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arsnovacadenza · 2 years

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Prompt: Yoshitsune performs a dance at Yoritomo's birthday banquet in the disguise of Shizuka and tries to seduce Yoritomo (it starts as a prank until he gets too carried away). Bonus points if Yoritomo pretends to fall for it but when they are alone he pins Yoshitsune to the ground and whispers into his ear that he knows it's him and then he gives Yoshitsune some neckbites as a punishment.

Rating: T. Also Yoriyoshi/Yoshiyori. You have been warned

"Your brother, that womanizer," Shizuka complained to Yoshitsune. "Do something about him. He's been sending me secret messages and I don't know just what to do!"

"I thought you're an opportunist," Yoshitsune answered nonchalantly as he wandered further into the garden. "Ani-ue can get you pretty far if you take up his offer."

"What part of his actions scream 'offer,' Yoshitsune?" She almost screeched into his ear. "And besides, I don't want to get together with your brother. I thought you already knew!"

"Yeah, yeah. It's ol' Tadanobu your heart is aching for. Got it." He picked a camellia bud and twirled it in his hand. "Poor Yoritomo seems rather keen on you, though."

"Poor? Only you think that way, Yoshitsune. Everybody else knows he's dangerous." Shizuka pouted.

Who knows where his intentions lie, Tsugunobu warned him a long while ago. "He just smells like old money," Yoshitsune said simply. And of camellia blossoms that he gathers in his robes, of sake that warms him on moonlit nights.

"Oh, why did I even bother talking to you?" Shizuka moaned. "You always defend him no matter what! I should've taken my problems to Yoichi!"

"And what does Yoichi have anything to do with this?"

The dancer sighed. "You see, Kajiwara-dono is holding a banquet tomorrow night and I'm expected to perform. I don't want to go, but my girls are all out of town and I couldn’t convince anyone else to replace me. But Yoichi's popular with the ladies —he should know someone, don't you think?"

Yoshitsune shrugged. "I...don't think you can find anyone on such short notice. And Ani-ue's very particular about the dances and songs that he likes —wait."

That gave him an idea.

"Tell you what," he leaned in closer to Shizuka. "Forget about Yoichi. I know where to find the sort of dancer that I know will please Ani-ue. In the meantime, arrange to go somewhere with Tadanobu before the banquet. You're going to thank me later." He grinned.

Minamoto no Yoritomo was not a lightweight. Far from it, in fact. Spending more than a decade in exile meant there was nothing to do but drink stare at the ocean and drink. Those quiet moments eventually led to thinking and planning, about where he could have been and what the Minamoto could have been, and how he could take them all back from Kiyomori.

The fire that he stoked was enough to fulfill him, so much so that he become numb to all other senses —the salty scent of Izu’s sea and the steady warmth of Masako’s body at his side. Their exodus to Kamakura led him to more weapons, more eager people to use at his disposal including the numerous women he eventually bedded and discarded.

He couldn’t blame Masako for the questioning looks she sent his way during council meetings. Even as he calculated every date, every hour, they all felt the same. And one day he thought, maybe this is what hell is truly like: no torture, no suffering —only ennui.

Maybe Masako was right. Any sane warlord would have thought boredom was the least of their woes compared to defeat, famine, the ultimate failure of their plans…..Gods, maybe he was getting tipsier by the minute and Kagetoki’s insistent weight against his side certainly made his headache worse (the audacity!).

Then, the men started chattering and shouting excitedly toward the direction of the entrance and Yoritomo turned his head to look. He heard Shizuka-dono’s name being called and that’s when he remembered that the shirabyoshi dancer was invited to this godawful party held in his honor. Kagetoki even told him that he purposefully left out Yoshitsune and his bodyguard too.

For being his head of intelligence, Kagetoki was awfully misguided.

So, Yoritomo sat up as the woman, slathered in thick makeup and wearing her usual tall hat, bowed in front of the warlord before extending her arms, as if inviting him to an embrace.

“Getting bold, aren’t we Shizuka?!” A man hollered. “Man, what’d Yoshitsune say if he were here!” Somebody else yelled.

Shizuka paid the men no heed, assuming her position as the music starts to play. The men silenced as the singer’s voice carries through the air, signaling Shizuka to move.

As quick as a hawk and as graceful as a crane, the dancer’s every movement sent the men into a lull. Some, however, were sober enough to make obscene gestures at the way her bustle moved, accentuating her backside as she circled.

“Be quiet,” someone in the audio shushed. “Or she will stab you with her tachi.”

Shizuka didn’t look the least bit offended as she coyly spun the red fan in front of her face. From there she gracefully sat down and leaned back, facing away from Yoritomo —and like a true entertainer playing along with her audience’s whims —tilted her head to look at Yoritomo behind her, a secretive smile dancing on her lacquered lips.

Yoritomo raised an eyebrow.

The magic was cut short when she rose to her feet, resuming her dance in quick, snapping motions. Her long, half-bound hair swayed behind her as her bewitched crowd inched closer. Like before, she only cast them a quick glance before focusing on her next step. Her withdrawal only spurred the men to demand more, more and more.

“Hey, is it just me,” Morinaga murmured to Kagetoki. “Or does the music sound strange?”

It did.

Suddenly the vocals were gone, replaced by a frantic rhythm solely dominated by the equally energetic sound of a flute. The drum too, also strayed from the usual fare as Shizuka’s urgent spins turned the dance into something otherworldly and almost terrifying. Her arms were raised beside her head, and her eyes were so glazed it almost looked like she was possessed.

It didn’t matter that Shizuka was actively violating the rules of shirabyoshi. The men loved it and so did Yoritomo.

They completely lost it when Shizuka, after stealing a quick glance at Yoritomo, raised her thumb and little finger and smeared it on her tongue. And in a mockery of her usual form, she gingerly patted her saliva-slicked fingertips on her palm, knowing that it was visible to everybody in the room, including Yoritomo.

Especially Yoritomo.

The dancer continued to drive her audience into a frenzy, now spinning in a tiny circle as the men closed in on her like devotees flocking around a holy statue. The music and her movements stopped abruptly and Shizuka tilted her head back as far as her hat would allow, and like before brought her thumb to her lips, smudging her rouge before lolling her tongue and licking her thumb, her eyes closed.

Her arm fell to her side as she directed her storm blue eyes at Yoritomo, waiting. Challenging him.

Yoritomo raised his hand and the sobering Kagetoki practically flew from Morinaga’s side to await his next orders. But the warlord was more than capable to take matters into his own hands. The crowd parted as their lord made his way to the shirabyoshi dancer and snatched her arm. They knew he wouldn’t take no for an answer.

“We wish to be left undisturbed for the night,” Yoshitsune said calmly. “Enjoy the rest of the party.”

Kagetoki let out a sigh of relief as the men cheered and called for more sake. Without further ado, Yoritomo whisked his quarry away from the crowd and into his chambers.

Yoshitsune’s heart thundered against his ribcage half out of excitement and half out of fear. They were going deeper and deeper into the mansion and he nearly crashed against his brother’s back more than once. His always looked larger and expansive, hence why Yoshitsune was a perfect cast for Shizuka’s role. He was nimbler, prettier, more laid-back and less dangerous, always a second to the stoic bulwark that was Yoritomo.

His thoughts came to an abrupt half when Yoritomo pinned him to a nearby wall, almost knocking off his hat and dislodging the ridiculously long wig. In his panic, Yoshitsune forced a smile and was met by Yoritomo’s smirk before the bigger man pushed a thumb against his lower lip.

“You thought you were doing the smart thing trying to save Shizuka-dono,” Yoritomo whispered. “Only to land right into my trap.”

The Minamoto patriarch ripped open the collar of Yoshitsune’s white costume and tilted his brother’s head to expose milky white skin before planting his teeth. The force of Yoritomo’s bite and the fever that spread across Yoshitsune’s body was so intense that it rooted him on the spot. Yoshitsune made a strangled sound as Yoritomo sucked, knowing it would bruise but not enough to draw blood. Sweet, warm blood that Yoritomo would drink and let mix with his own Minamoto blood, making it whole.

Yoritomo gave the mark several kitten licks before withdrawing and admiring his handiwork. It bloomed like red peony on a field of snow, he thought. Like the splash of red that smeared across Yoshitsune’s powdered cheek.

“Rest well, Yoshitsune.” Yoritomo gently cupped his brother’s cheek. “Don’t let the man catch you like this.”

And just like that, he left Yoshitsune to his own devices. The younger man sagged onto the floor, stunned.

He couldn’t wait to tell Shizuka everything when she returned.

Thank you, Sukiyaki Western Django for the reference. It's one of my favorite scenes from the movie aside from Yoshi's shirtless scene. Also, watch an actual Shirabyoshi dance here.

The character design for Yoshitsune and Yoritomo in this fic are based on a Japanese-only otome game called Tokimeki Gensou Koi Suru Genpei. There's literally little to no info on this game in English and it makes me sad :((

Left is Yoshi and right is big bro Yori

#minamoto no yoshitsune #minamoto no yoritomo #yoriyoshi #yoshiyori #minamoto brothers #genpei war fanfic

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hypmic-translation · 4 years

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Femme Fatale

ALL: We are Chuu-oku Mic in hand, so heed this warning (Uh) Ha, we are Chuu-oku Check it out, we are the Party of Words

OTOME: Now, marching forwards with dignity Bringing together words and sound; step aside, men Just like Moses, this is Tohoten- -Otome, you will advance under my will, OK Services are handy, showing you mess around (1) Before you is my manifesto-likeness With such a high head you’ll regret making me your enemy

ICHIJIKU: A worse bark than your bite, non-existent beef (2) Get my name out of your mouth, it’s Ichijiku Us bad queens will ensnare you Our approval rating is always going up Lips spit out perfected rhymes The top is where we’re destined to be Try and remember my name with that puny brain “Kadenokouji” Firing shots Be afraid

NEMU: SHUT UP! SHUT UP! It’s no use complaining Those half-hearted, borrowed words of yours won’t win here, will they? To the buried relatives in coffins, RIP (3) Another win! Half-finished isn’t acceptable (Get out) Turning to violence makes you inferior (Get out) I am Nemu, a masterpiece Changing the world with the power in my words, all right (4)

CHORUS: To the right and to the left, now march forwards proudly We rule this revolutionary show Women will get the last laugh in the end (5)

To the west and to the east, aim towards that mountain peak We rule this revolutionary show Pushing the limits a little bit more

ALL: Yeah, we are Chuu-oku Mic in hand, so heed this warning (yeah, yeah, yeah, yeah) Hey, we are Chuu-oku Check it out, 5, 4, 3, 2, 1, bang!

ICHIJIKU: Hear my example one verse (one verse) My limit is widespread bogus Rising above layers of crap into peaceful progression Dazzled by the present, stand up and wake up

OTOME: Hands up, hands up! Immediately subjecting you to rapid-fire enquiries

NEMU: Pay attention! From today winning will be routine Gathering together from above all the beat-down divisions

OTOME: Deciding on a target ICHIJIKU: Who should be next? NEMU: Hypnosis becoming the Party of Words’ ALL: Dizzying anthem ICHIJIKU: Cutting through OTOME: The city slums NEMU: A skilfully managed ALL: Groove

OTOME: Leaving decisions to this pair of “role models” NEMU: Rhyme and flow; labouring ‘til they shine Remembering that amateur imitation back home ICHIJIKU: This melody is your thorough discipline BOTH: A lack of weakness is our selling-point, now, ready go

CHORUS: To the right and to the left, now march forwards proudly We rule this revolutionary show Women will get the last laugh in the end

To the west and to the east, aim towards that mountain peak We rule this revolutionary show Pushing the limits a little bit more

OTOME: (Answer me, answer me) Meet the demands of this information warfare lifestyle ICHIJIKU: (Answer me) Three people suddenly forced together creates an entertaining battle NEMU: (Mop it up) This word bullet will mangle the left half of your brain (6) (7) Ah yeah (Ah yeah) (x2) Leave it to us ALL: It’s time for a revolution!

Uh, we are Chuu-oku Mic in hand, so heed this warning Uh, yeah, we are Chuu-oku Uh, check it out, we are the Party of Words

Come on, we are Chuu-oku Pen running, you’re already addicted Uh, yeah, we are Chuu-oku Uh, check it out, we are the Party of Words

OTOME: Talent for the pedigreed, only [1] NEMU: Made complete by unparalleled power [2] ICHIJIKU: Look and observe our advanced technique [3] ALL: Behold all of our dignity and grace! Check it out, we are the Party of Words

NOTES

The phrase “mess around” usually refers to drinking or gambling.

A reference to one of Rei’s lines from DBA+.

A reference to her and Samatoki’s last name, which means “blue coffin”, and their parents too most likely. The “RIP” also shows up in Samatoki’s Summit verse.

Ichiro has a similar line in ‘Break the Wall’.

A reference to one of Dice’s lines from his first solo, 3$EVEN.

I went with the word “mop” there because the meaning is sort of similar to the phrase “mop the floor with you”.

A reference to Tadanobu Tsunoda, a Japanese author and physician who believed that “Japanese brains process music using the left side of the brain, as opposed to Western brains”.

The following notes are more speculation than they are actual facts, so I’ve separated the two to keep this short.

Otome was raised as the daughter of wealthy, powerful politicians (canon as of the guidebook drama tracks), and likely grew up to be very privileged because of that. It’s not hard to imagine she probably considers herself superior to everyone because of this, not just men - but then on the flipside, Dice being her son would imply he too is worthy of that talent.

Throughout this song and the TDD manga, a point about Nemu has been repeatedly made - that she wants to become stronger because she considers herself too weak. The fact that, while hypnotised, she thinks she’s “complete” because she’s finally powerful is pretty sad, but also a good indication that she probably wouldn’t be that unhappy working for Chuuoku even without the hypnosis. “Complete” can also be read as “equal”, so it’s just as likely to mean she wants to be on the same level as Samatoki instead of just protected by him.

Although I used the word "technique” here, the original kana was “tech”, which can be an abbreviation for either “technique” or “technology”. “Technique” in this context is obviously in regards to rap prowess, but “technology” is specifically relevant to Ichijiku and her actually using the microphones/directing the Ramuda clones… both of which are things Rei also has heavy involvement in.

#Hypnosis Mic #Hypmic Translations #Chuuoku

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aion-rsa · 3 years

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Inside the Mortal Kombat Movie’s Bloody Love Letter to Martial Arts

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About 10 hours into a November 2019 flight to Australia and the set of Warner Bros. Mortal Kombat reboot, I started to ask myself whether this was all worth it. I loved the original Mortal Kombat movie about as much as anyone unironically can, but the fact remains that the history of live-action video game film adaptations is paved with disappointment. Even the best movies in that field have earned their reputation largely by exceeding low expectations.

After nearly 30 years of failed attempts, it’s hard to even picture what a good live-action video game movie might look like. What is it about the transition from sprites to screen that makes this process so difficult? Is this a pursuit that is, in some ways, doomed to be dictated by those who see such films as another piece of merchandise? What will it take to finally break the curse? Those questions raced through my jetlagged brain as I finally made it to Adelaide and prepared to see what awaited me on the other side of the world.

Shortly into my visit, I was taken off my feet by a line that hit me like an MK player mercilessly spamming a leg sweep. It came in the form of this line from producer Todd Garner that reshaped my expectations and set the tone for what proved to be something that was very much worth the trip and perhaps worthy of your own wait:

“I think it’s great that there are a lot of characters, a lot of lore, and let’s do it all well. But really, people want to fuck each other up.”

Gore and Lore

Garner was, of course, mostly joking. Yet, there is a truth in many jokes, and the truth in this one seemed to be that managing what the Mortal Kombat canon has become can be a daunting task. It’s certainly not made any easier by the fact that there haven’t been many undisputedly great video game movies for the team to work with and use as precedent.

In lieu of notable live-action video game adaptations that made good on their ambition, the film’s production team turned to a source that most would agree has.

“It’s like the Marvel Universe…it’s endless,” says Garner of the Mortal Kombat game franchise. “So we started from the premise ‘What would Marvel do?’”

It’s a useful question that the upcoming Mortal Kombat movie answers in fascinating ways. For instance, as Garner noted, the MCU didn’t start with The Avengers; it started with Iron Man. That film allowed Marvel Studios to ease viewers into a project that was, in its own ways, also somewhat unprecedented. Similarly, the Mortal Kombat movie uses the character of Cole Young as a kind of audience surrogate. He’s a new face in this universe who is also trying to figure all of this out.

It’s all part of a delicate balancing act that requires the cast and crew to constantly ask themselves how this movie looks to a diehard fan and how it will look to someone who is just coming into this.

“There are five million people that play this game religiously, but there are 100s of millions of people in the world,” Garner says. “We didn’t want the other 95 million people to go, ‘What the fuck is this. What is this tone, what the fuck is happening?’”

It’s easy to understand how fans could quickly become overwhelmed. If you haven’t played the more recent Mortal Kombat games, you may be surprised to learn that they’ve adopted a complex serial storytelling narrative that combines years of mythology as well as the events of the most recent games. If you tried jumping into Mortal Kombat 11’s interdimensional, time-jumping story, without at least an explainer of what came before, you’d probably think it was madness. Amusing madness, perhaps, but madness nonetheless.

As it turns out, even Mortal Kombat director Simon McQuoid had a lot of catching up to do.

“I feel like I went to Mortal Kombat university,” says McQuoid regarding the experience of learning the intricacies of the franchise. “I also surrounded myself with a lot of people who know a lot more about this than me.”

In the same way that 1995’s Mortal Kombat benefited from director Paul W.S. Anderson seeking and utilizing fan and crew feedback, McQuoid’s own desire to surround himself with lifelong MK fans is just one of the ways that the crew is determined to ensure they don’t make the mistake others have before them by straying too far from the desires of those who helped make the Mortal Kombat franchise worthy of adaptation in the first place. His efforts ultimately come down to honoring an important word.

“The word I use a lot is ‘respect,’” says McQuoid. “Respect for the fans, respect for the characters, and respect for the canon. The execution ultimately takes that into consideration from the absolute bedrock of listening to and understanding the fans.”

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Of course, as Garner previously eloquently noted, what many Mortal Kombat fans are looking for is over-the-top violence executed with flair. That is a big part of what made the original Mortal Kombat stand out in a crowded arcade scene, and it is certainly one of the qualities that have stayed with the series as it has evolved into this surprising vehicle for complex narratives and diverse characters.

Fatality!

Of course, you can’t talk about Mortal Kombat violence without coming around to fatalities. What began as now strangely humble decapitations and spine extractions has evolved into a bloody ballet of highly choreographed violent ends that account for the lore and ability of every character. It’s something that was largely missing from the 1995 adaptation, and it’s something that Garner admits can be tricky to get right.

“There’s crazy shit you can do in the game,” Garner says. “The problem with the fatalities, in general, is…I’m under the restrictions of the Motion Picture Association of America so I have to live inside those rules.”

In case you haven’t seen the recently released trailer, let me assure you now that the MPAA has not scared the team away from incorporating fatalities and MK’s other, bloodiest elements. In fact, McQuoid is practically at sea with the amount of blood on set.

“I don’t know the gallon number, but I’ve seen drums of blood sitting around,” McQuoid informs his audience of gorehounds with a smile.

So yes, there will be blood and lots of it in the Mortal Kombat reboot, but the team isn’t relying on the presence of blood alone to fulfill their equally important mission of telling a Mortal Kombat story as compelling as the ones featured in the games. Actually, they recognize that there are times when extreme amounts of violence can work against the dark tones that help make the franchise’s universe so compelling.

“When I wanted a serious moment I didn’t want it to get comedic because we’re swashing blood,” McQuoid says. “It’s a tonal thing…you really need to feel it all instead of having people say ‘Oh, that’s funny.’”

Besides, there are other ways to convey the series’ violent nature and brutal style that doesn’t necessarily require a drum of blood. From the first game in the franchise, Mortal Kombat has nodded to at least the cinematic history of martial arts. Whereas that series initially struggled to convey the fluidity and complexity of the best martial arts fights, though, the MK movie team has set a high bar for themselves.

“The first thing I said to [stunt coordinator Kyle Gardiner] was “Okay, Kyle, you have to make the best fights that have ever been on film,” reveals McQuoid.

To anyone with a passing familiarity with the best fight scenes in film history, that idea has to come across as an absurd bit of hype. However, it starts to make a lot more sense when you look at the cast they’ve assembled.

Choose Your Fighter

For a generation of fans raised on ‘80s action films and many major Hollywood genre productions that came after, it’s become somewhat easy to buy into the idea that untrained or largely untrained actors, bodybuilders, and models are the biggest badasses on the big screen. There’s a degree to which that’s what actors are supposed to do, but anyone who grew up on Jackie Chan and Bruce Lee or later found films such as The Raid and Ong-Bak can tell you that there’s nothing quite like watching uniquely talented martial artists push the boundaries of fight scenes by translating their real-world talents into cinematic splendor. In fact, the original Mortal Kombat arcade game was partially inspired by a desire to make a game that felt worthy of a John Claude Van Damme action film.

When it comes to getting Mortal Kombat right, then, there’s little doubt that the only way to go was to cast an all-star collection of martial artists and trained fighters rather than teach a cast of movie stars to look like they can do the things these guys can. However, I can’t emphasize enough just how crazy it was to watch even just snippets of what this essential superteam of martial artists push themselves to do when you put them in a room. Even those who have spent a considerable amount of time around the cast still express awe at what they’ve seen.

“I’ve never made a movie like this before with this much fighting in it,” says Garner. “I don’t know what’s going on half the time, but they really are the best in the business…It’s so fast and even the camera is like, ‘Guys, can you slow down a little bit?’”

In some ways, the heart of this assembly feels like Sub-Zero actor Joe Taslim. As a renowned martial artist who many of us first saw in The Raid: Redemption, many action fans know that Taslim is the real deal. What you may not know is that Taslim is something of a Mortal Kombat superfan. His name was even tossed around a few times on the shortlist of best MK players on-set, as well as by some who suggested that Taslim helped set the pace (and raise the bar) for the speed of the action sequences.

Then you have Tadanobu Asano as Raiden. As a legend of the Japanese film scene who has garnered more international acclaim in recent years by virtue of his work in 47 Ronin, Battleship, and the Thor films, Asano feels uniquely capable of playing the thunder god whose abilities sometimes set the standard in a universe of powerful fighters. He embodies the character so clearly that he’s already got his eye on the out of universe competition

“Yeah, I can fight [Chris Hemsworth],” suggested Asano with a smile at the prospect of a Thor vs. Raiden film.

There also Max Huang who portrays Kung Lao: a beloved fan character who was sadly missing from the previous live-action adaptations. For him, the chance to finally bring that character to life echoes his own desire to further his transition from a celebrated stunt coordinator to a bonafide action hero.

“People like Bruce Lee were my heroes,” says Huang. “The ultimate goal was to become an actor, but there were few chances. A lot of times, it would just be a one-liner and that was it. These last few years I figured ‘you only have one life,’ so I just went for it.”

Few people are more qualified to speak on that subject than Liu Kang actor, Ludi Lin. As an advocate for representation in Hollywood, Lin has previously said how a lack of representation or even the wrong kind of representation can lead to feelings of shame and even isolation. For Lin, working with this many talented martial artists on a major Western production isn’t just a chance to showcase his own abilities; it’s a chance to help millions feel like they’re being seen.

“Look, 60% of the world is Asian. A quarter of the world is Chinese,” says Lin. “I just don’t understand why there can only be one [in Hollywood films].”

Increased representation is always important, but at a time when violence against Asian Americans is on the rise, it stands to reason that the portrayal and prominence of Asian actors on film may be on more minds than ever before. So far as that goes, Mortal Kombat is uniquely positioned to not only showcase Asian heroes but pay respect to the clear Asian influences on the Mortal Kombat series in a way that the MK titles (especially the older installments) didn’t necessarily do before.

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“From my experience working with Simon [McQuoid], I’ve never worked with someone that’s so serious about being that authentic for another culture,” says Lin. “Just walking on set…on this film, there are so many different types of people of different ethnicities, different origins, and different backgrounds. It really represents the world.”

I could go on. Legendary Japanese action star Hiroyuki Sanada as Scorpion, the beloved Chin Han as Shang Tsung, rising star Mehcad Brooks as Jax…even non-action stars or martial artists like Kano actor Josh Lawson have found how they fit into this legendary assembly of cast and characters.

“I was just saying to Asano-san, ‘Kano, he’s only funny because he’s balancing you guys,’” notes Lawson. “On his own, it’s nothing. But as a see-saw, the more seriously these guys take the mysticism and the power, the less seriously I can take it. That’s where the comedy exists. He can walk in and tell them, ‘Fucking hell.’”

Who is Lewis Tan?

With so much of the fun for fans coming from watching their favorite MK fighters come to life and battle on the big screen, it’s hardly a surprise that it’s one of the new characters, Lewis Tan as Cole Young, who has attracted so much early attention. How will he fit into a roster of such established characters? It’s a question that Tan is relieved to finally be able to answer.

“It’s just nice to even be able to talk about the character because there was so much speculation and hype up until this point about which character I’m playing,” Tan says with noted relief. “I wear Ray Bans a lot so people were like, ‘Oh, he’s Johnny Cage. [laughs]’”

He may not be Johnny Cage, even if Tan’s effortless charm and movie star looks make him a prime candidate for the role, but it’s incredible how easily the Cole character seems to fit into this universe of iconic characters. Along those same lines, Tan seems to have quickly established himself among a roster of top-tier martial arts and action actors. In some ways, his vocal enthusiasm for the project best captures the set’s general vibe.

“I don’t want to jinx it either but I can truthfully tell you, I felt magic when I got here and it’s been crazy ever since then,” says Tan of his experience until that point. “It’s crazy because I’m really hard on myself and I’m really hard on the work that I do. Sometimes I’m like, ‘Oh, this wasn’t it.’ And then I’ll see a little of a rough cut of what Simon was doing and then I’m like, ‘Oh. It’s amazing.’ There’s some stuff that I wasn’t on set for and then I saw that stuff and I’m like, ‘That’s the best thing I’ve ever seen.’”

Of course, it’s hard to talk about bringing Mortal Kombat to life without the people who quite literally help do just that.

Exploding Heads and Blown Minds

At one point during my set visit, I found myself standing on a stunning recreation of the bridge that crosses the chasm on the iconic Mortal Kombat stage known as The Pit. It was a massive construction impressively built to serve as both a showcase piece and an actual set practically designed as the stage for one of the film’s fight scenes.

The team informed us that the general philosophy was to ensure that (almost) anything that could be done practically was done practically. A green screen was used sparingly to solve otherwise impossible problems. It’s an approach that appeases the old-school movie fans among us while honoring the raw nature of the older Mortal Kombat games which typically emphasized visceral visuals over more refined sensibilities.

The Mortal Kombat movie actually finds a fascinating middle ground between those concepts. For instance, the film’s costumes showcase the kind of wear and tear that you’d expect to see in outfits worn by warriors locked in an eternal battle, but they’re also designed to not only honor cultural concepts but the idea that some of this armor was designed to be somewhat ornamental at one point in time. They’re refined but appropriately ugly.

The film’s weapons are really on another level. Weapons have become increasingly important to the Mortal Kombat fighting styles over the years, and this film honors that concept through an arsenal of carefully constructed instruments of death that somehow treat even the most seemingly impractical of weapons with a logic that has perhaps only previously been dwelled on by the series’ biggest fans.

No detail was overlooked in pursuit of making sure every character had a weapon that the actor could hold in their hand and feel the power of. From ornate katanas to swords made of ice, the props team clearly fell in love with the opportunity to make even the absurd a reality. We even saw a garden gnome suspiciously snuck into the small arsenal they had crafted.

Again, though, what stood out most is the prop team’s insistence that many of these weapons didn’t just need to look good on-screen. Many of them needed to be balanced and practical enough to be used in battle simply because many of them were actually going to be used in the film’s fight scenes. I don’t know how the weapon designs will come across in the final film, but my gut feeling is that the fight scenes that they allow for will immediately be appreciated.

One other area where those efforts will almost certainly be immediately appreciated by everyone watching the movie is the makeup and practical effects. The makeup trailer I stepped in was loaded with masks, body parts, and the carnage of many early morning marathon makeup sessions. It looked closer to a horror movie than an action film or video game adaptation. That should be music to the ears of any fans that recognize that one of the things that helped the Mortal Kombat series stand out over the years are the horror tones that were used to help craft characters, stages, and most certainly the fatalities.

While we weren’t treated to a fatality viewing while on-set, the team was good enough to describe an exploding head that they were working on for an upcoming shoot. Where that exploding head will rank among the best of all-time (a list that includes films like Scanners, Maniac, and The Prowler) remains to be seen, but their approach sounded fascinating. By utilizing a silicone glass head filled with blood and guts and triggered by an air cannon, the scene figures to pay homage to the techniques of the best such effects of old while utilizing modern advancements designed out of necessity and perhaps a desire to help raise the bar.

It wasn’t long into my trip that the cast and crew emphasized the number of practical effects being utilized, and I certainly understand why. They not only look great, but the fact that so much effort went into ensuring these design elements offer something so much more than good looks seems to perfectly capture the spirit of the movie’s mission to make something that is so much more than it has to be.

Flawless Victory?

If the biggest “advantage” of low expectations is the idea that even lesser efforts can somehow exceed them, then the biggest disadvantage of the expectations set by many live-action video game movies to date is getting people to genuinely feel excited. There’s a big difference between crafting something that makes you think “That could have been worse,” and making a movie that inspires the genuine belief that this isn’t just going to be something different; this is going to be something special.

The highest compliment I can pay to Mortal Kombat is that the genuine excitement expressed by everyone on-set went well beyond a cast and crew that were just happy to be there or felt that what they were doing was good enough. From those who couldn’t wait to play some of their favorite characters to those who were eager to finally showcase what they do best via a production that’s scale equaled the scope of their talents, there was a smile on everyone’s face as they told you what they were working on with the full knowledge that what they were about to say was something so far beyond what you expected.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

I don’t know if Mortal Kombat will “break the curse.” I don’t even know if it will satisfy a legion of MK fans who have had their expectations forever raised by the recent games’ own increasingly cinematic efforts. What I can tell you is that it’s ok to feel excited about Mortal Kombat. Actually, you probably should be excited about Mortal Kombat. I can assure you that everyone working on the film very much is. That, in and of itself, is a victory.

The post Inside the Mortal Kombat Movie’s Bloody Love Letter to Martial Arts appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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kabutoraiger · 4 years

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I think Faiz was so succesful bc it was Jdrama but not really risqué. Which is sad bc nexus and metalder are my fav brand of toku - somber and slightly tragic (1/2)

On a different note, what is your fav jdramas with sexy older men aside from the obviously iconic Dorokei? (2/2)

Maybe while we’re at it, favorite sexy older actors? (3/2)

hm. i guess? mainstream tv-tier Interpersonal Drama isn’t exactly a known selling point for little kids, though. inoue just managed it somehow that wily bastard. at least faiz’s nonsense (the schoolyard-esque roundabout of i like her but she likes him but he likes-) was maybe a little more relatable to children than his other soap opera shit.

whenever i get asked about dramas i start to realize how few i’ve actually seen in my life... but in that category i also really like

60 gohan taisakushitsu - this finally got subbed recently and uh. man. did not expect it to be like it was. i mean that in a good way, just kinda thought it’d be a typical legal procedural but it’s very cinematic and tense and raw. if you like handsome grandpas it’s got that content for sure but occasionally he’s also a total pathetic mess going off the deep end so it might not be for everyone

honcho azumi - very cute police detective dad leads his team who all love him to solve some pretty interesting and sentimental crimes. still only seen s1 and for all i know the others aren’t as good but at least i know for sure mr sasaki will still be very cute in them. kamen rider hibiki is here too as his best friend

suits - tried the korean version and it was SO unbelievably dull and then tried the jpn version and was like wow. what a difference. this has actual characters who are fun and likeable in it and doesn’t bore me to death with legal talk. mr oda yuji isn’t technically my type of old guy but he brings a real Charmingly Annoying Man sexiness to the role. whenever he’s onscreen i’m like “oh this character is such a bottom”

yamegoku - kitamura kazuki kinda seems like he never ages so looking it up just now to find he was 46 here is like. seriously?? his character is a former gangster trying to reform other gangsters and help them escape The Business and he’s the stupidest himbo of all time, it’s great

and not a jdrama but if you don’t mind quite a bit of violence please watch a chinese movie called “bodies at rest” i’m obsessed with it

and i’d probably answer that last question with roughly my same list of hot older men i’d like to see in rider https://kabutoraiger.tumblr.com/post/624948572447735808/

but also asano tadanobu and iwaki koichi (ultimate foxy grandpa)

#replies #Anonymous

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kaweeella · 3 years

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PersonA3!

Chapter 4- Relationship Unclear

Word count- 1334

Description- Kazunari still needs answers, and answers he finds. Though he’s not sure if he likes what he finds

Author note- I spent so long trying to figure out Kazunari’s persona. I was even considering Tuxedo Mask from Sailor Moon. But I did find something that feels suitable. To me at least.

Kazunari says goodbye to Tsuzuru and the Tachibanas and heads out, thoughts racing a mile a minute. Tsuzuru’s right, they have no reasons to go back there and it’s dangerous.

Still, Kazunari finds himself standing right infront of the theater.

He sees the door unlocked and ajar. No one else is around who cared enough to witness it. He looks up at the large and somewhat rundown sign atop the building and sighs

“I’m sorry, Tsuzuru, but I just can’t leave this alone.” He mutters, mostly to make himself feel better about this.

~~~

Tsuzuru decides to take a walk to clear his mind. He saw what happened, right? What was he thinking? “Why not go back to the place infested with monsters that almost killed us?”

Looking around, he sees something that seems rather out of place. A blue door with some sort of fog around it. Even stranger, it's not even attached to a building. It’s just standing there as if it’d have any use the way it is. He walks over to inspect it better and doing so he can hear a… train?

Opening the door, he finds himself once again in the Velvet Room.

“Welcome.” Igor greets as his- friend? Acquaintance? Relation unclear- gives a wave and smile. “So you have no intention of going back?”

“No? I can only put my health in jeopardy so much.”

The white haired man lets out a chuckle. “I think your friend has a different idea.”

“Friend-” Tsuzuru can feel his blood pressure rising. “Miyoshi.”

“Ding ding!” Is he being condescending? It sounds like that but with his demeanor… “I think he might need you.”

Tsuzuru finds himself back on the street with an onset migraine.

~~~

Kazunari enters, using his phone for a flashlight. Despite it being in the afternoon, no light can get in due to the lack of windows. Looking around, it seems different than when he had gone in with Tsuzuru.

He walks down a new long hallway, starting to feel uneasy. Turning into a different hall, Kazunari feels his legs begin to shake, as though he’s going to fall over any second.

Coming across the stage, his legs give out. Only for a moment, but a moment is still enough, as he finds himself standing on the stage. Silhouettes start to appear like ghosts. They all seem to be looking at him and muttering. Whether he wants to or not, Kazunari hears what they’re saying.

“What is he doing here?”

“So annoying.”

“Who invited him?”

“Just get the hint already.”

Kazunari falls on his knees as he puts his hand over his ears.

Though he still hears them. Loud and clear.

“Leave already!”

“No one wants you here!”

“Do everyone a favor and get lost.”

“Didn’t you see his face?”

“How he ignored you?”

“He hates you. It was obvious.”

“But I guess the obvious isn’t something you get easily, is it.”

“Of course not. If that were the case he would’ve given up after the first attempt.”

So many voices. So many things being said about him- to him. Kazunari starts crying. “Stop it.”

“Aww, the truth hurts doesn’t it?”

“Stop! Please...”

~~~

Tsuzuru gets to the theater as quickly as possible and sees the door open. Miyoshi if we survive this I’m gonna kill you. I said not to do one thing and he does it twice!

He feels his clothes change as he enters through the door and he looks around for any sign of Kazunari. “Come on man, where are you?” After a second Tsuzuru hears a loud yell from a familiar voice.

“Stop!”

As soon as he hears it Tsuzuru runs to where the voice is coming from.

When he arrives he sees Kazunari up on a stage, on his knees and crying. He’s surrounded by silhouettes saying horrible stuff about him

“You’ve done nothing but cause him problems! There’s no way he could still like you.”

“If he ever did!”

“Miyoshi!” Tsuzuru calls out, but Kazunari can’t hear him.

That’s when Tsuzuru notices something. Kazunari seems a little… faded. The colors of his clothes seem less vibrant than before and Tsuzuru isn’t sure if he’s seeing properly but he thinks that he can see through him as if he’s slowly becoming invisible.

Tsuzuru runs up to the stage, trying to climb onto it but to no avail, as there seems to be a barrier keeping him in the audience.

Think, Tsuzuru, think. He can’t hear you and you can’t reach him and he seems to be vanishing. What to do?

~~~

“How pitiful.” A voice- a new voice- says “This isn’t how you should go. Do you really want this to be your last moment?”

“My what?”

“Get up. Come on now. How much could the young man hate you given what he’s doing?”

Kazunari starts to feel something hitting the stage. Wiping his eyes and looking up, he sees Tsuzuru. He’s punching the stage like it owes him something.

Tsuzuru sees him having finally noticed him and opens his arms and says something. Kazunari can’t hear him but his face and posture say it all. “Come to me.”

Though Kazunari’s attention is quickly drawn behind him. One of the monsters creeping up behind Tsuzuru.

Without a second though Kazunari runs toward him and jumps, hearing glass shatter around him, along with the voice saying “I am thou, thou art I”. But that’s not his focus. As he jumps into Tsuzuru’s arms he lets out a loud cry.

“Satō Tadanobu!”

Tsuzuru turns to see what is happening and sees a large man with long black hair tied into a bun. He’s wearing a long billowing silk cloak, the back end of it seeming to change into nine large fox tails. Though Tsuzuru can only see his back from where he’s standing so he can’t get an entirely clear look. There’s also a wolf-like creature prepared to attack.

“Agi!” Kazunari yells and the man’s cloak tails separate and ruffle up as he lets out a fire to burn the creature.

“Well? Let’s help him.” Dionysus appears next to Tsuzuru

“Right. Are you alright, Miyoshi?”

“Yeah, just fine.”

“Alright then. Pulinpa!”

Dionysus spins his whip and sends a beam towards the enemy. It stumbles as the attack makes contact.

Quickly looking around, Kazunari spots a stave. Picking it up he realizes it’s made from plastic. “Better than nothing.” He mutters to himself.

He turns back to the beast and gives it a strong whack to the jaw.

It looks up and lunges toward Kazunari, biting onto his arm.

Thinking as fast as he can, Tsuzuru gives a strong kick to its abdomen, and it releases its grip just enough for Kazunari to get his arm back.

Kazunari jabs the stave into the monster’s side. When he does it stumbles and explodes.

“So…” Kazunari starts

“What did I say?”

“What?”

“What did I say, Miyoshi? I said one thing and what was it?”

“...not to come back to the theater.”

“And what did you do?”

“I went back to the theater…” Kazunari looks down to his feet. “Sorry. But thank you for coming to help.”

“It’s… it’s nothing. Thanks for saving me, too.”

“Any time.” Kazunari notices that he’s wearing some sort of cloak, not unlike what Satō Tadanobu was wearing.

“Well ain’t that nice?” A familiar voice yells from above them. “I almost feel bad for interrupting. Almost.” The small pink bird flies down and lands on a chair.

“Thank you for not ramming right into my forehead this time.” Tsuzuru says very bitterly.

“You’re welcome! But that’s not what I’m here to talk about. I need your help.”

“With what?” Kazunari asks.

“The theater. I’m sure you saw what was happening to your buddy there.”

Tsuzuru did see. A pit forms in his stomach as he thinks about it and what the bird could be saying. “What about it?”

“He’s lucky, you know? Had you not gotten here he might have become another victim of this theater.”

#a3!#a3! act! addict! actors!#a3! tsuzuru #a3! kazunari #a3! fanfic #act! addict! actors!#act! addict! actors! au #personA3!

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animaniachan · 4 years

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Thank you for your notes, ep 10 seems so fun! Would you mind explaining the plays a bit?

hello there~~ i don’t know when this was sent bc i fell asleep so sorry for the late response! you’re welcome! Ep. 10 was super fun and i’d be happy to explain the plays! uwu

answers below read more for spoiler purposes~

warning: long post

Overall synopsis of both plays:

they are both based on the idea of the Genpei War, which was a Japanese civil war that happened between 1180-1185 (Heian Era).

the main differentiating factor between the OG and Newborn plays is that OGs went with a tragedy route while Newborn had a happy ending.

i can’t go very deep into the OGs’ play characters bc not much was revealed about them aside from appearances and names. but i’ll provide a description for the newborn characters

however, i do know that Hiro and Tenma portrayed the same character: Minamoto and Yoshitsune/Kurou

for historical accuracy purposes, I will not be referring to them by the character name and instead by the actor’s name

OG Play: Yume no Ato (The Trail of Dreams)

it starts off with a “man”(Hiro) asking a travelling monk (Zen) to listen to his story that was happened “hundreds of thousands of years ago”.

along with the “man”’s narrative, it takes you back to his story as a flashback format.

you then see a fight between the shogun’s portrayed by Reni and Yuzo where Yuzo is killed by Reni in the war. Reni then questions why humans fight each other when they’re all humans.

we then see the rest of the Taira clan including Syu (a samurai), Zen (also a samurai), Hiro (main samurai/shogun), and Kasumi (presumably Hiro’s lover (yes, he cross dressed))

Kasumi begs Hiro to take him/her with them to war which almost never happened during that era.

the group eventually begins to lose trust in one another bc they suspected someone leaked their travel routes to the enemy, causing them to get ambushed. Syu eventually suggests to drop Kasumi from the group bc she’s a female.

Kasumi pleas for Hiro to take her with them. Hiro refuses bc he doesn’t want to endanger her, but she pleas even harder and succeeds.

The group was ambushed once again but they realized that no information was leaked, it was all the enemy’s doing. Syu and Zen stayed behind to hold them off while telling Hiro to escape.

Syu was eventually killed in battle, before dying, he promised his rival (Zen) that their rivalry will be saved for their next life. Zen proceeded to fight the rest of the battle alone (with no conclusion)

Kasumi was also eventually killed in war and was dying in Hiro’s arms. Before she died, she promised him that she’ll be reborn a white bird in her next life, where she’ll be able to fly free and follow him wherever he goes. (top notch voice acting btw)

Hiro has lost everybody in the war, as his last effort, he announced his name aloud to the enemies around him, bascially saying that, “I’m right here, if you want to kill me, come get me!” and fought as the lone soldier in his clan.

the play now returns to the “man” telling the story and the monk. the monk is surprised on how detailed the “man”‘s story is, stating that it’s as if “the man saw it with his own eyes”.

the man gives an interesting quote here, saying that: “once upon a time, there were friends who fought together upon this land and talked about their dreams. But now, they are nowhere to be seen, and is only left to rot alone.” which is a direct reference to the OGs with Mankai imo

it is eventually revealed that the “man” was the spirit of Hiro, who was unable to pass on because he was bound by his regrets and guilt for the death of his friends by taking them to war.

the monk had a realization moment, before he helped Hiro’s spirit move on by showing him a pure white bird, indicating Kasumi.

the stage direction eventually shone a light towards the audience, symbolizing that the audience is their “light” where Hiro eventually walks toward and disappears

after Hiro disappears, the monk revealed himself to be the spirit of Zen and he also follows after Hiro towards the light and disappears.

the play ends with an empty stage, as if nothing was ever there in the first place.

Newborn Play: Shinsetsu: Kurou-den (The New Legend of Kurou)

Tenma portrayed Kurou/Minamoto no Yoshitsune, a samurai whose personality depends on his alcohol intake. If he’s drunk, he is very cool, calm and collected, fearless, etc. but when he’s sober, he is a major wimp and scaredy cat.

Tsuzuru portrayed Benkei, a samurai who is a friend of Kurou, who is also responsible for switching Kurou’s personalities by providing him with the alchohol. He is a very smart, savage, and strong samurai.

Misumi and Masumi portrays brother samurai characters, Tsugunobu and Tadanobu. They eventually swore loyalty to Kurou after he saved Tsugunobu from dying.

Chikage portrayed Minamoto no Yoritomo, Kurou’s long separted brother and the antagonist of this play. He plots to get rid of Kurou so he can become the sole ruler of the Minamoto clan.

Kumon portrayed Yasuhira, a young master who had to shoulder the burden of his household after the death of his father, the previous master of the house.

Tenma changes his personality several times throughout this play. For my sanity purposes, drunk Tenma (the cool one) will be represented with D•Tenma and wimp Tenma will be W•Tenma.

the play starts with Tsuzuru challenging D•Tenma to a duel as an attempt to get Tenma’s sword as part of his victory collection. He lost the duel and was asked by Tenma to travel with him to see the world together. Hence, the iconic comedic duo was born.

it then gives us a montage of all some of the adventures between Tenma and Tsuzuru.

D•Tenma and Tsuzuru eventually arrives at Kumon’s household to work for them where he was introduced to Kumon through Kumon’s father (still alive at the time)

that is also where they meet Misumi and Masumi and challenged each other to a friendly duel. This is where W•Tenma was revealed to the both of them.

Tenma got the chance to meet Chikage where Chikage wished for them to work together and rule the clan as brothers (ha)

the four of them then went on an expedition together. In that expedition, Misumi almost died (fell off a cliff) but was saved by D•Tenma, that was when Misumi swore his loyalty to Tenma.

the next day, the group went to help some allies who were having a hard time in battle.

unfortunately, W•Tenma wimped out and wanted to escape. This resulted in Misumi getting injured from protecting him. The brothers now had to retreat bc Misumi needs to heal his injuries.

the group now realized that they’ve been banished by Chikage.

the conflict of Tenma having to rely on alchohol to remain strong also surfaced.

when they finally returned to the mansion, the enemy attacked him and Kumon escaped, leaving Tenma and Tsuzuru to fight.

they were outnumbered, so Tsuzuru opted for Tenma to escape first so he can confront Chikage.

W•Tenma didn’t want that, and was hesitating. Tsuzuru was going to force some alchohol in him, when W•Tenma actually fought back for once in his wimp self. This resolved the conflict of Tenma’s personalities and he can now he semi-strong without alcohol (character development whoo)

and so, Tenma went to confront Chikage head-on. They fought, and Tenma managed to escape (don’t know what happened to Chikage.)

Tenma arrived at the sea shore where a raft was placed. There, he met up with Misumi and Masumi, who opted to follow him. When asked about Tsuzuru’s whereabouts, Tenma told them that Tsuzuru went and fought those enemies alone.

just when they all thought Tsuzuru died, he appeared, alive and well.

the play ended with the four of them escaping on the raft and continuing their adventure of “seeing the world” together.

#yona spoils act 3!#a3!#a3! act! addict! actors!#q&a w/ yona #nehamerchant123 #act! addict! actors!#a3! game #a3! act 3

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hotarutranslations · 6 years

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Tsubaki Factory's Kishimoto Yumeno's "20 Questions 20 Answers" Haro Puro Love Talk!

In 2018, we’re having a celebration of the Hello! Project 20th Anniversary (Hello Love). For the members who belong to Hello! Project, their thoughts on the 20thanniversary activities and enthusiasm for 2018, thoughts of an everyday idol, we had a passionate “20 questions 20 answers” talk~ This time its Tsubaki Factory’s Kisimoto Yumeno!!

Kishimoto Yumeno = Born April 1st 2000, 17 years old. From Osaka. Blood Type B.

Q1: Tell us the meaning of your name!

It seems that I became “Yumeno” in hopes that I would grow up with dreams. Hiragana was used because it looked cuter than kanji. Aren’t all the characters round! When my name is lined up on a class roster, I can immediately find myself.

Q2: What senior do you admire?

Berryz Koubou’s Shimizu Saki-san. She is very good at dancing sexy. Her singing voice is also cool. Her performing is cool such that her normal playful appearance is funny to me. Also I have been touched by her kindness. I admire her because she is very kind! When I was in Kenshuusei I got to appear in a Berryz Koubou tour, all of the participating Kenshuusei were nervous, it always had the feeling of ‘be careful’. At that time Shimizu-san told us “Its ok for everyone to sit down,”. It was a small thing from Shimizu-san, but it was a big thing for me. It made me really happy!

Q3: Who would you want to be reborn as?

Matsuura Aya-san. She debuted as an idol and as she became and adult did acoustic and band lives. I think that’s cool.

Q4: What do you think you’re the best at in Hello! Project?

Being a commoner (laughs). Alone without caution, I’ll go into restaurants others won’t enter. Like Gyoza no Osho or Hidakaya; I will normally go to places that salarymen go to on their way home. Even when I went diving, I brought kimchi fried rice I had made myself in a Tupperware.

Q5: Tell us something amazing about Hello! Project!

Our singing and dancing abilities!

Q6: Who would you want to be in a special Hello! Project unit with?

Former Morning Musume Tanaka Reina-san. Now she is in the rock band LoVendoЯ, its really cool. If we were ever to be in a unit together, I’d want to pump everyone up with a passionate rock feeling!

Q7: Tell us a Tsubaki Factory song you like!

“Seishun Manmanaka!” is our indies 1st single, it’s our first single but I also personally like the lyrics.

Q8: What is a Hello! Project song you like?

Berryz Koubou-sans “Yuke Yuke Monkey Dance”. I love Berryz Koubou-san, I also have memories of Berryz-san; I like this funny song.

Q9: What is the difference between previous and current Hello! Project?

Recently we have a lot of techno-like songs. I don’t think there was much of that previously, recently I think that idol songs with cool EDM are accumulating.

Q10: Other than yourself, who is your oshi in Hello! Project?

Morning Musume ‘18’s Oda Sakura-san. She is of course skilled in singing, she’s amazing. Even when first looking at Oda-san, singing is what you immediately think of. She’s amazing at synchronizing singing and dancing. There’s no blur between her singing and dancing. Her overall performing is amazing!

Q11: What do you want others to see most from yourself?

My large height perhaps. Now I’m 167cm, I want you to see my use my long limbs dynamically!

Q12: What is work you want to challenge?

Radio. I think I am the most into listening to the radio the most out of the members. The staff around me are also in charge of the radio programs, aren’t there a lot of Hello! Project members with radio shows? Since Tsubaki Factory are also members, I want to do it! I can relay more things about myself, I want you to know more about me. Also, I want to broadcast the various songs that I like.

Q13: What do you want others to see most from Tsubaki Factory?

Whether it’s a cool or cute song, we’re not masculine. With our choreography and costumes, somewhere femininity is hidden. We have many straight feminine numbers, I want you to see them.

Q14: What will you be doing in twenty years?

Ideally I want to be doing whatever I want. I’d like to be relaxing at a beach house. I’m someone who would always be at a beach house (laughs). I’d be ok even if I’m the person running and managing the beach house, from there I’d want to do diving and the like. While doing that, I’d want to do work occasionally as a radio DJ that I long to do (laughs). Rather than being married, perhaps I’d still be playing around? Maybe I wouldn’t be married yet. Since there are a lot of things I want to do.

Q15: Since it’s the 20th anniversary, tell us a secret!

The members know this but, I still haven’t given 3 members gifts for their birthdays from last year yet (laughs). I bought them but I missed the timing to hand it over…Now, there are three in Tsubaki Factory and one in another group that I haven’t given presents to, so the total has come to four. They’re placed in my room, and I worry about what kind of face they’ll make if I hand it over now. Since I was late, I’ve thought, maybe it would be better to wait a bit longer?

Q16: After the 20th anniversary, what would you like to do?

Since singing and dancing are different things, my personal goal for this year is not “Singing + Dancing”, its “Singing x Dancing”! Like, wasn’t Michael Jackson amazing at singing and dancing? Those who can dance and sing smoothly are so cool, I aim to be like that!

Q17: What would you be doing if you weren’t an idol?

Since my dream was to become a middle school teacher, perhaps properly studying to go to university? I was helped out by a wonderful middle school teacher, Thanks to that person I came to chage my mind on things. I think I’d also like to have that kind of presence for someone.

Q18: What are you most into right now?

Listening to music. I’ll buy a CD, record or cassette I don’t know of based on the cover. I have a record player, but I got a new one so I can listen to cassettes. It surprised me recently but, Asano Tadanobu-san made cassette tapes. I thought ‘he sings?’ with a techno music. His voice isn’t in it at all, its 90 minutes of just that (laughs). Recently when I was listening, I thought ‘Did I put the cassette in the wrong way?’, but it’s just that kind of work. They only made about 200. I got my hands on a rare thing!

Q19: Who do you get along with in Hello! Project?

Angerme’s Takeuchi Akari-san. Recently we’ve been getting closer, and from now on I’d like us to be better friends. The first time we hung out we went to do Hatsumode in Ueno, and we went shopping. We bought matching socks. We often contact each other, and she has also promised to give me hand-me-downs.

Q20: What is an idol to you?

I’m not this right now but, idols have the image of being above the clouds. Even if you didn’t cheer for them because of you especially like them, when you listen to Matsuda Seiko-san normally, or listening to Mastuura Aya-san, I really feel like they have the presence of being in the clouds! It is an unattainable presence.

https://thetv.jp/news/detail/140086/

#Kishimoto Yumeno #Tsubaki Factory #Hello! Project #Translation #Interview

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fareastfilm · 4 years

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FEFF Campus film review - ‘Labyrinth of Cinema’

WRITTEN BY JOSEP SANTCRISTOFOL SORIA

No one thought that the great Nobuhiko Ôbayashi would make another movie after the release of the magnificent Hanagatami (2017). He was diagnosed with lung cancer during pre-production and was given only a few months to live. It is nothing short of a miracle that he was able to not only direct, but also write, edit and produce another movie, all of that while receiving cancer treatment. While Hanagatami felt like a passion project, his magnum opus, Labyrinth of Cinema, feels like a farewell to cinema and to his fans.

In an unspecified time, a movie theatre gets turned into a time machine. A group of three students will slip into the war film they are watching, reliving some of the most defining moments of Japanese history. Above all, though, this movie is a love letter to cinema, to the communal experience of watching a movie in a theatre. We have all identified with a character in a film so much that it seemed as though we were feeling their emotions, “living” through their eyes. Ôbayashi turns this feeling into a literal experience, with the three students becoming characters in this movie inside a movie. There is a constant reflection over the nature of cinema. Is a movie purely fiction or is it also reality? The director does not shy away from trying to give an answer: movies are as much a part of reality as the feelings we experience.

Labyrinth of Cinema is not only a journey through the experience of watching a film in a theatre, it’s also a journey through the chaotic history of Japan, from its feudal days to the turning point that was the bombing of Hiroshima in the Second World War. Another important topic the movie touches is precisely the relation between cinema and history, drawing attention to the fundamental role that cinema plays in terms of building historical consciousness. It is not a coincidence that Mario (Takurô Atsuki), a film fanatic, is the only one here who seems to know anything at all about history. Cinema does not only have the power to change the future, it also has the power to rebuild the past.

The rhythm of the movie is frenetic, with a constant jumping from one era to another which makes it almost impossible to not get lost at some point, though that’s not a bad thing as the universe of the movie is so rich and captivating that it’s just a pleasure to let go and enjoy the wild ride. Ôbayashi’s eccentric editing style is present from the beginning, it might not be as whimsical as in Hanagatami, but it gets even more absurd and comical, going from Japanese soldiers dancing ballet to famed filmmakers Yasujirō Ozu and Sadao Yamanaka talking about cinema in just a few seconds. The movie becomes a constant parade of wacky characters and the whole cast really plays into the nutty psychedelic tone of the movie, with some of the supporting cast – including Tadanobu Asano - being particularly funny.

The length of the movie might be a drawback for some, but it shouldn’t be as it keeps reinventing itself and the amount of interesting ideas that it poses is absolutely stunning, feeling like a sum of all he director’s thoughts about cinema as an art. Labyrinth of Cinema is such an optimistic goodbye from one of the greats, which is the most striking thing about such a marvellous film. The director sadly left us two months ago but he did so with a message that cinema can make us change for the better and, in quoting his own movie, “he will survive as long as we all can remember him”.

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hotcocosharing · 7 years

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Lose To Win Chapter 2: RSVP (HLITF & KBTBB )

Title: Lose To Win Chapter 2 Fandom: Her Love In The Force & Kiss By The Baddest Bidder & Metro PD: Close To You Rated: Drama, Thriller, Angst, Fluff, Smut HLITF & MPD’s MC: Mika HIJIKATA KBTBB’s MC: Mia SAKATA Characters: Goto, Kaga, Ishigami, Soma, Ayumu, Namba, Eisuke, Soryu, Mamoru, Baba, Ota, Kirisawa Summary: How this all begins- a surprise visit from MPD & Public Safety. Eisuke wonders what they want, do you? Background: This series occurs (6 months) after the previous series Switching Places , click on the link if you’re interested or confused at any point.

Mika first encounter with them again 2 months after the fail operation, it was Baba’s birthday and it led to a 4 parts Epilogue with 3 parts smut. At last, Mika had moved and avoided all contacts with the bidders, making it clear to Mia that she couldn’t meet them under any circumstances.

Another 6 months later, she was back at the Tres Spades Hotel under Eisuke’s request. (Order) Then bumped into an old acquaintance, had sex in Eisuke’s office. Now her former and current bosses are here too. Notes: sunflowerblackrabbit / ladystar0710 / medievalbingeprincess69 / silver-red-rose / makingastar / ayaka-oh / mirandaflamel / dms-903 / vmendoza1901 / tsuki-tsundere

Special thanks to my beta reader- @nitelotus she has helped me so much

★★★★★★★★★★★★★★★★

The bidders have no time to grill Mia about her knowledge of the uninvited man who’s just screwing you in Eisuke’s suite moment ago as more guests enter the penthouse, Mia gasps at the new arrivals. Your eyes widen at all the superiors, whatever this is, it’s big but you can’t help the small curl of a smile at the corners of your mouth when a tall and muscular man winks at you, “Hello my little bird.” You run and give him a hug like a little girl seeing her favorite idol but this man is more than that, he’s like a father to you, your mentor and the person you’ve always looked up to.

“Hey, you never hug me like that?" Quickly letting go you stick your tongue out while the tall man chuckles, "You’re a prev, that’s why.” Kirisawa clears his throat from behind to remind them the more urgent matter in hand.

“Hello, Mr. Ichinomiya. I am Jin Namba from Public Safety and this is ..”

“Nomura Tadanobu from MPD.” Eisuke rises his brows and shakes Namba’s hand. “Why don’t we talk in private?” Namba cuts right to the chase, Eisuke shares a look with Soryu and head upstairs. Nomura, Kirisawa and Kaga follow, “You too, Mia. I need the window disinfected." King asshole glares at you and Kaga while Mia looks confuse but grabs the cleaning products anyway.

"Mika?” Namba motions you to join with his chin, you head back to the place where you and Kaga have just had sex, not weird at all. At least you keep telling yourself that while you walk behind the men and see Ota smirks in amusement.

“Now, can someone tell me what is going on instead of being useless?” Eisuke gives you two the death glare again, clearly very irritated.

“We’ve got a tip about the illegal drug exchange in your hotel. And captain Kaga here has come to arrest the men in action.”

Eisuke remains unfazed at the news, meaning he has known or guessed as much when he “borrows” you, “Why are you two here?” He asks, meaning Namba and Nomura.

“Well, our communication with Kaga drops after he’s knocked out the suspects.” Namba explains, pulling a cigarette out from his pocket. “Do you mind?” Eisuke pushes an ashtray towards him without answering as Nomura begins to speak. “MPD needs a suspect in custody and so does Public Safety.”

Eisuke doesn’t care about justice or rightful sentence, that’s not his job but he gives a fuck when people are bringing drugs to his hotel, that’s just not acceptable. “Mr. Ichinomiya, you did request for our help.” Nomura smiles and Eisuke gives Soryu a nod, “You can have the other guy but Mr. Ito is our hotel guest, I can’t just give him to you.”

Namba blows a ring out, blurring the King in sight. “Do you plan to interrogate him yourself?”

“No. I don’t do everything myself.” Eisuke answers with a grin.

“An hour.” Soryu adds.

“Who knows what you'd do to him in that hour,” Kaga protests, “I’ll do it."

The two men stare at each other, both men are experienced with interrogation. "Why don’t they both interrogate Mr. Ito?” Namba suggests, Eisuke uncrosses his legs and nods at Soryu again before the two leave the door while you pray they don’t end up killing each other.

“Mia, coffee.” And that’s the cue for her to stay away from the conversation, at least for a short while. Folding his arms, Eisuke sits up a little and asks firmly, “Why are you really here?”

As much as you dislike the guy, Eisuke Ichinomiya is so damn smart. “There will be a bigger deal on a cruise.” Namba puts his cigarette out, “And you are invited, I believe."

Nomura and Kirisawa sit quietly, waiting for further explanation. "The Dreamers Cruise, by invitation only and they are inviting all sort of people around the world to try their first trip. Celebrities, politicians, businessmen, a perfect place to sell drug when they are out in the high sea.”

“I can’t get you an invitation.” Eisuke interrupts.

“No, you can’t but you can give the number of guests in rsvp.” Namba grins knowingly, “Plus all the VIP gentleman have an invitation of their own.”

Eisuke studies Namba carefully and wonders just how much he knows. “How many people do I need to bring? I am not babysitting for the police." The CEO speaks coldly.

"Just three, we even have their identities covered.” Namba puts a brown envelope on his desk, “Captain Kaga as a mafia member of the Ice Dragons.”

Oh what? This isn’t going to set well with him, being under someone is never going to work. It’s a miracle that he listens to Namba, he sure as hell isn’t going to act the part and listens to a mob boss.

“And Lieutenant Goto and Mika will be acting as couple, as Mia’s sister of course.”

Eisuke looks at the files, scanning the names and occupations. “They work in my company? Meaning I’ll be forging their employees details?”

“Oh no, we have that cover too. Mr. Ichinomiya, we simply need you to agree and play the part." Namba never needs mean comments or cold stares to get someone’s convinced.

"Mika too?” It’s Nomura’s turn with questions, “I hope you are not stealing her away from me"

"Steal? Tadanobu, she’s ours to begin with. She may have transferred to second unit but she’s one of us, always will be.” He winks at you while you hear a small gasp from Kirisawa, he has no idea as Nomura has kept it a secret from the team. You want to fit in, being the centre of a “former” public safety will only cause unnecessary rumors and troubles.

“I supposingly can provide the help you need but why would I help? Are you going to blackmail me?” Eisuke’s eyes darken.

“Mr. Ichinomiya, this goes beyond just some drug trafficking. The organization must be big and structured enough to have that many hotels and people involved. We suspect there’s more than just drug, they are a potential threat to our country.”

Eisuke listens but looks nonchalant then Namba shows his upper hand, “The name Kazumi Tanaka is on the invitation.” The King stares at Namba, waiting for him to disclose the meaning of it and he hasn’t disappointed, Jin Namba says a name Eisuke Ichinomiya has not heard for over twelve years.

“We also believe he’s formerly known as Takao Saionji.”

Writer’s Note: Takao Saionji is the name I’ve made up for Eisuke’s biological father since there’s no info about him and his face’s only shown once in Jap version of Love Trap so I let my imagination do the work.

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whatdoyouexpectthistime · 7 years

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‘Choosing Sides’ Part Twenty-Three - Plaster Dust

Awkwardly, Miho sat, cuffed, under the cold gaze of the one know to her only as Genever.

“Tattoos aside, you don’t look like you belong here,” Miho said carefully, but the woman scowled.

“What the hell would you know?” she snapped.

“I have a decent imagination,” Miho countered. “The mafia? How does a girl like you wind up falling in with the likes of Mr. Oh?”

“A girl like me?” Genever sneered. “A woman like you wouldn’t understand.”

Genever’s eyes then narrowed, and she put herself right in Miho’s face. “Or maybe you do. Most people would be trembling in their shoes with the threat of Mr. Oh looming over them, but look at you, all composed and shit.”

“I’m plenty afraid,” Miho admitted. “But if I’m going to be dead soon, I may as well know who is doing the killing and why.”

“What difference does it make?” Genever snorted, straightening when Miho shifted uncomfortably.

“Have you ever killed anyone?” Miho asked, tilting her head. “Will you be the one he orders to pull the trigger?”

“Shut up,” Genever growled, looking like she might throw a backhand.

Miho was saved that by the ring of Genever’s phone.

The girl’s entire expression changed the moment she saw who the caller was.

“If you move,” she glared viciously, pointing in a threatening way with her phone in her other hand, “you’ll get the answer to your question.”

With a final pointed look, Genever stepped out of the office and closed the door over most of the way.

Sit here and wait to get whacked, or rifle through this office?

“Well if you’re going to die anyway,” she muttered as she got to her feet, though she hadn’t really thought through how she intended to search through Soryu’s things without the use of her hands.

As she attempted to move her body in such a way that would allow her to open a desk draw, the sound of a familiar name caused her to freeze.

“What the fuck do you mean ‘he’s unreachable’, Nomura,” Genever snarled, somewhere in the room beyond.

The second name assured Miho it was her Nomura the woman spoke of.

“Kirisawa assured me I’d always be able to reach him. Where is he?”

“Nomura and Kirisawa?” Miho exhaled, nudging her ear against the door. “Why would a mob thug be called by Nomura about Kirisawa?”

Inhaling a deep breath, she pushed open the door a little further, and saw Genever by the window some ten metres away.

“That’s it, I’m out,” Genever barked, throwing up her free hand. “You guys strong armed me into this but I didn’t agree to get myself killed.”

“Genever,” Miho said clearly, and the other woman turned, white hair fanning out around her as she did, framing the deep scowl knitting her brows. “Let me talk to Nomura.”

“Get the hell back in there, Ohira,” Genever instructed sharply, phone at her side.

“No,” Miho glared back, “because if you’re talking to Nomura Tadanobu about Kirisawa Hiroshi, then I want to talk to him, right now.”

Genever blinked, perplexed, and silence settled until Nomura’s voice called with faint urgency.

“Miho?”

Instantly this caused Genever to end the call and advance on Miho.

“Okay, spill it, everything,” she commanded, stopping only when she stood just shy of touching.

“I’m Public Safety,” Miho announced – no sense really in getting into exactly whether Public Safety did or didn’t consider her under their employ. “Your turn.”

“I said everything,” Genever scowled, but now Miho had something over her, there was a whole lot less to fear.

“Both of us have a lot to lose if Mr. Oh finds out we’re connected to the police, Miss Genever,” she responded, finally finding proper calm again. “Judging by your reaction to hearing my association, I don’t think you’re actually an officer,” she continued. “So what then? Informant?”

Conflict waged a war in Genever’s pale eyes.

“There is something far bigger brewing than whatever it is you’re here for,” Miho added in for consideration. “So, maybe you could remove the cuffs? They’re killing me.”

“Just sit down,” Genever huffed, giving Miho a gentle nudge back, and when Miho’s legs hit the sofa she flopped down uncomfortably with a grimace. “What’s this big thing?”

“Terrorists seeking top secret information that’s currently somewhere in the Tres Spades,” Miho answered, feeling like that’s all she did these days. “I don’t know where, or who has it, hell maybe your boss has it.”

“No, if Mr. Oh had something that big I’d know,” Genever replied shaking her head.

“Which is why you were left here to mind me, while he and the other guy disappear to do something shady.”

“Hey, leave Inui out of this,” Genever snapped, and Miho narrowed her eyes.

“Is he a double agent too?” she asked, and Genever pressed her black painted lips together so hard they very nearly turned white. “What’s that look for?”

“Nothing, it’s nothing,” Genever grumbled, seeming to have lost her sharp edge. “I can’t uncuff you, or let you go,” she went on. “Mr. Oh will kill me, and then you when he finds you.”

“Then he’ll kill me if he finds out why I’m here,” Miho noted. “Not that I expect you to turn me in. Why is Nomura calling you?”

“Kirisawa is my handler but he’s off doing something and just left me here, bastard,” she answered.

“I know him too, and that doesn’t sound very much like him,” Miho frowned. “Something important must have come up.”

At this Genever snorted.

“More important than the life of some loser.”

“You want out, is that it?” Miho queried. “Wait, do you know something about these terrorists?”

“No! I’ve heard nothing like that. I’m supposed to be looking for drug connections.”

“So what now?”

As if in answer, Genever’s phone rang, and she fumbled to answer it.

“Yes, Boss?”

Soryu.

Tensing, Miho watched as Genever’s eyes settled back on her.

Uh oh.

“Right away,” Genever assured, and then hung up. “We’re going to the Tres Spades.”

“What’s going on?” Miho inhaled, getting to her feet.

Even if she could overpower Genever with her hands cuffed behind her, if she ran, chances were Genever would be punished severely, and knowing she was under Kirisawa’s purview changed everything.

“Didn’t say,” Genever grunted. “But we’re going, so don’t fuss.”

“Wouldn’t dream of it,” Miho sighed, and allowed herself to be directed out of the office.

They talked no more, not in the car ride, not as they crossed the foyer with a jacket looped over Miho’s cuffs, and not as they rode the elevator up.

She hadn’t seen Eisuke since she’d skipped out on him the previous night – that was one concern; the other of course, was what they needed her here for.

“Just, try not to piss them off,” Genever advised quietly at Miho’s back, before escorting her into the penthouse.

“I’m not especially good at that,” Miho muttered mirthlessly, her chest tightening the moment Eisuke came into view.

His eyes fixed on her immediately – an icy bolt impaling her through and through, and though Miho tried not to allow her apprehension to bloom into fear, the graveness in each expression around the room made her blood run cold.

Soryu she knew, Ota Kisaki also, but there was another man now, dishevelled and puffing away on a cigarette.

“Kishi Mamoru,” Genever whispered almost into the back of Miho’s hair so as not to be seen speaking as they walked. “Dirty cop.”

“Perfect,” Miho exhaled, then made a point of making eye contact with Eisuke. “What is going on?” she demanded to know, though her voice shook with an authentic amount of fear. “First I’m abducted off the street and interrogated and now I’m dragged up here? Mr. Ichinomiya wh…”

“Stop talking,” Eisuke said curtly.

I wish Baba was here.

“So you really think she is responsible for this?” Ota mused, looking Miho up and down.

“For what?” Miho scowled helplessly, and poised to preach her innocence when Eisuke roughly took her chin.

“You’ve been digging around from the very beginning, haven’t you, Ohira?” he breathed into her face, bringing back the vivid memory of the taste of his lips. “I should have known after the incident in the foyer you were suspect.”

“Suspect of what?” Miho managed to get out.

Still standing behind her, holding her wrists, Genever gave Miho a slight squeeze – perhaps reassurance?

“Sorry,” Aihara apologised, striding back into the penthouse common room with a laptop on hand, “I wasn’t able to trace it back, but it’s been here since just before your little friend was hired.”

Oh shit.

So close, Eisuke just stared, and stared. From his gaze Miho felt great grappling hooks taking root in her lies, prying them back one by one, even though she said nothing.

“What’s with the urgent message?” Baba complained, wandering casually into the tension without a clue. “Wh… what the hell? Boss?”

As much as she had wished Baba was there, when he did in fact arrive to see her in that situation, Eisuke like he might lunge at her at any moment and bite her face off, it actually had the opposite effect she was looking for.

Her eyes began to burn, and to prevent them from spilling over she closed them tightly.

“Tears definitely won’t be enough,” Eisuke told her, giving her a shove back into Genever.

As the smaller woman steadied Miho on her feet, a booming sound deafened everyone, just a split second before the building roared and shuddered. Plaster dust suddenly choked the air; chunks of ceiling fell down on top of them as they tried to remain on their feet, and across the other side of the large space, Eisuke’s penthouse suite above came crumbling into view along with other large pieces of twisted debris.

Alarms blared, and fire following various items from above through the gaping hole, set off sprinklers that doused them all.

“Everyone out!” Eisuke barked, the first to emerge from the shock of an explosion so close to them. “Stairs.”

“Miho,” Baba gasped, soaked hair sticking to his face.

“What the?” she blinked, not even registering the blood now dripping into her right eye.

“Never a dull moment with you Princess,” he smirked, a ridiculous grin considering the circumstances, but with Genever close with them, they began the evacuation.

It was completely surreal.

Crowds of guests were being directed by Tres Spades staff into the stair wells in order to evacuate safely, but panic was scrawled across their faces too. Distant sirens heralded the arrival of emergency services, and as they finally managed to exit onto the street, Miho was able to look up.

Great plumes of smoke rose into the Tokyo sky from the upper floors of the building. Whatever had happened, it must have been on the roof, for she was certain if an explosion that big had occurred within the penthouse itself, she would have been as dead.

“Come on,” Baba urged, turning her around and making light work of her cuffs, but the moment they took another step, Soryu was there and glaring.

“Don’t even think about making a run for it,” he told Miho sternly, then turned his gaze to his subordinate. “Make sure she stays. Genever.”

“Boss,” Genever nodded, wringing out her long hair.

“You’re bleeding,” Baba whispered, taking a folded handkerchief from his pocket and pressing it against her forehead.

“Terrorists,” Miho murmured, pushing for clarity through shock and peering around the screaming, crying crowd.

If Public Safety had still been watching the Tres Spades, then they must have seen her go back in. So where were they? Did they care she could have been blown to pieces?

Does Kaga care?

“Miss Genever, do you, have your phone?” Miho asked, and Genever frowned at her quizzically. “Please, now is the time to call for help.”

Though she continued to scowl, Genever handed Miho her phone, and Miho dialled without even thinking.

“Genever,” came Nomura’s voice, laced with urgency. “Are you at the Tres Spades?”

“She is,” Miho responded quietly, again finding her voice strangled by emotion. “We made it out, we’re okay.”

“Miho?” he ejected – he sounded breathless, shaky, like he was running.

“Yeah,” she whimpered, gazing up at the building, even as Baba urged them further away. “I need you,” she very nearly sobbed. “I didn’t expect this and now…it’s all gone to shit.”

“Ohira, maybe you shouldn’t?” Genever prompted, concerned Miho would say too much and regret it, but the snap of Nomura’s concerned voice kept Miho tied to him.

“Are you safe?” he rushed, his voice echoing – car park.

“For now,” she nodded, even though he couldn’t see her. “But this has to be the work of the terrorists that attacked Prime Minister Hiraizumi’s residence.”

“Terrorists?” Baba repeated, watching her and listening, but Miho didn’t seem to care who heard her at this point.

To her folly.

“And what would you know about terrorists?” Eisuke asked flatly, rounding on her with uncharacteristically open emotion, though Baba put a hand on his chest to keep him from grabbing her.

“Please hurry,” Miho hissed tearily, though she fought to keep from giving in to sobs. “I can’t rely on Public Safety anymore… there was never any backup anyway…”

With the phone still pressed to hear ear, Miho eyed at Eisuke.

“I thought maybe the owner knew something, and to be targeted like this…” she pressed on, but stopped when Eisuke spoke again.

“Public. Safety.”

“Right here,” Kaga announced, and from the masses he emerged, jaw set, eyes harsh fixing on Eisuke.

Miho slumped a little more, and Baba put an arm around her shoulder, dabbing at the cut at her hairline again now that Eisuke’s focus had shifted to Kaga. Goto appeared, followed by Soma, and both took a moment to assess Miho’s state before disappearing as suddenly as they’d arrived.

“Miho?” Nomura’s voice barked, drawing Miho back to the phone.

“Get her to the hospital,” Kaga commanded, looking past Eisuke at Baba. “I will be following up.”

“Sure, come on Princess,” he urged gently, and Miho took hold of Genever’s wrist with her free hand.

“Come,” she very nearly pleaded, though it came from a place much more concerned for the other woman should she remain.

“Boss told me to keep an eye on you,” Genever sniffed, shaking off Miho’s hand and standing tall, and Miho managed a small smile.

“Ohira,” Kaga dropped before they moved too far away. “I will come to check on you.”

Miho nodded.

“I’m going to the hospital,” she told Nomura, allowing Baba to direct her through the crowd.

“Why? Are you injured?”

“Just a little bit of blood,” she muttered, looking down at her top to find it spattered.

“Damnit, another call,” Nomura growled. “I’ll find you.”

Then he was gone.

For such an explosion there were very few actual casualties, and so Miho was seen to quickly. Baba hovered, and Genever just stood as if guarding.

“You don’t need to be admitted,” the nurse told her kindly, the kind of nurse you generally imagine when you think of hospitals… unless you’re a pervert, “but Deputy Chief Nomura has asked you remain until he arrives.”

For a few seconds, Baba looked a little uncomfortable.

When the nurse left, he drew closer to where Miho still sat on the bed looking a bit dazed.

“How you doing, Princess?” he asked, gently placing his hand on her leg.

“I can’t believe we were nearly blown up,” she replied in a quiet, wry chuckle, blinking to bring him into focus. “And… I’m sorry I kept secrets from you, when you’ve only ever been so sweet to me.”

“Well,” he nodded slowly, his hair half dried in clumpy strands, “it’s not like I didn’t suspect something was up, though Public Safety is way beyond what I might have thought. You on the trail of terrorists? You could at least have had a sexy costume to go with your heroics.”

Miho chortled, and was thankful for his attempts to lighten the mood.

“I’m not really after the terrorists themselves,” she admitted, “just the information they were after. It was going to be sold in the Tres Spades, but I wasn’t able to figure out who had it.”

“Ah,” Baba dropped, and though his eyes gave away nothing, the sound itself was a little suspicious.

“Do you know anything about it?” she asked him plainly. “I don’t want you to have anything to do with this, so much,” she scowled. “The man from whom the information was taken was executed…”

Heaving in a huge breath, Miho peered at Baba honestly.

“When I found out there were all these people living in the penthouse suites off the guest registry, it ran up a red flag,” she admitted.

“So that’s why you were getting close to Eisuke,” he concluded.

“But you were there too, and even though we never shared much other than… the physical, I had to think you were still a good person who wouldn’t be involved in something that could put all of Japan at risk.”

Baba looked down, and Miho swallowed her gasp.

“No way,” she whispered.

“No, no it’s not like that,” he rushed, reassurances written all over his face. “But, if that information is, or, was in the Tres Spades, and the bombing is as a result of that, then I’ll do whatever I can to help you find it. I’ll talk to Eisuke.”

“I don’t even know if that’s my job anymore,” she sniffed in a self-deprecating manner. “I sort of, ignored orders, and blew my cover to hell with Ambassador Hishikura, then got abducted by Mr. Oh and…”

Lost your shit at Kaga.

“Take a breath,” Baba told her, taking her face between his hands. “So you kept some secrets, we all have them. We know each other much better than you seem to think; there’s a lot a guy can tell by the way a woman kisses him.”

Despite herself, Miho blushed, and Baba laughed.

“Really? You’re blushing over that?” he smirked.

It was then they heard Genever speaking with someone just outside the door, and Baba and Miho parted just before Nomura let himself in with Genever at his heels.

He was far more composed now than he had sounded on the phone, but his near complete disregard of Baba and his straight path to Miho made his priorities clear. Regardless of what had transpire between them in the past, he assumed the same affectionate hold of her face as Baba had not moments ago, and stared into her face.

“You’re all right?” he questioned, despite it being a statement, one thumb brushing beneath the line of adhesive strips keeping the thin laceration on her forehead closed.

“I’m sorry I called,” she apologised, but her head reflexively tilted into his touch. “I was upset.”

No, no, don’t do that.

“Of course you should have called,” he frowned, hands gently sliding down her neck and grazing over her shoulders like he was looking for other wounds. “What on Earth did you get yourself caught up in?”

Miho looked past him at Baba, who had remained silent just watching their exchange.

“We’ll just wait outside,” he said, giving Genever a nudge.

“Hey,” she protested. “I want to hear this.”

“Later,” Baba encouraged, and after some quiet grumbles, it was just Miho and Nomura.

“I actually wanted to talk to you about her,” Miho began, “before the whole explosion thing. What’s Kirisawa doing that he’d leave an informant hanging?”

“Important stuff,” Nomura replied vaguely, and Miho gently pried herself away from him and stood, putting a comfortable distance between them.

Not that she didn’t want to be comforted, she did, very much.

“Well, I guess that isn’t my business, but she was obviously concerned enough to call him after Mr. Oh ordered me ‘apprehended’.”

“Right, and how did that come about?”

He gauged her body language, knew enough about her to read her whether she articulated her feelings or not – and he didn’t press, shouldn’t press – stupid man, after all, she had dumped him. And yet, the moment he found out she’d been there when the Tres Spades was attacked he’d flown into a panic almost beyond his control.

Two years was a pretty long time to keep a candle burning for a woman who cut you lose for no apparent reason.

She began from the beginning, telling him everything whether she was supposed to or not.

“… and then there was this massive explosion, and the roof caved in, and we all nearly died,” she finished with sagging shoulders.

“And the guy outside?” he prompted, glancing toward the door.

“Fuck buddy I discovered also has… or had a suite in the penthouse,” she declared bluntly, but she couldn’t look at Nomura as she said it. “Talk about complicated.”

“You’re good at complicated,” he noted, and it was just a little, tiny bit bitter.

“Yeah, no shit,” she muttered, just as the door opened and Kaga filled the frame.

Miho bit her lip, and dropped her chin. For all her anger, she had always known she’d have to face the consequences of her heated actions eventually.

Continue to Part Twenty-Four - You Look Better In It

@hifftn @nitelotus @ladystar0710 @mirandaflamel @smutmylifeup

#voltage #voltage inc #voltage otoe #voltage fanfic #voltage angst #kbtbb #kissed by the baddest bidder #kbtbb fanfic #mpdcty #mpdcty fanfic #her love in the force #her love in the force fanfic #kaga Hyogo #Nomura Tadanobu #Baba Mitsunari #Ichinomiya Eisuke

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sadgirlsfilmclub · 7 years

Text

March Round-Up

Cure (1997)

The movie is painfully slow, I have to admit that at certain parts my mind wandered away and I had to to rewind to catch up on what I missed.

Apart from the slow pacing, the film itself is beautifully filmed. The smooth transitions between scenes and locations are surprisingly satisfying to watch. There is a repetition of frames within frames providing depth into the stories that added considerably into the dialogue but at times it felt like there was still something lacking.

The film has consistently appeared in many lists of top asian horror films. I can see the appeal but the movie poses many questions that the film itself seems to struggle when trying to answer them.

The plot itself is ingenious, how do you catch a killer with no visible motive or weapon? The film talks of hypnotism and mental instability, giving us chills in the concept that anyone of us could be susceptible to anybody’s ministrations. No one is safe. The film exploits this illogical fear within us and creates a chilling atmosphere to scare us. The acting strengthens the film in whole, especially the eerie performance by Masato Hagiwara as the creepy hypnotist.

The film also delves into the concept of control. Takabe loses control as he tries to get his life and job on track but the mental disintegration of his wife and the infuriating charm of Mamiya causes him to spiral into madness. The epilogue has him accept his new role as the missionary, a sign that he has surrendered to his fate.

Rampo Noir (2005)

This is a Japanese horror anthology film. Tadanobu Asano has a part in each segment of the film, playing several different characters. The stories are based off of Edogawa Ranpo’s mystery tales which is infused with graphic horror elements qualifying the film as a main player in J-Horror.

There are four parts in the film. My personal favourites are the second and third segments. The first part is totally silent, by the way.

The best part of the film is the body horror. The highly graphic, highly realistic mutilation of the human body is what horror fans live for. Warning: Do not watch the third segment while you’re eating. Or better yet, don’t eat while watching the film.

The story telling itself is also very engaging. There are elements of Sir Arthur Conan Doyle and Edgar Allen Poe in all these shorts. You get very involved in uncovering the story behind the ill fate that has befell these people be it in their murder or disfigurement.

Then there are moments like the GIF above that presents you with very satisfying visuals. The ambience itself created through the presence or lack thereof of sounds also helps perfect this balance found in any solid film.

I Don’t Feel at Home in This World Anymore (2017)

“What do you want?”

“For people not to be assholes.”

The movie starts off already with a dark note. A patient dies while Ruth is in the room and then everything goes to shit. A man spoils a major plot twist of the book she’s reading and her house is burgled. Exasperated with life in general and in assholes, Ruth teams up with her neighbour Tony to track down the perpetrators but things take a violent turn in the last third of the film.

This film was so much fun with never a dull moment in it. There were so many highs and lows, it was truly a rollercoaster that I as a person who hate literal rollercoasters love.

This is Macon Blair of Blue Ruin (2013) fame’s first directorial debut. The story was an amazing buildup to a real climactic ending with plenty of fun banter interspersed within. Ruth’s helplessness is truly brought out by her and Tony’s ridiculous confrontations with each antagonist. The search for her missing items becomes this almost fantastical treasure hunt that soon dissolves into violence.

Ruth, a simple post-op nursing assistant up against all these villains. The soft almost soothing voice of the amazing Melanie Lynskey plays a strong part in creating this mild yet highly determined character. Her gentle demeanour compared to Elijah Wood’s Tony’s abrasive persona itself creates this incongruity found mostly in comedic pairings. The transformation of Ruth from this subdued person to one that takes charge and takes revenge is a fun trip to be part of.

All in all, this is black comedy at its finest.

Maybe you can stop others from being an asshole by not being one. Maybe.

Hidden Figures (2016)

A movie about women working in STEM. A movie about women paving the way for other women working in STEM. A film about women of colour fighting their being oppressed, overlooked and excluded in a field that knows no bounds.

Based on the lives of three amazing black women, the film has a clear message to share with the world and more importantly, girls of colour. Gender or race has nothing to do with your skills and even though reality is harsh and unfair, there is still something to fight for. Fight for the future of science and for women everywhere.

The film educates. It teaches you a pivotal point in America’s modern history, black history, scientific history and women’s history. Yet their tale has been omitted and now the light that was rightfully theirs has finally landed on them.

I won’t divulge on the plot seeing that it’s as straightforward as any film.The story was well-paced, the directing was good and the acting is praise-worthy. (I’m tipping my hat at Janelle Monaé seeing this isn’t even her main job and she knocked it out of the park.)

I’ll write this with emotion. I cried a few times watching this film. There was this sense of pride that I as a woman experience. Most films have the audiences going on a journey with heroes but rarely with heroines and now there’s three? I was overwhelmed by their disappointments, outrage, exasperations and was most affected by their personal victories. There’s this surge of pride when the movie ended and the tears were still fresh on my face.

- Courtney

PS. Hazel and I are working on writing a long review on Moonlight and Carol!!

PPS. Sorry for the slight change in format, Tumblr’s being “sensitive” again.

#cure #rampo noir #i don't feel at home in this world anymore #hidden figures #Movie Recommendation #japanese horror #sadgirlsfilmclub #sgfc:masterpost

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