propriamente piacevoli, che non vi sto ad elencare, vi dirò la verità, me la sono presa con più calma del solito nel raggruppare le novità di questo fine settimana.

L'ANIME RECAP era già pronto nel tardo pomeriggio, ma non avevo neanche l'ombra di un'idea di che immagine usare in apertura! Esatto, sono messo così male. 😅

Non c'è tanta roba di cui parlare a differenza dell'ultima volta, ma qualche highlight non manca, tipo il nuovo trailer del live action de I Cavalieri dello Zodiaco (che vi ho messo prontamente in pole position u_u), l'arrivo dell'anime di Shy nell'arco di quest'anno e il primo promo di Reign of the Seven Spellblades, di cui non si sapeva nulla da un bel po'. Buona lettura/visione e buon weekend!

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🔶🔸 KNIGHTS OF THE ZODIAC

Novo trailer e continuo a non sapere cosa pensare del film. Di sicuro cercherò di andarlo a vedere al cinema, giusto per farmi qualche risata con del popcorn in mano! Chissà, magari poi non è brutto come potrebbe sembrare e Sean Bean potrebbe sorprenderci ancora di più, non morendo una volta tanto.

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Questa prima pellicola (se va bene si parla, potenzialmente, della realizzazione di sei film in tutto), diretta da Tomasz Baginski e sceneggiata da Kiel Murray (Raya e l'ultimo drago), Josh Campbell (10 Cloverfield Lane) e Matt Stuecken (Notorious Nick), uscirà in Giappone il 28 aprile, mentre qua in Italia il 26 giugno.

🔶🔸 SUMMONED TO ANOTHER WORLD...AGAIN?!

Nuovo promo per l’anime tratto dall’action fantasy harem di Kazuha Kishimoto, che mostra qualche incertezza lato grafico di troppo rispetto al precedente, con disegni e animazioni non propriamente entusiasmanti, devo dire.

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Vi ricordo che la serie è il primo progetto in solitaria di STUDIO ELLE e coinvolge principalmente uno staff di debuttanti. Il primo episodio andrà in onda il 9 aprile.

🔶🔸 MY HOME HERO

Anche qua non navighiamo di certo nella sakuga, ma come vi ho già anticipato, con me questa serie ha un occhio di riguardo anche solo per il fatto di essere un vero e proprio thriller puro.

Fra l'altro comincerà ad andare in onda dal 2 aprile e arriverà in simulcast su Crunchyroll

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L'anime si basa sul manga ideato da Naoki Yamakawa (I’m Standing on a Million Lives) e illustrato da Masashi Asaki, pubblicato qua in Italia da Panini Comics.

La regia della serie, in produzione presso TEZUKA PRODUCTIONS (Adachi and Shimamura, The Dawn of the Witch), è affidata a Takashi Kamei, che in passato ha supervisionato il capitolo “Il Sorgere della Terra” della trilogia Transformers: War for Cybertron su Netflix.

🔶🔸 REIGN OF THE SEVEN SPELLBLADES

Annunciata ormai un paio di anni fa, la serie tratta dal nuovo action fantasy scolastico firmato da Bokuto Uno (Alderamin on the Sky) si mostra in un primo trailer, rimandandoci alla premiere che si terrà a luglio.

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Sarà il castello, le tuniche o le spade usate come bacchette, ma il video mi ha portato alla mente Harry Potter e spero veramente che l'ambientazione scolastica venga sfruttata in modo simile.

La regia è affidata a Masato Matsune (Chronos Ruler) e la produzione è in corso presso J.C. STAFF.

🔶🔸 MY CLUELESS FIRST FRIEND

Lo ripeto sin dall'annuncio, ma questa serie trasuda wholesomeness da ogni frame e questo nuovo trailer non fa che rafforzare la mia idea. Sono contento che avremo modo di seguirla in simulcast su su Crunchyroll dal 9 aprile.

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Tratto dal manga di Taku Kawamura, l'anime è diretto da Shigenori Kageyama (Dynamic Chord, Himawari!) presso STUDIO SIGNPOST.

🔶🔸 ALICE GEAR AEGIS EXPANSION

Waifu con esoscheletri, che combattono come se stesso pilotando dei mecha? I'm in.

Con il nuovo promo è stata anche svelata la locandian della serie e la data di debutto: 3 aprile.

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L’adattamento televisivo ispirato al videogioco di COLOPL è diretto da Hirokazu Hanai (Don’t Toy with Me, Miss Nagatoro, Dances with the Dragons) e prodotto dallo studio NOMAD.

🔶🔸MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY

L'attesa è quasi finita! L'anime tornerà in onda a partire dal 9 aprile. Per chi non avesse seguito la serie, i primi 12 episodi sono già disponibili su Crunchyroll, sottotitolati.

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L’anime è in lavorazione presso lo studio SUNRISE (ora conosciuto come Bandai Namco Filmworks) ed è diretto da Hiroshi Kobayashi (Kiznaiver, Spriggan), assieme a Ryo Ando (Interviews with Monster Girls, Double Decker! Doug & Kirill).

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🔶🔸 SHY

L'anime basato sul particolare action hero manga firmato da Bukimi Miki (pubblicato da Panini Comics in Italia), arriverà nel 2023 a quanto pare. Non è stato svelato in quale stagione, ma presumo quella autunnale ormai.

L’adattamento è in lavorazione presso lo studio 8-BIT e a dirigerlo c'è Masaomi Ando (Astra Lost in Space, Toilet-bound Hanako-kun).

🔶🔸 AKUMA KUN

La nuova serie animata, ispirata allo storico manga di Shigeru Mizuki, sbarcherà su Netflix in autunno.

L'anime è diretto da Fumitoshi Oizaki (A Centaur's Life, Romeo × Juliet), dietro alla supervisione di Junichi Sato (Aria, Sailor Moon), che al tempo lavorò pure all'originale prima serie del 1989.

🔶🔸 SHANGRI-LA FRONTIER

Fissato anche il periodo di debutto per la serie che, a partire da ottobre, porterà in tv l'action adventure di Katarina e Ryosuke Fuji (L’Attacco dei Giganti - Lost Girls), edito qua in Italia da Panini Comics.

L’adattamento arriverà in streaming su Crunchyroll ed è in lavorazione presso lo studio C2C. La regia è in mano a Toshiyuki Kubooka (Harukana Receive, Wandering Witch - The Journey of Elaina), assistito per l'occasione da Hiroki Ikeshita.

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Autore: SilenziO))) Se usate Twitter, mi trovate lì!

blogger // anime enthusiast // twitch addict // unorthodox blackster - synthwave lover // penniless gamer // INFJ-T magus

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