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skumburgers · 9 months

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text from Pir Zia Inayat Khan's essay Persian & Indian Visions of the Living Earth in book Spiritual Ecology: Cry of the Earth

photos: Portrait of Shaikh Mu’in al-Din Hasan Chishti / The magical bird Simorgh / Shahnama / Amesha Spentas & Chakras / Shahnama cover Ferdowsi / Bhagavata Purana / Hazrat Inayat Khan

Ideas do not occur in a vacuum, and spiritual ideas are no exception. Sacred visions emerge from the disposition of human personalities, from the shape of historical events, and from the momentum of hallowed customs, but perhaps most fundamentally (transcendental sources aside), they emerge from “airs, waters, and places,” from the character of the landscapes in which they are born.

When epiphanies are redacted and passed down, the loamy pungency of their genesis frequently fades away, so that an abstract doctrine is perpetuated in place of an embodied insight. Such, however, is not always the case. Spiritual traditions are often the deepest repositories of a culture’s knowledge of the ancient bond between person and planet, soul and soil.

[...] The forces of light will thus gain ground, advancing in ascendancy, dispelling malevolence, and speeding the long-awaited day known as the frashkart, when the whole of creation is to be purified, redeemed, illuminated, and rendered immortal.

[...] All that exists is of light, for light is existence itself, the very essence of apparency. God is the “Light of Lights,” and as light kindles light, creation proliferates as a cascade of illumination poured into the dark abyss of nonbeing. In this great chain of being, the angels are links, uniting the manifest world with the infinite brilliance that is its source.

[...] There follows a long, though not infinite, series of Intellects, each receiving light from the Light of Lights and its predecessors, and bequeathing light to its successors. By this causal chain the starry sky is lit up.

[...] Nothing exists on Earth without an underpinning in the world of pure light.

[...] In like fashion, Suhrawardi’s cosmology envisions a universe that is intensely alive and inherently sacred. All existence is the effusion, in pulsing waves, of the holy of holies, the Light of Lights. Transpiring in every clod, puddle, flaming wick, and fluttering breeze is an angelic presence, a sentient and radiant delegate of the cosmic order.

[...] The Qur’an begins, “Read in the name of your Lord” (96:1). What must be read are the ayat, the signs of God. The verses of scripture are signs, but so too are the verses inscribed ”on the horizons and in themselves” (41:53). The holy books of the prophets, Earth’s rapturous geography, and the interior landscapes of the human soul are all of a piece, all pages in a single book, the book in which God’s own story is told. This is a story without end, for, “If all the trees on Earth were pens and the ocean ink, with seven oceans behind it to add to its supply, yet the words of God would not be exhausted” (31:27).

[...] As widely different as were the theological views of Muslim Sufis and Hindu yogis, they had two spiritual perceptions fully in common: the vital livingness of the elements and the status of the human form as a microcosm encapsulating the breadth, depth, and range of the whole universe.

[...] The Vamana Purana sings, “Let all the great elements bless the dawning day: Earth with its smell, water with its taste, fire with its radiance, air with its touch, and sky with its sound.”

[...] Hindu acts of worship are traditionally preceded by bhutashuddhi, the ritual purification of the elements in the body and in the landscape. In this manner the inner and outer dimensions of the universe are brought into symmetry, and the human being is sanctified as an epitome of the surrounding totality. The human heart contains fire and air, sun and moon, lightning and stars, pronounces the Chandogya Upanishad.

The Chishti Sufis share this perception. In the Sum of Yoga attributed to Khwaja Mu’in al-Din Chishti, the entire cosmos is mapped onto the human form:

Know that by His power God Most High created the human body to contain all that He created in the universe: “We will show them Our signs in the horizons and in themselves, until they see …” (41:53). God created the twelve signs of the zodiac in the heavens and also in the human body. The head is Aries, the neck is Taurus, the hands are Gemini, the arms are Cancer, the chest is Leo, the intestine is Virgo, the navel is Libra, the phallus is Scorpio, the thighs are Sagittarius, the knees are Capricorn, the shanks are Aquarius, the soles of the feet are Pisces. The seven planets that revolve beneath the zodiac may be located thus: the heart is the Sun, the liver is Jupiter, the pulmonary artery is the Moon, the kidneys are Venus, the spleen is Saturn, the brain is Mercury, the gall bladder is Mars. God the Glorious and Most High made 360 days in the year, 360 revolutions in the zodiac, 360 mountains on the face of the Earth, 360 great rivers, and in the human body, 360 segments of bone (like the mountains), 360 arteries (like the rivers), 360 epidermal tissues (like the days of the year). The motion of the stomach is like the sea, hairs are like trees, parasites are like beasts of the jungle, the face is like a built-up city, and the skin is like the desert. The world has its four seasons, and these are also present in man: infancy is spring, youth is summer, quiescence is fall, and old age is winter. Thunder corresponds to the voice, lightning to laughter, rain to tears.

To bring microcosm and macrocosm into harmony, yogis and Sufis practiced, and still today practice, kriyas, or meditations, corresponding to the four elements. In his Secret of Love, the twentieth-century Chishti Sufi ‘Aziz Miyan describes the elemental kriyas in this manner: “Earth kriya: Meditate while incrementally burying the body in the ground, from feet to head. Water kriya: Meditate while sitting underwater, lying in the rain, or pouring water over the body. Fire kriya: Meditate before a fire, uniting first with the smoke and then with the flame. Air kriya: Meditate standing on a tree, hill, or roof, wearing a single cloth, facing the wind. Breathe in and out slowly and deeply, inducing the sensation of flight.”

[...] Hazrat Inayat Khan conceived of the Earth as an animate, and in some sense sentient, whole. He wrote, “If the planet on which we live had no intelligence it could not have intelligent beings on it.”9 If Earth possesses a kind of sentience, it follows that the planet may be susceptible to suffering, and Hazrat Inayat Khan made just such an assertion when he wrote, “My deep sigh rises above as a cry of the Earth, and an answer comes from within as a message.” The message of his talks and writings was a call to contemplate the moral and spiritual interconnectedness, and ultimate ontological unity, of all life.

[...] The sacred texts of Mazdaism, Hinduism, and Islam provide a profusion of illuminating perspectives on the nature of embodied existence. While there are undeniable differences in the worldviews communicated in these texts, certain key principles emerge as common understandings. Foremost among these is the insight that the manifest universe is a marvel of providential grace. Following on this is the perception that not only humans, animals, and plants, but all material forms partake of the pervasive light and power of creation, and bear recognition as spiritually alive. Further, the texts make clear the error of imagining human life as hovering autonomously above the natural world. Mystical contemplation of the human form conduces to the realization that the body is profoundly embedded within the wholeness of nature, a totality that each human physically and spiritually personifies. The Indo-Persian prophetic traditions agree: the Earth is alive, we live in and through her, and as we are in her keeping, so is she in ours.

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yugiohcardsdaily · 2 years

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Posted Cards Master Post - 36

April 2022

Hiita the Fire Charmer

Fox Fire

Blazing Hiita

Familiar-Possessed - Hiita

Inari Fire

Hiita the Fire Charmer, Ablaze

Awakening of the Possessed - Greater Inari Fire

Spiritual Fire Art - Kurenai

Eria the Water Charmer

Gigobyte

Raging Eria

Familiar-Possesed - Eria

Gagagigo

Giga Gagagigo

Gogiga Gagagigo

Jigabyte

Gagagigo the Risen

Eria the Water Charmer, Gentle

Awakening of the Possessed - Gagigobyte

Spiritual Water Art - Aoi

Wynn the Wind Charmer

Petit Dragon

Storming Wynn

Familiar-Possessed - Wynn

Ranryu

Wynn the Wind Charmer, Verdant

Awakening of the Possessed - Rasenryu

Spiritual Wind Art - Miyabi

Wynn the Wind Channeler

Blessings for Gusto

Caam, Serenity of Gusto

Contact with Gusto

Daigusto Eguls

Daigusto Emeral

Daigusto Falcos

Daigusto Gulldos

Daigusto Laplampilica

Daigusto Phoenix

Daigusto Sphreez

Dust Storm of Gusto

Gusto Codor

Gusto Egul

Gusto Falco

Gusto Griffin

Gusto Gulldo

Gusto Squirro

Gusto Thunbolt

Gusto Vedir

Kamui, Hope of Gusto

Musto, Oracle of Gusto

Pilica, Descendant of Gusto

Reeze, Whirlwind of Gusto

Tailwind of Gusto

Whirlwind of Gusto

Winda, Priestess of Gusto

Windaar, Sage of Gusto

King Beast Barbaros

Witch's Apprentice

Backup Operator

Backup Secretary

Backup Supervisor

Wee Witch's Apprentice

Cheepcheepcheep

Cockadoodledoo

Hoshiningen

Hip Hoshiningen

Star Power!!

Link Party

Last Day of Witch

Effect Veiler

No cards were posted in May 2022.

June 2022

Alice, Lady of Lament

Malice, Lady of Lament

Loris, Lady of Lament (Japanese)

Lilith, Lady of Lament

Armory Call

Protector of The Agents - Moon

Blue-Eyes Jet Dragon

Blue-Eyes Tyrant Dragon

Branded Disciple

Breath of Resurrection

Castel, the Skyblaster Musketeer

Chaos Nephthys

Clear New World

Dark Contract with Patent License

Dark Dimension Soldier

Darton the Mechanical Monstrosity

D/D Gryphon

D/D/D Deviser King Deus Machinex

D/D/D Headhunt

Dictator of D.

Dimension Conjurer

Dinomorphia Alert

Dinomorphia Brute

Dinomorphia Diplos

Dinomorphia Domain

Dinomorphia Kentregina

Dinomorphia Reversion

Dinomorphia Shell

Dinomorphia Sonic

Dinomorphia Stealthbergia

Dinomorphia Therizia

Dogmatikamacabre

Doll Happiness

Doll Monster Bear-Bear

Doll Monster Miss Mädchen

Box of Friends

Doll House

Grandpa Demetto

Princess Cologne

Transcicada

Dracoback, the Rideable Dragon

Dragonbite

Dunnell, the Noble Arms of Light

Emergency Teleport

End of the Line

Epigonen, the Impersonation Invader

Epsilon The Magnet Warrior

Fateful Adventure

Fire Opal Head

Flowerdino

Forest of Lost Flowers

Ghostrick Festival

Ghostrick or Treat

Ghostrick Shot

Ghostrick Siren

Gokipole

Groza, Tyrant of Thunder

Guardian Chimera

Hidden Armory

Illegal Knight

Illusion of Chaos

Imprudent Intrusion

Insect Imitation

Kaiza the Hidden Star

Leafplace Plaice

Libromancer Agent

Libromancer Doombroker

Libromancer Firestarter

Libromancer First Appearance

Libromancer Geek Boy

Libromancer Intervention

Libromancer Magigirl

Mad Hacker

Magicore Warrior of the Relics

Maple Maiden

Master of Chaos

Monster Rebirth

Myutant Mutant

Neiroy, the Dream Mirror Traitor

Nordic Beast Gullinbursti

Nordic Relic Hlidskjalf

Nordic Relic Svalinn

Nordic Smith Ivaldi

Nowru Aries the Vernal Dragon

Onibimaru Soul Sweeper

Psychic Tracker

Psychic Wheeleder

Risebell the Star Adjuster

Risebell the Star Psycher

Risebell the Summoner

Saambell the Star Bonder

Saambell the Summoner

Rite of Aramesir

Rock Scales

Sales Ban

S-Force Lapcewell

S-Force Retroactive

Shining Piecephilia

Silvervine Senri

Simorgh, Bird of Perfection

Skilled Brown Magician

Smile Potion

Smoke Moquito

Sol and Luna

Starlit Papillon

Submareed Tour Ride

Swordsoul Sinister Sovereign - Qixing Longyuan

Swordsoul Strife

The Great Double Casted Caster·

The Zombie Vampire

Thunder Discharge

Timaeus the United Dragon

Top Share

Torrential Tribute

Trancefamiliar

Tribe Drive

Ultimate Fusion

Unending Nightmare

Unwavering Bond

Uradora of Fate

Vampire Fascinator

Vampire Ghost

Virtual World Hime - Nyannyan

Vision with Eyes of Blue

Wandering Gryphon Rider

Water Enchantress of the Temple

White Relic of Dogmatika

XYZ Combine

Xyz Universe

Zaralaam the Dark Palace

Zektrike Kou-ou

Gagaku-P.U.N.K. Crash Beat

Gagaku-P.U.N.K. Wagon

Gagaku-P.U.N.K. Wild Picking

Joruri-P.U.N.K. Dangerous Gabu

Joruri-P.U.N.K. Madame Spider

Joruri-P.U.N.K. Nashiwari Surprise

Noh-P.U.N.K. Deer Note

Noh-P.U.N.K. Foxy Tune

#not duel monsters #april 2022 #ygo cd posted list #long post //#may 2022 #june 2022

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whileiamdying · 1 year

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Interdependent Elements: An Interview with Iranian Film Editor Haideh Safiyari

By Ali Moosavi.

When it comes to Iranian cinema, those aficionados of world cinema will probably be familiar with the names of Abbas Kiarostami, Asghar Farhadi, Jafar Panahi and Mohammad Rasoulof. Cinephiles with a particular interest in the Iranian cinema are likely to also know Dariush Mehrjui, Bahman Ghobadi, Mohsen Makhmalbaf, Bahram Beyzaei, Majid Majidi and a few other directors. Some may be aware of actors such as Shahab Hosseini, Taraneh Alidoosti, Golshifteh Farahani, Payman Maadi, Niki Karimi and a few others. The more ardent cinephiles may even be aware of Iran’s best known cinematographer, Mahmoud Kalari, a frequent collaborator with Kiarostami, Farhadi, Panahi. However very few are likely to know about Haideh Safiyari. Yet, in Iran among cinephiles she is a household name and her name on the movie promises quality. She is the first film editor in the history of Iranian cinema to be this well-known. She has edited every Farhadi film since Fireworks Wednesday / Chaharshanbe Souri (bar The Past), and has also worked on the films of Mehrjui, Ghobadi, Mani Haghighi, as well as notable young directors such as Reza Dormishian and Homayoun Ghanizadeh. Safiyari has won four Simorgh awards (Iranian cinema’s equivalent of Oscars) and a multitude of other awards. Her talent and standing have also been recognized by the Academy of Motion Picture Arts and Sciences who have made her a member of the Academy. One quite unique fact about her is that her daughter, Sepideh Abdolvahab is also a renowned film editor and already winner of three Simorghs.

Ali Moosavi: How did you get into film editing?

Haideh Safiyari: I studied film editing at a university established by the Iranian television. I then worked for the state TV for about 18 years, editing TV films, series and documentaries. After ten years of this I did sound editing on a couple of movies. Then I worked with Bahram Beyzaei as assistant editor on half a dozen films. While doing these I met director Ebrahim Hatamikia who asked me to edit The Glass Agency / Ajanc-e Shishe-ie (1998).

Ali Moosavi: The editing in that film was one of its key features. The film was both a big hit at the box office and with critics and brought you your first Simorgh award. What impact did that assignment have on your career?

Haideh Safiyari: I think it had a major impact and made filmmakers aware of me. I worked with Hatamikia again a year later on Red Ribbon / Rouban-e Ghermez and won another Simorgh and became more widely known. I then worked with Bahman Ghobadi, with whom I’ve done six films up to now. In 2006 Asghar Farhadi asked me to edit Fireworks Wednesday / Chaharshanbe Souri, saying that he had liked my work on The Glass Agency, particularly the fact that the film took place in a closed environment.

Ali Moosavi: In your view what characteristics should a good film editor possess?

Haideh Safiyari: In the first place, you must be very patient. You should be aware that you would have to spend a long time alone in darkness and may not get your due credit for the finished work, remaining largely behind the curtain. In the classes that I teach, I ask my students whether they are prepared for all this? Because I’ve had colleagues who couldn’t take it and went and became directors. You should also keep updated with the current cinema and regularly watch good movies. I don’t watch that many films but re-watch the ones I like, paying attention to all the details. You should also know that it is a very difficult and time-consuming job and can affect your health. I believe that as good film editor you should be sensitive to the social issues in your environment and learn from other forms of art, too. Theatre in particular is very important in making you aware of the choices you have in showing a scene. Being musically inclined is also helpful.

Ali Moosavi: In editing you are dealing with image, sound and music. What are the main challenges in mixing these elements?

Haideh Safiyari: I believe these three elements are interdependent. Some who teach editing tell the students that in order to assess your editing, shut the sound and watch the edit. I don’t think this is a good idea because the audience sees the image and hears the sound and music at the same time and is affected by their total impact. I believe that sound editing is part of the editing process and an editor should judge her work after the completion of sound and music editing, as together they affect the rhythm of the film. There may be moments in the film where silence works best and any added sound should be removed and vice versa. When I watch the film after sound has been added I feel that the rhythm of the movie has changed. As an example, when I work with Asghar Farhadi, we also make decision about the sound during the editing and these decisions will be abided by the sound editors. I remember when I met the sound editor for Everybody Knows/ Todos Lo Saben (Asghar Farhadi, 2018) at Cannes Film Festival, he told me that whatever sound they tried, Farhadi insisted they stick to the sound that was put during the film editing. Not all directors are like this and some give a free hand to the sound editor. In such cases the film editor cannot influence the final edit.

Can you talk about your work with Asghar Farhadi which has continued over the years?

Haideh Safiyari: I feel very fortunate to have this long association with Farhadi because I find it very easy to work with him. I can honestly say that in the six films that we have worked together, we have not encountered any problems. Editing his films is hard work and usually takes about four months but as we have a great relationship, I enjoy the work. I think he knows me very well and makes decisions based on this knowledge. For Fireworks Wednesday (2006), Farhadi was present at all the stages of editing, which was done after the shooting was completed. For About Elly / Darbare-eh Elly (2009), A Separation / Jodai-eh Nader Az Simin (2011), The Salesman/Foroushandeh (2016), A Hero / Ghahreman (2021), I was editing as he was shooting the movie and after the completion of the shooting we had a rough cut of the film. He then joined me at the editing suite for preparing the fine cut. A couple of difficult scenes that I recall were in Everybody Knows. One was matching the music to the dance in a scene and the other was separating the different sounds in a fight scene involving Javier Bardem. Our experience of working together helped me to resolve these problems. Our discussions start at the script stage and continue throughout the shooting until the completion of editing. Sometimes I might suggest something during shooting and we discuss it.

Ali Moosavi: Does he continuously sit in the editing suite while you’re editing or leaves you alone to do your work?

Haideh Safiyari: When I am putting together the framework for a scene, I prefer to do it alone. Then I show and discuss that framework to the director and on that basis we move forward. On Fireworks Wednesday I explained this to Farhadi and he said that since he likes to see how I put the framework together, he would stay in the editing room but will not interfere with my work. In my subsequent work with him, I did this alone. On A Hero, every 2-3 nights he would come into the editing room and would look at a few scenes and we would discuss them. It’s possible that sometimes, from the performance of the actors viewpoint, he might wish to view the other takes in addition to the one I selected. I have developed a system which enables him to quickly compare the different takes.

Ali Moosavi: One of the duties of a film editor is to maintain the rhythm that the director has intended. The directors you work with have different rhythms. For example, Reza Dormishian films often have a very fast rhythm and Farhadi a much slower one. How do you deal with this challenge?

Haideh Safiyari: During shooting, if a scene is critical where an important event takes place in it, Farhadi normally shoots that scene in one shot without any cuts. For example the scene in A Separation where Nader (Payman Maddai) throws out Razieh (Sareh Bayat) from his house was shot in one uncut sequence. Watching the rushes of that scene had such an effect on me that I started crying and walked around the room. When I edited that scene, I felt that with the cuts it didn’t have the impact that it initially had. But it had to have cuts to maintain the rhythm. Sometimes we may prolong a sequence, or make it shorter, start it halfway through the action or end it halfway. These happen during the fine cut. Regarding the five films that I have worked with Reza Dormishian, he includes a lot of small details and based on our common understanding he knows how I will edit them. For example in I’m Not Angry! / Asabani Nistam (2014), the camera is always moving and in a shot we may see a pill or a mosquito. This is part of his style of filmmaking. Whereas Farhadi’s films are entrenched in reality and do not include any external explanatory things. Even when you read his scripts, you cannot suggest inserting a flashback because that does not exist within his framework of filmmaking. You cannot also suggest any shots which would act as descriptive. Everything must come from within the story. For example, in The Salesman, the shattering of the light bulb in the bathroom comes when the light is turned on. These are two different methods of film making and the editing must follow the same style.

Ali Moosavi: Some directors shoot a lot of coverage and some cut in the camera while shooting. What are the editing challenges for each of these methods?

Haideh Safiyari: The first filmmaker that I worked with was Bahram Beyzaei who cut in the camera. He knew exactly what he wanted and did not shoot from many different angles. As you know, Hitchcock also worked this way. We also have other filmmakers who work like this. Farhadi on the other hand, in order to maintain the feel of the scene and providing the editor with more choices, uses many long takes. We follow each filmmaker’s method.

Ali Moosavi: Editing has sometimes been classified into two types: visible and invisible. For example, the editing in Farhadi’s films could be termed invisible while those in film such as I’m Not Angry, A Hairy Tale / Maskhareh Baz (Homayoun Ghanizadeh, 2019), or in Everything, Everywhere, All at Once (Daniel Kwan and Daniel Scheinert, 2022) could be called visible. What are your views on this classification?

Haideh Safiyari: I don’t believe in the adage that good editing is that which is invisible. I think that sometimes a “visible” edit can help to generate the mood and the effect that the director intended. Using a “hard cut” is not only to jump from one scene to another. Sometimes you can use it within a scene, if it suits it. Farhadi’s films are full of cuts. For example, the dinner scenes in About Elly or in A Hero, where you may have ten people at dinner, in a three-minute scene you have to show all those present and each person’s reactions, as it may benefit the story later on. Therefore, the scene is full of cuts and these have to be very fluid. Each shot must follow the previous shot and have some element of the next shot. For example, in Hatred / Boghz (Reza Dormishian, 2012), the scene where Hamed (Babak Hamidian) is angry and goes on a bridge and takes drugs and in his mind goes over all the things that Zhaleh (Baran Kosari) has told him, we have to create the mind of someone under the influence. Someone who doesn’t even hear correctly and is imagining weird things. We therefore make it like a dream or nightmare. Walter Murch has said that people believe what they see in the movies because they dream. Some scenes in films are like dreams and have no logical basis. Someone may be standing in a room and in next scene he is in the middle of a highway. Some scenes are constructed to resemble a nightmare.

Ali Moosavi: Have there been scenes which both you and the director loved but had to leave on the cutting floor because it wasn’t in sync with the rhythm of a film?

Haideh Safiyari: Yes, I’ve had many such cases. In Turtles Can Fly / Laposhtha Parvaz Mikonand (Bahman Ghobadi, 2004), there was a very good scene where Agrin (Avaz Latif) is on a mountain edge. It was a very difficult scene to shoot but we had to cut it out due to the length and rhythm of the film. In Life with Closed Eyes / Zendegi ba Cheshmane Baste (Rasoul Sadrameli, 2010), Taraneh Alidoosti plays a girl who has a dual life. There was a sequence where in an excited state she decides to accompany a strange man. They go to the high rise building where he lives and in the exact moment when she wants to exit the lift and enter his apartment, her jacket gets caught in the lift’s door and she regains her composure and quickly runs down the stairs. We cut out the whole sequence from the movie. I remember suggesting to the director to restore this scene as it provides another dimension into the girl’s character. I remember being very sad about losing that scene.

Ali Moosavi: What has been your most challenging work so far?

Haideh Safiyari: (Thinks for a moment) I think Everybody Knows.

Ali Moosavi: Because it was in a foreign language?

Haideh Safiyari: Yes. Even though I had a Spanish assistant who was also a film editor. I also had a translator because I didn’t know any Spanish and the film did not have Persian subtitles. I was just reading the script and would check each scene’s dialogue with my assistant and show the edit to him to find out if the overlaps and reactions during the dialogues are correct. But when you are not familiar with the nuances and small details of a language, it can be very challenging. The film itself was a difficult one to edit. Another challenging film which has not had a public screening is Furtively / Yavashaki by Reza Dormishian. Each frame is composed of a photo and together these photos create the movement in the film. It was an unusual film and it was like working on a miniature.

Ali Moosavi: Has there been any edits that was done as a result of your suggestion to the director and gave you great satisfaction?

Haideh Safiyari: Yes, I’ve had quite a few of these. The kite running scene in About Elly was filmed in a way that Elly goes from point A to B and returns a couple of times. When I edited it, I used all the different takes and put say six of the point A to Bs together and thus prolonged this part of the walk but the return from B to A was kept short. This gave the feeling of a kind of deliverance and getting away from that environment for Elly. I recall that when Farhadi saw the edit he liked it a lot. Now if you watch the film carefully, you’ll notice that the background in this scene is constant but it gives the appearance of someone getting further and further. It is one of my favourite pieces of editing. Also, in The Glass Agency in the scene where Haj Kazem (Parviz Parastui) bangs his head against the glass and all the slow motion shots have a white frame, this effect was a result of experimentation during editing. Initially we tried a black frame and were not satisfied. Then we created the white frame by overexposing some frames and that worked really well. Another one is in Turtles Can Fly. The opening scene where the girl falls down was somewhere else in the film and I suggested to Ghobadi to put it at the beginning and he liked that. If I think about it there will be other instances.

Ali Moosavi: The directors that you have worked with have all been critically acclaimed filmmakers. Was this your decision or they selected you?

Haideh Safiyari: Well in my profession, we have to wait for the offers of work!

Ali Moosavi: But you have not worked in the mainstream commercial cinema which is dominated by comedies. So do you prefer to wait for an offer from a director you admire?

Haideh Safiyari: Yes, this is true. I have turned down some offers which were quite lucrative. Because I felt that I really couldn’t work on them. I don’t want to belittle them but if I don’t believe in something then I cannot do a proper job on them.

Ali Moosavi: Many of the top editors in world cinema have been women: Dede Allen (The Hustler, Bonnie & Clyde, Dog Day Afternoon, Night Moves), Thelma Shoonmaker (Socorsese films), Anne V. Coates (Lawrence of Arabia, Becket, Elephant Man, In the Line of Fire), Sally Menke (Tarantino films), Verna Fields (Jaws, What’s Up Doc?), Susan Morse (Woody Allen films). Do you think that women possess certain qualities that makes them suitable for this profession?

Haideh Safiyari: My personal feeling, which may not have any scientific backing, is that I think we have always lived in patriarchal societies where women have been used to being in the background and they were comfortable with not being very visible. But now things have changed. In my editing classes the boys outnumber the girls.

Ali Moosavi: Many editors later became directors, such as David Lean, Robert Wise, Hal Ashby, to name a few. Do you have any aspirations of becoming a director?

Haideh Safiyari: About twenty years ago I wrote a screenplay that I still like. When I wrote it, I felt that I could make it myself. I also have a treatment for a documentary and lately an opportunity has developed where I may be able to make it. That is also an important and loved project of mine and I even think about how I would edit it. I want to direct it so that I can edit it the way that I want. I would like to have a go at directing but not as a fulltime profession. I chose editing because it’s something you can do alone and far from the madding crowd. A director must be strong in spirit and be good at man management. I have neither the spirit nor the management ability.

Ali Moosavi: Editors also seem to have a longer career; Thelma Schoonmaker at 83 has just recently completed editing Scorsese’s latest film.

Haideh Safiyari: Yes, I also believe that I can stay longer as an editor. Although I have back pain and heart trouble, when I’m editing, I forget all these problems.

Ali Moosavi: What is the longest time you’ve spent in the editing room in one go?

Haideh Safiyari: 48 hours. I slept on the sofa in the editing room for a few hours and then carried on.

Ali Moosavi: You and Sepideh Abdolvahab may be the only mother and daughter who are both film editors. Did you encourage her to join this profession?

Haideh Safiyari: I am very happy about this because we often talk about our work and I like this relationship. But Sepideh initially didn’t like the work that I do because I often had to stay out till very late editing and she would be left alone. Once somebody asked her what do you want to do when you grow up and she said I will definitely won’t become an editor because editors’ children are left alone! But anyhow she decided to study editing at college and told me that she wanted to become my assistant. I said come and I will teach you the ropes. So at age of sixteen she was my assistant on Marooned in Iraq / Gomshodeh dar Aragh (Bahman Ghobadi, 2002) and then assisted me on Portrait of a Lady Far Away/ Sima-ye Zani dar Doordast (Ali Mossafa, 2005) and lastly on Under the Peach Tree / Zir-e Derakht-e Holou (Iraj Tahmasb, 2006). Then she was offered to edit Friday Evening / Arse Jomeh (Mona Zandi Haqiqi, 2006) and she went her own way and at age of 23 won her first Simorgh for Mainline / Khoon Bazi (Mohsen Abdolvahab and Rakhshan Banietemad, 2006).

Ali Moosavi: What have you been working on lately?

Haideh Safiyari: I worked on a documentary which I like very much called Bread and Roses (Sahra Mani, 2023) which is about the lives of three women after the Taliban came into power in Afghanistan. It will be shown at the Special Presentation in Cannes Film Festival and I will be going there for that. Before that I worked on The Bitter Tears of Zahra Zand (Vahid Hakimzadeh, 2023) which is an adaptation of Fassbinder’s The Bitter Tears of Petra von Kant (1972).

Ali Moosavi: It was also remade last year by Francois Ozon (Peter von Kant).

Haideh Safiyari: Interestingly Fassbinder’s ex-wife saw our film and liked it a lot and told our producer that she preferred it to Ozon’s film!

Ali Moosavi has worked in documentary television and has written for Film Magazine (Iran), Cine-Eye (London), and Film International (Sweden). He contributed to the second volume of The Directory of World Cinema: Iran (Intellect, 2015).

#Ali Moosavi #Iran #Cinema #Iranian Cinema #Film Editing

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magpiejay1234 · 1 year

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So, let’s talk about the Supreme King cards:

The Supreme King (覇王), Haou Kanji is used in:

King of Yamimakai

Number 80: Rhapsody in Berserk

Number C80: Requiem in Berserk

D/D/D Supreme King Kaiser

Odd-Eyes Rebellion Dragon

Odd-Eyes Raging Dragon

Supreme King Dragon Darkwurm

Supreme King Gate Infinity

Supreme King Zero

Supreme King Z-ARC

Supreme King Dragon Odd-Eyes

Supreme King Dragon Clear Wing

Supreme King Dragon Dark Rebellion

Supreme Rage

Odd-Eyes Wing Dragon

Odd-Eyes Venom Dragon

Demise, Supreme King of Armageddon

Supreme King’s Castle

Odd-Eyes Rebellion Dragon - Overlord

Soul of the Supreme King

Odd-Eyes Rebellion Xyz Dragon

And bunch of unprinted cards.

覇, Kanji can be in the found in the following:

The Supreme Dragon (覇龍), Haryuu Kanji is used in:

Ascension Sky Dragon

Heliosphere Dragon

D/D/D Dragon King Pendragon

Just 覇, ha is used in:

Thunder of Ruler

Supreme Arcanite Magician

Number 66: Master Key Beetle

Idaten the Conqueror Star

Shura the Combat Star

Simorgh, Lord of the Storm

Supreme Sovereign Serpent of Golgonda

Raijin the Breakbolt Star

Yes, Bandit School/Ryouzanpanku kids’ Fusions are supposed to be faux Supreme Kings. This is partially why Konami is obsessed with them.

We’ll discuss these more in detail for the future. This is futureproofing for a potential Supreme King archetype.

And yes, depending on how Konami approaches, there is going to be lots of erratas in TCG.

In general:

**Supreme King in Soul of the Supreme King, and Supreme King Z-ARC should be renamed to Supreme King Dragon.

**Supreme King Dragon archetype should be renamed to Supreme King Servant Dragon.

**Odd-Eyes variants should be renamed to “Supreme King - [TCG name]”. Having their full Kanji titles, like Supreme King Black Dragon, would be a bit obtuse though in TCG.

**Older cards should be given their proper names, like Supreme King of Yamimakai, though Number 80 variants would probably have to go Supreme King - Rhapsody/Requiem in Berserk.

***

One fun thing about this, Z-ARC’s Japanese name is pronounced is Haoryuu Zuaaku. So it has yuu Zu in it, even though it is meant to be pronounced as Zaaku (ryuu is similarly pronounced ruyuu. The second u is there only in writing, since single consonants outside of “n” don’t feature in Hiragana, or Katakana writing). And yes, Za aku would be a corruption of za aruku, The Ark, alternative name for The Judgment in Tarot (since Ray is The World), but also literally the Aku (Evil), or za daaku (The Dark).

#shitposting #ygo kanji names #ygo random thoughts

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red-dragon-archfiend · 2 years

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One of these days I'm going to put Dark Simorgh and Dragon Ravine in the same deck and Yusei Fudo will look at it and decide it's time to retire

#musings #yugioh #dragons #so here's my logic here #dragon ravine allows me to search dragunity monsters and dump dragons in the grave #dragunities are all wind #for dark monsters red-eyes darkness metal dragon obviously comes to mind #but red-eyes wyvern is also wind so i need more darks #so i need to consider other dark dragons to fit in that are useful on their own while also enabling dark simorgh #maybe i'll retool my dragunity deck with earthbound immortal aslla piscu and see if i can fit dark simorgh in there #but the reason dark simorgh would work with dragon ravine is it could provide easy access to monsters both in the hand and graveyard #and if i use something like armageddon knight i can put simorgh in the graveyard and summon it from there #it sounds like i may need more darks than winds since they'll be harder to access

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fyeahygocardart · 5 years

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Simorgh of Darkness

#Simorgh of Darkness #yugioh #ygo #Simorgh #yugioh tcg #ygo tcg #Winged Beast #DARK

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takato1993 · 3 years

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I can't believe Dark Magician players let their own support destroy their deck.

#dark magician #yugioh #destroying dark magician forever was my hill to climb #now i have to side deck against dino/simorgh #I can still lose to dragoon but any deck can do that

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trident-dragion · 2 years

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Over the Nexus Deck Profile: DARK Gusto

The Gusto archetype is an interesting one focused on the pretty niche combination of WIND Psychic monsters, and the not remotely niche combination of WIND Winged-Beast monsters. Like Winda up there, many of them have effects that let you summon a new monster when they're destroyed by battle. This allows you to make chains of Winda into Gulldo into Egul into Winda, and so on. Egul can also search Gusto Thunbolt, which in turn can search any other Psychic Gusto monster in our deck. Cool! The sheer number of Tuners in this list, and how this chain involves at least two Tuners, makes Red Nova Dragon both accessible and very strong. But where does the DARK part come in? See, there are enough dark staples like Sangan and Gorz that are useful in any deck, that I decided to include them here to enable one of the strongest "what-if" monsters in the 5D's era, Dark Simorgh. Our dark count is relatively low, with only 8 in total in the main deck, but it's enough to make Dark Simorgh a very powerful threat. Special summoning it from the hand or graveyard by banishing a dark and a wind from the opposite location makes it easy to catch the opponent off guard with it, and preventing them from setting cards, which includes both face-down defense position monsters, and spells and traps, is deadly in this era. Additionally, cards like Creature Swap and Reeze, Whirlwind of Gusto make it very easy to steal your opponent's strongest monster in exchange for one of your weaker ones! Just remember that Winda has to be destroyed by your opponent's monster specifically, so Creature Swap doesn't work well with it! Before I go into the list, a couple important things to note about Gustos in Over the Nexus specifically; first, Winda is named "Wynnda, Priestess of Gusto", a spelling error likely referring to Winda's canonical sister, Wynn the Wind Charmer. Second, and more important, Reeze is bugged; she lets you select ANY monster to give to your opponent, not just a face-up Gusto monster like the text says. Whether or not you exploit this bug is up to you, but I'd advise against it if you're playing against a human opponent. MONSTERS (23): Caam, Serenity of Gusto x1 Dark Simorgh x2 Gorz the Emissary of Darkness x1 Gusto Egul x3 Gusto Gulldo x3 Gusto Thunbolt x3 Krebons x3 Reeze, Whirlwind of Gusto x1 Sangan x1 Tragoedia x1 Windaar, Sage of Gusto x1 Winda, Priestess of Gusto x3 SPELLS (16): Book of Moon x2 Contact with Gusto x2 Creature Swap x3 Dark Hole x1 Emergency Teleport x1 Giant Trunade x1 Mind Control x1 Monster Reborn x1 Mystical Space Typhoon x2 Pot of Avarice x2 TRAPS (1): Treacherous Trap Hole x1 EXTRA DECK: Ally of Justice Catastor x1 Armory Arm x1 Black Rose Dragon x1 Brionac, Dragon of the Ice Barrier x1 Colossal Fighter x1 Daigusto Eguls x1 Daigusto Gulldos x1 Daigusto Sphreeze x1 Goyo Guardian x1 Red Dragon Archfiend x1 Red Nova Dragon x1 Scrap Dragon x1 Stardust Dragon x1 Thought Ruler Archfiend x1 Trishula, Dragon of the Ice Barrier x1

#yu-gi-oh!#world championship 2011: over the nexus #deck profiles #gusto #winda priestess of gusto #dark simorgh #daigusto eguls #red nova dragon

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ygo-monster-type-tournament · 1 year

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By the way, here's the full bracket in text form. I haven't finished the images yet because the way i'm doing it takes a while but looks really cool (it's got rainbow!)

BRACKET A

Shinobird vs. P.U.N.K. vs. Impcantation

Noble Knight vs. Infinitrack vs. World Legacy

Chemicritter vs. Fire Fist vs. Kuriboh

Mikanko vs. Guardian vs. Tachyon

Black Luster Soldier vs. Blaze Fiend vs. Icejade

Hole vs. Crystron vs. Cat (Rush Duel)

Shaddoll vs. S-Force vs. Mekk-Knight

Scrap vs. Digital Bug vs. Drone

Bujin vs. Nimble vs. Tri-Brigade

Beast Gear vs. Charmer vs. Nemeses

Subterror vs. PSY-Frame vs. Orcust

Therion vs. Nordic vs. Branded

The Weather vs. Gorgonic vs. Mythical Beast

Neo-Spacian vs. Predaplant vs. Traptrix

Fire Formation vs. Bystial vs. Kashtira

Dark Magician vs. Mathmech vs. Majestic

⁂

BRACKET B

Madolche vs. Mannadium vs. Skiel

Number vs. Tindangle vs. Crusadia

Numeron vs. Jinzo vs. Live☆Twin

Speedroid vs. Jointech vs. Mayakashi

Dragonmaid vs. Poker Knight vs. Tron

Flamvell vs. Entity vs. Zefra

Ritual Beast vs. The Agent vs. Appliancer

Arcana Force vs. Dark Scorpion vs. Yang Zing

Vernusylph vs. Timelord vs. Evil Eye

Rokket vs. Ogdoadic vs. Umbral Horror

Sky Striker vs. Triamid vs. Aquaactress

Crystal Beast vs. Unchained vs. Voidvelgr

Kaiju vs. Virtual World vs. Synchro Dragon

Heraldic Beast vs. Chrysalis vs. Yubel

/Assault Mode vs. Battlewasp vs. Ghoti

Malefic vs. Fortune Fairy vs. Endymion

⁂

BRACKET C

Blue-Eyes vs. Inzektor vs. Mist Valley

Gravekeeper’s vs. Star Seraph vs. Sunavalon

Evil★Twin vs. Fossil vs. Despia

Code Talker vs. Malicevorous vs. Meklord

Beetrooper vs. Purrely vs. Generaider

Dragon Ruler vs. Iron Chain vs. Genex

Sportsdragon vs. Ancient Gear vs. Aesir

Gaia vs. Constructor vs. Armed Dragon

G Golem vs. B.E.S. vs. Excutie

Music Princess vs. Dark World vs. T.G.

Krawler vs. Prophecy vs. The☆

Batteryman vs. Magistus vs. Thunder Dragon

Magical Musket vs. Strike Dragon vs. A.I.

Swordsoul vs. Talismanic vs. Ojama

Majespecter vs. Vision HERO vs. CAN:D

Infernity vs. Void vs. Volcanic

⁂

BRACKET D

High Tech Dragon vs. Gunkan vs. Gagaga

Megalith vs. Sushi Fairy vs. Anti

Ninja vs. Earthbound vs. Gladiator Beast

Frightfur vs. Archfiend vs. Synchron

Dinomist vs. Ursarctic vs. Gouki

D/D vs. Helixx vs. Raidraptor

Witchcrafter vs. Gold Pride vs. D-Scale

Gimmick Puppet vs. Cloudian vs. Mermail

War Rock vs. Utopia vs. Armatos Legio

Drytron vs. Gandora vs. Infernoid

Steelswarm vs. Battleguard vs. Superheavy Samurai

Blackwing vs. Smile vs. Cyber Dragon

True King vs. Cyberdark vs. Alien

Magician Girl vs. Koa’ki Meiru vs. Performapal

Parshath vs. Galactica vs. Vylon

Cubic vs. Fairy Tail vs. Reptilianne

⁂

BRACKET E

Galaxy vs. White vs. Skysavior

Thorn Prisoner vs. Supreme King vs. SPYRAL

Burning Abyss vs. U.A. vs. Melffy

Phantom Knights vs. Simorgh vs. Red-Eyes

Destiny HERO vs. Mokey Mokey vs. Evilswarm

Fusion Dragon vs. Zubaba vs. Frog

Clear vs. Adamancipator vs. Fire King

Dogmatika vs. Jersey vs. Duston

Floowandereeze vs. Valkyrie vs. Abyss Actor

Prediction Princess vs. Magikey vs. Six Samurai

Wind-Up vs. Danger! vs. Lightsworn

Gishki vs. Xyz Dragon vs. Vanquish Soul

Altergeist vs. Machina vs. Springans

Spellbook vs. Magnum Overlord vs. Nekroz

Herald vs. Arts Angel vs. Rikka

Evolsaur vs. Performage vs. Cynet

⁂

BRACKET F

Eldlitch vs. Ancient Warriors vs. Penguin

F.A. vs. Codebreaker vs. Kozmo

Evil HERO vs. Topologic vs. Qliphort

Igknight vs. Vampire vs. Dark Contract

Dracoslayer vs. Shiranui vs. Fur Hire

Dododo vs. Kairyu-Shin vs. Toon

Fortune Lady vs. Jurrac vs. Amorphage

Melodious vs. Amazement vs. Thunderbeetle

Evolzar vs. Pendulum Dragon vs. Ice Barrier

Gem-Knight vs. Ewekai vs. Djinn

Gusto vs. Starry Knight vs. Tearlaments

Sevens Road vs. Odd-Eyes vs. Zoodiac

Exodia vs. Super Quant vs. Karakuri

Nemleria vs. Monarch vs. Lyrilusc

Scareclaw vs. Nephthys vs. Salamangreat

Hazy Flame vs. Dracoverlord vs. Vaylantz

⁂

BRACKET G

Plunder Patroll vs. Warrior vs. Butterspy

Libromancer vs. Harpie vs. Runick

Evoltile vs. Symphonic Warrior vs. Gadget

Borrel vs. True Draco vs. Dinowrestler

Morphtronic vs. Prank-Kids vs. Laval

Atlantean vs. Materiactor vs. Dinomorphia

Hieratic vs. Myutant vs. Darklord

Cyber Angel vs. Gizmek vs. Labyrinth

Heroic vs. Phantom Beast vs. Edge Imp

Granel vs. Artifact vs. Constellar

Elemental HERO vs. Goyo vs. Ally of Justice

Watt vs. Knightmare vs. Marincess

Sylvan vs. Elementsaber vs. Photon

Ghostrick vs. Vendread vs. Buster Blader

Aroma vs. Wisel vs. Mirror Imagine

Worm vs. Amazoness vs. Yosenju

⁂

BRACKET H

Metalfoes vs. Flower Cardian vs. Ultimate Flag

Royal Rebel’s vs. Solfachord vs. Dragunity

Rose Dragon vs. New Order vs. Exosister

C vs. Windwitch vs. Spright

Dream Mirror vs. Transamu vs. Metaphys

Naturia vs. Graydle vs. Venom

@Ignister vs. Battlin’ Boxer vs. Lunalight

Junk vs. Time Thief vs. Rescue-ACE

Chronomaly vs. Destruction Sword vs. Phantasm Spiral

Masked HERO vs. Tenyi vs. Tellarknight

Trickstar vs. Gogogo vs. Attraction

Cipher vs. Vehicroid vs. Deskbot

Invoked vs. Elemental Lord vs. X-Saber

Resonator vs. Stardust vs. Fabled

Geargia vs. ZW - vs. Fluffal

Pendulum Magician vs. Shadow Flower vs. Paleozoic

#yugioh #yugioh archetype tournament

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darkshadowduelist · 5 years

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OCG: Return of the Divine Bird ~ Simorgh

RIRA-JP017 Suushichou Simorgh (Simorgh, Bird of Beginnings)

Level 1 WIND Winged Beast Effect Monster

ATK 0

DEF 1600

You can only use this card name’s (1) and (2) effects once per turn each.

(1) When this card is Normal Summoned: You can activate this effect; during this turn’s Main Phase, you can Normal Summon (not Set) 1 “Simorgh” monster in addition to your Normal Summon/Set (you can only gain this effect once per turn).

(2) If your opponent controls no cards in their Spell & Trap Zones and this card is in your GY: You can activate this effect; you cannot Special Summon monsters for the rest of this turn, except Winged Beast monsters, also Special Summon this card in Defense Position, but banish it if it leaves the field.

RIRA-JP018 Shoushinchou Simorgh (Simorgh, Bird of Summoning)

Level 2 WIND Winged Beast Effect Monster

ATK 1000

DEF 1000

You can only use this card name’s (1) and (2) effects once per turn each.

(1) When this card is Normal Summoned: You can add 1 “Simorgh” card from your Deck to your hand, except “Simorgh, Bird of Summoning”.

RIRA-JP019 Shishinchou Simorgh (Simorgh, Bird of Endings)

Level 3 WIND Winged Beast Effect Monster

ATK 1500

DEF 200

You can only use this card name’s (1) and (2) effects once per turn each.

(1) When this card is Normal Summoned: You can send 1 “Simorgh” card from your Deck to the GY, except “Simorgh, Bird of Endings”.

RIRA-JP020 Goshinchou Simorgh (Simorgh, Bird of Protection)

Level 4 WIND Winged Beast Effect Monster

ATK 1400

DEF 1000

You can only use this card name’s (1) and (2) effects once per turn each.

(1) When this card is Normal Summoned: You can target 1 card in your opponent’s Spell & Trap Zones; return it to the hand.

RIRA-JP021 Reppuu no Hasha Simorgh (Simorgh, Lord of the Storm)

Level 8 WIND Winged Beast Effect Monster

ATK 2900

DEF 2000

You can only use this card name’s (2) and (3) effects once per turn each.

(1) This Tribute Summoned card cannot be targeted by an opponent’s Spell/Trap card or effect.

(2) When a Spell/Trap card or effect is activated (Quick Effect): You can Tribute 1 WIND Winged Beast monster, then target 1 card your opponent controls; shuffle it into the Deck.

(3) When a Winged Beast monster you control is destroyed by battle and this card is in your GY: You can add this card to your hand.

RIRA-JP022 Darkness Simorgh

Level 8 DARK Winged Beast Effect Monster

ATK 2900

DEF 2000

You can only use this card name’s (1) and (3) effects once per turn each.

(1) If you Tribute Summon a DARK or WIND monster: You can Special Summon this card from your GY (if it was there when you Summoned), or hand (even if not).

(2) This card’s Attribute is also treated as WIND while it is in the Monster Zone.

(3) When a Spell/Trap card or effect is activated (Quick Effect): You can Tribute 1 WIND Winged Beast monster; negate that activation, and if you do, destroy it.

RIRA-JP060 Simorgh no Reihou Elborz (Elborz, Sacred Peak of Simorgh)

Field Spell Card

You can only use this card name’s (2) and (3) effects once per turn each.

(1) WIND Winged Beast monsters on the field gain 300 ATK/DEF.

(2) You can reveal 1 Level 5 or higher WIND Winged Beast monster from your hand; for the rest of this turn, you can Normal Summon Winged Beast monsters with 1 less Tribute.

(3) If you control a WIND Winged Beast monster, you can: Immediately after effect resolves, Normal Summon 1 Winged Beast monster.

RIRA-JP061 Simorgh no Raikou / Simorgh Arrival

Normal Spell Card

You can only activate 1 card with this card’s name per turn.

(1) Discard 1 Winged Beast monster; add 2 “Simorgh” monsters with different Attributes from your Deck to your hand.

(2) You can banish this card from your GY; reveal 1 Winged Beast monster from your hand, and if you do, for the rest of this turn, any monster with that revealed monster’s name in your hand loses 1 Level.

RIRA-JP062 Simorgh no Haigeki (Simorgh Rejection)

Spell Normal

You can only activate 1 card with this card’s name per turn.

(1) Discard 1 Winged Beast monster; return all cards in your opponent’s Spell & Trap Zones to the hand.

RIRA-JP073 Simorgh no Ressen (Simorgh Stormfront)

Continuous Trap Card

You can activate the (2)nd effect with this card’s name only once per turn.

(1) Winged Beast monsters you control with less ATK than the Winged Beast monster you control with the highest ATK cannot be targeted for attacks or by your opponent’s card effects.

(2) You can send to the GY both this card you control and 2 “Simorgh” monsters you control whose original Levels are 7 or higher and whose original Attributes are different; return to the hand as many cards on the field as possible, and if you do, take 500 damage for each returned to the hand, then inflict damage to your opponent equal to the damage you took

#yugioh #ygo #yugioh zexal #yugioh arc v #yugioh vrains #yugioh 5ds #yugioh gx #rising rampage

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