#noroi no one-piece

[rinaizumo]

Recently I took part in a fun challenge dedicated to retro-anime. x))

The task was to draw a fanart for any title released on a specific year (assigned by randomizer). I got 1992. The temptation to do Sailor Moon something was pretty bad (the TV-series apparently started airing this year), considering it was my first fandom ever and all. Still I decided that a challenge is supposed to be a challenge, so I picked a title I haven't heard of before "Uchida Shungiku no Noroi no One-piece" (Story of a cused dress). It's basically a compilation of 3 short episodes about 10 minutes each, but personally I liked the 3d one best, so the character is from thisstory. =))

P.S. It's a horror story as one may notice, so be aware if you'd like to watch. Frankly though it's unlikely to scare, I believe. I wasn't afraid, and I'm a scaredy cat XD P.P.S. I kind of referenced an etching by Katsushika Hokusai called "The Amida Falls in the Far Reaches of the Kisokaidō Road" for this one too.

[buttholes]

[roseillith]

[lurxv]

Noroi no One Piece / 呪いのワンピース (1992) Kigami Yoshiji, Kyoto Animation

source: sakugabooru

[runawaycarouselhorse]

(Noroi no One Piece, 1992)

[susandsnell]

What are your top five horror movies?

<3 thanks so much for sending this Mira! while some of my answers may appear a bit obvious in hindsight, narrowing it down to my top 5 was a lot more challenging than I thought!

Top Five Horror Movies!

Under the cut because I can be a wordy bastard!

5. Noroi: The Curse (2005), dir. Kōji Shiraishi: Ultimately, it came down to Noroi for me over Blair Witch because the mockumentary style lends it a lot more cohesion as a narrative and a very polished feel. Some cheesy effects notwithstanding, Noroi hits the platonic ideal of found footage in that it utilizes its multimedia elements and medium to craft a classic ghost story grounded and entrenched in modernity. I'm obsessed with the role of the archivist/the use of documentation in horror (as I've talked about many times, and as is the appeal of Dracula and countless other works), and that's on full display here with the pieces of the mystery coming together through reality television clips, talking head interviews, and a video-within-a-video archiving a ritual gone very wrong. The storytelling is methodical, spreading out the scares sparingly yet threading them together with such a crushing sense of dread. Like other works of Japanese horror, the thematic battle between the mythic and modernity, the consequences of modern alienation over the collective, and urbanization encroaching on the natural are at the forefront of the film, but the found footage conventions imbue it with such a subtlety you're too focused on the characters and their plight to even catch onto this on first viewing. (Should the spiritual be trifled with? Should the natural world give way to modern development? Should the outcast or the outstanding be made a spectacle of by those more integrated into society?) On that note, you grow an attachment to every single one of the characters and are right there with them trying to solve the mystery and hoping against hope they will prevail. And the atmosphere makes this one an absolute must for October watches; shades of analog horror used sparingly and delightfully, all the wanderings of Blair Witch, the supernatural desperation of Ringu/The Ring, and something that's just all its own. Some argue that found footage horror is stylistically limiting, but Noroi showcases what it can be at its best - that is, the bare-bones terror of stumbling on something horrific in broad daylight, and catching it on tape.

4. American Psycho (2000), dir. Mary Harron: The best horror comedy out there to date! This satirical send-up of yuppie culture and consumerism's lending itself to the desensitization and dehumanization of oneself and others in the quest for meaning in a society where it all comes down to capital is beloved with good reason. Genuinely hysterical kills and endlessly quotable scenes aside, the use of music in this piece is a masterstroke that many other films utilizing needle drops have only barely tried to imitate, and it remains one of the most effective presentations/deconstructions of misogyny put to film. Christian Bale is at his best here, leading a whole cast who's at the top of their game; each scare is played to perfection, and I even love the ambiguity of the controversial ending - it serves to drive home the futility and meaninglessness the whole film slowly but surely draws back the curtain on as the underbelly of the life of the hyper-successful during the era. The final conversation being about Reagan drives it all home in a way that plays as a bit on the nose today, but like with the more provocative or controversial moments, is so delightfully so you can't help but dance along to Huey Lewis. 3. The Fly (1986), dir. David Cronenberg: Cronenberg's masterpiece! A guttingly romantic Kafkaesque tale of illness horror, reflective of the time's anxieties around the AIDS crisis but also classic horror themes of scientific hubris and shades of Faust and of course, Cronenberg's preoccupation with abjection of the body, this film is truly one-of-a-kind. The fear of intimacy and fear of illness, the destruction of your lover (all contextualized with deeper tragedy by the era in which the film was made) are woven together so deftly in a film that uses classic B-movie conventions to strike upon deeper truths while also remaining hilariously funny. Cronenberg is by no means subtle, but in an age where every horror film feels the need to not only be About Something but announce it's About Something and hamfistedness is the name of the game, I really do appreciate the elegance in the commentary on gender politics, relying on symbolism and the characters' relationship dynamics to convey ideas of toxic masculinity and female autonomy and queerness and alienation. It's sexy, it's wrenchingly sad, it's the absolute best.

2. Hereditary (2018), dir. Ari Aster: Aster's nearly-instant popularity has lent all his films greater scrutiny, but this film blew me away the first time I saw it. Toni Colette gives a tour de force (and frankly, Oscar-snubbed) lead performance as a disturbed grieving mother seemingly unable to escape the patterns of fear and abuse that make the 'family curse' that is the subject of this film take on dimensions all its own. The portrayal of grief as horror is something that speaks to me very personally, and this gorgeously shot work presents this concept at its most poignant. Everyone and their mother (please imagine Toni Colette barking the word with pure venom) has talked about the end of the first act 'twist', but the execution rocked me to my core upon first viewing. I will never forget the way the pit of my stomach dropped out watching the lingering shot of Peter's empty, frozen face drag out for over a full minute. Gore and jumpscares abound as is an Ari Aster mainstay, but they're used effectively here; what takes centre stage is the characters and their relationships, performed to pitch perfection by every single actor. Alex Wolff deserves a particular shout-out, balancing teenage ne'er-do-well impassiveness with the warmth of a genuinely caring big brother until the great tragedy and the slow, encroaching terrors of its aftermath slowly but surely push him into a regressive, childlike state of terror. It's about grief, it's about the family curse and family secrets, it's about becoming your parent, your grandparent, your sibling, it's about mental illness (and how it's not taken seriously in women), but mostly it's about the joys of a nice family dinner.

1. Carrie (1976), dir. Brian de Palma: You all knew this one was coming, but I can never run out of good things to say about it. While there are perhaps films that boast greater spectacles, feats of special effects, tighter editing, more profound themes or more abstract/debatable symbolism, Brian de Palma's Carrie is the horror film I will always rank as my favourite. Stephen King's inverted Cinderella storyof the hellscape that is adolescence is granted operatic tragedy grandeur by a perfect cast, an unforgettable score, mind-blowing setpieces and imagery that I am happy to say will stay burned in my brain forever. The use of tension and buildup through the entire Prom sequence needs to be taught in schools, particularly with how it leaves you laughing one moment, moved to tears the next, then gripping the edge of your seat. Each scene is given either a dreamy or nightmarish tone that makes it instantly iconic. The sensuality of blossoming sexual awakening contrasted with the gutting mundane horrors of bullying and abuse played relentlessly set up perfectly for the tonal shifts later in the story between the romantic haze of prom and the hellscape made by Carrie's act of vengeance. The camp moments of the film heighten the jarring scares of the final act, and the forays into 70s teen comedy (yes, even with the goofy split-screens and fast-forwards) ground it in a relatability that makes it the horror classic. Every adaptational change from the book is either for the better for storytelling flow, or is at least impossible to imagine the film without. (As sad as I am that we don't get the book ending with this Carrie and Sue having their moment of connection, there's something so shatteringly tragic of Carrie in her final moments sheltering in the prayer closet that was her prison, clinging to the body of the mother who tormented her for comfort, and the cutting to the angry painted eyes of Saint Sebastian is an instantly unforgettable horror image). The denomination/sect of Christianity followed by the White family is unclear from the book, but the choice of de Palma to make them offshoot Catholics allows for so much integration of art history and its frightening images -- the use of the Last Supper behind Carrie and Margaret's dinner scene! don't know if it's the absolute first horror film to employ the Final Jumpscare, but certainly, it's one of the earliest and most memorable examples. Sissy Spacek in the titular role is an absolute revelation and maybe my favourite performance in all of horror media. Much has been said about her study of Catholic martyr art to end every scene in the pose of a person being stoned to death, but she runs the full gamut of emotion, of teenage suffering, of victimhood and villainy, and you are with her for the entire ride. The Catholic martyr art is apt, because her expressions evoke Falconetti as Joan of Arc, and Carrie is nothing if not a subverted Joan. Many say she's far too conventionally beautiful to play Carrie, and while it's true Hollywood is going to Hollywood, no actress has so successfully embodied the aching sweetness, the haunting disturbance, the yearning for love and the burning divine retribution that make her at once one of horror's most memorable monsters and one of its tragic heroines. Piper Laurie is terrifying and campy and hilarious as Margaret White, our villain for the evening, Nancy Allen is delightfully loathsome as Chris, Betty Buckley gives Ms. Collins some real good-natured toughness (questionable methods of handling teens notwithstanding), and Amy Irving lends Sue the exact groundedness and good intent you get from her book counterpart. Carrie has been the refuge for many a queer and/or outcast teenager, and it will likely remain that way for years to come. Thanks so much for this!!

[ipsen]

This might sound confusing but am i the only one who gets the feeling the deeper eto's and ken's connection get the more likely is Eto to reject him?

au contraire, anon, it makes perfect sense. eto is the type who is stuck in the dichotomy of wanting to be loved but hating the idea of vulnerability, as vulnerability has repeatedly cost her multiple times over her life. putting this under the cut

one example is noroi, her foster father. her loss of him was the catalyst for her mass cannibalization and her path to later attack the ccg and then form aogiri (with some arima complication tied into there). the idea is that she believes if she had been stronger, she would not have lost him. this is further supplemented by what she says to hinami, who is one of her parallels/foils:

(re 69)

eto is one of many characters who project onto other, "weaker" characters, and the appearance of shironeki and ryouko in this panel, characters who disappeared from hinami's life when she was very young, helps emphasize that she is essentially talking down to her younger self through hinami. she does this again with kanae:

(re 43)

just so we have a pattern going on here. now, to build on what she says to kanae, hirako says this about arima:

(re 101)

putting these two pieces of dialogue side by side is rather interesting, don't you think? it implies a lot about the true nature of the relationship between eto and arima, which itself is not very clear. such is the nature of subtext. but i'm getting off track here; you can read more about that here. this person puts it into a much better context than i ever could.

point being, eto equates "vulnerability" with "weakness", and is constantly fighting against showing it in order to not be hurt anymore. however, she also contends with the emptiness of constantly being left behind by others-- namely noroi and shiono-- and wanting to fill it. this issue is pretty obvious when you realize noro is just her zombified foster dad, probably the first person in the world who showed her any affection.

in short, the people she who love her are always leaving her. so in being loved, people get hurt and die. for her. if that's the case, it's better not to be loved at all, right?

but one quick thing: how do we know eto values life? how do we know she cares?

one need only look at the first thing she says in tokyo ghoul:

(tg 78)

---

thanks for the ask! this was fun :]

[millenianthemums]

on the subject of horror movies. one reason i thing found footage movies can be so uniquely scary is that they can achieve a very specific vibe that other filmmaking styles usually can’t. even when you know it’s not real, there’s a certain vibe when you’re watching something really horrible caught on a security camera or a hand-held piece of garbage. it’s like “i shouldn’t be seeing this. i’m seeing something nobody was ever supposed to see.”

like, Noroi: The Curse feels so much like those early youtube ghost videos i used to watch late at night when i was little. not just aesthetically, with the circles on the screen and the grainy ghosts in the background early on. it feels unauthorized. watching it for the first time, i felt like literally anything could happen next. like nobody had actually checked to make sure this was safe or legal to watch. even though it’s not That gruesome or extreme, it nails that uncomfortable vibe.

and Butterfly Kisses feels straight up voyeuristic. it makes you feel like an accessory to this obsession with this entity that destroyed the filmmakers making the movie you’re watching. like, “they died making this so i could watch it. do i get to say it was worth it?” the ending shot still gives me a stomachache, honestly. the grainy, static frame from a hidden cell camera. this shell of a person and whatever’s attached to her.

and i haven’t seen The Poughkeepsie Tapes, i think it’d be too unpleasant for me, but i feel like it’s the same from what i know about it. a sick, evil murderer filming his crimes because he knows people will be fascinated by them. he KNOWS what we want to see and he’s giving it to us, and we call him a monster but we’re eating it up, aren’t we? i mean, i’m not. i haven’t watched it. but you get what i’m saying. as much as i think the sentiment can be annoyingly preachy, i think found footage can potentially be great at capturing the “are you happy now?” angle of shaming the audience for watching these things happening.

[buttholes]

[roseillith]

NOROI NO ONE PIECE #1 (1992) dir. YOSHIJI KIGAMI

[lurxv]

Noroi no One Piece / 呪いのワンピース (1992) Kigami Yoshiji, Kyoto Animation

source: sakugabooru

[runawaycarouselhorse]

(Noroi no One Piece, 1992)

[ichigoyt]

Ain't nobody love me like you

Kanye West - Follow God (Freshman Adjustment Remix)

Uchida Shungicu no Noroi no One-Piece

内田春菊の呪いのワンピース, 1992

[ao3-saiki-updates]

Souichi's Diary of Disasters

Souichi's Diary of Disasters by OldeScratch

"Isn't that time of year coming up again?" "Oh, you're right..." crck-cra-crk "What a pain." Strands of straw scratched the desk as pale hands picked them up, twisting them together. "Does anyone at school know?" "Mm... no." click clck "They love me too much to ask such an invasive question... the people in Fukazawa loved me, too, but Hidari Wakibara's just nicer about it." A small piece of string was pulled off the desk, the spool it had been preemptively cut from only a few inches away. A half-finished doll of straw crackled as nimble fingers picked it up. Long bits of straw extending out from the mostly-empty armhole were grabbed, and the extra straw tucked itself in. More string was reached for.

(Or, after surviving Fuchi's attack in the swamp, Souichi and his family move to Hidari Wakibara for a fresh start. My brain thought of this and wouldn't shut up about it esp bc no one else was interested, so I made this.)

Words: 1297, Chapters: 1/?, Language: English

Fandoms: 斉木楠雄のΨ難 | Saiki Kusuo no Sai-nan | The Disastrous Life of Saiki K., 双一の勝手な呪い | Souichi no Katte na Noroi (Manga)

Rating: Teen And Up Audiences

Warnings: Creator Chose Not To Use Archive Warnings

Categories: Gen

Characters: Tsujii Souichi, Saiki Kusuo, Teruhashi Kokomi, Kaidou Shun, Nendou Riki, Tsujii Sayuri, Tsujii Kouichi, Tsujii Michina, Other Character Tags to Be Added

Additional Tags: Souichi Tsujii Needs a Hug, Curses, Dark Magic, Onmyoudou & Onmyouji, inaccurate Depiction of Magic, Other Additional Tags to Be Added

Read Here: https://archiveofourown.org/works/43624893

[fkyumerica]

jo married a fucking faggot

and officer

tell him what to do

so I went on stage

looking like a fat guy

I was fred durst

and the dur

all of them

fuck them up

kill them

who cares

them again

look at a family

you're it

fuck you

no one will?

piece em together

picasso

he was

me again

bye bitch

I wanted to kill her

and his next wife

dahlia murder

but I wanna fuck her

and angela

no red lipstick

guys come over more

to fuck at me

then I saw her

alive right?

barolo

for red lipstick

do it

and you know what it was

or retarded too

he has money

and one trap

no one is your friend

so they left again

she got dumped

there too

all girls who fucked around

are it

and guys

never come back

I told em it too

and judge judy

hold your hard on

and die

we are not related

and she isnt related to jo either

yea yell at a few people

stole 58 million

for the ooh

then 18 guys fucking on her

wanting to kill her

but cant figure it out

how to smash one bitch

wont break in

do it anyways

I got a knife

and bye

and look

I got timmy and devin at once

they jumped in my yard

woo olololololo

tim tum tum tum tum timmy

she made food

his wife did

no its devin

he wanted to be skinnier to get a girl

and devin wanted muscles

well you met it

tear him apart

ripped off his face

rock

noroi

5

and jo smashed all my shit in my room

couldent do it

and fucked up her mom

to gay shout at her

to get it in

at the party

wayne's birthday

to fuck him up

with the guys

in nirvana

constant dope

to live

not hurting anyone

and fucking alive

we're all alive

well look at their party

and honker outside

nope

and what was a relationship

its all about the he said she said

bull shit

told his son

I think you better quit

taking that shit

or you be leaving with a fat lip

from her

biting you right

kids do it

jim was devin's dad with jo

and timmy

what?

his gay dad said to him

why arent you fucking her yet

it meant it

and angela

gay

he said it to her

so she fucked his dad

again

right?

no you get him once

and leave?

cant be fucking me yet

so she went to leon again

well it looked like it

look at the crowd

nonstop having kids

over 11

7-11 leon

drive me

I gave him a place to live

and then they did gay sounds

one guy knew it

do a few push ups

and bleach and tell me

video

who is it?

no one knows

the next generation

just goes to fight him

hey find the guys they dont want

and fight them

then mom

she was a whore who kept having kids

all inbred family

lamborghini mercy

I made fun of all of them

and I got a bull shit coming out right now

say something ugly

and they leave

I did tell myself off

then jim told timmy

he'd be giving him a fat lip

gay raping him

I said what it was

a word I made up

and who believes it now?

jen didnt get it

for 7-11 noise guys

well earth mama

try and be one

then a giant came out

spirit of detroit

I can get him

it was

a rape from him

I told it

boys don't go

you heard of the men of the 50s

they meet/mate there

the word was it

all I could do is watch

to learn

how they fuck up someones life

I can tell it

so the group never goes at you

but I met them

so they come over again

then chris and her group jo sent the giant boards at the giant to get it

to slide through and smash at them

I talked about statue of liberty before

and how he came with me

I was it too

had to talk like that

or I would be hit to death and raped unconcious pregnant

the guys who got up on the board

were it

50s kids

would do that to a woman

their kids would do it with drugs, the 50s kids

they were old already

and raped women their dad would hit

their grandpa would drag one over

and their son would hit her unconsious

throw her in the house

or den

and their sons would keep raping all of them

houses surrounding this area is it

what taylor

and their retarded kids of that

would just stay

and so did the date rapists kids

and they had the most fun on drugs with the great grandpas, grandpas, and dads

doing drugs and drinking with them

loretta lynn, the supremes, brenda lee

neighbors anyways

taylor, dearborn, and lincoln park

and those guys wives before, were anyone

hey lets look

dumb too

went for alcohol

and dumbledore, went for all of them too

and looked for food

and fat women to fuck from the back (their behind)

and the whole male family fucking them?

got pregnant with three at one

then morbid obese women

gay retarded too

and this generation now, had to get the most inbreds

for all the boat fat guys

they wanted to live in houses

and be on drugs the whole time

and injected alcohol to be skinnier

and take all the jobs

only us

and lady gaga is one, amy whinehouse

the house party girls

no school constant house party

and halloween

get in there and kill all of them

raped by what one?

out of 55

less than two minutes they are all dead

and red heads are them, the whore family

and what?

I hear you

kids outside?

homeless

so much for saying you were mexican

I wont help it

and what I say to them?

bull shit?

I think you better quit

talking that shit

PUNK!?

come and get it

I feel like shit

been treated like shit

bet you knwo I got a chainsaw

skin your ass raw

one of these days

I MIGHT JUST BReAK YOUR FUCKING FACE TONIGHT

GIVE ME SOMETHING TO BREAK

who the fuck is spoiled right?

and go and fuck them again

make more to take up the space

so you wont get killed

by nirvana guys you fuck after

made gay men dress like moms after

to rob me

to have nothing

well

there isnt anything

and guys do it once

kill a married mom

[etchina-danjon]

“Well Karin you don’t look well at all.” He says softly and kindly as he places a hand on her forehead. “You must have been worse off than you thought. Wait right here while I lock up.” Not waiting for an answer Noroi hurries and locks the front door before returning to her side. Helping Karin to her feet he firmly leads the two upstairs to one of the ‘special’ guest rooms.

The innkeeper is a picture of compassion and concern as he leads her to the room. On the inside he’s already running through all the ways he’s going to be using the young redhead. And the room he’s leading her towards will help him with all of them. The bed has special harnesses built into the corners so a woman can left fully exposed. “Here we are.” He says as he helps her lay down on the bed. Quickly he straps her arms in place before moving to her legs.

She’s been left spread eagle before him and it was a sight he could get used to. “Let’s just get you out of those clothes.” No doubt she’s already suspecting she’s in trouble, but taunting her with the act makes him smile. Still he takes a knife and cuts the clothes from her body and leaves the rags on the floor. She won’t need them in her new life.

Karin could barely focus on what was happening. She truly felt drunk from lust and heat. Her body wobbled a bit, and she didn't quite catch what he said when he ran off to lock up. One minute he was gone, the next her was lifting her up, helping her walk. Which was something she wasn't doing very well. The young girl basically clung to him, as she made clumsy steps up the stairs, "W-where are we going...?" Karin muttered, blinking her eyes, trying to adjust her vision. It was easy to lead the limp, drugged up girl into his special room. She put up no fight were he dropped her onto the bed. For a moment, she truly thought he was out to help her but then she felt both of her wrists being cuffed. Each at one corner of the bed. And then each of her legs were cuffed in a similar way, keeping them widely spread open for him. Karin weakly pulled at the cuffs, "W-what is t-this...? I-i thought you w-were going to help me?" Her voice was a bit slurred as she questioned him.

It seemed her situation got so much worse as she felt a knife drag through her clothes. Ripping them off piece by piece until she was completely naked and spread open. Without her shorts and panties on, it was easy to see how dripping we she was from the drugs. Her face was flushed. Karin felt panicked, but was too drugged up to properly fight. All she could do was squirm. Letting out a whine as the cool air hit her overly hot body, "W-what did you d-do to me? I-i don't want this...!" Karin weakly objected but was in no position to tell him what she wanted. Especially when her body was clearly dying to be touched.