#especially once it came to Yuma's section

[mayashesfly]

Do you ever think about how Makoto still retains all of his memories clearly while Yuma has lost his memories twice?

One of the things that intrigues me before was Makoto's comment about a bath when Yuma first met him.

It's quite a strange thing to say to a stranger

If you didn't know about the fact that Makoto is Yuma's homunculi

He describes a bath as a fleeting dream. Something temporary and neverlasting.

And attributes a bath, a fleeting dream according to his words, as "Washing away your sweat and past" and "Being born anew"

Taking sweat literally, it's a given. As the purpose of a bath is to cleanse ourselves as well as wash away the sweat we accumulated over time.

But taking sweat a bit more metaphorically, we can say that sweat represents the hardships one has experienced. Taking a bath is also our way to give ourselves a break from a busy day and relieve ourselves from the hardships we had experience during the day.

However, the past thing is a bit more strange and less straightforward in its reasoning. While a bath can wash away our past physical filth, it can't actually wash away our actual past.

And while a bath is refreshing and makes us feel rejuvenated, it does not actually "born us anew". In a way, to say that a bath can wash away our sweat and past and born us anew is a lie. An illusion. A temporary placebo effect if you will.

A fleeting dream.

Just like Makoto had said.

Applying his words on himself, Makoto acknowledges that a bath which he attributes to "washing away your sweat and past" and "being born anew" is nothing but a fleeting dream. A temporary thing to relief himself.

The thing about Makoto is that he cannot wash away his past. He still remembers and knows that he is Number One's homunculi and nothing can change that. He also knows that he is the only perfect homunculi to ever be made in existence.

No matter how much he may try, he cannot change that. Nor forget it. As it is a part of his memory, inherited or not.

As for the born anew part, I want to talk about something else first before delving into that.

When Makoto first entered Kanai Ward, he created the rain machine to stop the Blank Week Mystery. At this point of time, he would've already known that he was Number One's homunculi and that the new residents of Kanai Ward are also homunculi.

Rain can also be taken as a sort of symbolic bath.

There are times that people do take a bath in the rain for fun. With their clothes on of course.

And Makoto did mention that he also sometimes takes a bath with his clothes on.

And also, Makoto doesn't even use an umbrella or even a raincoat to protect himself from the rain when he's outside.

(My guy you are going to get sick. Get a hat or something! Why are my favs like this??)

The rain washed away the literal blood, sweat and tears of the previous human residents of Kanai Ward. And washed away the past atrocities the new residents had done in their mindless rampage away from their mind.

This was the moment Makoto Kagutsuchi's past of being an escaped lab experiment of the UG had been washed away.

And the moment Makoto Kagutsuchi was born anew as Amatarasu Corporation's CEO and the defacto leader and protector of Kanai Ward.

But like how the rain didn't completely washed away the aftermath of the Blank Wrek Mystery, the rain didn't completely washed away Makoto's past and memories.

Makoto is still stained and soiled from the past, regardless of how many baths he may take, it will never wash away.

A bath is nothing but a fleeting dream after all.

It is used to merely soothe. Never to completely erase away.

Now onto Yuma!

Applying these words on Yuma, we get a different result.

An intriguing thing about Makoto's words is that he uses to pronoun "Your" and "You're" while talking to Yuma.

While we can say that he's just using the pronoun "your" and "you're" to refer to an ambiguous you.

It's much more interesting if he is actually directing these words at Yuma himself.

"Your sweat and past are washed away. You're born anew"

Looking at it in this way, it's seems more like Makoto acknowledging the fact that Yuma is his original and that Yuma has lost his memories.

Upon entering Kanai Ward, the cage of rain, Yuma's sweat and past has been washed away. And with his memories and experiences of hardships during his time as Number One disappearing, he had quite literally been born anew.

He's quite different from how Number One acts after all. He's more trusting, more naive. More innocent. Unlike Number One.

Shinigami even comments on this, even indirectly.

He doesn't remember his past or his time at the WDO or being Number One. He doesn't remember anything and he was convinced that his real name is Yuma Kokohead.

That's quite unlike Makoto.

His contract with Shinigami had been so effective at washing away his past that he practically acted like a completely different person. Completely different from the Number One others knew.

Unlike Makoto's crude rebirth, Yuma's was a complete one.

His past had been washed away effectively, leaving behind no stains or soil. While we do see that Yuma retains his strong sense of justice and detective skills among other things, his memories on the matter are blurry. He feels the vague sensation of familiarity but not the actual memory associated with that sensation. It's fascinating.

Unlike Makoto whose memories still cling onto him, Yuma's memories are like the murky water that was washed away. He can try to cling onto the water as much as he likes but it eventually seeps out and away with only the sensation of wetness being left.

Not that Yuma actively searches for his memories. Though we do see Yuma wondering about his knowledge and his past self at times, finding his memories isn't his main goal. Finding his purpose and reason to find the truth is his main goal.

And it's because of this that he grew more than Makoto ever did. He surpassed the restrictions the past has given him and was born anew.

It makes Yuma recovering his memories as Number One but also losing his memories as Yuma after breaking his contract with Shinigami rather intriguing, but also in a way, tragic.

He was born anew yet again. But we're uncertain if Yuma's growth transferred to the newly reborn Number One.

It's quite tragic that we don't know what happened with Yuma after losing and regaining his memories yet again. While Makoto still retains his memories and knowledge of Number One Yuma.

It's quite unfair, isn't it?

[manjuhitorie]

Meetia Polaris Interview - English Translation

Original Interview/Text: Sotaro Yamada Edit: Yukari Yamada  Summary: POLARIS [First section: Overseas. Opinions on the sensations amidst the live shows. Unexpected differences and song choices, Rie resolution over overseas aspirations.  Second section: Polaris backstory and Naruto talk. Unique touches and each member impacting the songs in ways of their own conscious volition. Third section: Strengthening values, wo being indulgent, yg being perceptive, Yuma being caring, SND being SND. Fourth section: RIVER FOG, CHOCOLATE BUTTERFLY backstory. Style agreements. Fifth section Nichijou to Chikyuu no Gakubuchi backstory. Is such persistence okay. It turned out great but,, okay.]

[We don’t keep our boundaries inside or outside of the country]

After Hitorie kicked of their “UNKNOWN-TOUR 2018“LOVELESS” tour in 2018, they added two appearances in Taiwan and Shanghai, then was their two-man project “nexUs TOUR 2018”, furthermore their tour of China and such. I get the impression they were quite busy with live shows. Especially the first overseas appearance, frankly how was it? 

Yumao: The best of the bestest ain’t it. There were such many reactions I’ve never experienced before, it was quite the stimulation.

Shinoda: Also the cheers they do in China seem to be really really loud. From the first shout it was already ridiculous. I thought I was gonna lose my ears. 

Yumao: The audience’s pace on the Japan side is to hype over uptempo songs and to quietly listen to downtempo songs, but in China there was none of that. They were hyped up the whooole time. If I put in extremes, from beginning to end it was like “Uwaaag!”

So it’s that different from Japan. With music there are songs which feel more of the quietly listen variety rather than hype up.

Yumao: But it seems like the “listen” type of songs are more popular. 

Shinoda: The songs that were supposed to be trendy in Japan are insignificant over there. They aren’t even included in rankings of favorite songs. It seems like ballad type songs are liked there.

Specifically which song is popular?

wowaka: It’s included in an album from around when we debuted “Imaginary Monofiction”, called “(W)HERE”. A so-called ballad type of song with a BPM of around 120~130 and a goopy melody. Regardless the second we hit the intro, the entire venue went “Uwaaah!!”.

Yumao: Yeah yeah. It was like “Gyaaaaaah!!!”

wowaka: Such a reaction was unexpected. We had at least heard from the event staff beforehand that “(W)HERE was really liked there but, I couldn’t even imagine they would erupt into such an crazy cheer the first second we started. The level of intensity was even about the same in every venue too. 

So is the popularity of “Imaginary Monofiction” especially high?

wowaka: It doesn’t seem like that’s the case either. 

ygarshy: I theorized that the tempo when the body naturally feels good and takes motion is different there. When we perform “(W)HERE” in Japan everyone seems to recognize it as a type of ballad as they indulge, but in China they were pumped up for this song. Maybe riding such tempos is normal over there, I thought. 

Shinoda There wasn’t anything like a mosh either.

Yumao: There were also people who were jumping for joy but, it was more as if they each had their own way to freely ride the beat. When I looked at the audiences faces, everyone’s pick point was different.

In Japan there are bands who achieve a decent amount of success and then completely alter their aim towards the overseas scene. On the other hand there are bands who thoroughly focus on the national scene. Which direction is Hitorie heading?

wowaka: This year was only our first overseas live but, overall it was a expansion of what we've always done. The desire to gain more range and listeners was there from day one of Hitorie, after all. It’s not as if we’ve pretty much conquered Japan so now the next step is to go overseas, it’s more that we’re going to be dashing inside and outside of the country. 

Shinoda: It doesn’t matter whether it’s overseas or national, if we can do it then I would wanna go anywhere.

wowaka: If we could do a show on Mars we would (laughing).

Yumao: We put together the China tour in the first place because there was a necessity to; if there’s a place where we’re wanted, then, I think we would go anywhere. We don’t keep our boundaries inside or outside of the country.

wowaka: We still have a much to finish delivering around Japan also. 

[For ‘Polaris’ I wanted to clearly convey those words, those sentences]

Your new song “Polaris” is the ending theme for the anime “BORUTO -NARUTO NEXT GENERATIONS”. I want to know how conscious of the anime’s content were you as you created the song. 

wowaka: We did write if for the anime so, parts of it were sucked in. As for what I remember, I was in high school right when the “NARUTO” anime started, and the people who represented the theme songs were ASIAN KUNG-FU GENERATION and ORANGE RANGE. Such powerful awesome bands. It gave me the impression that “Any artist who represents the OP or ED of ‘NARUTO’ is a badass”, and for a middle~high schoolers at the time, I remember “NARUTO” being a gateway to both anime and music. That’s why in sight of writing this song I read every single volume of “NARUTO” and “BORUTO”. 

ygarshy: That’s why in terms of ‘NARUTO’ or ‘BORUTO’, I don’t feel a strong bond with it as much as I feel it's a natural occurrence.

wowaka: For our generation it’s something that’s so essential, it exists like air does. I never thought I would have the chance to affiliate with it, it makes me want to show it to my old self.

It’s a true pop song, it makes one want to sing when they listen to it. Personally I always felt Hitorie had many songs that were too difficult for ordinary people to sing. Yet this time the fast complex part arouses the desire of “This would feel good to sing”. I believe this is a huge transformation for you but, was there any sort of transformation in your mindset?

wowaka: During the “Loveless” tour, there was a definite breakthrough within me. Simply put, I was able to go undecorated and show my naked self to other people. I felt I was able to go up on stage without putting up a cool front, and throw “My individuality I want to display” and “What I deem precious” towards our listeners. Just when I was pondering over what I’m going to do next with this new me, we received this request. I imagine a lot of middle~high schoolers are watching “BORUTO”, so I had thought about how I could convey my sensations in an uncomplicated manner. I want to release myself from complicatedness, is also another way I had felt. As a result, the song attained it’s tone and it’s words. I wanted to clearly convey these words, these sentences.

Shinoda: During the recording, we put a lot of attention into whether or not the lyrics would properly permeate your brain even if you were in a state of nothingness. 

wowaka: I wanted to make it into a song that would linger in your brain even if you sort of listened to it right before falling asleep.

I know wowaka writes the base of the songs but, when this song was first revealed to you what did you think?

Shinoda: I don’t know if this is the correct way to say this but, sometimes the chorus melodies he writes are so intense, that they’re almost intrusive. This time it was at a different angle from that stuff, I thought it was such a good melody for a change. Also, the guitar in the chorus isn’t complex. Halfway through that part so complicated I think it’s going to kill me does burst out but, the chorus is done really really simple. That’s for the sake of making sure the focus is on the voice and the words. 

Though the drums before the chorus are so pounded they’re almost perverted.

Yumao: Past the second chorus right. That was definitely because I thought “I better do this”. The parts where I could freely fill-in the blanks were only that one I think. Anyway I simply wanted to make it flashy, the result was that sorta blast.  

Shinoda: That part is what, “Watch me do this ’n hardcore mode”.

Yumao: Yeah yeah. I thought at least it would be okay for me to go crazy there.

wowaka: I had the feeling of how ”I want to fully and clearly convey what I’m saying to anyone who is listening”, equally as much as I had “I want to do something that spikes out”. I wanted to make “Easy to understand” and “Everything Hitorie has done up until now” collide in a good way.

Thanks to that collision the melody sounds even more pretty. Then what about you ygarshy?

ygarshy: Of course I aimed to bring the voice to life but, for me personally, simplifying my play to bring the voice to life sounds wrong. My thought process was more about how, the lyrics are like this over a melody like this, so I should do this. This time I used the lyrics and melody as the basis for the note writing. So I think it  emerged as a performance that conveys us directly. 

You consider the meaning of the lyrics as you write.

ygarshy: Of course I aimed to bring the voice to life but, for me personally, simplifying my play to those ends sounds wrong. My thought process was more about how, the lyrics are like this over a melody like this, so I should do this. This time I used the lyrics and melody as the basis for my note writing. So I think it emerged as a performance that conveys us directly. 

That is extremely persuasive.

wowaka: There are times when we develop the song based on the instrumentals but yeah. This time the melody and lyrics came first.

[The more you confront things the more you confront how “alone” you’re becoming]

From everyone else’s perspective, do you think wowaka’s song and lyric writing has transformed in anyway these past few years?

ygarshy: Of course I think there’s parts that have come to change, and his ability to write is truly starting to evolve. Though, once he enters one mode, then next, he’ll enter the opposite mode, that part of him won’t change.

 What do you mean by “mode”?

ygarshy: Put simply, it’s whether he’s holed up inside or opening up. He produces on that pendulum.

Was he more open this time?

ygarshy: He’s opened up as soon as he’s closed, sort of character.

Shinoda: Also in this single, there’s one song that anyone would say is eccentric, no matter how they listen to it. “Ah, this guy also goes in this direction ehh” is what I thought. It’s amusing because every once in a while he’ll smack us with this type of surprise punch. The way he entrusts us has also changed I feel. He doesn’t get firm and ossified, he more candidly throws the songs at us. And we’ve learned how to properly answer. 

 Is that, trust, I suppose?

Shinoda: …….Do ya think it’s trust?

wowaka: Haha (laughing). Between music production and life, everything, the members and staff were always there. More than entrust to them… they’re always there.

You speak of “always there”, but the word “Alone” shows up a lot in your lyrics wowaka. Is the sense that you’re alone still strong?

wowaka: That sense itself is actually getting stronger and stronger. Doing things with people who are “always there” and being “alone” are, by definition exact opposite, aren’t they. Yet, they’re existing completely simultaneously.

Yumao: Well, the more you do things the more you get like that.

wowaka: It’s not something only I feel right?

Yumao: I think the entirety of humanity can feel it. By simply being with other people, you also have to confront your own self. 

wowaka: The more you seriously confront things the more you confront how “alone” you’re becoming, and the result of continuing to confront is that there’s people you’ll meet and who you can share things with.* Doing that you became a self that can make even better things. If I didn’t have this band I would never have noticed the lonely parts of myself, that I notice now. Only thanks to noticing that am I able to understand the sensation of “always there”, and the happiness that comes with entrusting myself to other people.

That concept also seems to be reflected in the phrase “Go down the road of no one”. By the way, about the word ‘Polaris’, wowaka you had tweeted “Literally it means the north star but this time I made it the title because of a different meaning.” What did you mean by a different meaning?

wowaka: Hmmmm… (Brooding on it for a short while). I don’t want to put this into words (laughing).

Yumao: It doesn’t mean the star? 

wowaka: If you say star then it would simply be a star, wouldn’t it…. I’m often thinking about how I want to be released from the functional roles of words and their meanings. Instead of meanings I want to cherish the “sense of meaning”. This time too the emotions emanated from the song and the title and the artwork are everything. That’s why I dared to say “A different meaning from the North star”. *

The North star isn’t just one star, after all. 3 stars are all overlapping, so when you see it from afar it looks like one star.

wowaka: Ooh…. It’s like a band.

Yumao: That means there’s 2 inside it’s core?

No core, they’re around each other. The 3 look like they’re overlapping to the naked eye, and it releases a strong light, or such.

wowaka: That’s a really good detail. This truly was the perfect title. Amazing.

[RIVER FOG, CHOCOLATE BUTTERFLY: the strange color creation with noise music and a breakdown]

— Shinoda had said it earlier also, the second track “RIVER FOG, CHOCOLATE BUTTERFLY” is a song that doesn’t sound like any song Hitorie ever had before, no matter how you listen to it.

wowaka: We completed this song after Polaris. 

Shinoda: At first we only had the first part completed, and we were going to end it there.

So the noise part in the middle wasn’t included during the initial phases?

Shinoda: It wasn’t. Why did we put that in, tell me again? There was some sort of reason we said “Let’s do improvisation here“.

ygarshy: We wanted to do something that doesn’t connect in a clean way, where a preposterous space appears and connects you to the next climax.

It reminded me of Lou Reed’s “Metal Machine Music”. The electric sounds at the end possess a sadness, it makes me feel regretful when the song ends.

wowaka: That has it added on at the end huh.

Shinoda: We had disputed a bit over whether we should include that part or not though (laughing).

wowaka: Our opinions were split but, in the end I disregarded everything and I put it in myself.

That means there was a side against adding it in, who was that?

Yumao: Me! It’s super good when it’s there, but it’s also super good when it’s not. If that’s the case then isn’t it best not? I thought.

Shinoda: I was also against adding it in. It concludes with a band jam so, I thought it would have been pretty. That way, a synthesizer would be added in.

If you preferred it gone but ultimately it was added in, that means you’ve accepted it from some point.

Yumao: Naw, I accepted it from the beginning. It’s good either way after all.

[The overcoming of trauma: Nichijou to Chikyuu no Gakubuchi]

The third track “Nichijou to Chikyuu no Gakubuchi was originally a Vocaloid song wowaka had made solo. It’s a song that gained popularity even among all of wowaka’s 2011 album “Unhappy Refrain”, so reenacting that song must have required quite some courage. I’m sure “It was better the old way” is an existent voice as well. Why did you pick this song?

wowaka: We had started to perform this song as a band during the “Loveless” tour but…. Why do we do it again?

Shinoda: Out of all the songs on “Unhappy Refrain” I like it the most. Even since when it was first decided I would join Hitorie, I thought “We’re gonna do this song sometime I’m sure”. Yet, it seemed the culprit creator of it couldn’t come to terms with it.

wowaka: This’ll turn into a discussion of long times past but, this song is like the final single drop I squeezed out of myself at the end of the end of “Unhappy Refrain”’s production. I finished it way past my exhausted limits, it exists alongside dreadful memories. In a way it turned into a kind of trauma song for me.

Shinoda: You get such a bitter face when we talk about this.

wowaka: That’s why it’s a song I couldn’t positively face for a long while. There was a period of time when I would even say I hated it.

Yumao: Nevertheless on every occasion Shinoda would continue to play this song, trying to show it’s appeal saying “Why don’t we do this?”

Shinoda: That appeal, during the “Loveless” tour at the head of this year, finally penetrated.

Yumao: At first we only sooort of did it during a studio rehearsal, “It’s this kind of song so the drums will be like this, the bass like this” effort.Once we executed it we said “Wait? This is cool?”*

wowaka: At that pace, we started performing it on the “Loveless” tour despite never playing it live prior. Once the tour ended and it was decided we would release a single, as we were discussing well what sort of songs should we group up with this, Shinoda told us “Wouldn’t it be fine to put ‘Nichijou to Chikyuu no Gakubuchi’ in?”.

Shinoda: This is the first time we’ve ever recorded a song after we vigorously polished it throughout a tour. It was developed in a completely different way than our other songs, so I think this song has the most band sound over anything.

ygarshy: When we did this song on the first day of the “Loveless” tour, my bass amp broke halfway through and I couldn’t make any noise. If there was someone who didn’t get to hear it anywhere but at that live-house (Kyoto ‘Takutaku’), then that would be such a shame. So the fact that we were able to record it like this, personally purifies my regrets.

Yumao: Everyone may think all we did was arrange a Vocaloid song and record it, and well maybe they would have a point but, in terms of our will, that wasn’t in the context. 

wowaka: That’s why I didn’t falter at all.

Such that you conquered trauma.

wowaka: I overcame it I did.

Original Post: http://meetia.net/interview/hitorie-polaris/

[investmart007]

SAN LUIS, Ariz | In stretch of Arizona border, migrant families keep coming

New Post has been published on https://is.gd/JrDglw

SAN LUIS, Ariz | In stretch of Arizona border, migrant families keep coming

SAN LUIS, Ariz— The 3-year-old boy with a bowl haircut and striped shirt silently clung to his father in the back of a U.S. Border Patrol truck.

Their shoes still muddy from crossing the border, the father and son had just been apprehended at a canal near a border fence in Arizona on a muggy night in July. Before the father, son and two older children could make it any farther, a Border Patrol agent intervened and directed them through a large border gate.

The father handed over documents that showed gang members had committed crimes against his family, one of the ways immigrants who seek asylum try to prove their cases. After a wait, he and his children were hauled away in a van to be processed at a Border Patrol station about 20 miles away in Yuma.

The encounter witnessed by The Associated Press illustrates how families are still coming into the U.S. even in the face of daily global headlines about the Trump administration’s zero-tolerance immigration policies. The flow of families from Central America is especially pronounced in this overlooked stretch of border in Arizona and California.

The Border Patrol’s Yuma Sector has seen a more than 120 percent spike in the number of families and unaccompanied children caught at the border over the last year, surprising many in an area that had been largely quiet and calm for the past decade.

So far this fiscal year, agents in the Yuma sector have apprehended nearly 10,000 families and 4,500 unaccompanied children, a giant increase from just seven years ago when they arrested only 98 families and 222 unaccompanied children.

The Trump administration’s policy of separating families did not seem to be slowing the flow. The Border Patrol here apprehended an average of 30 families per day in June, when the uproar over the policy was at its peak, an increase from May. Yuma is now the second-busiest sector for family border crossings next to the Rio Grande Valley in Texas.

Agents and border crossers here have many things to contend with.

Parts of the border are urban, with fences and canals on the U.S. side directly across from a home’s backyard in Mexico. The sector includes Arizona and part of California, along with the Imperial Sand Dunes and Colorado River.

While drug smugglers and other criminals use the vast desert to cross illegally, most families and children simply walk or swim across into the U.S. and wait to be arrested, according to Border Patrol spokesman Jose Garibay. Many travel in large groups, he said.

Garibay says he was once on assignment when he encountered a group of over 60 families and children.

Dealing with large numbers of families and children has proven to be logistically difficult for the agency. There are only so many vans to transport the immigrants to the sector’s processing facility in Yuma.

Many don’t understand why so many families and children from Central America are coming to the U.S. through this stretch of Arizona and braving its extreme summer heat, when the more direct path takes them to the Rio Grande Valley in Texas, more than 1,000 miles away.

Garibay said migration patterns are largely controlled by the cartels that smuggle people across. The Mexican state of Tamaulipas that borders the Rio Grande has been experiencing extreme violence by drug cartels that the head of U.S. Customs and Border Protection recently said are fighting for “every inch” of control of the river where migrants are often smuggled in Texas.

Randy Capps of the Migration Policy Institute says it’s noteworthy that most of the border crossers in the Yuma sector are Guatemalans. He said it’s possible many are headed for California and that crossing through the Yuma area may be the safest and simplest way to do that.

They are encountering a section of border that the government hails as its gold standard for border security. It was one of the busiest sectors in the country for years before new fencing, technology, remote surveillance and more agents resulted in a drastic drop in border crossings.

“It’s really been a combined effort across the whole agency to be able to turn this sector into something that is manageable and not somewhere there was 138,000 apprehensions back in 2005,” Garibay said.

Yuma is an agricultural hub that relies heavily on immigrant labor to harvest crops, mainly lettuce and dates. Hundreds of Mexican workers cross the border with special visas to work the fields. Their employers have to pay to house and feed them, and they earn around $10 an hour.

The Yuma area supplies 90 percent of the nation’s leafy greens for most of the year— a $2.5-billion-a-year industry. It’s a place heavily reliant on immigrant labor, but also where President Donald Trump beat Hillary Clinton by more than 5 points.

A 45-minute drive from the city of Yuma south through a number of fields leads to San Luis, Arizona, the small border city where clothing shops and Mexican restaurants line the street leading to Mexico.

On the same night the 3-year-old and his family were taken into custody, an agent out on patrol near Yuma spotted two men and two boys ages 12 and 13 from Guatemala standing on a road waiting to be arrested. The group had walked through a knee-high canal and their pants and shoes were wet and dirty. An agent gathered their names, home countries and dates of birth before putting them in his truck while waiting for a transport van. The men and boys said nothing as they were taken away.

At a shelter for immigrants on the Mexico side, more recently deported immigrants, families and Central Americans have been showing up this year. Casa del Migrante la Divina Providencia was seeing about 1,000 people each month in 2017. In 2018, over 2,000 people started showing up monthly, according to Martin Salgado, who runs the shelter.

Most of the people served at the shelter are Mexicans who were deported. But on occasion, Central Americans making their way north stopped here for a warm meal, a prayer and a bed.

Jose Blanco, 28, had left Honduras nearly a month prior to arriving at the shelter. He and two others tried crossing the border illegally near San Luis but came back after six hours on foot, when he found it was too hot and dangerous to keep going.

Blanco, the father of two children who were back in Honduras, said he planned on going home instead of trying to cross again.

“It’s too hard here right now,” Blanco said.

By ASTRID GALVAN , Associated Press

[lovecartoongame]

“Abridged” Arc-v

Hear me out! (cause I don’t know when I’m going to bring this but....)  this might be an old news (well, Arc-v is just start season 1 in my country about a few months ago and today it’s ep.67 ; w ; ) but I just wanted to share with you anyway lol

this is mostly based on the “insert quote” (the quote that doesn’t even in the story but hey! they bring it up and I LOVE it >w< ) of my country’s “dub” version 

Character’s most used insert quote list :  (If I don’t list here it’s means that character doesn’t get insert quote at all) 

Yuya is the one together with Yuzu who got a little of insert quotes ex. ran some of comedy gag when being with Yuzu.  But he always got mocked by others (especially Gon-chan) 

His favorite quote - “Why everyone keep mocking me???”   

Gogenzaka is salty at everyone! and always mock Yuya and others’s script......( and I call him Mr.script checker )

His favorite quote - “Who write your script, Let me look at it!”    

Ex. When Yuya is berserk and summoning Odd-eye reblion dragon and start screaming, Our Gon-chan said, “Yuya, Why TF are you keeping scream???!?! who wrote your script?!?!?!” 

Shingo is still same in season 1. But in season 2 he starts complaining at everything that he saw and Call Selena for “Tom boy” 

His favorite quote - “Don’t you know who I am? My father is a minister you dammit! ”    

Reiji Instead of being calm, serious he is now wanted to be looking good in every ep! even more wanted to looking like a cool character!

His favorite quote - “Let me arrange my glass first”     

Reira is also got mocked by every characters (including Yuya) especially in season 2, They said like “Why that child/kid/brat is so silent, is he has something in his mouth???” 

but Reira just replied them with his favorite quote “it’s not my queue yet...... ”

Selena is even more badass than before! She doesn’t want everyone to look at her nor touch her in first season but a little bit change in season 2.

Her favorite quote - “Who are you looking? Do you want to die? and don’t touch me! ”     

Jack is now fighting for the sake of “Cup ramen” (I’ve never expected that his voice actor still remember that in 5d’s Jack LOVES cup ramen lol  ) Ex. He said to Yuya in their first duel “They said if I win, I’ll get more cup ramen”

Yugo is even more angry and pervert than the before! 

His favorite quote - “Look at my mouth! It’s Yugo! My name’s Yugo! Don’t you all get it??!?!?! ”     

I will study more quote and add more later >w< so stay tune! (if you want to)

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Voice actor list section so far - ep.67 for now  (I can’t remember their name and I’ll try to find some video that has their voice later)  

Yuya = the one who voice blackmist, Kaito, Alito, Gache, III, Eliphas. He always picking the serious characters to voice or the main antagonist. (He also voice Edo in Gx so, I wonder if he do that in Arc-v too....)

Gong, Reiji, Yugo, Hokuto,Crow  = the one who voice Yuma (if you bet that he is a funny type voice actor, the answer is YES!! he really is!!! but I don’t understand why in Crow’s case he become more serious......)

Reira, Yuzu, = the one who voice Rio, Dogchan (she might has soft voice but she always came up to voice a strong girl! or sometime a boy lol)

Ayu, Yoko, Sora,  = The one who voice Cathy, Tron. She always voice to heroine or the main young/kid villain of the series.  (she also voice Asuka in Gx so, I wonder if in Arc-v she will voice her once more? ) 

Futoshi, Selena, Hali, Himika  = the one who voice Haurto, Droite. She always voice funny type character in both (young/kid) male and female. sometime, she pick up the serious character role.

Tatsuya, Masumi, Mieru, Olga, Rin = The one who voice Kotori. She always voice the brute and funny girl and they often being the main characters 

Shun, Strong ishima, Gen, Isao, Teppei, Chojiro, Leo akaba = the one who voice Dr.Faker, Vector. He got “old man” voice but I don’t know why he can change to fit younger character’s voice....

Syuzo, Shingo, Yaiba, Yuu Sakuragi , Barrett, Dennis, Roget = the one who voice Astral, V , Girag. and even more he always voice for the villain who got calm personality...

Nico smiley, Nakajima, Michio, Yuto, Yuri, Shinji, White Taki, Jack  = The one who voice Ryoga, Rei (vector’s alter ego), IV , Don thousand, Mizar (for Jack’s case only, he also voice as Jack in 5d’s too!)

will be add more later! ^w^

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Thank you for reading :D