#子宮

[tanghouse]

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時常在整復所碰到 久坐、翹腳、姿勢不良，讓身體的重心偏移，造成骨盆歪斜，甚至影響到脊椎以及頸椎，使氣血循環以及淋巴循環變慢，形成耳鳴、偏頭痛。 身體的代謝下滑，容易肥胖，囤積老廢物質，嚴重的還會影響子宮、卵巢機能 所以骨盆結構不端正影響的不單是局部，更是全身性整體的問題喔���

（圖片取自網路）

[peach-bbbb]

ω Cute butt like a peach ωฅ(^ω^ฅ) 二宮和香 Waka Ninomiya japanese AV idol ass ლ(╹◡╹ლ)

[hans-wig]

子宮內膜癌最顯著症狀是異常出血！這些徵兆不像流血卻危險

【早安健康／蔡經謙報導】曾認真關心過自己的經期、非經期陰道分泌物嗎？許多民眾都知道，若在非經期出現不正常的出血症狀，為了謹慎需要去醫院進一步檢查。然而專家表示，不是只有「流血才算出血」，若分泌物不正常恐是子宮內膜癌的徵兆。子宮內膜癌以月經、出血不規則為最明顯徵兆

「ETtoday」曾報導，有名52歲婦人發現子宮不正常出血，本以為是更年期所致，因此僅服用診所開立的止血、荷爾蒙藥物，不料因日漸嚴重至醫院進一步檢查，才發現已罹患子宮內膜癌

亞洲大學附屬醫院婦癌科主任葛裕民也曾分享案例指出，有33歲患者因月經常期不規則、量也不多因此不以為意，近來卻出現突然一個月來兩次、經血量大增等狀況，才發現已罹患子宮內膜癌肉瘤，因此需要切除子宮保命。因此提醒民眾，若留意身體出現以下子宮內膜癌常見症狀，務必提高警覺及早就醫：

子宮異常出血

月經周期不規則

停經後出血。

不是只有流血才算出血，咖啡色分泌物也要提高警覺

雖然異常出血為常見明顯症狀，然而並非只有流血才算「出血」，民眾若發現私密處出現咖啡色分泌物也不可不管。台北中山醫院婦產科主治醫師蘇軒於社群分享個案指出，子宮內膜癌由於會有非經期出血狀況，因此容易診斷與發現，往往發現後也都是第一期。

然而卻有一名子宮內膜癌患者受診時表示沒有非經期異常出血，由於鮮少個案毫無症狀，經詳細問診後來發現，這名患者在非月經期也會有一點點咖啡色的分泌物，且持續快一年。

蘇軒醫師指出，一般要較嚴重病症才會以量多表現，這類咖啡色分泌物也可以算是非經期出血。若月經出現異狀，建議盡早就醫評估，而其他非經期出血還包括：

非月經的血塊

非月經的鮮血

粉紅色的點狀出血

褐色的渣渣

帶粉紅色、褐色的分泌物

子宮內膜癌年輕化！3族群需特別留心

根據衛福部癌症登記報告統計以及林新醫院衛教資料，子宮內膜癌每年新增的病患人數在2007～2016這近10年間發生率增加一倍、20年間上升幾乎3倍。而子宮內膜癌的好發年齡為40歲～70歲，並以55歲為巔峰。現代生活飲食西化，過多的油脂與熱量就容易導致雌激素長期偏高，造成排卵障礙，長久下來恐導致子宮膜日漸增厚、病變，就會提升患病風險。

值得注意的是，並非40～70歲女性才須留意月經異常，綜合婦產科醫師吳文綺與長庚醫院婦產科主治醫師陳彥廷的受訪資料，台灣子宮內膜癌年齡層有逐漸下降的趨勢，雖然該症好發年齡層為50歲以上，但近來也曾有38歲已有生育的女性的患病個案。

此外，根據林新醫院衛教資料，有3族群更要小心。婦幼副院長何師竹醫師受訪表示，年長未婚女性更要注意，這類族群常將異常出血解釋為更年期症狀而延遲就醫；其次，40歲以下有長期排卵障礙的民眾也要小心，通常特徵為肥胖、BMI指數大於30、體重在70kg以上者。

除此之外，由於孕期和產後哺乳期的內分泌狀況對內膜有保護作用，因此未經生育者罹患子宮內膜癌的機率更高。若屬於上述民眾類別，當分泌物出現異常時更要提高警覺。

蘇軒醫師為文表示，子宮內膜癌從正常狀況到癌症需要數月至數年光陰，且早期即有症狀，可透過定期檢查發現；而卵巢癌作為另一婦科常見癌症，則雖發展無聲無息，但仍可透過定期健檢超音波發現。因此民眾別忘了定期篩檢，及早發現及早治療囉。

來自https://www.edh.tw/article/31320

純屬分享若有侵權請來信告知，會即刻刪除，謝謝。

選購假髮、髮片一定要來【韓市長假髮】親身試戴鑑賞！

科技假髮、醫療假髮、微增髮片、假髮清洗、假髮修剪

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或撥打服務專線02-29267200，

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年輕的秘密來自韓市長假髮

來【韓市長假髮】買的不只是一頂假髮，還有一份體貼和安心

【韓市長假髮】是您時尚年輕的私人密友！

更多資訊:

韓市長假髮官方網站

韓市長假髮YOUTUBE頻道

韓市長假髮粉絲團

韓市長假髮Line官方帳號

[seihuku888]

宮越虹海/にじみん

[sakura-cotton]

こんにちは〜さくらコットンです♪今日は、お昼は事務所で仕事をしてちょっと外に出たくなって気持ちを切り替える為に海にきてしごとをしています。船を眺めながら、とても癒されてここにいてやる内容は創造的な仕事がすすむ感じがします♪ いま私たちが取り組んでいることは、使ってくださる方がもっと使いやすくなるにはどんな風にしていったらいいかな、というところです。使って下さる方のインタビューをまたSTARTしました♪ご協力いただける方はぜひご連絡下さい 最近、私のまわりでは妊活のおはなしをまたよく聞くようになりました。私たちがヒエトリパットを開発して販売をSTARTして、想定しいてなかった声に、赤ちゃんが出来たというのを今まで何度もお聞きして、私たちも調べてみました。なぜ、赤ちゃんが出来るか？については、簡単で「子宮温度が上がったから」ということだと思っています。逆になぜ赤ちゃんができないのか？という理由が冷えていたからという方は、ヒエトリパットが有効だったのだろうと思います。冷えてるという方は、もう一つした方がいいことがあります。ヒエトリパット＋オーガニック紙ナプキンです♪このヒエトリパットの開発の背景には、私自身の重い生理痛(子宮内膜症)があったのですが、布ナプキンを使った時に、はじめて生理の痛みを感じなかったことがみんなに伝えなくてはならない！と思ったポイントでした。このあと、調べていくと、子宮が弱くなってる時に冷やすことが痛みの原因になっていたので、冷えなかっただけではなく、布で作ったナプキンの保温力が効いたのだと思っています。ここで、布ナプキンを販売していないのですが、まずは、冷やさないということを考えてポリマーなしのオーガニック紙ナプキンをヒエトリパットと共に使って頂くのがおすすめです。知らないことが多くて、困るなーとおもうこともありますが、いま知れて、みなさんに伝えられて、わたしも元気なので、本当にヒエトリパットできて、よかったと私自身も感じています。相談ご希望の方は、お気軽にメッセージでやりとりしていますので、ご連絡下さい。自分を思いっきり大切にしましょう♪ 株式会社さくらコットン 　　　　　　　　代表　菊川あずさ ⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎ さくらコットンstoreからのお知らせです♪年始のプ��ゼントが数量に達し、ことしもたくさんの方にお返しが出来たこと嬉しく思います。また、15000円以上のお買い物の方はヒエトリパット(IMABARI)のプレゼントは数量また確保しましたので、1月いっぱい続けます♪いつもさくらコットンの商品をお使い頂き、ギフトとして選んでいただき、使い続けて下さることに感謝です。今月もまだ冷えますので、体温めていきましょう♪ #さくらコットン #ヒエトリパット #生理痛対策　#子宮内膜炎 #ガールズヘルスケア #尿もれ対策 #オーガニック紙ナプキン #子宮 #身体CARE #こころケア#今治タオル #愛媛 #今治　#札幌発送　 #オーガニック紙ナプキン併用 #菊川あずさ　 (株式会社　さくらコットン　) https://www.instagram.com/p/CnZEcUZvfNM/?igshid=NGJjMDIxMWI=

[isthepame]

Blue Lock XI

Starting Team

11 潔世一 ISAGI YOICHI

While he may not stand out in terms of achievements, technique, or physical prowess, his exceptional spatial awareness and positioning skills enable him to break through defences and score. Though he started from the lowest-ranked group in Blue Lock, he has steadily blossomed as a striker, evolving through fierce clashes with rivals and learning to draw out his own unique strengths.

ESP: Si bien no destaca en cuanto a logros, técnica o habilidades físicas, su excepcional capacidad para comprender el espacio y posicionarse le permite abrirse paso y marcar goles. A pesar de haber comenzado en el grupo con la clasificación más baja en Blue Lock, ha logrado florecer como delantero, desarrollando su talento a través de intensos enfrentamientos con sus rivales y aprendiendo a sacar a relucir sus propias fortalezas.

10 糸師凛 ITOSHI RIN

The ace striker of Blue Lock. His scoring ability is exceptional, thanks to his precise kicking and all-round skills, and his obsession with goals borders on madness. At the same time, he possesses a calm side, assessing his opponents’ abilities carefully and even controlling them to coordinate strategic plays. Itoshi Sae is his older brother.

ESP: El delantero estrella de Blue Lock. Su capacidad para anotar es excepcional, gracias a su precisión en los tiros y a sus habilidades integrales, y su obsesión por marcar goles roza lo demencial. Al mismo tiempo, muestra un lado sereno, evaluando cuidadosamente las habilidades de sus oponentes y, en ocasiones, controlándolos para coordinar jugadas estratégicas. Itoshi Sae es su hermano mayor.

7 凪 誠士郎 NAGI SEISHIRO

Though he has only been playing football for half a year, he is an extraordinary talent with unparalleled potential. With his impressive physical abilities and his incredible trapping skills, which seem to freeze time, he continues to create artistic goals that no ordinary person could replicate. The genius who has finally awakened now waits for the ball in the penalty area.

ESP: Aunque lleva solo medio año jugando al fútbol, es un talento extraordinario con un potencial inigualable. Con sus impresionantes habilidades físicas y una asombrosa capacidad de control del balón, que parece detener el tiempo, sigue creando goles artísticos que nadie más podría replicar. El genio que finalmente ha despertado ahora espera el balón en el área penal.

5 雪宮剣優 YUKIMIYA KENYU

Despite his smart appearance and work as a model, on the pitch he is a powerful and speedy dribbler who takes on opponents with sheer strength. He has a particular obsession and confidence when it comes to one-on-one situations, and the U-20 Japan national team will likely be forced to respond with a more organised defensive strategy.

ESP: A pesar de su apariencia elegante y su trabajo como modelo, en el campo de juego es un driblador imponente que se enfrenta a sus rivales con potencia y velocidad. Tiene una obsesión y una confianza particular cuando se trata de situaciones uno contra uno, y es probable que la selección nacional sub-20 de Japón se vea obligada a responder con una defensa más organizada.

9 乙夜影汰 OTOYA EITA

He comes from a rare lineage as a descendant of ninjas. Using his high agility as a shadow attacker, he applies pressure with off-the-ball movements that exploit defensive blind spots. His partnership with Karasu in midfield is among the top-tier in Blue Lock, with a level of completion that stands out in a place where individual skills usually dominate.

ESP: Proviene de una rara línea familiar como descendiente de ninjas. Aprovechando su alta agilidad como atacante en sombra, ejerce presión con movimientos sin balón que aprovechan los puntos ciegos de la defensa. Su asociación con Karasu en el mediocampo es de las mejores dentro de Blue Lock, destacando por su nivel de perfección en un entorno donde las habilidades individuales suelen ser lo más destacado.

6 烏旅人 KARASU TABITO

One of the most eccentric players in Blue Lock, he dominates the distance between himself and his opponents with keen observation and impeccable handwork. With his high football IQ, he carefully analyses his opponents' abilities and marks their weaknesses with precision. He tears apart defensive lines with feints that seem to mock the defenders he faces.

ESP: Uno de los jugadores más excéntricos de Blue Lock, domina la distancia con sus rivales gracias a su aguda capacidad de observación y su impecable manejo del balón. Con un alto coeficiente de inteligencia futbolística, analiza cuidadosamente las habilidades de sus oponentes y marca sus debilidades con precisión. Desgarra las líneas defensivas con fintas que parecen burlarse de los defensores a los que se enfrenta.

B 蜂楽 廻 BACHIRA MEGURU

His unique dribbling style, almost like a dance, is truly captivating. Due to his overwhelming personality, he struggled with discord among his teammates in his youth and became somewhat isolated. However, his encounter with Isagi in Blue Lock marked a turning point, leading to his mental growth. The unleashed monster now takes to the stage, dancing through the enemy's territory.

ESP: Su estilo de dribbling único, casi como si estuviera bailando, es verdaderamente cautivador. Debido a su personalidad arrolladora, en su niñez sufrió de desarmonía con sus compañeros de equipo, lo que lo llevó a sentirse algo aislado. Sin embargo, su encuentro con Isagi en Blue Lock marcó un punto de inflexión, llevándolo a un crecimiento mental. El monstruo liberado ahora pisa el escenario, danzando por el territorio enemigo.

3 二子一揮 NIKO IKKI

His sharp gaze, peering through his long bangs, constantly surveys the entire field, guiding him towards the path to goal. Unlike many strikers in Blue Lock who rely on physical ability, he excels in cerebral play. A hidden key player, he serves as the catalyst for both attack and defence in this hastily formed team.

ESP: Su mirada afilada, que se asoma a través de su largo flequillo, observa constantemente todo el campo, guiando su camino hacia el gol. A diferencia de muchos delanteros en Blue Lock que dependen de la habilidad física, él destaca en el juego táctico. Un jugador clave oculto, es el punto de partida tanto para el ataque como para la defensa en este equipo improvisado.

2 蟻生十兵衛 ARYU JYUBEI

A narcissist with a high sense of individuality and a unique, creative aesthetic. His weapon is his unusually long reach, which sets him apart from the average Japanese player. He values his unique sense of "fashion" above all else and shows respect to those he recognises as "stylish." Can he launch an artistic attack from the unfamiliar position at the back?

ESP: Un narcisista con un alto sentido de individualidad y una estética única y creativa. Su arma es su inusualmente largo alcance, que lo distingue de los jugadores japoneses promedio. Valora su sentido único de "moda" por encima de todo y muestra respeto a aquellos que reconoce como "estilosos". ¿Será capaz de lanzar un ataque artístico desde la posición poco familiar en la parte trasera?

4 千切豹馬 CHIGIRI HYOMA

His weapon is his blistering speed, with a 50m time of 5.77 seconds. As Blue Lock's No. 1 speedster, he is expected to make explosive, vertical runs on the pitch as an ultra-aggressive full-back. His incredible acceleration could become an option in any attack. If vigilance slips, the red leopard will quickly invade dangerous territory.

ESP: Su arma es su velocidad deslumbrante, con un tiempo de 50 metros en 5.77 segundos. Como el velocista número uno de Blue Lock, se espera que realice desbordes explosivos y verticales en el campo como un lateral ultracompetitivo. Su increíble aceleración podría convertirse en una opción en cualquier ataque. Si se baja la guardia, el leopardo rojo invadirá rápidamente la zona peligrosa.

1 我牙丸吟 GAGAMARU GIN

A "wild child" boasting an incredible physical spring. With little experience in football, he relies more on his potential than his technique, making him a physical elite. He excels in unorthodox movements and physical confrontations, using his body’s spring to full advantage. His physical abilities were recognised in the national team, where he plays as a goalkeeper.

ESP: Un "chico salvaje" que presume de una asombrosa elasticidad física. Con poca experiencia en el fútbol, se basa más en su potencial que en su técnica, lo que lo convierte en alguien de élite físico. Destaca en movimientos poco convencionales y enfrentamientos cuerpo a cuerpo, aprovechando al máximo la elasticidad de su cuerpo. Sus habilidades físicas fueron reconocidas en la selección nacional, donde juega como portero.

Substitute Players

13 馬狼照英 BAROU SHOUEI

A confident individual who calls himself the king, possessing a strong ego. An innate striker who boasts incredible physical strength and flawless shooting technique, regardless of friend or foe. His fierce self-assertion, capable of disrupting team harmony, creates a destructive power that forces open a crack in any wall.

ESP: Un individuo confiado que se llama a sí mismo el rey, con un ego fuerte. Un delantero nato que presume de un físico increíble y una técnica de tiro impecable, sin importar si es amigo o enemigo. Su feroz autoafirmación, capaz de alterar la armonía del equipo, genera una fuerza destructiva que abre una grieta en cualquier muro.

16 氷織 羊 HIORI YO

His weapons are precise passing, ball control, and an exceptional ability to read the movements of opponents, making him an incredibly skilled player. He has a keen sense for the scent of a goal, reliably turning it into a team score. Therefore, he demands high technical standards from his teammates as well.

ESP: Sus armas son los pases precisos, el control del balón y una capacidad excepcional para leer los movimientos de los rivales, lo que lo convierte en un jugador increíblemente habilidoso. Tiene un agudo sentido para detectar el aroma del gol, convirtiéndolo de manera fiable en un pasador para el equipo. Por ello, también exige altos estándares técnicos a sus compañeros.

14 御影玲王 MIKAGE REO

The heir to the large corporation, Mikage Corporation. A versatile player with game-making abilities that make the most of his broad perspective, he is a rare all-rounder in Blue Lock. On the flip side, he lacks a standout weapon, and for him, the U-20 Japan representative match will be a tough battle to face his own challenges.

ESP: El heredero de la gran empresa Mikage Corporation. Un jugador versátil con habilidades para crear jugadas que aprovechan su amplia visión, siendo un tipo de jugador poco común en Blue Lock. Dicho de otro modo, no tiene un arma destacada, y para él, el partido de la selección Sub-20 de Japón será una dura batalla para enfrentar sus propios retos.

[chitaka45]

京都　水火天満宮　🌸枝垂れ桜🌸

kyoto suika-tenmangu 🌸cherry blossoms🌸

[ebisusan-jpidol]

宮原華音チャン₍ᐢ⑅•ᴗ•⑅ᐢ₎♡

Kanon Miyahara Japanese gravure idol

[brownie-pics]

'24.6.11 手向山八幡宮、水谷茶屋、春日大社、浅茅ヶ原にて

前回投稿の続編、枚数多めｗ

手向さんから春日大社を経由して再度浅茅ヶ原へ。カラスさんや小鳥さん、茶屋の茅葺や春日さんの柱まで、やはりこの日はごきげん麗しく感じられました。もちろん子鹿ちゃんもニコニコと元気。

こんな日は写活後のお昼ご飯も美味しいｗ

[terrylove]

宮下かな子 / Miyashita Kanako

[bishiedoll]

竹宮惠子先生 アトリエ訪問 (Visiting Takemiya Keiko's Atelier), filmed in 1991.

[peach-bbbb]

ω Cute butt like a peach ωฅ(^ω^ฅ) 宮崎リン Rin Miyazaki japanese AV idol ass

[kirakiraz]

᧙ 𝐈𝐌𝐌𝐎𝐑𝐓𝐄𝐋𝐋𝐄, elle . . . 　⁘

　　 🗨 ⬚ ℛe͟v͟e͟r͟t͟e͟r͟e ⊰. ad mꫀ⠀　♰

　

[asnowperson]

A short Takemiya Keiko interview from 1998

My "All Things Takemiya" detective friend, Platypus, provided me with a two-page Takemiya Keiko interview scanned by @97tears from the now discontinued Hato yo! (鳩よ! - Oh, Pigeons!) magazine. It was a literary magazine published between 1983 and 2002—a publication you probably wouldn't look at if you were searching up on Takemiya, ig.

You can see the Japanese original taken from the 1998 April issue of the magazine, and my (poor) translation of it under the cut.

Takemiya Keiko Interview from issue #4 of Hato yo (1998) 

An interview with a master mangaka herself! 

I’ve always wanted to meet them! 1 – Takemiya Keiko 

“I wanted to draw real love” 

Takemiya Keiko. Born in Tokushima in 1950. Debuted with “Ringo no Tsumi” in 1968. Won the 25th Shogakukan Manga Award with “Kaze to Ki no Uta” and “Terra e.” Representative works include “Pharaoh no Haka” among others. “Tenma no Ketsuzoku” is currently being serialized in Asuka Magazine.  

I read “Kaze to Ki no Uta” during elementary school. It has left a very deep impression on me. I remember that when Ms. Takemiya is mentioned. It was like I was looking at something I was not supposed to look, and I still remember the thrill I felt.  Takemiya: Oh, is that so? (laughs) 

Thank you so much for being with me today.   Takemiya: And thank you for having me. 

Shall we start with what prompted you to become a shoujo manga artist?  Takemiya: Fundamentally, I was not suited for shoujo manga. I debuted in COM, and my dream was to draw manga that was neither shounen nor shoujo. But alas, the magazine in which I could draw my ideal manga was no more. My style didn’t have much “power” in it, so I inevitably had to choose a shoujo manga magazine. I think my art style was really uncommon at the time. But it was what it was, and I thought to myself, maybe capitalizing on that was the path I should take.  

Your works have an extraordinary depth as far shoujo manga goes... They have a unique art style...  Takemiya: It hasn’t always been like that. My shoujo manga technique was the fruit of what I have studied. It was not a result of my personal taste, nor my innate skills. Girls like that feathery, light touch. They like fine lines. But I didn’t have any of those. So, I figured drawing things girls would like a lot was my only choice. For instance, when I thought how they must like Europe at the end of the 19th century, I went on a trip as a result. I saw the real thing at its source, and did research on it.  

Then was Kaze to Ki no Uta born because you thought girls would like it?  Takemiya: That might have played into my choice of the time period the story’s set in. However, romance stories between a boy and a girl was the norm in shoujo manga at the time. You could only draw “And they lived happily ever after...” stories. And that happiness was only on the emotional level. It was normal to exclude all physical contact. But that is simply “affection.” I wanted to draw “real love.” I admit it was a little too sensational, but I thought doing it through same-sex love was the best way to go about it. That’s how I drew Kaze to Ki no Uta.  

The sex scenes between men were quite a shock for me as a little child. That’s how I learned homosexuality existed.   Takemiya: At the time, there was an official notice published by the Ministry of Education that stipulated that “You shall not draw a boy and a girl getting intimate!” However, if it was two boys, things were somehow fine... I thought I’d found a loophole! (laughs) 

These days, there are more extreme books labeled as “yaoi.” What do you think about them?  Takemiya: At the end of the day, doujinshi are doujinshi. They focus on personal enjoyment of a group. I consider myself a “craftsman,” and if I look at it from a craftsman's standpoint, I am not wholly satisfied with how they leave many things unexplained, or how they have no conclusion. At their level, I’d liked if those artists too felt more dissatisfied... If they aimed to be more conclusive. They have the talent to draw, so I’d love them to polish those skills. I’m sometimes told that it all started with “Kazeki,” and that I must take responsibility. And every time, I think to myself, “Oh... Re-really? Dit it?” (laughs) I wish someone drew something so awesome that it would blow Kazeki out of the water... 

I’d love that too! You called yourself a “craftsman,” but what exactly makes you think so?  Takemiya: I really love the word “craftsman.” I’m not interested in trying to reach an ideal of art that would not resonate with the public. I believe manga is something aimed at the general public. Otherwise, I would not consider it to have artistic value.  

Spoken like a real pro... Which brings me to Terra e... I think that’s the most widely-accepted manga of yours by the general public, and it was published in a shounen magazine. Why is it the outlier to be published in a shounen magazine?  Takemiya: I received an offer for it, but the truth is, I had always wanted to draw for a shounen magazine. That’s why accepted. But I needed to draw in the shoujo manga audience too, so I wanted the story to offer the best for both demographics. So I tried to have the concept to be that of shoujo manga, and the style to be that of shounen manga as much as possible.    

Is it different to draw for a shounen manga magazine, and a shoujo manga magazine?  Takemiya: You don’t have to hold back in shounen magazines. It fine to draw more hardcore stuff. But in shoujo magazines, that’s out of the question. There’s a trend that dictate that you should explain things in long-winded ways and spoil the reader, because girls like it when you reveal things to them through subterfuge, so don’t hit them directly with hard stuff. 

But after that, you’ve never drawn for shounen magazines which allowed you to draw as you wished.  Takemiya: Shounen magazines are mostly weekly. I cannot keep up with that. My art has fine details, so it takes me a lot of time to draw.  

Then will you be solely drawing for shoujo magazines in the future?  Takemiya: I can’t really say that I will. I’m currently working for a shoujo magazine with “Tenma no Ketsuzoku”, and with volume releases. I recently released an illustration book titled “Hermès no Michi.” I needed to base myself on documents and explain them in drawings. And they couldn’t be any kind of drawing, they needed to be interesting. Trying to come up with ways to do that was a very fun experience. So for starters, I’d like to undertake a work like that again. That kind of work I’m working on right now is a story about the fugitives of the Heike Clan in Tokushima.* 

*T/N: She is referring to “Heian Joururi Monogatari.”  

To finish our interview off, I’d like ask a question about the Year 24 Group (shoujo manga artists born around the 24th year of the Shouwa Era like Takemiya Keiko, Hagio Moto, and Ooshima Yumiko, who have influenced the shoujo manga world in the following years) which is still very prominent: Are you still conscious of it?  Takemiya: Year 24 is a thing of the past in the modern manga scene. I think it’s irrelevant now. Manga is evolving, becoming something else after being painted over continuously. I had fun when I was part of that group, but I don’t feel like dragging it out. I don’t want to cling to nice memories of the past as I work, and want to focus on how I currently think and feel. I want to do what I think is most fun at the moment.  

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