#noma yu

[thedrown]

GOTS- Noma Designs

Doing some simple A pose-y doodles of the Star Wars protags showing their design progressions as the story goes on~

Noma starts with Jedi attire but after defecting to the Separatists she loses those for just a moisture suit. Later she adds some armour and loose robes too!

[crackr-j4ck]

Hoy nomas quiero presumir los bonitos muñequitos tejidos de mi OTP que mande hacer, apoco no está bien monitos?! 🥺

*Sepase que habrá mucho más contenido de Shan Yu x Mulan próximamente.*

Today I come to show the beautiful knitted dolls that I asked to make of my favorite OTP, aren't they pretty?

*More Shan Yu x Mulan content coming soon

[filmyartist]

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[goldenkamuyhunting]

UNIFORMS DATA HUNTING: Japanese enlisted soldiers' uniforms in the Russo-Japanese War

As the cast of Golden Kamuy count plenty of soldiers (or veterans) one of the most common type of clothes visible in the story are soldier uniforms.

Golden Kamuy though, takes place in a particular time period in which soldier uniforms were shifting in shape and colour moving from the dark blue uniform to a kaki one. As if this wasn’t enough there were different uniforms for officers and for enlisted soldiers, with the result we see quite a bit of different uniforms.

In this post I’ll focus on the most frequently seen uniform, the one for enlisted soldiers.

Military Cap (軍帽 Gunbō): Dark blue ‘pillbox’ style M1886 cap with a black leather peak and a chin strap, a yellow band for line infantry soldiers (imperial guard infantry had it red) and a crown seam piping. On the frontal part of the yellow band there’s a star badge (星章 Seishō).

Star Badge (Cap Badge) (星章（帽章）Seishō (bōshō)): A brass five-point star badge placed on the front of the headband of the military cap.

Military Coat (軍衣 Gun'i): It’s a short single-breasted coat (上衣 Uwagi) dark blue in colour, short and made either of cotton or wool with 5 brass front buttons (釦 Botan), a standing collar (立襟 Tachieri) and red shoulder boards (肩章 Kenshō).

Standing Collar (立襟 Tachieri): Red collar which is fastened with buttons.

Shoulder board (肩章 Kenshō): They’re red and on them is written the unit number (隊号tai-gō), which was the number of the regiment (連隊番号Rentai bangō) or of the battalion (大隊番号 daitai bangō) at which the soldier belonged.

Rank Insignia (階級章 Kaikyūshō): We can see that the Military rank Insignia were placed on the sleeves in form of sleeve stripes (袖線 sode-sen).

Trousers (袴 Hakama): Dark blue pants closed by buttons with 2 frontal pockets and a red stripe about an inch wide down the outseam on the sides. They were worn with the lower part either wrapped by puttees or tucked into gaiters or boots.

Puttees (腳絆 Kyahan): Bandage covering the lower part of the leg from the ankle to the knee. It consists of a long narrow piece of cloth wound tightly and spirally round the leg, and serving to provide both support and protection. It was the first issued leg protection for enlisted soldiers.

In GK the ones wearing puttees are: Sugimoto Saichi (he wears them and gaiters during the war and once he’ll leave the army he’ll wear boots), Toraji, Tamai, Noma, Okada, Tanigaki Genjirou, Nikaidou Youhei, Nikaidou Kouhei (after his brother’s death), Aoyama Kenkichi, Ariko Rikimatsu, Usami (in Noboribetsu... we don’t know what he wore prior to it but the anime draw him wearing boots... In Karafuto he wears gaiters), Ogata Hyakunosuke (after he returns from Karafuto).

Gaiters/leggings (スパッツ Spats): In alternative to puttees soldiers also use white cloth gaiters, garments worn over the shoe and lower pants leg, and used primarily as personal protective equipment. The gaiters reached below the knee and buttoned up the outside, with a buckled leather strap fastening at the top and another passing under the shoe.

In GK the ones favouring gaiters are: Sugimoto Saichi (he wears them and puttees during the war and once he’ll leave the army he’ll wear boots), Ogata Hyakunosuke (although when he returns to Hokkaido from Karafuto he wears puttees), Nikaidou Kouhei (prior to his brother’s death), Mishima, Kiroranke, Maeyama, Usami (in Karafuto... we don’t know what he wore prior to it but the anime draw him wearing boots... In Noboribetsu he wears puttees), Kikuta (when taking part to Koito’s kidnapping), Tsukishima Hajime (when taking part to Koito’s kidnapping and when meeting Tsurumi in Karafuto).

Shoes (靴 Kutsu): Exactly as the tin say leathered brown hobnailed shoes, which were worn greased rather than polished.

Boots (長靴 Nagagutsu): Exactly the tin says, stiff leather boots, also worn by some soldiers in place of shoes and puttees/gaiters. It’s worth to note that at the time boots were a more expensive footwear, which was part of the officers’ uniform and that many peasant soldiers found uncomfortable to wear them.

In GK the ones favouring boots are: Sugimoto Saichi (after he left the army, during the war he wore alternatively puttees and gaiters), Tsukishima Hajime, Usami (in the anime, in Noboribetsu he wears puttees, in Karafuto gaiters), Kikuta (in Karafuto).

Clothing worn under the uniform:

(Very likely these are exactly the same as the ones worn by people not under the army)

Undershirt (襦袢 Juban): Collarless, in wool or cotton, white, grey or light green undershirt.

Loincloth (褌 Fundoshi): Traditional Japanese undergarment (g-string codpiece) for adult males.

Military Socks (軍足 Gun ashi): Heelless and made of wool or cotton.

(the one in the pic is actually Shiraishi’s sock but as Sugimoto exchanged it for his own I guess they aren’t that different)

In addition to all this soldiers also wore their equipment which consists of:

Leather belt (帯革 Obikawa): Fastened above the coat was used to tie at it the ammunition poaches and the bayonet.

Ammunition Pouch (弾薬盒 Dan'yakugō or 弾盒 Dangō): Small pouches for carrying rifle ammunitions made of brown hard leather. They were 3, 2 front pouches (前盒zengō) and a rear pouch (後盒Kōgō) all attached to a leather belt (帯革 Obikawa). The pouch was divided in two parts by a divider to fit with the shape of the ammunition paper box. Usually one carried 6 clips in each frontal pouch and 12 in the rear pouch for a total of 120 bullets. The rear pouch also contained 2 screwdrivers (転螺器 Utate nishi-ki) and a small can of oil (油缶 aburakan or油壺 aburatsubo) which contained maintenance oil (手入れ油 Teire-yu) was also attached to it.

Scabbard of the type 30 bayonet (三十年式銃剣の鞘 Sanjūnen-shiki jūken no saya): It was attached to the left side of the leather belt at which were also attached the ammunition pouches.

Type 30 bayonet (三十年式銃剣 Sanjūnen-shiki jūken): It was a bayonet designed for the Imperial Japanese Army to be used with the Arisaka Type 30 Rifle and was later used on the Type 38 and Type 99 rifles. It remained in front-line use from the Russo-Japanese War to the end of World War II. All Japanese infantrymen were issued with the Type 30, whether they were armed with a rifle or pistol, or even if they were unarmed. For more info see my Weapons data hunting (Part 1: Rifles, carbines and shotguns) page.

Type 30 rifle (三十年式歩兵銃 Sanjū-nen-shiki hoheijū “Year 30 type infantry firearm”): A box-fed bolt-action repeating rifle that was the standard infantry rifle of the Imperial Japanese Army from 1897 (the 30th year of the Meiji period, hence “Type 30”) to 1905. Later they’ll switch to the Type 38 rifle (三八式歩兵銃 Sanjūhachi-shiki hoheijū). For more info see my Weapons data hunting (Part 1: Rifles, carbines and shotguns) page.

Back pack (背嚢 Hainō): A knapsack of unshaved hide stretched over a wooden framework and slung by brown leather straps, carried on one's back. The pack contained 3 days rations 30 rounds of spare ammunitions, two pairs of socks, a set of underwear, a cleaning kit for the rifle, bandages, grease for protecting the shoes, sewing kit, comb, scissors. The overcoat was folded and rolled up to be carried around it while a red wool blanket and a waterproof canvas tent were rolled on top of the coat and attached at the knapsack by straps. A spare pair of shoes was strapped to either side of the pack and a metal mess tin fastened to the back of it.

Water bottle (水筒 Suitō): A black or brown-laquered metal water bottle that soldiers would carry slung over the left shoulder on a brown leather strap.

Soldiers also had extra clothes to cover themselves up in the cold weather of Russia which go from the heavy military coats we see the guys used during the battle of Mukden and in Karafuto, to Tanigaki’s leather jacket or Ogata’s overcoat.

(Pictures might or might not be added later)

It’s worth to note Sugimoto keeps wearing part of his army uniform (pants, hat) even though he had left the army.

Ogata, despite being a deserter, wears his army clothes through almost all the manga.

Tanigaki, although talking of having left the army, will keep on wearing them below Ainu clothes.

Though Kiroranke usually wears his Ainu clothes he will wear his army pants to fight in the stenka.

A big help in finding out all those info was the book The Russo-Japanese War 1904-05 by Philip Jowett and Alexei Ivanov which I recommend. I also have to thank the various anon who shared with me links about where to find info. Thank you, guys!

[non-canon-central]

Bnha Third Year AU: Shouto's Nicknames.

Here's a list of all the nicknames Shouto has given to some his friends:

Izuku Midoriya: Izu-Kyun, Bun-Bun

Ochaco Uraraka: O-Chan

Tenya Iida: Ten-Ten

Yuga Aoyama: Yu-Kun, Angel

Hitoshi Shinsou: Shin-Shin

Eijirou Kirishima: Kiri-Kun

Shouto also gave nicknames to people who annoy him to show how much he's bothered by them:

Katsuki Bakugo: Baka-go, Bakacchan

Neito Monoma: Hoe-noma

Inasa Yoarashi: Bitch-nasa, Swine

Dabi: Crusty

Side Note: In case ya'll are wondering: YES! Shouto calls every person on the list by their respective nickname(s) with a completely straight face and in his usual monotone voice

[amyleeryba]

Evento mamalon de jalowin

siempre ando de que ahora si me pongo al tiro con las cosas y las subo con tiempo y nada lo dejo todo para el final y porque siempre me tiene que cargar la verga en la bida y asi

que ondi crayoli B: ahora si complete todo el perro evento en un dia porque estuve ahorrando como negra pa esto

(la neta lo estaba guardando para el cap de armin pero me entretuve con el trabajo el inktober, nada y pos se me paso y solo lo ahorre)

la verdad no esperaba nada de nadie pero si me sorprendieron mas que todo su auto promocion del moonlightlovers que ya estoy ansiosa por jugar

total la cosa es que querian hacer una peda de halloween para ponerse hasta el culo y darlo y todas esa cosas de amor que se hacen yu nou 

total chani hablo de la mansion y todos se pusieron al tiro con eso (como yo siempre deberia pero no hago v:) 

y yo de ¿sus dos compañeros que pedo quienes son?

bueno llego el profe papasito ryan y pos ya llego castiel, y demas gente que no importa y se armo el desvergue

aqui a chani se le metio el chamuco y me empezo a hablar en lenguas muertas

no se porque no se quien y no se que chingados, yo solo le dije que si a la wey pa que se calmantes montes

y ya luego fuimos a explorar la casa porque no se que cosas ilegales que del gobierno y en el camino nos topamos con el jefe de jefes señores

que tranza por tu panza nathaniel todo bien con el negocio? guiño guiño 

y esta vieja luego luego se puso al brinco de ay nathnaiel nathaniel, wey ya quedate con tu poquita dignidad el vato narco ya ni te pela ni nada ya como la selena hazle teinkiu next

este vato me gano los chistes de droga que pense cuando jugue esto lolololol

capaz y es su casa y nosotros ahi de metichones, pero bueno como es nuestra especialidad pos ahi vamos todos en filita a que nos navajeen unos cholos drogos vagabundos crikosos

no sabia que venia este vato pero pos ya que nos siguio la plebe, atiende ladygaga

ahh bueno aqui estan algunos escenarios chidos nomas porque si

y pos luego nos empezaron a pasar cosas PARANORMALES

que se abrian puertas que se movian cosas que atacaban a yelen que no la puse aqui porque es neganadie le importa por negra

y pues ya aqui perdi la otra parte de las imagenes porque estoy bien meca y siempre me tiene que estar llevando la chingada porque ni no no es mi dia y pos aqui poseyeron a alexy por gay asumo no se 

y yo estaba como weeeeeeey noooo

pero la neta no entedia nada y aun sigo asi porque pos no se y que de pronto me sale un pinche screamer bien vergas y caray como que volvimos al fregado 2011 no se que pedo

(si me asusto un chingo la pinche cosa esa)

total todos corrimos y dejamos morir a alexy y al otro morro y a melody porque a nadie le importa :3

me enconrazona porque todos se ven bien chidos, y chani bebé x2 prros

that bitch, muevelo giiiiiiirl, esta bien diva empoderada jenny tu patrona rivera, triunfando como siempre, emvampirada pero jamas derrotada

y pos creo que ya es todo, hay un final donde se mueren todos alv pero pos no lo saque bye

[kyrilu]

10 Characters Tag

List 10 of your favorite characters from 10 different fandoms (in no particular order) and then tag 10 others!

Tagged by @ctl-yuejie! Thank you for tagging me. :D

1. Shen Wei from Guardian - Extra(TM) creepy stalker morally gray novel!Shen Wei with a room covered in portraits of Kunlun’s reincarnations, who started out as a demon/people-eating monster child who fell in love with Kunlun at first sight. Softer drama!Shen Wei who is still ride or die for Zhao Yunlan, who fell for intense time traveler flirting, and genuinely cares about saving the world. I love both versions of him.

2. Wei Wuxian from Grandmaster of Demonic Cultivation - because he’s hilarious. He’s this dark cultivator who ventures into forbidden techniques, whose name becomes feared, but he has this bright devil-may-care attitude and it makes me laugh/despair how oblivious he is to Lan Wangji being very much in love with him

3. Xia Yu Hao from Crossing the Line - because he’s a sweetheart - Yu Hao became ridiculously earnest about learning to play volleyball after initially protesting that he didn’t want to join the team, and his crush on Zi Xuan is visible from space 

4. Amuro Tooru | Furuya Rei from Detective Conan - a triple faced spy and he can be ruthless, but he’s cute with his dog and I have feelings about the fact that all his cop friends are dead ;____:

5. Light Yagami from the Death Note jdrama - the epitome of a woobie sympathetic villain and OOC as hell, but I felt bad for him in the beginning and he could have easily turned back. He’s just an anxiety-ridden mess and L really did love care about him. 

6. Haruta Soichi from Ossan’s Love - disaster bi trainwreck and a failure at life. #relatable

7. Sherlock from Miss Sherlock - I love that she’s a cold, ‘has trouble with feelings’ genius detective character, who can occasionally be a jerk, because that’s not something you see often for female characters. And I ship her with Wato a lot.

8. Credence Barebone from Fantastic Beasts - sad powerful self-loathing woobie mess, apparently secretly descended from a dark pureblood family? YES. As disappointed I am about what’s going on with gay rep & a certain casting choice in the FB franchise, I still can’t stop myself from liking Credence and wanting to see him being independent & competent with his Obscurial abilities. 

9. Irene Red from On a Leash - my type is hot-headed women soldiers (see: Noma Banks), and I am unrepentant. Red is my most recent example of this, and she looks so gorgeous when Luce roughly manhandles her 

10. Rem from the Death Note musical - she didn’t believe in love, and THEN SHE DID. Just, tragic unrequited love, and she’s protective of Misa, and her songs are so beautiful and sad.

I’m not going to tag anyone, but anyone who sees this, feel free to do it? idk

[recentanimenews]

KAGUYA-SAMA: LOVE IS WAR -Ultra Romantic- Crunchyroll Spring 2022 Spotlight

  More KAGUYA-SAMA: LOVE IS WAR is officially here with the arrival of the hotly-anticipated third season! You'll be able to catch the latest episodes adapting Aka Akasaka's manga of the same name as part of the Crunchyroll Spring 2022 Lineup, so read on for an overview to see what's in store for the romantic comedy series in KAGUYA-SAMA: LOVE IS WAR -Ultra Romantic-. 

  Official Website

      Navigation    

Launch Info 

Official Trailers 

Synopsis    

Characters and Cast    

Staff    

Additional Info

  Launch Info

  Launch Time: April 8

Territories: North America, Central America, South America, Europe, Africa, Oceania, the Middle East, and CIS

Show Page

  Official Trailers 

    Synopsis

  From a good family? Check! A good personality? Check! Shuchiin Academy is where all these elite students with bright futures flock to. As the two leaders of the student council, Kaguya Shinomiya and Miyuki Shirogane have supposedly fallen in love… But after almost half a year, nothing has happened!? They both have too much pride and can’t be honest. Things have gotten troublesome, and they are now caught in a war of "How to get the other to confess their love first." This is a whole new romantic comedy, following an outbreak of cunning warfare between two elite students in love.

  Characters and Cast

  Kaguya Shinomiya

VA: Aoi Koga (Shoko Komi in Komi Can't Communicate)

  Miyuki Shirogane

VA: Makoto Furukawa (Saitama in One-Punch Man)

  Chika Fujiwara 

VA: Konomi Kohara (Chitose Kaginoji in KARAKAI JOZU NO TAKAGI-SAN)

  Yu Ishigami

VA: Ryota Suzuki (Bisco Akaboshi in SABIKUI BISCO)

  Rei Onodera

VA: Yuki Takada (Elma in Miss Kobayashi's Dragon Maid)

  Miko Iino

VA: Miyu Tomita (Riko in Made in Abyss)

  Ai Hayasaka

VA: Yumiri Hanamori (Nadeshiko Kagamihara in Laid-Back Camp)

  Nagisa Kashiwagi 

VA: Momo Asakura (Iroha Tamaki in Magia Record: Puella Magi Madoka Magica Side Story)

  Kobachi Osaragi

VA: Rina Hidaka (Milim in That Time I Got Reincarnated as a Slime)

  Narrator

VA: Yutaka Aoyama (Dr. Giovanni in Fire Force)

  Staff

  Original Creator

Aka Akasaka 

  Director 

Mamoru Hatakeyama (Showa Genroku Rakugo Shinju)

  Series Composition 

Yasuhiro Nakanishi (Toilet-Bound Hanako-kun)

  Character Designer

Yuko Yahiro (Aharen-san wa Hakarenai)

  Art Director

Risa Wakabayashi

  Sound Director

Jin Aketagawa

  CGI Director

Yuki Kuribayashi

  Color Design

Kanako Hokari

  Editing

Rie Matsubara

  Music

Kei Haneoka

  Opening Theme Song Performer

Masayuki Suzuki

Suu

  Ending Theme Song Performer

Airi Suzuki

  Animation Production

A-1 Pictures

  Additional Info

  In the final days leading up to the premiere of KAGUYA-SAMA: LOVE IS WAR -Ultra Romantic-, the official accounts started sharing countdown illustrations by various members of the anime's staff. Here's how it all went down!

  Day 9 by animation director Satoshi Noma

    Day 8 by animation director Yuichiro Mizutani

    Day 7 from A-1 Pictures Key Animation Department

    Day 6 by chief animation director Koji Akitaka

    Day 5 by director Takayuki Kikuchi 

    Day 4 by chief animation director Tetsuya Kawakami

    Day 3 by key animator and Four Ramen Kings supervisor Shinobu Nishioka

    Day 2 by Animation Director Honoka Yokoyama

    Day 1 by Chief Animation Director Hiroshi Yako

      Day of broadcast art by Character Designer Yuko Yahiro

      -------

Joseph Luster is the Games and Web editor at Otaku USA Magazine. You can read his comics at subhumanzoids. Follow him on Twitter @Moldilox.

By: Joseph Luster

[keensdesign]

Using illustrations by Noma Bar, these #PrintAdsfor the American launch of 🇬🇧 British newspaper The Guardian depict both sides of core political debates in the 🇺🇸 US, such as internet privacy, gun control, and women in the military. Appearing at key locations throughout the country as #OutdoorAds and mobile #billboards, each illustration represents one opinion of the issue. When the poster is flipped, it effortlessly illustrates the opposite view. Credits: #Advertising Agency: BBH New York, USA Chief Creative Officer: John Patroulis Creative Director: Caprice Yu Art Director: Devon Hong Copywriter: Matt Clark Art Buyer: Deb Spokony Print Production: Lauren Fertitta Head of Strategy: Sarah Watson Strategy Director: Colleen Leddy Strategists: Sam Jesse, Angela Sun Account Director: Rossa Hsieh Account Coordinator: Marshall Kerns Mechanical Artist: John Connolly #advertisement (at Manhattan, New York)

[thedrown]

GOTS- Trio!

To celebrate this May the 4th I went and redrew the old group shot of the protags!

[annyeonghao]

Fran Oshn Provaida

Memo Fina Sta Eki Nata Fan Siem Soon

(Memo finna start acting out if I don’t see him soon)

Yema Bes Freinin Bakanau Sti On Sai, Fu

(Yeah, my best friend aint’ backing out, it’s still on sight, fool)

Amna Onli Wa Nau Hia Ona Nai Lups

(I’m the only one out here on the night loops)

Amna Onli Wa Nau Hia Ona Nai Lups

(I’m the only one out here on the night loops)

tRophi Keisti Lai Badi Nida Rei sTrai(p)

(Trophy case still light, body need a race stripe)

eHen Zi Zemi neRas Oma Badi Bre Lai

(And these minerals on my body break light)

eHen Ziz Rez  Oma Badi Brei  Lai

(And these reds on my body brakelight)

Numen Kaminapahe None Zon Tu

(New man comin’up ahead on his own two)

Iyua Nachura bLondi Lai Go Ku

(Is your natural blondie like Goku?)

(slipi)Noma Belina Loop Laka Sar Pen

(Sleepin’on me belly in a loop like a serpent)

Toki Nehds Ripli Nona Sar Fes

(Talking Heads ripplin’ on the surface)

Aizlo Che Nevi Shu Ge Za

(Eyes low, chin heavy shoegazer)

Mu Woki Nara Pi Stanli Ku Bri

(Moon walkin’, R.I.P. Stanley Kubrick) 

Yuadgu Sam Barth Deiz  Kdgu Pru Vi

(You had you some birthdays, could you prove it?

Shoumi Da Wis Da Ming-yu Muv Men

(Show me the wisdom in your movement)

Shoumi Da Wis Da Ming-yu Muv Men

(Show me the wisdom in your movement)

Filin Zyu Pro Vai, Filin Zyu Pro Vai

(Fillings you provide, Fillings you provide)

A Noi, A Noi

(I know it, I know it)

(the feelings, I know it, the feelings, I, I)

Tu Nai Lai Mei Chein(dgi) Ma Lai

(Tonight I might change my life)

E Yuliv Lai Ka Liv

(If you lived like live)

(Yu) Kulun Liv Wi Thau Li

(You couldn't live without it)

Selaviu Nu Bes Frien

(Said I’d be your new best friend

Ba’ Wa (m)a

(But What more?)

Itu (l)e to At

(Ain’t too late to out)

(Provide, Provide)

Tu Nai Lai Mei Chein(dgi) Ma Lai, o fa yu

(Tonight I might change my life, all for you)

(All for you)

Pro Vaide Da(i)amo Le Ne Di Nigzis 

Pada Astro Vene Brou Ma Kiz Thu

Prada Ti one El Des, Thow de Gilde None Child Ren

Hen Mi Dau Fits

Ches Pa-si Mis Tof Rou Tei Shien 

[kentootv]

黒の女教師 (Kuro no Onna Kyoushi)

DORAMA DETAILS

Title: 黒の女教師

Title (romaji): Kuro no Onna Kyoushi

Title (english): Miss Double Faced Teacher

Broadcast Network: TBS

Genre: Science Fiction / Thriller

Episodes: 10

Release Date: July 20 - September 21, 2012

Runtime: Friday 22:00

TV Ratings: 9.9%

Theme song: THE OVER by UVERworld

PLOT

By day, Yuko (Nana Eikura) is a chemistry teacher, but at night Yuko does anything to solve the school's problem, even breaking the law

CAST

Teacher

Eikura Nana as Takakura Yuko

Ichikawa Mikako as Uchida Sumire

Kobayashi Satomi as Fujii Aya

Kimura Fumino as Aoyagi Haruka

Minami Kaho as Serizawa Keiko

Mitsuishi Ken as Hotta Manabu

Moro Morooka as Kondo Tsuyoshi

Suzuki Ryohei as Enokido Shuhei

Triendl Reina as Ochinai Fukuko

Suruga Taro as Officer Noguchi

Class 3-D

Matsumura Hokuto as Toda Toshio

Hattori Hirotaka as Miura Kazuki

Fujiwara Reiko as Mishima Kyoko

Kaito (快斗) as Mitsuhashi Takuto

Terayama Aoi as Nakatani Mayu

Ono Asuka as Ono Chinatsu

Kuno Mizuki as Iwasaki Yui

Suzuki Akihito (鈴木彰人) as Kuroki Tatsuki

Nakajo Ayami as Umehara Yu

Murasaki Maaya (村崎真彩) as Kanou Mari

Yamazaki Kento as Yasuda Shunsuke

Shinohara Tsugumi as Midorikawa Fuuka

Komori Mayo (小森真誉) as Inoue Rentaro

Saya (紗也) as Kouno Yayoi

Taiga as Kurihara Keita

Sugisaki Hana as Noma Kaoru

Ueno Karen (上野楓恋) as young Kyoko (ep6)

Nishii Yukito as Sugimoto Junpei

Katoono Taikou as Tachibana Satoshi

Okayama Amane as Sakaguchi Manabu

Taketomi Seika as Yamagishi Rio

Suzuki Ryunosuke (鈴木龍之介) as Isomura Youta

Tsuchiya Tao as Matsumoto Shiori

Ono Ito as Shimomura Asuka

Chiba Yudai as Mochizuki Ryohei

Fujiwara Kaoru as Kikuchi Nozomi

Waki Takashi (脇卓史) as Harada Keigo

Sakata Rikako as Takagi Mizuki

Hirose Alice as Saeki Eika

Nagae Yuuki as Fukushima Souichiro

PRODUCTION STAFF

Director: Shingo Okamoto (岡本伸吾), Yasuharu Ishii, Ryutaro Kawashima

Original Screenwriter: Tomohiro Yamashita (山下友弘)

Screenwriter: Rieko Obayashi (大林利江子), Tomoko Yoshizawa (吉澤智子), Natsuko Ikeda, Kiyomi Fujii, Fumi Tsubota

Producer: Iyoda Hidenori, Sugiyama Tsuyoshi, Kawashima Ryutaro, Sato Atsushi

Music: Dewa Yoshiaki, Habuka Yuri

Music Producer: Shida Hirohide

WEBSITE 

Official Homepage: www.tbs.co.jp/kuro-no-onna

Official Twitter: @kuronoonna_tbs

source : AsianWiki + DramaWiki

SPOILER

Yamazaki Kento played the role as one of students from Class 3-D. At first he caught up because of foul action. But then the story line brought it to a good side of him. He's an ace player of a volley club at his school. He has been under his mom's strict lesson to be the top for all his school's grade, both academic and volley club. What kind of problem he got? And how did he solve it? Find the full story by download or stream here:

[DOWNLOAD LINK]

RAW

SUBTITLES

STREAM (with engsub)

[anime-herald]

Earlier today, the official High School Fleet anime website updated with a new key visual, as well as six cast members and details on the film’s theme songs. We break the details down below.

Key Visual

The image features the main cast members standing on a verdant hillside as they look down at a glimmering harbor. A battleship sits dead center.

Cast

The film will add the following:

Tōmi “Miya” Miyazato: Minami Takahashi

Shia “Nomu” Nomura: Maria Naganawa

Azumi “Azu” Abe: Tomori Kusunoki

Tsubame Kawano: Satomi Amano

Sachiho “Sunny” Chiba: Miyu Tomita

Keiko Nogiwa: Sayumi Suzushiro

Visuals for the characters were also revealed, which you can check out below.

Tsubame Kawano

Tomi Miyazato

Shiu Nomura

Sachiho Chiba

Keiko Nogiwa

Azumi Abe

Theme Songs

Trysail will perform the film’s main theme song.

The High School Fleet film will open on January 18, 2020.

Jun Nakagawa will direct the film at A-1 Pictures, with Yuu Nobuta (Katana Maidens: Mini Toji, High School Fleet TV) working at chief director. Naoto Nakamura (The Prince of Smiles, High School Fleet TV Series) is providing character designs, while the team of Takaaki Suzuki and Kunihiko Okada will co-write the script.

Other confirmed crew members include:

Music: Shigeo Komori (F.M.F.)

Mechanical Design: Kenji Teraoka

Sub-Character Design: Keisuke Watanabe

Prop Design: Hisashi Tojima

Original Concept: Takaaki Suzuki

Original Character Design: Atto

Color design: Hitomi Ikeda

Art design: Hideyasu Narita (Kusanagi)

Art director: Shingo Kanai (Kusanagi)

3D CGI Director: Shinichi Miyakaze (Graphinica)

3D CGI Animation Director: Kazuma Nakato (Graphinica)

Modeling Director: Isao Matsunaga (Graphinica)

Director of Photography: Koujirou Hayashi (Graphinica)

Editor: Masato Yoshitake (Graphinica)

Sound Director: Hiroto Morishita

The confirmed voice cast includes:

Akeno “Mike” Misaki: Shiina Natsukawa

Mashiro “Shiro” Munetani: Lynn

Shima “Tama” Tateishi: Nozomi Furuki

Mei Irizaki: Atsumi Tanezaki

Kōko Nosa: Yūko Kurose

Rin Shiretoko: Yurika Kubo

Miharu SawadaHikari Ogasawara

Michiru Takeda: Hitomi Kikuchi

Junko Heki: Minami Tanaka

Ritsuko Matsunaga: Yuka Maruyama

Kayoko Himeji: Rui Tanabe

Kaede Marikōji: Sakura Nakamura

Satoko Katsuta: Chisato Satsuki

Hideko Yamashita: Yō Taichi

Mayumi Uchida: Emi Miyajima

Tsugumi Yagi: Nanami Yamashita

Megumi Uda: Akane Fujita

Machiko Noma: Yu Kobayashi

Maron Yanagiwara: Natsumi Takamori

Hiromi Kuroki: Natsuki Aikawa

Reo Wakasa: Ayaka Shimizu

Sakura Ise: Sanae Fuku

Runa Suruga: Ari Ozawa

Sora Hirota: Sayaka Kaneko

Hime Wazumi: Hiyori Nitta

Momo Aoki: Ayuru Ōhashi

Mikan Irako: Momo Asakura

Akane Kinesaki: Kanae Itō

Homare Kinesaki: Kanae Itō

Mimi Tōmatsu: Airi Ootsu

Minami Kaburagi: Kana Asumi

Moeka China: Sora Amamiya

Isoroku: Satoshi Tsuruoka

Wilhelmina B. I. Friedeburg: Hiromi Igarashi

Thea Kreutze: Chitose Morinaga

Yui Fujita: Ayaka Shimizu

Sango Sugimoto: Sanae Fuku

The High School Fleet anime originally aired on April 7, 2016. Yuu Nobuta (A Good Librarian Like a Good Shepherd) directed the project at Production IMS, with Naoto Nakamura providing character designs. Reiko Yoshida (The Cat Returns, Girls und Panzer) was in charge of series composition for the show.

The title spawned an OVA, which hit retailers in 2017.

Aniplex of America currently holds the domestic rights to the High School Fleet anime. They describe the title as:

Living by the sea, protecting the sea, and journeying across the sea…They’re the BLUE MERMAIDS! Because of a shift in tectonic plates around 100 years ago, Japan lost much of its area to submergence. To preserve Japan’s territories, Coastal Cities sprung up, one after the other. Eventually, they became Marine Cities, and along with the expansion of sea-lanes to connect them, the need arose for a sizable staff to protect the seas. At the same time, maritime jobs were becoming more popular among women. Hence, the BLUE MERMAIDS, tasked with keeping the seas safe, had become every female student’s dream job. This is when childhood friends Akeno Misaki and Moeka China enroll in a marine high school in Yokosuka, along with other girls who share their goal of “BECOMING A BLUE MERMAID.”

Sources: Animate Times

High School Fleet Movie Gets New Visual, 6 Cast Members Earlier today, the official High School Fleet anime website updated with a new key visual, as well as six cast members and details on the film's theme songs.

[michaelmessinamediaportfoli-blog]

Anime: is it changing for better or Worse

This is a editorial piece i created for an extended project at College, it is a good example of the kind of writing i can create and the vain of editorial that i would like to create in future for potential & hopeful entertainment journalism jobs.

If you read this editorial and have any positive or negative criticism please feel free to message me that criticism. Be kind xD, this is like one of the first things i written on this sort of scale. Hope you enjoy this if you read it.

Is Anime changing for better or worse?

Anime is a Japanese pop-culture behemoth that has grown from its mid-20th century origins to a near worldwide phenomenon in the 2010s. Personally, I have been a dedicated fan of anime for around three to five years although I was aware of the medium since I was around 5 or so spending a lot of my childhood watching kid-oriented 4kids dubs of Pokémon and Yu-Gi-Oh. Anime has become one of my favorite entertainment mediums with beautifully sad movies such A Silent Voice, Thrilling Psychological films like Satoshi Kon’s Perfect Blue and interesting adventures shows like Made in Abyss, a great bustling fanbase and a huge amount of wonderful and genius crew members who work on anime; living and dead. However, it is also a medium that I have so many problems with from the ridiculous treatment of the people who work in it to the shaky western approach to the medium and the crazy over-saturation there is in the amount of pandering generic anime. So here at the start my opinion on anime is as follows; yes, anime is something I love and will continuously support due to the amazing content and creators in anime but as an industry it is so intensely toxic with all the behind the scenes problems it cast a bleak shadow over anime and as it continues to grow larger and goes further than ever before the shadow glooms darker.

Anime took Japan by storm in the early 1960s with Osamu Tezuka’s revolutionary animations such as Astro Boy and Kimba the White Lion. Even though Tezuka’s work weren’t the first animes they were the first to gain a big level of traction. Tezuka’s animes led the way for other iconic animes such as 70s greats like Lupin III and Mobile Suit Gundam. The 80s booms of anime with staples such as the first Ghibli films, Akira and Dragon Ball. The 90s produced new age classics such as Neon Genesis Evangelion, Ghost in the shell, Pokémon, Cowboy Bebop and Sailor Moon. The 2000s came soon after adding more iconic animes with shows like Death Note, Naruto, Bleach, Fullmetal Alchemist: Brotherhood, One Piece and the Oscar award winning Ghibli film, Spirited Away growing the anime community to new heights.

Now in the 2010s anime is still growing in popularity with shows like Attack on Titan, Sword Art Online, One Punch Man, Tokyo Ghoul, Yuri on ice, Boku No Hero Academia and the highest grossing anime film of all time; Your Name leading the future of the medium. Over the life span of the anime industry it has grown from a small medium in the 60s which was mostly based in japan to something that became a cult phenomenon outside of its Japanese home of a genre in the late 90s to becoming a near worldwide mainstream hit in modern day. The fact that each decade there is at least a handful of shows produced that gain big fan acclaim shows and are remembered years later shows that anime has always been strong in its ability to produce great content and as time progresses more and more shows are getting noticed by anime fans. In the 60s there might have been around 5-10 shows that are still remembered today, but three decades later in the 90s easily 20-30 shows have stuck with the anime fanbase to today.

Western fans of anime have gained the name Otakus a Japanese word which celebrates their love for a medium such as anime. In the internet era a term has been coined "Weeaboo" which is a negative word to call someone who is an anime fan, a Weeaboo or Weeb is someone who watch anime but stupidly and ignorantly disrespects the culture, bastardise it and acts like Japanese culture is their own culture. Let me just state for the record, most anime fans are not Weebs but a select few fit their descriptions and their loud obnoxious personalities make the public sadly see them as these derogatory things. Sadly, it is common for society to see the worst in a community and see the bad as the norm for the entire group even though it might not be entirely true. Being a fan of anime for many years I have seen into the anime fanbase and have only come across individuals who fit the weeaboo archetype maybe once or twice out of 100s if not 1000s of individuals on numerous social media platforms.

Although the anime industry clearly has hit a big level in over-saturation in the amount of series it produces, it’s large quantity has opened-up the industry to many new and great creators. In the wake of the call for more series to be produced more talent has been brought to anime. In the world of directing, new visionary directors such as Makoto Shinkai are being brought to the industry creating some of the most beautifully crafted animations ever made with great music, art and story such as his films 5 centimetres per second, The Garden of Words and of course Your Name. Great musical talent that previously was neglected or ignored by Japan is now acknowledged with artists such as TK, Myth & Roid, Teddyloid and Daoko giving their vocal talent as more opening themes are needed. New Composer, Hiroyuki Sawano has become an iconic anime composer, composing music for many action animes that have come out in the big surge of animes in the last few years. Of course, voice actors or seiyuus as they are called in Japan are still very integral to anime with them being even more needed with more animes being produced with new voice talents such as Rie Takahashi, Jun Fukushima, Sora Amamiya and Inori Minase doing numerous voices a season, although this can be very taxing on a seiyuu with low pay and over working. Whole new studios have formed to combat the demand for new animes such as the crazily imaginative studio Trigger, WIT Studio, NUT, Kinema Citrus, MAPPA and Lerche that feature talent that will go on to shape the world of anime.

Even if the landscape of anime is changing the creators of old, those who shaped the world of anime before anyone else won’t be forgotten. Works from directors such as Hayao Miyazaki, Satoshi Kon and Mamoru Hosoda, Animes made by Studios Madhouse, Production I.G, Gainax and Bones and iconic openings from J-pop history legends such as Flow, Asian Kung Fu Generation, The Pillows, Kumiko Noma, Yoko Takahashi and The Seatbelts. The individuals who make the anime that anime fans consume and adore, have always been the shining beacon in the many problems of anime and right now more than ever with the abundance of cast and crew needed to staff all the anime is made, this beacon is shining brighter than it has ever before.

Anime is typically released in waves with a handful of shows being released every seasonal period, the seasons being; Winter season that lasts from January to March, Spring season from April to June, Summer season from July to September and finally Fall season that starts in October and ends in December and then the cycle resets.

A big problem in the anime industry in 2018 is the level of anime that’s produced; anime production has become much more quantity over quality in the past few years. With over forty-three new anime tv series being released in just the short time span of the winter 2018 season alone. Not including the eight series that are ongoing from the previous season, the four animes that came out exclusively to Netflix and the eleven-short form shows that also were released during the period. In total that’s sixty-six different anime series being released in the space between just two months, 66 in 2 months is a ridiculous amount. In winter 2016 sixty-two Tv animes were released, in winter 2014 sixty-seven Tv animes were released again similar big amounts of animes being produced, but in the winter of 2012 only twenty-six were released and in winter 2010 only twenty-one came out. 

So, what changed, well simply the anime industry grew to new heights with the birth of streaming sites, Crunchyroll and Funimation. Crunchyroll started as a website that hosted anime illegally at its creation but eventually became officially licensed in 2009 and in late 2012 to 2013 it took off as the best place for western anime fans to legally consume anime soon after it aired in Japan. Funimation is a company that has played a big part in the anime industry since the mid-90s being the main distributor for anime in the west, allowing numerous shows to be brought to home video and Tv and had a big part in the creation of official localizations of animes for non-Japanese speakers in the forms of both accurate subtitles and professional dubbing. Funimation eventually made a mark on online streaming giving the type of quality they give but online, the companies streaming is now known as FunimationNow with it primarily focusing on streaming of dubbed anime giving a majority of its subbed anime to Crunchyroll though a partnership the two companies developed in 2016. Once Japan saw this they clearly and naturally saw it as a great business venture and produced more and more content to give Crunchyroll, Funimation and their competitors, which clearly paid off as in 2015, the export value of the anime industry reached a new high of 349 billion yen and in 2016 the anime industry reached an industry income milestone of 2.9 trillion yen with a large portion being from export value. Yes, it works well in a business standpoint but is it worth the cost of the anime content itself and the backlash the fans and people in the industry have towards the over-saturation.

Others saw the success of Crunchyroll & Funimation and clearly decided to jump on the bandwagon while it’s still piping hot. Netflix and Amazon are the two biggest culprits of doing this, both streaming sites had some animes on their streaming sites prior to the anime streaming boom even though they were mostly just shows that had reached an audience outside of the usual anime sphere. Netflix and Amazons approaches to anime are in no way to the standard of streaming that we as western anime fans have come to expect with Crunchyroll & Funimation. Crunchyroll is probably the best thing to happen to the western anime scene in the 2010s, even though it has had small missteps such as the badly run Crunchyroll anime awards and its shaky legal issues in its origins. The biggest draw of Crunchyroll is the fact that they release the anime within an hour of it airing on Japanese Tv networks such as the NHK with the shows being subbed also within that hour, much quicker than some not so legal streaming sites can get the shows uploaded and subbed; with the subbing being not terribly accurate. Amazon seems to understand the importance of trying to bring new animes as soon as possible vowing to do so; when they became heavily involved in anime streaming in 2017, the airing of shows was terribly unreliable with shows sometimes appearing hours or a day late something that won’t help a new service get off the ground. Netflix for the most part completely ignored this crucial part of anime streaming, with them only bringing the animes they had the licenses for months later after they finished airing, you could argue this was done to fit the Netflix model of series being released all at once. However, with US live-action shows such as Orphan Black and Better Call Saul being added to Netflix as they air on Tv, it raises the question of why they aren’t doing this for their anime shows. They might have finally realized that they need to do simulcasts of animes to keep up with the competition as this past season they released Kyoto Animations’ long-awaited anime series Violet Evergarden as it aired in Japan, although this is one show out of the handful of shows they have licenses for in the 2018 winter period. Another reason why the streaming scene has been so successful for the last few years is because you would be able to go to one of the big two streaming sites and be able to view most of the biggest and best shows on one site for one cost. Now that Amazon and Netflix have joined the fray the licenses for animes are spread all over the streaming space. In the past you could go to just Crunchyroll or Funimation and find all the shows you’d want to watch from a new season albeit maybe one or two being hosted by smaller sites.  But now every new season five shows you want to watch might be on Crunchyroll, three might be on Netflix and two other great ones might be on Amazon. You see the problem, right? If the average avid otaku wants to check out all the shows that interest them in a release season they must pay out to get numerous streaming sites. Amazon took advantage of the anime fanbase when they got into anime streaming, gating their animes behind an extra paywall in places such as the states where you would have to buy amazon prime and then buy amazons anime strike service on top of prime; thankfully they realized the negative backlash and finally got rid of the extra paywall at the start of this year.

In the case of Netflix, you must wait months for Netflix to actually utilize the licenses they own and then you’re paying for months in between new releases with nothing new. It’s so anti-consumer the way licenses are strung around the different sites and the way that amazon and Netflix give their anime. It makes otakus feel more inclined to use illegal sites or download torrents which hurt the industry and those who work hours upon painful hours making these animes. But when they make it seem like their working against the consumer they don’t help themselves. They make the free illegal alternative sites appealing which is so wrong, with the expensive numerous expensive sites and the abnormal streaming methods of both Amazon and Netflix. Even though Netflix certainly aren’t the best when it comes to dealing with bringing Tv animes to Netflix they are trying to help the industry by funding anime studios to make animes purely for them which they can release in a binge format, with Netflix reportedly putting a large part  of their 2018 budget into funding animes, Anime would represent about a quarter of their new content. Funding shows by studios such as Bones and WIT studio who are two of the biggest anime studios who created the two biggest action series of 2017; Boku No Hero Academia 2nd Season and the long awaited second season of Attack on Titan, respectively. This has proven good for the industry with shows like Devilman Crybaby which would never have been allowed to be created on Tv due to its crazy soundtrack, unique art and very mature content now having somewhere to belong. Netflix’s approach to funding the industry could really help excel it into the mainstream and if they can do simulcasts like Crunchyroll, Netflix could take over the western anime scene.

If you have been anywhere in the anime community sphere in the past six-ish years, you have probably seen someone bashing on a little-known series called Sword Art Online (SAO). I’m not trying to beat the already dead horse that is SAO hating just trying to add to the conversation and add a view on it that I personally haven’t seen before in the numerous articles and YouTube videos on SAO, SAO’s repercussions on anime.

But just in case for anyone who hasn’t heard of Sword Art Online…Sword Art Online, is an anime based off a light novel that took over the industry and shaped it for worse. Sword Art Online (SAO) came out in 2012 to commercial success, critically the show was not a success; the show had many problems from its contrived borderline creepy romance storylines, shallow character arcs, inconsistent animation quality & its non-existence understanding of the video games mechanics when its video game based. The show is of the Isekai (another world) genre, Isekai series typically feature the protagonist getting trapped or transported in another world; in the case of SAO the protagonist, Kirito and 100s of other gamers get stuck inside of a video game. The protagonist, Kirito is a typical young adult with black hair (the most common hair colour in the world) who before entering an isekai is a socially numb shut-in and once he enters the isekai is overly powered and unbelievably hopelessly attractive to everyone. Kirito is something known as a self-insert protagonist which is a protagonist that is designed in a specific way so that the average anime watcher can easily connect to the character and practically insert themselves into the character and then get invested in the show. Even though the show is terribly flawed from a critical standpoint it was still very popular due to its intriguing concept, its self-insert protagonist and was very successful commercially. The anime industry saw the cash cow SAO became and unfortunately ran with it. Then the flood gates opened, once SAO ended numerous other anime producers created shows in similar veins. Isekai changed from something that was used sparingly in anime to something that became its own genre, every seasonal period contains one or even a handful of Isekai shows. There was also a bigger influx in the amount of self-insert protagonists where before these types of protagonist were kept to just tongue and cheek romcom harem animes, now they appear in romance dramas and even some action shows. Light novel adaptions also have become much more common place as many Japanese light novels have self-insert protagonists and intriguing yet hollow premises. Even though SAO led the way for so many trashy by the numbers samey light novel isekai animes there are some good shining through such as Re: Zero Kara Hajimeru isekai Seikatsu which starts as a basic isekai show with a self-insert protagonist that later turns into a meta character building show with surprises around every corner with twisted time travel twists. Re: Zero and maybe 4 other shows are diamonds in the much larger rough which aren’t worth the Isekai insane oversaturation that SAO caused.

Just like the west have taken anime and adapted to our streaming platforms, they have also adapted it in other ways. Hollywood have leached onto anime as of late, after anime being around for numerous years they were bound to take a stab at trying to milk it for money and now that it has gained near mainstream popularity in the last 10 to 15 years they have taken stabs. Three notable stabs from Hollywood at anime were their live action adaptations of Dragon Ball, Ghost in the shell and Death Note. These three adaptations made Hollywood a quick buck due to the names that are tied to them but were all critical failures from fans and critics alike. These adaptations completely miss what makes anime, anime. They change plot, characters, cultural differences and ultimately brutalize what made them good to begin with. The Dragon Ball movie titled Dragon Ball: Evolution was just a complete train wreck that tried to condense the entire plot of a 200+ episodes anime into a less than 90 minutes long movie with terrible script, acting and CGI. The Ghost in the shell movie and Death Note movie were still pretty darn terrible but at least they were kind of competent at being movies with decent effects, passable scripting and acting. But both just felt like empty lifeless imitations of their predecessors. Ghost in the shell turned from an iconic cyberpunk with punchy dialogue and stellar visuals to pretty much a bog-standard action sci-fi flick.

Death Note’s Live action version completely misses the originals appeal, the original anime was a tense psychological drama as we saw the protagonist Light a genius anti-hero who is popular, trying to avoid getting caught by the master detective, L; Light manipulates those close to him and practically is the antagonist even though he’s the protagonist. In the Hollywood version Light is still an anti-hero and is still trying to avoid getting caught by L but he’s not a genius and instead is a moody outcast, he doesn’t manipulate those close to him, he gets manipulated. One of the biggest parts of the anime was how Light manipulates a character called Misa Amane, we see how far he’ll go to get his goals and how far he’s fallen; in the live action its almost like the roles of Light and Misa had reversed with Misa, changed to Mia in the live action manipulating Light and makes Light have another adversary for no reason except for just creating unnecessary drama. On top of this, in the live action version they take away the tense psychological theming and replaces it with over the top gory death scenes, the Death Note anime does have death scenes but their never overly extreme just to shock the deaths in the anime are much more about how Light manged to kill them. Overly Gory deaths isn’t and never should be Death Note.

Where the west completely fails with its live action adaptions, it excels for the most part in its cartoon shows it has produced in the past few years that are heavily inspired. It is not unusual for a western media product to take influence with people like the Wachowskis siblings who were inspired by Ghost in the Shell when they made The Matrix in the 90s. But in the last few years the anime inspired western content has been much more frequent. RWBY, Castlevania, Voltron and Legend of Korra are four western shows that are very anime inspired in storytelling and animation styles. These shows are all held in high regard by fans and critics alike, largely because of how much they are like anime in the way they are more mature like anime is than the usual run of the mill western cartoon were most adult cartoons are just comedies and not serious like these four examples. Of course, there’s exceptions to these great western anime inspired shows one notably being, Neo Yokio that was co-created by the US and Japan which was poorly animated with terrible voice work and just a mess in terms of tone. Other than Neo Yokio, anime inspired western content is pretty great and doesn’t seem to be slowing down in terms of quality. This is one of the better parts of the wests approach to anime.

Japan has an overworking problem, it is something that is prominent in most Japanese industries and Anime is no different. On average an animator or mangaka (an artist for manga) work 10hrs + a day in uncomfortable conditions this is because they are paid on the amount of work they get done not on a set pay roll like a normal job. This leads to either people giving up on their anime industry dreams due to the insane pressure to get work done with short deadlines or overworking themselves to poor health; mentally and physically, or in extreme cases to death. Overworking is such a problem in Japan that the Japanese made a word to describe death by overworking, Karoshi. In the past few years industry greats have passed away most likely because of Karoshi. In 2017, Hiromi Tsuru, a seiyuu who was famous for her work as Bulma in the Dragon Ball series died from Aortic dissection which is often caused by high blood pressure. High blood pressure is very common from stress which is common in overworking in stressful conditions, so her death is most likely Karoshi. In 2010 a staff member at the animation studio, A-1 Pictures committed suicide; Shinjuku Labour Standards Inspection Office cited depression due to overwork as the cause and medical facilities caring for the staff member recorded that he worked 600 hours a month. The problem of overworking and Karoshi is already a big problem in japan and the Japanese anime industry is not helping this change, in fact its making it a whole lot worse.

I love anime but hearing about these cases are so disheartening and upsetting, I believe that anime is a great artform and it should be something that should have a lot of time focused upon it but when people are dying for the making of anime. It makes anime not worth it. As I mentioned much earlier in this essay the anime industry is making more money than it ever has at 2.9 trillion yen which translates to one billion nine hundred fifty-nine million eight hundred twenty thousand pounds. If the industry is making as much as it says why are those in the industry being payed so little, those who work in anime are payed practically pennies. In November of 2016 an animator who works for the studio, P.A Works posted a picture of their budget on their twitter and according to that budget the highest pay the animator got was 67,569 yen (£456) in October 2016. For the number of hours that the staff put in and their health that they risk just to make a living and to achieve a dream of working in anime that kind of pay is disgusting.                                                                                                       On a lighter note now that anime has opened more to the west and westerners are hearing about the conditions of working on anime in japan, some westerners are reaching out to try to support creators, so they don’t have to overwork themselves as hard such as the 2017 animator dormitory project which was a fundraiser for animators to have stable living conditions. The project was able to raise $26,442 USD to help animators.

 This whole situation gets even more ridiculous when overworked creators become too ill to even do their work. Hunter X Hunter is a very famous manga and anime series; its mangaka, Yoshihiro Togashi is clearly very overworked. Hunter x Hunter has been in publication since 1998. It is meant to be a weekly series appearing in the Japanese magazine, Weekly Shounen Jump. Out of the 20 years that its been in publication its actually only appeared in Shounen Jump 382 (39.3%) of the 971 potential times it could of. That means that in the past 20 years, Togashi could have not been payed for 589 weeks out of the 971 weeks he has been making Hunter x Hunter; we don’t know that for sure but that’s a potential reality caused by the fact that creators like Togashi are pushed to illness because of overworking to the point that they simply can’t work and if they push themselves too far karoshi could occur.

To conclude anime has changed in many ways, in some way heavily for the better but in some ways extremely for the worst. To most parts of anime there is a better and a negative. In terms of the anime that is created there is more anime being created than ever this allows greater gems to be made but then it also allows for the market to be heavily over-saturated and certain genres such Isekai are getting way too much focus upon them. There is a good fanbase surrounding anime but it’s over casted heavily by the bad vocal minority of the fanbase, so this is a change for the worse that keeps getting worse as this minority sadly grows louder. In terms of the accessibility to anime in the west it is getting a lot better but sites like Netflix are throttling this accessibility. Hollywood isn’t helping anime change for the better at all with its tarnishing versions of animes, but the anime inspired cartoons in the west are a great homage to anime. One of the best changes in anime is the great new influx of anime creators that are bringing anime to new heights. But the treatment of the creators behind the scenes is a disgusting plague on anime that is dragging the anime industry into The. Fucking. Dirt.

[thedrown]

GOTS- Casual Update!

Updated doodle of the Star Wars trio in casual wear~

(ignore the shitty background I didnt know what to do) Solo pics and Mando helmet alt below!

[thedrown]

GOTS- Noma Doodle

Nother’ look at the tweaked design