#tenshi no hara

[koholint]

today’s playlist:

Warabe - Kiiroi Botan

Chris - Haru no Mezame

Yuuyu - Anchoko Nuki no Love Song

Miyuki Hara - Yudetamago to Boku

Hiroko Mita - Tokimeki Oboro

Yu Hayami - Love Light

Mariko - Nakimushi Tenshi

Concent Picks - Aishitekuretara

Keiko Okuda - Plastic

Kayoko Matsunaga - Melancholy no Kiseki

Amii Ozaki - Ai ni Koi Love is Gonna Get You

Tomoko Tane - Getabako no Kaijiken

Yoshie Kashiwabara - Kuchibiru Kande Jun’ai

Mioko Yamaguchi - Kaze ni Dakarete

Miyoko Yoshimoto - Hirusagari no Cinderella

Yasuko Tomita - Ringo Ame

thanks for listening!

[morimyulyrics]

Updated: May 28, 2024

This is the track that really made me love Suzuki Shougo (William’s musical actor). His vocals here are just OFF. THE. CHARTS. Goodness, listen to that chorus over and over. Also, the piano here is just a pure masterpiece. I’d love to play this piece one day.

Again, the English includes dialogue translation.

Making the devils pay

悪魔を裁くは | Akuma wo sabaku wa Characters: William James Moriarty, Fred Porlock, Louis James Moriarty, Sebastian Moran

Kanji

William: 悪魔は弱き者の　魂を 喰らいて己の　肉となす この心は悪より　冷たき刃 我は悪魔狩りの　処刑人

嘆きの声を　聞かぬ者よ 悲しみの呻き　ねじ伏せる者よ 天使の剣より　鋭き刃で 悪しき魂に　裁きを　下そう

弱き者の叫びが　この血潮震わせる 悪魔にかける　慈悲はない

悪魔よ　地上をから去れ 悪魔よ　裁きを受けよ 悪魔よ　地上をから去れ 悪魔よ　裁きを受けよう

Fred: 幼き命を　弄ぶ 醜き貴族に死の　制裁を 悪魔を　裁くは...

お前たちの　命だ　…報いを受けろ！

(Louis) 神が定めた　大罪に (Moran) 染まる悪魔を 狩りにゆく

Moran: 同じ人の胎から　産まれ出て 何故人はこうも　醜くなり果てる 拭う事できぬ　その罪 命と共に　散らしてやろう

Louis: ご自身で　選んでください　炎か…　血か…

幼きころから　見続けてきた おぞましき悪魔　邪悪な眼（まなこ） 滅びよ消え去れ　この世界から 兄さんの　美しい世界のため

L&M: 生けるものの命を　弄ぶ 醜き貴族に死の　制裁を 嗚呼　悪魔を裁くは...

Moran: セバスチャン・モランは　死んだ お前が見たのは　死神だ

Fred: 幼き命を　弄ぶ 醜き貴族に死の　制裁を 悪魔を　裁くは...

William: 悪魔よ　地上をから去れ 悪魔よ　裁きを受けよ

Fred, Louis, Moran: 生けるものの命を　弄ぶ 醜き貴族に死の　制裁を 嗚呼　悪魔を裁くは...

William: 悪魔よ　地上をから去れ 悪魔よ　裁きを受けよ

全ての悪魔を　一掃で切るなら それも悪くない

***

Romaji

William: Akuma wa yowaki mono no tamashii wo Kuraite onore no niku to nasu Kono kokoro wa aku yori tsumetaki yaiba Ware wa akuma gari no shokeinin

Nageki no koe wo kikanu mono yo Kanashimi no umeki neji fuseru mono yo Tenshi no tsurugi yori surudoki yaiba de Ashiki tamashii ni sabaki wo kudasou

Yowaki mono no sakebi ga Kono chishio furuwaseru Akuma ni kakeru jihi wa nai

Akuma yo   chijou karasare Akuma yo   sabaki wo ukeyo Akuma yo   chijou karasare Akuma yo   sabaki wo ukeyo

Fred:  Osanaki inochi wo moteasobu Minikuki kizoku ni shi no seisai wo Ah Akuma wo sabaku wa

Omaetachi no inochi da Mukui wo ukero

(Louis) Kami ga sadameta taizai ni (Moran) Somaru akuma wo Kari ni yuku

Moran: Onaji hito no hara kara umare dete Naze hito wa kou mo miniku kunari hateru Nuguu koto dekinu  sono tsumi Inochi to tomo ni chirashite yarou

Louis:  Gojishin de erande kudasai     Honou ka   chi ka

Osonaki hi kara mitsuzuketekita Ozomashiki akuma jaaku na manako Horobi yo kiesare kono sekai kara Nii-san no utsukushii sekai no tame

L&M: Ikeru mono no inochi wo moteasobu Minikuki kizoku ni shi no seisai wo Ah Akuma wo sabaku wa

Moran: Sebastian Moran wa shinda Omae ga mita no wa   shinigami da

Fred: Osanaki inochi wo moteasobu Minikuki kizoku ni shi no seisai wo Ah Akuma wo sabaku wa

William: Akuma yo   chijou karasare Akuma yo   sabaki wo ukeyo

Fred, Louis, Moran: Ikeru mono no inochi wo moteasobu Minikuki kizoku ni shi no seisai wo Ah Akuma wo sabaku wa

William: Akuma yo   chijou karasare Akuma yo   sabaki wo ukeyo

Subete no akuma wo issou de kiru nara Sore mo warukunai

***

English (lyrics+dialogue)

[William] Devils partake of the weak’s souls and use their own meat as their flesh This heart of mine is colder than evil’s sword And we are the devils’ executioners

Oh, you who are deaf to their mournful cries Oh, you who twists their sorrowful sobs Receive punishment onto your evil-tarnished souls by a blade sharper than an angel’s sword

The weak’s cries makes my blood boil I shall leave no mercy for the devil

Oh, devil   Lay waste to this land Oh, devil   Receive your punishment Oh, devil   Lay waste to this land Oh, devil   Receive your punishment

Lackey: Who are you!? Fred: You don’t need to know. Lackey: You little shit!

[Fred] You toy with the lives of these children Die as punishment, filthy noble Make the devils pay

Lackey: Wait, I’ll give you anything you want.

[Fred] I want your life Accept this punishment

[Louis] Grave sins by god’s decree [Moran] The increasing number of devils Shall be hunted by us

Girl: No! No, please! Save me! Lackey: What is it? Give me a bit more time. I just love to burn things. But someone who’s never experienced it wouldn’t understand. Girl: Please stop! Louis: I have. Lackey: Who are you!? Louis: I’ve burned down a noble’s mansion before, and I felt nothing. Relief by death. Should it serve my brothers well, I’d gladly burn anything down. Lackey: Just who are you? Louis: Well then.

[Moran] Born from the same womb Yet why must they be so vile? This sin, which cannot be washed away shall disappear along with their life

Louis: If you pull that knife out, you’ll bleed to death. And if you stay there, you’ll just burn to death.

[Louis] Please choose your death by flames, or by blood loss?

Lackey: I’ll treat you very well. Moran: How well? Lackey: Huh? Who are you? Moran: You unsavory pig. Lackey: You! Aren’t you Sebastian Moran? It’s me! Verano. Weren’t we classmates at Oxford University? Moran: Sorry, can’t remember.

[Louis] Since I was young, I’ve seen such frightening people Such repulsive devils with wicked eyes Fall to ruin, disappear from this world For the beautiful world my brother envisions

[Louis & Moran] You toy with the lives of these people just living Die as punishment, filthy noble Make the devils pay

Lackey: Moran, weren’t you killed in the Afghanistan war? Moran: Oi. Yeah.

[Moran] Sebastian Moran has died What you saw was   the grim reaper

Moran: Alright. Just one left. Louis: Nii-san.

Baskerville: Wonderful! These children have become so beautiful! These are offerings to god. You, too, will become part of this work of art. Girl: Someone! Help! Baskerville: Oh, god. Surely you will be pleased when you see my offerings. Who’s there? Don’t disturb me.

[Fred] You toy with the lives of these children Die as punishment, filthy noble Make the devils pay

[William] Oh, devil   Lay waste to this land Oh, devil   Receive your punishment

[Fred, Louis & Moran] You toy with the lives of these people just living Die as punishment, filthy noble Make the devils pay

[William] Oh, devil   Lay waste to this land Oh, devil   Receive your punishment

Baskerville: The collection I prepared for god has been cut down by the devil! William: I’m a devil?

[William] If I could make all devils disappear in one slice That wouldn’t be bad at all

[peonyangel]

Ah.. I would like to tell..

Hara-San ..thank you..

I've just been doing terribly lately.. And honestly.. Talking to you was very nice, and helped me clear my mind. So it is greatly appreciated..

(-@wat3rpillar )

Ah, Water pillar. It is alright. Truly was not a problem. Sometimes you need a stranger to tell you to shut up and deal with it. I am glad to help. Tenshi would definitely not enjoy me doing this however.

[demifiendrsa]

Weekly Shonen Jump 50th anniversary Shikishi

Hiroshi Kaizuka (Chichi no Tamashii)

Hiroshi Motomiya (Otoko Ippiki Gaki Daishou)

Kazuyoshi Torii (Toilet Hakase)

Daijiro Morohoshi (Yokai Hunter)

Satoshi Ikezawa (Circuit no Okami)

Kontaro (1•2 no Ahho!!)

Yukinobu Hoshino (Blue City)

Yoshinori Kobayashi (Todai Icchokusen)

Osamu Akimoto (KochiKame)

Hisashi Eguchi (Susume!! Pirates/Stop!! Hibari-kun!)

Buichi Terasawa (Space Adventure Cobra)

Yudetamago (Kinnikuman)

Yoichi Takahashi (Captain Tsubasa)

Tsukasa Hojo (Cat's♥Eye)

Shinji Hiramatsu (Black Angels)

Motoei Shinzawa (High School! Kimengumi)

Ryuji Tsugihara (Yoroshiku Mechadoc)

Masakazu Katsura (Wing-Man/Video Girl Ai/I"s)

Buronson and Tetsuo Hara (Fist of the North Star)

Yoshihiro Takahashi (Ginga -Nagareboshi Gin-)

Akira Toriyama (Dragon Ball)

Koichi Endo (Tsuide ni Tonchinkan)

Akira Miyashita (Sakigake!! Otokojuku)

Masami Kurumada (Saint Seiya)

Kouji Koseki (Kenritsu Umisora Koukou Yakyuu Buin Yamashita Tarou-kun)

Hirohiko Araki (JoJo's Bizarre Adventure)

Tadashi Sato (The Burning Wild Man)

Kouji Maki (God Sider)

Kazushi Hagiwara (Bastard!!)

Shinji Imaizumi (Kami-sama wa Southpaw)

Tatsuya Egawa (Magical Taluluto)

Riku Sanjo and Koji Inada (Dragon Quest: Dai no Daibouken)

Masaya Tokuhiro (Jungle King Tar-chan)

Takehiko Inoue (Slam Dunk)

Shin Mitsuhara (Outer Zone)

Yutaka Takahashi (Bonbonzaka High Drama Club)

Keishuu Ando (Kyuukyoku!! Hentai Kamen)

Haruto Umezawa (Hareluya II Bøy)

Kouji Kiriyama (Ninku)

Hiroshi Gamo (Tottemo! Luckyman)

Shou Makura and Takeshi Okano (Hell Teacher Nube)

Kokichi Naniwa (Ousama wa Roba ~Hattari Teikoku no Gyakushuu~)

Nobuhiro Watsuki (Rurouni Kenshin)

Tsunomaru (Midori no Makibao)

Hajime Kazu (Mind Assassin)

Makoto Niwano (Jinnai Ryuujuujutsu Butouden Majima-kun Suttobasu!)

Yuko Asami (Wild Half)

Ryu Fujisaki (Hoshin Engi)

Kazuki Takahashi (Yu-Gi-Oh!)

Kazumata Oguri (Hanasaka Tenshi Tenten-kun)

Mitsutoshi Shimabukuro (Seikimatsu Leader-den Takeshi!/Toriko)

Eiichiro Oda (One Piece)

Masanori Morita (Rookies)

Daisuke Higuchi (Whistle!)

Yoshihiro Togashi (Hunter x Hunter)

Nakaba Suzuki (Rising Impact)

Takeshi Konomi (The Prince of Tennis)

Masashi Kishimoto (Naruto)

Kyosuke Usuta (Pyu to Fuku! Jaguar)

Yoshio Sawai (Bobobo-bo Bo-bobo)

Shinya Suzuki (Mr. Fullswing)

Tite Kubo (Bleach)

Mizuki Kawashita (Strawberry 100%)

Riichiro Inagaki and Yusuke Murata (Eyeshield 21)

Tsugumi Ohba and Takeshi Obata (Death Note)

Hideaki Sorachi (Gintama)

Akira Amano (Reborn!)

Katsura Hoshino (D.Gray-man)

Yoshiyuki Nishi (Muhyo & Roji's Bureau of Supernatural Investigation)

Kentaro Yabuki (To Love-Ru/Yamato Gensouki/Black Cat)

Saki Hasemi (To Love-Ru)

Yasuhiro Kano (Mx0)

Kenta Shinohara (Sket Dance)

Hiroshi Shiibashi (Nura: Rise of the Yokai Clan)

Kouji Ooishi (Inumarudashi)

Tadatoshi Fujimaki (Kuroko's Basketball)

Ryuuhei Tamura (Beelzebub)

Nisio Isin and Akira Akatsuki (Medaka Box)

Naoshi Komi (Nisekoi)

Haruichi Furudate (Haikyu!!)

Shuuichi Asou (The Disastrous Life of Saiki K.)

Yuusei Matsui (Assassination Classroom)

Yuto Tsukuda and Shun Saeki (Food Wars!: Shokugeki no Soma)

Daisuke Ashihara (World Trigger)

Ryou Nakama (Isobe Isobee Monogatari: Ukiyo wa Tsurai yo)

Kawada (Hinomaru Zumo)

Kohei Horikoshi (My Hero Academia)

Yuki Tabata (Black Clover)

Tadahiro Miura (Yuuna and the Haunted Hot Springs)

Koyoharu Gotouge (Demon Slayer: Kimetsu no Yaiba)

Mikio Ikemoto and Ukyo Kodachi (Boruto: Naruto Next Generations)

Kaiu Shirai and Posuka Demizu (The Promised Neverland)

Taishi Tsutsui (We Never Learn)

Riichiro Inagaki and Boichi (Dr.Stone)

Tatsuya Matsuki and Shiro Usazaki (Act-Age)

Gege Akutami (Jujutsu Kaisen)

Haruto Ikezawa (Noah's Notes)

Masayoshi Satosho (Momiji no Kisetsu)

Kazusa Inaoka (Kimi Wo Shinryakuseyo)

Keiji Amatsuki (Seiji Tanaka)

Takahide Totsuno (Alice & Taiyou)

[nikitasbt]

Early films of Akira Kurosawa: No Regrets for Our Youth, Drunken Angel

No Regrets for Our Youth (わが青春に悔なし Waga seishun ni kuinashi) - 1946

This was the first film directed after II World War by Akira Kurosawa, just 1 year after the surrender of Japan and atomic bombings. However, we can see how fast the situation and opinions are changing. Japan was still in ruins, while we already see pacifist leftist films like No Regrets for Our Youth showing militarists in a very negative light. Just a year ago the military power was still sending people to inevitable death. And then Kurosawa comes up with such story about young people who make a tremendous difference in the life of the whole country, being ready to sacrifice their youth for the bright future.

No Regrets of Our Youth shows the conflict between young people of different type and background. Noge (Susuma Fujita) and Itokawa (Akitake Kono) study in the University together when the Takigawa incident in 1933 occurs and Japan intervenes China. A leftist Noge who has a strong wish to take part in the political life of the country realized it is time to act and hope against the consequences of this incident. He leaves the school and attempts to build the bonds among young people to confront militarism. Noge is a real intelligent who cares for both country and people living there, while Itokawa is a guy from the working class. Initially, he has the intention to join his friend in this fight. But he later decides he can't do that as his mother has been living her life to let him study and become a decent man. Itokawa has to take into consideration his mother felt, and their paths with Noge split. At the same time, Noge develops a rift between him and his family. His family doesn't understand him, and he is forced to sacrifice not only position in the school for this fight but also relationships with the family.

Later, Noge is arrested for being involved into espionage (this story is based on the personality of Hotsumi Ozaki who assisted Soviet spy Richard Zorge during the World War), and Itokawa becomes a state prosecutor. He is married and he lives for his family and mother. We cannot blame him for anything, it is just a different type who is not ready to join this political fight. But this is the film where Kurosawa praises Noge's attitude, as well as Yukie (played by Setsuko Hara).

A daughter of a professor, Yukie is initially unable to choose between Noge and Itokawa. She blames childishly Noge for being so much into politics but ends up having an affair with him. His talks and hopes were incendiary and strong to impress her for the rest of life. Itokawa seems to be boring for her. After a few years, she meets Noge again and they start seeing each other. She knows she will have to sacrifice her youth to live with him, but this is something she is looking for. After the arrest of Noge, she makes another sacrifice going to the village of his parents and living with them being accused wife of spy by local villagers.

Kurosawa is merely impressed by these strong and young people who change the future of all us. He is showing in the screen, despite many sacrifices the future generations will learn to respect those who had sacrificed everything to fight, with no regrets for their youth. At the end of the film the war is over. Now we see Yukie becoming a local heroine in the village where everybody used to hate her. The minds of people change fast, according to politics. And No Regret to Our Youth is about the brave people who are not afraid of fighting military doctrine and radical right ideas taking the peoples into oblivion.

One of the early features of Kurosawa is marked with a great performance of actors and politically important story. Yet he has elaborated his filmmaking style in No Regrets for Our Youth. At this point, he was on the way to establish himself as world-acclaimed director.

Drunken Angel ((醉いどれ天使, Yoidore Tenshi)) - 1948

Drunken Angel became the first role in Kurosawa's cinema for Toshiro Mifune. Later, their collaboration will continue with 16 films on a row they were both involved in. In Drunken Angel, Mifune shows in the greatest colours this volcanic character, crazy temper, and ambiguous personality his protagonists were often famous for.

It is actually Matsunaga (Toshiro Mifune) who is an angel here, not an alcoholic doctor Sanada (Takashi Shimura). We see how naive and fragile Matsunaga happens to be despite the fact he is a violent gang member dealing with Yakuza. He trusts bandits thinking their words can be explained by honour or promises. Though this is only his own vision of the world, and they set up the naive gang member. In his frenetic desire to show he is not afraid of anything, he keeps destructing himself despite doctor's recommendations on how to treat tuberculosis. We see Matsunaga involved in different scenes defending a young nurse from Yakuza or being involved with a woman who truly loves him. It's a touching tragedy of this man we see. An angel inside him is buried under this made volcanic personality.

As an example of real strength, we see the school girl (Yoshiko Kuga), another tuberculosis doctor's patient. While Matsunaga dies, she has been able to overcome her disease following the recommendations. Kurosawa introducing this girl shows what real strength and wisdom is. Matsunaga is not able to understand it until the very end. His naive self-confidence and persuasion he is stronger than anybody makes him very vulnerable and fragile. And this volcanic temper is nothing but cover hiding delicate soul.

[ncgeru]

Knowing your partner well makes writing together a lot easier. tag this with people you enjoy roleplaying with,  but want to get to know better.

BASICS  !

name :  Hara

age  :   secret~

pronouns : he/him

zodiac  sign  :   taurus

taken  or  single  :    taken

THREE  FACTS  !

1. i’ve got a dog named noodle

2. i’m from korea but i live in america! nice to meet you!

3. when i go home to korea, i’m often too tall for my grandma’s door frames and i can actually hit it with my head if i’m not careful

EXPERIENCE  !

platforms  used  : currently only tumblr & discord~

MUSE  PREFERENCE  !

female  or  male: any is fine! as long as it’s fun~

least  favorite  face(s) : i don’t mind any fc!

multi  or  single :  i run both types so i’m also fine with it

WRITING  PREFERENCE  !

fluff  /  angst  /  smut : angsty mc angst is a must but fluff is also welcome! as for smut i’m a little eehhhhh

plot  /  memes :  memes are my jam and i usually like to come up with plots on the spot~

TAGGED  BY: i stole it from @chakrabite :P

TAGGING: @tenshi-no @uchihascrusade @kusunokihime @houndnin @twobunsandascroll

[mayahidoku]

Kimchi favs 2.0

I'll Be Gay! Body Switcharoo

What's Wrong with Secretary Kim? Oh! My Assistant Webtoon

Not for the Faint of Heart

High School Debut

Tattooed Love Webtoon

Nichijou Climax Yagi to Ookami no Hatsujou Jijou

Rain Again

A Thousand Cranes

Kuroko no Basuke dj - Aru Kagaku no Shoumei

Incorrigible

See You at the Crosswalk

On or Off

Tale of the Yellow Dragon

Prince Bari

Dear Signal

The Lady and Her Butler Tasogare Outfocus

Pian Pian Kitto Oujisama ga Nante

Tabetemo Oishiku Arimasen

What's your name?

Good day to go crazy

Chijou 100 meter de, Aimashou Datte Maou-sama Wa Kare Ga Kirai

Koisuru Tetsumenpi

Yakimochi wa Kitsuneiro

Kimi ni Koisuru Hazu ga Nai

Tenshi no Sasayaki wa Akuma wo Otosu

From Green Kitchen

Inugamihime ni Kuchizuke

Doukyuusei (NAKAMURA Asumiko)

Sora To Hara

Old-fashioned Cupcake

Fangs

Dear Door A Prince in a Luxurious Mansion

The Office Blind Date

Yes, My Boss!

As You Wish, Prince

House Backer

Nights Before Night Wolf Me Up

For Your Love

Form of Sympathy Mo Dao Zu Shi Unmei no Tsugai ga Omae da Nante

My Hopeless Dreamer

Ryu no Otto Boukoku no Kami

[secretariatess]

An Actually Incomplete List of OCs Because I Haven’t Updated the Spreadsheet

@solus---christus

Rotheya Delsh Panbrook

Ellhin

Nightshade Jasen

Reflector

Revver Jasper

Sefstani Whilter

(The) GunBlade Maris

Lishea Agape Kuraine

Akai Kawa

Captain Ryo Kawa

Chikara Kuraine

Kaji Samui

Kaliara

Kaze Samui

Kiseki Kuraine

Koro Samui

Lilianne Ameiro

Lotus

Mesarthim

Midori Kawa

Millenor Samui

Moria Kuraine

Petrichor Kuraine

Phillarhn

Rhododendron Redwood

Sagittarius Kawa

Sapphire Ash

Senit Ameiro

Sora Sakura

Tatsuya Kuraine

Tenshi Kuraine

Tevit Bakane

Teyra

Tsuki Ameiro

Yusei (Tars) Kuraine

Zane Samui

Cheranee (Agent) Sea Meagan

(Agent) Storm Sattarm

Beta

James, Sir

Kyla Lennith

Lester Zysk

Reposa

Sah

Shea Halpmen

Strost

Theoir

Foralt Alistia Goman

Arsenk

Benedic

Evangelina

Jethro

Phreeh

Princess Valandre

Ryathel

Sarde

Sarsei

Valley

Jayce Islands Briita

Hara

Kasina Zilivo

Lian

President Felsen

Ryuna

Tanaiko

Tiat

Willow

Kesh Ayvila Braley Byrde

Call Illian

Ila Braley

Jeket Byrde

Prore Braley

Skyere Braley

Vadi Braley

Earth Indiana Jaysquer

Dalenr Falan Loang

Marin Loang

Narin Loang

Susan Loang

Mixed Adaliago

Dhrake Jaysquer

Duke Maverick, Ahnager

Len Ameiro

Liesha Ameiro

Natia

Ruslan

Secret

Varchi

Xerus

Angel Islands Aliitqwa

Haganor

Marani

???? Akyaish

Angel/Lex/Demenstrect

Bawena

Cheelinrah

Josiah the Guardian

Liark

Parenguah

Phoenix

Rytha

Sirphane

Zarkurno

[fortunateld-blog]

Hara Chuchu!! ~Kameba Ano Ko mo H na Tenshi~ / 孕ら☆ちゅちゅっ!! ～咬めばあの娘もHな天使～ [English Patched]

Hara Chuchu!! ~Kameba Ano Ko mo H na Tenshi~ / 孕ら☆ちゅちゅっ!! ～咬めばあの娘もHな天使～ [English Patched]

[miguelmarias]

El resplandor de "Rashômon"

El éxito cosechado en el Festival de Venecia de 1951 —obtuvo el León de Oro de San Marcos— por la película Rashômon, dirigida por Akira Kurosawa, supuso, más que una promoción para el cineasta en su propio país, la puerta para que el cine japonés pudiera empezar a circular, siquiera esporádicamente, en Occidente. Parece una paradoja que una nación que ya por entonces empezaba a superar la crisis económica y moral que había supuesto su derrota —tras las de los aliados del curioso “Eje” Berlín-Roma-Tokio— en la Segunda Guerra Mundial y la explosión de dos bombas atómicas en su territorio, y que pronto iba a convertirse en una potencia económica agresivamente exportadora, siga aún hoy sintiendo una extraña timidez a la hora de distribuir en el resto del mundo su cine. Con inusitada frecuencia, los japoneses encuentran “demasiado nipón” el planteamiento dramático, el ritmo y el lenguaje cinematográfico de sus realizadores —incluso los más influidos por el cine americano o más “occidentalizados” de un modo u otro, como el propio Kurosawa— y parecen temer en exceso que sea oscuro, cuando no incomprensible, y, en consecuencia, poco interesante y hasta aburrido para los espectadores occidentales, y desprovisto, por tanto, de potencial comercial.  Este auténtico “complejo de alteridad” —que sacude a veces hasta a algunas de las Comunidades Autónomas españolas con respecto a los que no pertenecen a ellas— ha hecho que durante mucho tiempo fueran reacios a enviar a festivales las obras de cineastas como Ozu o Naruse, que, cuando por fin se conocen un poco, a menudo son entusiásticamente apreciados, por lo menos por una parte de los cinéfilos y los críticos, y, creo yo, no tan malentendidos ni tan incompletamente comprendidos; al menos, no en mayor medida que otros autores, no por geográfica y culturalmente más próximos mejor entendidos ni más estimados.  Rashômon, puestos a eso, es una película singularmente compleja y remota: al contrario de lo que solía ser habitual en Kurosawa por aquellos años, no es un relato contemporáneo, sino una fábula medieval; aparecen samuráis, pero no es tampoco estrictamente una película de acción —como sí, en cambio, Los siete samuráis (1954), su otro gran éxito mundial—. De hecho, es posible que su carácter doblemente remoto —en el tiempo y en el espacio— contribuyese no poco a conferirle el atractivo “exótico” que a menudo enturbia el triunfo europeo o americano del cine japonés: siempre parece más original de lo que es, en parte, por lo poco que conocemos ese cine y su entorno, de forma que nos resultan novedosos y llamativos hasta sus convenciones y su tradición, y lo que para los japoneses puede ser el colmo de los tópicos, una historia cien veces contada y un lenguaje adocenado a nosotros se nos antoja nuevo, fresco y hasta misterioso, un soplo de aire fresco que nos permite descansar de los convencionalismos a los que estamos acostumbrados. Otra posible razón del interés despertado por Rashômon es, creo, su presentación de una misma historia o incidente mediante flashbacks que adoptan los respectivos puntos de vista de los cuatro personajes implicados como sujetos o testigos, que, como parece inevitable en cualquier lugar y circunstancia, generan otros tantos relatos contradictorios, cuatro versiones discordantes. De ahí que Rashômon pueda verse como una honda reflexión sobre temas tan cinematográficos como el de la apariencia y el del espectador, o como una escéptica meditación acerca de los borrosos límites que separan la verdad de la mentira y la relatividad que aqueja a todos los testimonios, incluso si intentan con la mejor voluntad ser veraces y precisos. Se trata, desde luego, de un problema eterno y de alcance universal, y nada privativo de los japoneses, y tan comprensible como interesante en cualquier latitud y longitud. Sin contar con el curioso factor adicional de que las películas que narran “en facetas” —desde Ciudadano Kane a Eva al desnudo o La condesa descalza— suelen ser sistemáticamente bien consideradas —cuando no sobrevaloradas— por la crítica, si no siempre por el público mayoritario. Naturalmente, como todo acontecimiento excepcional, el triunfo veneciano de Rashômon tuvo por consecuencia una fama de Kurosawa desproporcionada a sus méritos, e inicialmente muy superior a la alcanzada por veteranos muy superiores —Mizoguchi, Ozu, Naruse—, de alguno de los cuales había sido ayudante. Cayó sobre las espaldas de Kurosawa, durante algún tiempo, la pesada carga que también han tenido que soportar —antes o después— el indio Satyajit Ray, el sueco Ingmar Bergman o el danés Carl Theodor Dreyer, es decir, la de representar en solitario a todo el cine de su país respectivo, por ser el único director conocido internacionalmente y casi unánimemente respetado, los que han sufrido en periodos sucesivos algunos compatriotas: Bardem y Berlanga, luego Carlos Saura, después Víctor Erice, desde hace ya unos quince años Pedro Almodóvar. Con el agravante para Kurosawa de que si el cine español es de tamaño mediano, la producción anual del Japón es —como la de la India— ingente, y mucho menos difundida. A mi modo de ver, cuando ganó el primer premio veneciano, la madurez de Kurosawa como director estaba por llegar, y coincidiría con un momento de crisis económica para el cine japonés, que hizo cada vez más difícil que lograse realizar sus proyectos. Aunque poco después de Rashômon hizo su portentosa versión de El idiota de Dostoievski, Hakuchi, con la gran Setsuko Hara como protagonista femenina, e Ikiru (Vivir), y ya había dirigido grandes películas como Yoidore Tenshi (la inédita El ángel borracho), testimonio desesperado de la inmediata postguerra, tengo la impresión de que la etapa más interesante —que no brillante— de su dilatada carrera arranca en realidad con Akahige (Barbarroja), en 1965, y culmina con una producción soviética rodada en las estepas, Dersu Uzala (El cazador, 1975), sin duda su obra más hermosa, sobria y serena, completamente ajena a la tendencia a la exageración y el enfatismo que domina —y empaña ocasionalmente— su filmografía durante los años 50, aparte de incluir muestras tan impresionantes como la muy incomprendida Dodes’ka-den (1970) —un filme sobre la miseria de los barrios de chabolas que tiene la osadía de no ser naturalista, ni tan siquiera superficialmente “realista”— y como, en el fondo, en mayor o menor grado, la casi totalidad de sus últimas películas, las más distanciadas entre sí, ante las cuales Rashômon queda, si no empequeñecida, sí reducida a sus verdaderas dimensiones, bastante más modestas, desde luego menos innovadoras y profundas de lo que en su día se pensó. Pese a no contar Rashômon entre las obras máximas de Akira Kurosawa, hay que reconocer que se trata de una película sumamente interesante, y que, vista hoy, dista de haber envejecido en la medida en que su aparatosa “novedad” de entonces hacía temer. Es más, a los quince años de hecha, cuando Kurosawa había evolucionado y el cine en general había cambiado mucho, Rashômon parecía más anticuada que al cumplir los cincuenta, probablemente por el contraste que supone con casi toda la producción actual, al menos la que domina las carteleras comerciales. Sin suponer una ruptura, ni perderse en vericuetos narrativos excesivamente complejos y enrevesados, hay en Rashômon, si la comparamos con lo que vemos a diario en las pantallas, un grado inhabitual de exigencia artística, de rigor estético, de seriedad en los planteamientos, rasgos que resultan —si no bastan para que sea admirable— dignos del máximo respeto y que, como presentación de Kurosawa para quien lo desconozca, sin duda constituirían una auténtica promesa de interés, incluso una revelación: se ve que cada una de sus imágenes es el producto de un esfuerzo meditado y cuidado por parte de un cineasta tan ambicioso como dotado para el oficio que ha elegido, por el que trató de quitarse la vida y en cuyo ejercicio activo, mientras proyectaba una nueva realización, le sorprendió una muerte que a su edad no podía ser inesperada.

Miguel Marías

El Cultural, 16/05/2001

[secretariatess]

Updated OC List

List of my OCs . . .

Bold are characters who are main characters at some point, secondary main characters, or characters I’ve worked with a lot.

Italicized are characters with less development, but enough to make it to this list.

There a lot more, but these are the ones that have a better chance of having an answer.

Angel Islands

Aliitqwa

Cheranee

Chlyret Harr Lamen Graste Lester Zysk Poumen Rilys Aubrens Sashay Shea Halpmen Strost, Lord Theoir

Dalenr

Narin Loang Susan Loang

Foralt

Jethro, Crown Prince Phreeh Princess Valandre Sarde

Jayce Islands (Human and Demon)

Amai Zha Briita Hara Kasina Zilivo Lian President Felsen Ryuna Tanaiko Tiat Willow

Kesh

Ayvila Braley Byrde Call Illian Jeket Byrde Prore Braley Skyere Braley

Lishea

Akai Kawa “Captain” Ryo Kawa Kaji Samui Lotus Midori Kawa Petrichor Kuraine Rhododendron Redwood Sapphire Ash Sasha Sakal Tatsuya Kuraine Tenshi Kuraine Tevit Bakane Teyra Zane Samui

Rotheya

Adaliago Delsh Panbrook Duke Maverick, Ahnager Reflector Jason Jasper “Revver” Sefstani Whilter “The doctor” “The GunBlade” Maris Varchi Xerus

Immortal/Spiritual/Ghostly Beings

Angel/Lex Bawena Josiah Len Ameiro Liark Liesha Ameiro Phoenix Rytha Sirphane Zarkurno

The Mixed Nationalities/Couldn’t Fit Elsewhere Group Because They Keep Moving Around and Frustrating the Author

Alistia Goman Chraysetsu “Setsu” Zha Dhrake Jaysquer Indiana Jaysquer Secret Yukei “Tars” Kuraine

Ask the Author: Sidda Shadowson