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piduai · 2 years

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Noda's interview for Yomiuri online paper

this interview came out in 3 parts, and i posted parts 1 and 2 yesterday & translated part 3 today. i assumed that they'd come out at longer intervals, which is why i didn't want to wait to compile them but since they came out one after another across 3 days i figure it's best to have them all as a whole interview after all. if you've read parts 1 and 2 just scroll down to the last one. (admittedly there's a lot of scrolling, this thing ended up being a monster)

as always, sharing anywhere is fine but please credit me and stop posting my translations on twitter without crediting.

Part 1

Q: What did you feel when you were done drawing the last panel of the last chapter? How did it feel to say goodbye to this work that was with you for the last 8 years?

Noda: While I did think, “Oh, so it’s finally over”, there were some things that i insisted on keeping, so I requested space for five additional pages, including a preview for my next work. Even after finishing the manuscripts I still have projects such as work on the volumes, supervision of the anime and the live action. It wasn’t a “goodbye” situation at all, therefore I had no time to feel deeply moved yet.

Q: Your story is about a gold hunt set post the Russo-Japanese War, involving the Ainu and Wajin, northern ethnic minorities and even Russia. What was the impetus for it?

Noda: My great-grandfather was a soldier of the 7th Division who participated in the Siege of Port Arthur, and I was considering illustrating a story about that. Right around that time, my editor, Mr. Okuma (Hakko), brought me a novel set in Hokkaido called “Ginrouou” (The Silver Wolf King") by Kumagai Tatsuya, which was very interesting.

The main character was a hunter named Nihei. My previous work, “Supinamarada!”, had an intense ice hockey coach named Nihei, so I felt like it’s somehow fateful and decided to combine the two. And if you try to depict the historical background in that setting, of course the Ainu, the Japanese, the northern minorities, and the Russians would all make an appearance.

In the early days some people have pointed out that it resembled Tezuka Osamu’s “Shumari” and Terasawa Buichi’s “Cobra”. However, having never read either, I thought to myself, “Oh shoot, it seems like the topics overlapped”. Now that the story has become a melting pot and the elements that were similar to those works got drowned, it seems like nobody is saying that anymore, though.

Q: Why did you choose to include real historical figures such as Hijikata Toshizou as major characters? What were your points of reference while looking for people to model the tattooed prisoners after?

Noda: Hijikata having an appearance was nothing but inevitable.

First of all, the idea was that when the code gets deciphered and the location of the gold gets revealed, it should be a place that readers across Japan could recognize at a glance. That obviously would be the famously star-shaped Goryokaku. I thought it would be exciting if Hijikata Toshizou went on a rampage at the site of that decisive battle.

In the movie “Forrest Gump”, Gump is present at several historical events that are actually the result of his own unwitting actions. I found that curious, so I wanted to include that element in my own story. For example, Ishikawa Tsuboku basing one of his historical verses on Superior Private Usami’s worst possible words*.

I knew that Saito Hajime** is still alive, but I thought it way too convenient to stray from the framework of Hokkaido history, so I never included him. Though I guess it would have been exciting if I did. With the perverts within the tattooed prisoners, at first glance it seems impossible that such a person could really exist, but once you learn that they really were modelled off someone, the story becomes strangely compelling.

This is especially true for Sugimoto. Once you learn about Funasaka Hiroshi***, it becomes rather difficult to deny his immortality.

(t/n: *refers to this sequence in chapter 247

the historical tanka is his most famous, called “Labor”, and it goes like:

However long I work

Life remains a trial.

I just stare into my palms.

** Another former member of the Shinsengumi.

*** The guy Sugimoto was modelled after, more about him can be found here.)

Q: The exhibition also includes materials such as a model of Sugimoto’s Type 30 rifle, which is on display. What was the reason for such a deep focus on real materials in the process of creation?

Noda: It’s because both the quality and the efficiency of the art can be improved at the same time this way. Sometimes it is necessary to draw the angle of the gun to match the action, so it is easier for the assistant to depict it better if there is an actual gun at hand. If I give you a picture illustrating a gun sideways and ask you to draw one with the muzzle facing front, you’d have to be exceptionally good to be able to do it well, and it can take a lot of time. Also, it is quite difficult to draw a hand holding a gun. I just took pictures holding the gun and had them used for drawings.

At first, there was a person who made a small but elaborate model of Lt. Tsurumi’s Ikazuchi class destroyer, and the drawings around Abashiri Prison were based on it. However, there were some difficult parts to depict, so we had a different model artist build a large destroyer for us over the course of a year. Thanks to this, we were able to create a dynamic picture of the ship.

Q: Models of the dishes at the exhibition considered, it is said that the foods present in the manga were only those that you actually tasted yourself. What taste left the deepest impression on you?

Noda: Saying that it’s only foods I ate myself is a bit of an exaggeration… But there was the brain of the Ezo deer I hunted, and the Russian and Nivkh traditional dishes I tasted while in Sakhalin that I found profoundly memorable.

Q: Of the actual materials you collected, which were particularly difficult to obtain, or memorable to you in some way?

Noda: Asirpa’s makiri was the first thing that I got my hands on, so it’s very special. All Ainu tools are one of a kind, and, depending on the crafter, one can take years to complete.

Q: I understand that you have many other materials in addition to the ones present at the exhibition; how many items do you have in total?

Noda: I couldn’t tell you just how many. It’s really down to the littlest things. I have things such as shell casings from real guns, or, for example, the finger bones that Lt. Tsurumi is holding were drawn from a skeletal model of a hand that was dissasembled after purchase.

Q: The scenes of gunfights, sword fighting, judo, martial arts - they all feel very rigorous in depicting combat. How did you reference actual movement?

Noda: I put effort into showing things such as sense of speed and weight. The speed of the action in the actual manga will change drastically depending on which moment you choose to show, so it’s important to choose carefully. Depicting action in a way that conveys how the body is actually moving instead of covering up a crude scene with momentum is not easy. I’d have pictures of myself taken in movement, or using model dolls for posing, and other things discovered through the method of trial and error.

Q: You’ve admitted before that you’re fond of Tanigaki Genjirou, a former 7th Division soldier who ended up helping Sugimoto’s team. What is the reason for that?

Noda: Because he’s shaggy, he’s plump, and he’s cute. Don’t you agree that he’s just so cute?

Q: The special illustration that you did of Tanigaki for the exhibition really conveys your love for him. What kind of scene did you imagine? What is he holding in his hand?

Noda: He’s holding a kanemochi. I wanted it to look like he’s about to share his kanemochi with the viewer, an act of kindness and love. I’m not used to hand painting so I was about to give up a bunch of times it wouldn’t come out the way I wanted it to, but in the end if the people who viewed it smiled if only a little, I’d consider my efforts rewarded.

Part 2

Q: In pursuit of the gold, the story depicts the fierce battle with the 7th Division, which is led by Lieutenant Tsurumi. How did you come up with the 7th Division characters, such as Second Lieutenant Koito and Sergeant Tsukishima?

Noda: Lt. Tsurumi is wearing a military dolman which resembles human ribs by shape, add the head plate and he ends up looking like a glossy skull. I wanted to invoke the imagery of Shinigami with him. I love the character designs in the movie “Alien”, so I wanted to add a touch of that too. Frieza from “Dragon Ball” also has this glossy look and seems strong, right?

Second Lt. Koito and Sergeant Tsukishima were introduced with the intention of making them important figures in the Tsurumi faction. However, the way I ended up drawing Tsukishima’s reactions towards Edogai-kun was just so fun, so I figured I could get to the bottom of Tsukishima’s character if I made the two of them have a similar relationship. But they just gradually became dumber and dumber. It worked out well, however, since in the end that gap offered space for growth later on.

Introducing young men who would become Tsurumi fanboys also allowed me to emphasize his dodgy charm. I wanted to show the Navy as a military force as well, therefore Second Lt. Koito, as the son of a vice-admiral, proved very useful.

Q: Are there any characters or episodes that left you feeling particularly gratified?

Noda: Ogin the Viper and The Lightning Bandit were a real couple, and there is an Ainu legend that coincides very well with their story, so that arc felt especially smooth. Also the one about Anehata-sensei. The goal of it wasn’t to simply shock the audience with a provocative pervert. The underlying purpose was to introduce people to the nature of Hokkaido and some Kamuy of the Ainu in a non-conventional way. In the opinion of my editor, Mr. Okuma, the death of Ueji was the most well done, and I agree with him.

Q: Many characters, including Sugimoto and Tanigaki, are defined by being alluring and expressing a kind of male sexuality and strength at the forefront. What do you find interesting or are particular about when drawing them?

Noda: Despite being a married man myself, I still love men with beautiful bodies. Since I know that, in some cases, one can connect with members of their own sex much more deeply than those of the opposite one.

Q: Endgame was very hard on the readers since characters on both sides of the battle were dropping like flies. Presumably it must have been even harder on the author. Who were the ones who gave you the most trouble, or you were attached to the most?

Noda: “Will they be able to understand Ogata’s ending, I wonder?”, is something that gave me the slightest bit of concern.

Nevertheless, considering that Tsurumi stayed mysterious until the very finish line, I didn’t want to end this story with Ogata also being on the equivocal side. As a writing method I believe that, taken to the extreme, every character in the story should be evaluated in relation to the protagonists.

Back in Karafuto, Asirpa didn’t kill Ogata because she lacked the resolve of taking a human life. After she reunited with Sugimoto, she was reassured in how important he is to her. If it’s about protecting Sugimoto, she decided that she’s ready to go to hell. Seeing her determination, Sugimoto also resolves that he’s ready to take the VIP seats to hell with Asirpa. Which is why Asirpa was able to risk her life taking the land deed back. Ogata had a very important role in facilitating this whole process.

This is due to the fact that a lot of the readers were more interested in the relationship between the protagonists rather the whereabouts of the gold. Of course, Ogata had his own story to tell as his own individual character, so I prepared for and have drawn his resolution with a lot of care, in hopes that many readers would be satisfied with it.

Q: The expression on Lt. Tsurumi’s face as he gazed at the falling remains during the climactic battle to the death was also deeply moving and heartbreaking.

Noda: Regarding Tsurumi’s expression, I deliberately crafted an atmosphere around him so that the readers would hesitate to believe his words, no matter how sincere he’s being. I could have made him monologue about his true feelings and intentions at any given time, but I never did. I am a mangaka, so I always waited for this kind of opportunity to discard wordy explanations and convey my ideas through a facial expression.

Q: Sugimoto’s main motivation to participate in the gold hunt was to heal Umeko, the girl who was his childhood friend and whom he loved. However, in the last chapter, he gives his share of the gold to Umeko’s son, since her eyes were already healed. Why did you do that?

Noda: If Umeko had not remarried and her eyes weren’t healed, the story would have needed a few more chapters, which, considering that it was post-climax, would have made it drag on needlessly.

The reason for that is Toraji told Sugimoto to get together with Umeko before dying, and he is not the kind of guy who could have ignored that and return to Hokkaido with Asirpa. Besides, Umeko remarrying has been hinted towards at a few points throughout the story, so it was a foregone conclusion.

From her own perspective as a character, Umeko is also not just someone waiting for the hero to save her, but a strong woman who chose to remarry early for the sake of both herself and her son.

Perhaps some readers might have interpreted that as a waste of gold that Sugimoto risked his skin to get. But for me, Sugimoto keeping his promise was more noble, even as a formality. The man Umeko remarried owned a flower shop and even a greenhouse, which was rare for Japan of those times, so money seemed to not be a problem for them. But I think that if Umeko were to have another son, Toraji’s would have rebelled and refused to take over the flower shop, saying that he doesn’t want to feel indebted to his step-father. I think he’d try to become independent, and that share of gold would have helped him with that. But I think that rather than the gold itself, Toraji’s son learning that his father has died as a hero was much more valuable.

Q: The relationship between Sugimoto and Asirpa could only be described as “partners”, with no romantic elements, until the end. Did you plan to keep it like that since the very beginning, or was it a natural development?

Noda: I decided from the very beginning that I would not show Sugimoto and Asirpa as romantically involved in the end. Asirpa’s crush felt natural for the character so I included it, and since it was related to the later events, it was part of my calculations.

Q: It seems that you have decided on the last panel many years ago. What was the reason for it?

Noda: I don’t remember when exactly, but towards the end of 2019 I sent an e-mail to the historical supervisor, Mr. Goto Kazunobu, asking him what he thinks of this kind of punchline and whether a bill or a coin would work better. I think it’s the best when the thick of the action ends with the chapter before last, and the very last one works as an epilogue. Isn’t it nice when you can end it quietly and safely? It’s alright to make a short story edgy and twisted and give it a bad ending, but in the case of one that lasts for 31 volumes, I knew that in order to placate most of the audience I’d have to take them head-on and overpower them with no question. So I wanted to make them laugh all the way through. And I think I reached my goal.

Part 3

Q: In the scene where they find the gold in Goryokaku, gold dust rains down on Sugimoto and Asirpa, reminding us of the famous passage from "A Collection of the Ainu Epics of the gods" edited and translated by Chiri Yukie: "Silver droplets fall fall all around me, golden droplets fall fall all around me".

Noda: I envisioned gold dust pouring on them like rain from the very beginning. I wanted it to be a dramatic scene. As to Chiri Yukie's passage, it was my editor, Mr. Okuma, who added that tag line. I myself have completely forgotten about that poem. So when I saw the final product for the first time in the magazine, it has surprised and moved me just how fitting to a T that passage was. It seemed like I drew the whole thing just for it.

Q: The narration in the very last chapter talking about Ainu culture being passed down thanks to the cooperation between Ainu and Wajin people was also impressive.

Noda: It's something I have experienced firsthand due to my involvement in creating this work.

The Ainu created the culture and passed it on to their descendants. On the other hand, there were many Japanese scholars who recorded and studied it.

The aforementioned "Collection of the Ainu Epics of the gods", which I used as one of my creative materials, was compiled back in Taisho era in cooperation between Kindaichi Kyosuke, a linguist and founder of Ainu language research, and Chiri Yukie, an Ainu woman. Yukie's younger brother, Chiri Mashiho, became a disciple of Kindaichi Kyosuke and, in cooperation with Japanese scholars, established the field of Ainu studies. Sarashino Genzo, a researcher, has written about Ainu culture in eastern Hokkaido and left behind many, many materials. I own a large amount of out-of-print documents, many of which were written by Ainu and Japanese researchers.

During my time doing research for this work, I have met with many Ainu people who are involved in the preservation of Ainu culture and the study of Ainu folk tools, such as Dr. Kitahara Jirota Mokottunas, associate professor at Hokkaido University; as well as many Ainu craftspeople, such as Mr. Kaizawa Toru, who has inherited Ainu folk tools from his ancestors.

Mr. Urakawa Tahachi, an Ainu craftsman and hunter, has told me that if you make a makiri of your own, someday someone might see it and want to make their own resembling it. He has donated many of his own tools to various museums. I think that it is very important in terms of culture preservation that Ainu artifacts are kept in museums. I have seen contemporary Ainu craftspeople relearn Ainu culture from the materials they find in this or that museum collection, use them as references, and apply them to their own work.

On the other hand, many of the researchers and museum curators who have kindly offered me their help, who have a wealth of knowledge about Ainu culture and are working to preserve and protect it, are also Japanese. One of them, Mr. Sekine Kenji, an Ainu language instructor, has positively shocked me with his abundance of knowledge, and I even had the opportunity to sit at one of his lectures where he taught Ainu children about Ainu language and traditional dances.

Above all, the greatest help from the very beginning was provided by Mr. Nakagawa Hiroshi, professor emeritus at Chiba University, who has taught the Ainu language for many years, promoted it among many people, and has written books about it. Ainu people with whom I am still in contact have also noted that Mr. Nakagawa's presence is extremely significant.

The persecution and discrimination of the Ainu by the Japanese is clearly depicted in the very first volume of Golden Kamuy, and the buried Ainu gold, which is the whole premise of this manga, was originally intended to be used as military funds against their exploitation and discrimination at the hands of the Japanese in the first place. I have also included depictions of the oppression of ethnic minorities by the Japanese and Russian governments, which is an uncomfortable sight for a Japanese audience.

Still, Ainu culture could be passed down thanks to the cooperation between the Ainu and the Japanese. It's factual, and I wanted to include this positive note somehow, so I made it into narration.

Q: Do you always alter the contents of the volumes because of the time and space restrictions that come with weekly serialization? Why are you focusing so much on the quality of the work that goes into the volume?

Noda: I'm not the only mangaka who adds additional stuff to the volume releases, so I don't think it's much of a big deal. Since your work will be preserved as manga volumes, I think it's only natural to want to correct your mistakes and better the quality before their final release. Though of course I'm not saying that it's an excuse to slack off on your weekly releases.

For example, I am strictly against making it so you couldn't follow the plot well unless you read the volumes. Up until now I've done everything I could to provide the absolute best product I could deliver in a single week. However, since it's weekly serialization, it's not that I have leisurely time to redraw something over and over again until I'm absolutely satisfied with the result. Panelling and rough sketching alone takes 2 days, and mangaka are people too, we have to go to the bank and the city office, plan trips to the dermatologist and the dentist, we worry about our parents. And I had to finish my chores within one day, so I only had about 4 days to focus on manga undividedly. If we exclude sleeping, it's 18 hours per day. 18 times 4, it's 72 hours per week in total. Since a chapter is 18 pages, the base line is 4 hours per page, though I can never manage my time this neatly so I always ended up pulling all-nighters. In serialization it's the deadline, not you, that decides when you will done with your work.

And so you've pushed it to the limit, finally finished it, and sent it to your supervisor - and now it's time for the regrets. "If only I had one more hour, I could have drawn this much more nicely!", "If only I had a bit more time, I could have come up with a better line!", stuff like this. I'd leave the magazine in the toilet and reread it every day, brooding over my bad panelling and over what kind of things I could have added to depict the scene better so that the audience could gain a deeper understanding of it. During hiatuses and breaks I'd spend the entire week on working on the volume. Volumes have sparser releases than weekly magazines so it allows more time to work on them, but even that considered I couldn't take a single day off even during breaks because I still had to do serialization work immediately after. Even then I'd still have not enough time, so I had to cut down on sleep and other things and work on both simultaneously, and it would go on like that for years. I pushed myself like this because I wanted the final product to be the best of what I can do, quality-wise. If you feel sorry for me, please buy the volumes.

Q: You've probably been asked this before, but what made you want to become a mangaka?

Noda: I dreamed of being a movie director, but since I grew up in the Hokkaido countryside, I didn't know how to work my way around it. Both of my parents had their hands full with their own affairs too. I figured that as a mangaka I'd have full authority over my own stories, so I once sent a work to a magazine competition to test out the waters. Receiving awards from Weekly Shounen Jump and Weekly Young Magazine was what made me decide to tell my parents that I'm serious about becoming a mangaka. The editor liked my work and recommended me for the awards seemed to be the one in charge of "Sailor Moon", and I remember being very excited. That was the true beginning of a very long and hard path waiting ahead.

Q: As the introduction of this work as a "Japanese-style, melting pot Western" suggests, it is a mixture of plot and comedy, emotion and offbeat, the serious and the inappropriate. Especially when it comes to the black humor component, can you tell us about your desired aesthetic and style?

Noda: I can only create things that I believe are fun, and I don't think it's morally wrong. When it comes to black humor, I think the point is that it should pull you in immediately after grossing you out, like a coil spring. I believe that if I don't write things that might be vulgar, the response will be weak too, and I know that this standpoint has alienated and offended a part of the audience, but it's not something that can be helped. Losing confidence in your own sense of what is fun is a much bigger problem.

Q: In your last note you said that spin-offs are not off the table. If you were to write one, who would you choose as a protagonist?

Noda: It would have to be Shiraishi. I thought it could be fun to make a story about the love-hate relationship between the Abashiri prisoners, because they all end up making it out of prison, you see. However, I'm not sure about that at all. I want to remake my previous manga about ice hockey and leave it in this world as a completed work, and I'm also considering an entirely new, unrelated story. But life is short, and the things you can leave behind are but a few. I always prioritize what I want to draw now, and work on it thinking that this could be my last project.

#golden kamuy #noda satoru #translation

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descendent-of-the-sixth-heaven · 2 months

Note

Mai's Underling: Mr. Noda. Please come this way. Boss has instructed us to take you away from this place.

Mai's underling 2: Also, please don't worry. Ms. No Mrs. Chiyoda is being taken care of by the Takedas.

*Nobunaga didn’t move for a while, but eventually followed them*

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cherry-dr0p · 3 months

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SAVE ME KENJI NODA SAVE ME ‼️‼️💥

Up at 4am currently but here's some pictures of the guy :3

He's so cool guys,,, look at his hairrrr,,,

#kenji noda #mr noda #dr noda #save me old man #save meeee #godzilla minus one #am I a simp? maybe #I think the answer is yes #Hes truly the science guy ever #godzilla #screaming rn #im very sleep deprived #help me #why am i making this post #i dunno you tell me

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yanderefairyangel · 7 months

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The others / Glass steps

Track 6 of Gothika, I tried to translate it.

何故か近頃の僕は

Why is it that lately

へんな感じなのだnoda

I have been experiencing such an odd feeling ?

後ろ手に締めた扉

From behind, the locked door

振り向いたら全開だわ

Suddently opened itself as soon as I turn around.

僕の歯ブラシが洗面所の鏡

My toothbrush crossed over the bathroom's mirror

刺さってる

And stayed stuck there.

女なんか特に

This woman I brought home

最近持ち帰った記憶もない

No matter what I do, I simply can't remember her

割れた破片

Around all these broken pieces

赤い血が滲む十字架を描く

I draw a red cross stained in blood

午前2時のholy nightmare

It is 2 : am : Holy nightmare hour !

A labyrinth continue which opens

In the mirror

目を疑うようなscene

An unbelievable scene plays before my eyes

古びたオルゴールはcrying

The old music box is crying

何処へ逃げればいい

Where can I run away ?

Oh no begin to cry help me

何時の頃からか

When exactly has my room

部屋が男臭いの何故naze

Started to have this masculine fragrance ? and why ?

影のような気配

This shadow like presence

吸わないはずのタバコの煙

is smoking tabacoo, it should not be here

見知らぬ歯ブラシ

I found this unknown toothbrush

全力で鏡に投げつける

And I thrown it into the mirror with all my strengh

恐怖で痛みを感じない

I am so scared I can't even

指先の切り傷

feel the pain of my injuried fingers

割れた破片

Around these broken pieces

赤い血が滲んだハートを書く

I draw a big heart stained with red blood

午前2時のholy nightmare

It is 2 : am : Holy nightmare hour !

A labyrinth eternally which opens

In the fear

研ぎ澄まされるsixth sense

My sixth sense sharpened

叫んでもあたしはcutie

Even screaming out of fear, I am a cutie

誰にあたればいいの

Who can I can call out for help ?

Begin to cry help me

夜が永遠に続いている感覚

It feels like this night will never end

何かを忘れている様な不安

Anxiously, as if I had forgotten something

ボンヤリとした残像から

There is no way to escape from

抜け出せずにいるのさ

this fuzzy afterimage

君はどうだい

How do you feel about all of this?

こっちへおいで

Come, I am right here.

A labyrinth continue which opens

In the mirror

誰もいない old room

Into the empty old room

揺らめく二つのshadow

There is 2 flickering shadows

永久に繰り返す

Repeating it over and over againt

Oh yeah where is the heaven

A labyrinth eternally which opens

In the fear

闇に響くcry of the fear

The cry of the fear echoes in the darkness

振り向く僕は so deadly

I turn around and I am so deadly

千切れた足がうずく

My torned up leg is hurting me

Begin to cry help me

Y-Yandere mister wolf ?!

So following my theories of all of Gothika's song being from the pov of the villagers who found Akazukin, Kurozukin and Okami san dead, this one would also be the villagers thinking Okami san killed the sister but unlike for Okami no ketsuzoku, in this one it would be that Okami san killed Akazukin who tried to escape after they spend the night together but got himself killed by Kurozukin before she died herself since the other songs indicate they believe Kurozukin died because she tripped on her shoes.

Anyway, the male character seems to be refering to the doing of the female character

1, 2, 3 Take one

1, 2, 3 Take two

1, 2, 3 Take three

1, 2, 3 Prologue

「I miss you so much.」真っ黒なドレスで光を唱えた私は何色に染まってる？

"I miss you so much" dressed in picth black, I chant for the light

Can you tell me : what is my true color ?

愛し焦がれた　Hey！Mr HUMAN.定めのその灯火よ幾千の旋律を奏でて　貴方のもとへ

You are yearning for love, aren't you ? hey ! Mr Human. I can see the light of fatality playing thousands of melodies just to please you

三日月に　one step 午前0時　魔法が解けるまで孤独だけな　two steps 刻み続けるの　ガラスの靴で黄昏た　three steps 2つの想い　胸に縛りこみ涙の　last steps 叩き割るの　滲んだ夢

Leading to the moon, one step

Until midnights rings, until the spell is broken

(Please stay with me... take one)

Only loneliness remains, two steps

I keep engraving them with my shoes of glass

(please hold me ... take two)

Twilight arrives, three steps

There is 2 feelings I'd like to get off my chest

(please listen to my story... take three)

Leading to tears, the last steps

Is smashing all the blurred dreams

(please break the music)

「美味しいワインはいかがかしら？」真紅に混じっているちょっとスパイツーな隠し味…ポイズン「私のことをお嫌いかしら？」そう　永遠が欲しいゆらゆらゆらぐ記憶を踊り　私のもとへ

"Would you like some of this tasty wine ?" Delicious crimson red

that I mixed with a special spice and a secret flavour of .. poison

"Now I wonder : do you hate me ?" That's right, I yearn for eternity

Swaying, swaying all these memories are dancing for me

逃がさないnever step. 隣の隣で微笑んだ Fate trap.I just can't stop！見つめて欲しい　私の影似合わないdress up. モノクロの雫　頬に流れる願いはdream step. 塗りつぶしてよ　七色に

You can't escape. It's never step.

I am next to you, next you, giving you a great smile.

(Dancing you and me... take one)

Fate trap. I just can't stop !

I just want you to look at my shadow

(dancing melancholic waltz ... take two)

Unsuitable dress up

Monochrome drops are running down my cheeks

(dancing I see my ghost... take three)

The wish of dream step

I want to be filled with the colors of the rainbow

(But nothing my nothing)

one steps

two steps

three steps

1 2 3

one steps

two steps

three steps 1 2 3

三日月に　one step. 午前0時　魔法が解けるまで孤独だけな　two steps 刻み続けるの, ガラスの靴で「I miss you so much.」さよなら午前0時　私は崩れてくおとぎの世界で

Leading to the moon, one step

Until midnights rings, until the spell is broken

(Please stay with me... take one)

Only loneliness remains, two steps

I keep engraving them with my shoes of glass

(Next, take a final)

"I miss you so much" Goodbye (I miss you so much Goodbye)

Midnight is ringing and I am crumbling

Living in fairyland

キラキラ　黒いシンデレラ…

I am the sparkling Black Cinderella

(do you know my story ?)

one two three

take one

one two three

take two

one two three

take three

one two three

take one

one two three

take two

one two three

take three

one two three

take one

one two three

take two

one two three

one two……

Track 3, from Kurozukin's pov.

#hatsukiyura #hatsuki yura #yura hatsuki #gothika #gothika 1 #GOTHIKA ～赤羊音戯箱

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imwritesometimes · 1 year

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Oh no mr Noda has beautiful hair.......

#baseball stuff

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your-lovely-rose · 1 year

Text

• 𝐄𝐯𝐞𝐧𝐭𝐬:

31.12./01.01. ┇ New Year's Day/Eve

— 𝐁𝐥𝐮𝐞 𝐌𝐨𝐧𝐝𝐚𝐲 - is a term coined by Cliff Arnall to define the most depressing day of the year, supposedly falling on the third Monday in January.

• 𝐙𝐨𝐝𝐢𝐚𝐜 𝐬𝐢𝐠𝐧𝐬:

22.12–19.01 - Capricorn ♑︎

20.01–18.02 - Aquarius ♒︎

• 𝐁𝐢𝐫𝐭𝐡𝐝𝐚𝐲:

= 01.01. ♑︎

- Yoshiko Hanabatake (Aho-Girl),

- Haru Ichinose (Akuma no Riddle/Riddle Story of Devil),

- Gakushu Asano (Ansatsu Kyōshitsu/Assassination Classroom),

- Yoruichi Shihoin (Bleach),

- Principal Nezu (Boku no Hero Academia/My Hero Academia),

- Mao (Code Geass),

- "Radical Edward" | Edward Wong Hau Pepelu Tivruski IV (Cowboy Bebop),

- Hajime Hinata (Danganronpa),

- Izuru Kamukura (Danganronpa 2: Goodbye Despair // Danganronpa 3: The End of Hope's Peak High School),

- Gao Mikado (Future Card Buddyfight),

- Kochoube Asuko | Asirpa (Golden Kamu),

- Asahi Azumane (Haikyu!!),

- Kaguya Shinomiya (Kaguya-sama wa Kokurasetai: Tensai-tachi no Renai Zunousen/Kaguya-sama: Love is War),

- Daichi Tachiaki (Miira no Kaikata/How To Keep A Mummy),

- Might Guy (Naruto),

- "Fire Fist" Ace | Portgas D. Ace (One Piece),

- "Mr. 1"/"The Killer" | Daz Bonez (One Piece),

- Takeo Gouda (Ore Monogatari/My Love Story!!),

- Tsubaki (Servamp),

- Masato Oujou (Shakunetsu Kabaddi/Burning Kabaddi),

- "Super Rookie" | Kaede Rukawa (Slam Dunk),

- "Vongola Primo" | Ieyasu Sawada / Giotto (Reborn!),

= 02.01. ♑︎

- Mariko/Maririn | Mimori Kishida (AKB0048),

- "Sir Nighteye" | Mirai Sasaki (Boku no Hero Academia/My Hero Academia),

- Mutsuki Nakano (Danchigai),

- Ayumi (InuYasha),

- Mio Aoyama (Kami nomi zo Shiru Sekai/The World God only knows),

- Maria Louise (Kidō Butōden G Gundam/Mobile Fighter G Gundam),

- Emelenzia Rudiger Beatrix (Mamoru-kun ni Megami no Shukufuku wo!/Venus to Mamoru!),

- Tsubomi Kido (Mekakucity Actors),

- Kenzo Tenma (Monster),

- Peepley Lulu (One Piece),

- Mitchie | Mitsuhiko Nagafukada (Robotics;Notes),

- Isshinsai Ogata (Shijou Saikyou no Deshi Kenichi/Kenichi: The Mightiest Disciple),

- Gralat Berlurik (Shoukoku no Altair/Altair: A Record of Battles),

- Akane Shinjo (SSSS.Gridman),

- Taichi Dan (Tennis no Ōjisama/The Prince of Tennis),

- Jun Fuyumi (The Idolmaster SideM),

- Ren-Ren | Reina Suzuki (Wake Up, Girls!),

- Marie Tennouji (Yumeiro Pâtissière),

= 03.01. ♑︎

- "Seiryuu" | Shin-Ah (Akatsuki no Yona/Yona of the Dawn),

- Hiromi Iwasa (Baby Steps),

- Alecdora Sandler (Black Clover),

- Fujitaka Kinomoto (Cardcaptor Sakura),

- Kyoshiro Tohdoh (Code Geass),

- Keisuke Yuuki (Fushigi Yuugi/Mysterious Play),

- Haruko Saeki (Idoly Pride),

- Masako Araki (Kuroko no Basket/Kuroko's Basketball),

- Gamabunta (Naruto),

- Aisa (One Piece),

- Iceberg (One Piece),

- Mukki | Mutsuki Tsuyama (Saki),

- Kotone Noda (Sakura Trick),

- Ichiro Ogami (Sakura Wars),

- Itsumi Natsume (Schoolgirl Strikers: Animation Channel),

- Arata Inanaki (Sousei no Onmyouji/Twin Star Exorcists),

- Bart Garsus (Vandread),

- "First Sniper" | Haruaki Azuma (World Trigger),

- Shinji Fuyushima (World Trigger),

- Yukino Yukinoshita (Yahari ore no seishun rabukome wa machigatteiru/My Teen Romantic Comedy SNAFU),

= 04.01. ♑︎

- Tsubomi Hiiragi (22/7),

- Michio Sumiyoshi (All Out!!),

- Tadaomi Kurama (Argonavis from BanG Dream!),

- Kaname Izuma (Beelzebub),

- Kyusaku Yumeno (Bungo Stray Dogs),

- Senku Ishigami (Dr. Stone),

- Aiichiro Nitori (Free!),

- Aobimbo | Aoba Tsuzaki (Jinki: Extend),

- Arthur Trine (Kidō Senshi Gandamu Shīdo Desutinī/Mobile Suit Gundam SEED Destiny),

- Lina/Angie | Angelina Kudou Shields (Mahouka Koukou no Rettousei/The Irregular at Magic High School),

Torii Natsumi (Nurarihyon no Mago/Nura: Rise of the Yokai Clan),

- Fumiki Mizutani (Ookiku Furikabutte/Big Windup!),

- Takeru Fujiwara (Prince of Stride),

- El Cid (Saint Seiya/Zodiac Knights),

- Kotonoha Katsura (School Days),

- "Galand the Truth" | Galand (The Seven Deadly Sins),

- "Gourmet Surgeon" | Atashino (Toriko),

= 05.01. ♑︎

- Eri Ibusaki (D_Cide Traumerei the Animation),

- Prince of the Capital/King | Mei Narumiya (Diamond no Ace/Ace of Diamond),

- John Brown (Ghost Hunt),

- Ichigo Kohinata (Girlfriend (Kari)/Girl Friend Beta),

- Terence T. D'Arby (JoJo's Bizarre Adventure),

- Kuroh Yatogami (K-Project),

- Keitaro Urashima (Love Hina),

- Ozma Lee (Macross Frontier),

- Strawberry (One Piece),

- Sion Todo (PriPara),

- Ryō Yoake (ReLIFE),

- Kae Hiiragi (Re:Stage! Dream Days),

- Momiji Kanō (The Unlimited Hyobu Kyosuke/Zettai Karen Children: The Unlimited),

- Mew Berry | Berry Shirayuki (Tokyo Mew Mew),

- Wanko | Inumaru (Ueki no Housoku/The Law of Ueki),

- Ichigo Amano (Yumeiro Pâtissière),

= 06.01. ♑︎

- Anna Nishikinomiya (Shimoneta: A Boring World Where the Concept of Dirty Jokes Doesn't Exist),

- Jeanne d'Arc (Fate/Apocrypha),

- Nene Kinokuni (Food Wars!),

- Jeanne d'Arc (Drifters),

- Nobara Yukinokouji (Inu X Boku Secret Service),

- Saki Morimi (Eden of the East),

- Makoto Sawatari (Kanon),

- Shingo Komoi (Cardfight!! Vanguard),

- Tatsuma Suguro (Blue Exorcist),

- Haji (Gintama),

- Kiyoko Shimizu (Haikyu!!),

- Sherlock Holmes (Moriarty the Patriot),

- "The Darkness of the Shinobi" | Danzo Shimura (Naruto),

- "Fifth Raikage" | Darui (Naruto),

- Ebizou (Naruto),

- Oimo (One Piece),

- Tilestone (One Piece),

- "Sailor Saturn" | Hotaru Tomoe (Sailor Moon),

- Amidamaru (Shaman King),

- Oluo Bozado (Shingeki no Kyojin/Attack on Titan),

- "Liz" / Elizabeth (The Seven Deadly Sins),

= 07.01. ♑︎

- Konekomaru Miwa (Blue Exorcist),

- "Jack Mantis" | Kamakiri Togaru (Boku no Hero Academia/My Hero Academia),

- Genya Shinazugawa (Kimetsu no Yaiba/Demon Slayer),

- Samui (Naruto),

- "Square Sisters" (with Kiwi) | Mozu (One Piece),

- Guang Hong Ji (Yuri!!! on Ice),

= 08.01. ♑︎

- Kai (Akira),

- Mars (Black Clover),

- Hiashi Hyuga (Naruto),

- Hizashi Hyuga (Naruto),

- "Okama King" / "Miracle Person" | Emporio Ivankov / Iva (One Piece),

- Ching Tao (Shaman King),

= 09.01. ♑︎

- Kaede Kayano (Ansatsu Kyōshitsu/Assassination Classroom),

- Reika Rikudou (Fate/Apocrypha),

- Haku (Naruto),

- Pickles (One Piece),

= 10.01. ♑︎

- Braz D. Blood (Blood Lad),

- Koyo Ozaki (Bungo Stray Dogs),

- Yukichi Fukuzawa (Bungo Stray Dogs),

- Ittetsu Takeda (Haikyuu!!),

- Eustass Kid (One Piece),

- Otohime (One Piece),

= 11.01. ♑︎

- Todoroki Shouto (Boku no Hero Academia/My Hero Academia),

- Itomimizu (One Piece),

= 12.01. ♑︎

- Schneizel el Britannia (Code Geass),

- Dr. Hiriluk (One Piece),

- Ricardo (Re:Zero − Starting Life in Another World),

= 13.01. ♑︎

- Cutthroat (Akudama Drive),

- Gordon Agrippa (Black Clover),

- Cornelia Li Britannia (Code Geass),

- 13 (Dorohedoro),

- Ikaros Much (One Piece),

= 14.01. ♑︎

- Rukia Kuchiki (Bleach),

- Ayumu Tojo (Gintama),

- Snoozer (Hamtaro),

- Sweet Pea (One Piece),

- Estarossa (The Seven Deadly Sins),

= 15.01. ♑︎

- A.O (One Piece),

- Historia Reiss (Shingeki no Kyojin/Attack on Titan),

- #81194 | Ray (Yakusoku no Neverland/Yakusoku no Neverland),

= 16.01. ♑︎

- Revchi Salik (Black Clover),

- Jirou Kyoutoku (Boku no Hero Academia/My Hero Academia),

- Boodle (One Piece),

- Felix Argyle (Re:Zero − Starting Life in Another World),

= 17.01. ♑︎

- Kazuo Tengan (Danganronpa 3: The End of Hope's Peak High School),

- Capone Bege (One Piece),

= 18.01. ♑︎

- Rhya (Black Clover),

- "Dabi" | Toya Todoroki (Boku no Hero Academia/My Hero Academia),

- Kiyomizu Yukihiro (Fugou Keiji: Balance:Unlimited/The Millionaire Detective Balance: Unlimited),

- Katsuhiko Teshigawara (Kimi no na wa/Your Name),

- Hannes (Shingeki no Kyojin/Attack on Titan),

= 19.01. ♑︎

- Coyote Starrk (Bleach),

- Lilynette Gingerbuck (Bleach),

- Edgar Allan Poe (Bungo Stray Dogs),

- "Baron Zeppeli" | Will A. Zeppeli (JoJo's Bizarre Adventure; Part 3),

- "Prince of the Sand Waterfall Gourd" | Gaara (Naruto),

- Spandine (One Piece),

= 20.01. ♒︎

- Sakura Kouno (Horimiya),

- Maki Zenin (Jujutsu Kaisen),

- Mai Zenin (Jujutsu Kaisen),

- First Mizukage | Byakuren (Naruto),

- Tetta Kisaki (Tokyo Revengers),

= 21.01. ♒︎

- Antonio (One Piece),

- Miss Friday (One Piece),

= 22.01. ♒︎

- Miki Okudera (Kimi no na wa/Your Name),

- Merry (One Piece),

- Mii-chan | Michelajul Lortelia (Senyuu),

= 23.01. ♒︎

- Yumacchi | Walker Yumasaki (Durarara!!),

- Haruki Komi (Haikyuu!!),

- Nobu | Nobuo Terashima (Nana),

- Shino Aburame (Naruto),

- Charlotte Dosmarche (One Piece),

- Charlotte Nusstorte (One Piece),

= 24.01. ♒︎

- Inoichi Yamanaka (Naruto),

- Kairiken (One Piece),

- Miss Monday (One Piece),

- "Witch of Greed"/ "Witch of Wisdom" | Echidna (Re:Zero − Starting Life in Another World),

- "Quinque Fanatic" / "Mad Mado" | Kureo Mado (Tokyo Ghoul),

= 25.01. ♒︎

- Shingo Mido (Death Note),

- Rintaro Suna (Haikyuu!!),

- "The Fourth Hokage" | Minato Namikaze (Naruto),

- Giolla (One Piece),

= 26.01. ♒︎

- Kuromarimo (One Piece),

- "Nero the Sea Weasel" | Nero (One Piece),

- Meene Montgomery (Shaman King),

- "Attack Titan" | Grisha Jaeger (Shingeki no Kyojin/Attack on Titan),

- "Old Warrior" | Aldrich (The Seven Deadly Sins),

= 27.01. ♒︎

- Loly Aivirrne (Bleach),

- Takahiro Hanamaki (Haikyuu!!),

- "Sailor Uranus" | Haruka Tenou (Sailor Moon),

- Charlotte Lola (One Piece),

= 28.01. ♒︎

- Doctor Onishi (Akira),

- "Gran Torino" | Sorahiko Torino (Boku no Hero Academia/My Hero Academia),

- "Puppet Princess" / Tianzi | Jiang Lihua (Code Geass),

- Shizuo Heiwajima (Durarara!!),

- Mansherry (One Piece),

- Naki (Tokyo Ghoul),

- Chosuke Nakamoto (Fugou Keiji: Balance:Unlimited/The Millionaire Detective Balance: Unlimited),

= 29.01. ♒︎

- Kotaro Takebayashi (Ansatsu Kyōshitsu/Assassination Classroom),

- Gadjah (Black Clover),

- Carla Jaeger (Shingeki no Kyojin/Attack on Titan),

= 30.01. ♒︎

- "Kosaku Kawajiri" | Yoshikage Kira (JoJo's Bizarre Adventure; Part 4),

- Eld Jinn (Shingeki no Kyojin/Attack on Titan),

- "Parka Freak" | Misuto Kiriya (Corpse Party: Blood Drive),

- Suleiman (One Piece),

= 31.01. ♒︎

- Byakuya Kuchiki (Bleach),

- Shizuku (Naruto Shippuden the Movie),

- Aladdin (One Piece),

- Ippon-Matsu (One Piece),

← [December] | [Calendar] | [February] →

#january #new year #blue monday #calendar

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