#Atsushi Maekawa

[kamenstrikerace]

All four of them are terrible and i will rant about their names:

Junki Tategami

Atsushi Maekawa

Mitsutaka Hirota

and the biggest cunt of them all Shoji Yonemura

[sweetescapeartist]

Remember this post I made about how I felt about these GT characters?

Remember when I said I didn't like how Pan, Trunks, Marron, & Bra are all were written to be some sirt of Bulma? I mean, Bulma's children having aspects of her personality are fine & makes sense. However, it DOES NOT make sense for Pan & Marron to be written like Bulma. Who is responsible for that choice? Aya Matsui. Don't know who that is? She was the head writer for DBGT.

GT is something mostly created by Matsui (Atsushi Maekawa had a lot of creative input too due to how he wrote more GT episodes than anyone else). Matsui wrote GT without much if any input from Toriyama other than some art. And recently, I discovered that she worked on DBZ and she's a Bulma fan. Ah... So, that is why Matsui wrote for 4 characters in GT to be like Bulma (Pan, Trunks, Bra, Marron).

I also decided to go back and looked at the filler episodes she wrote in DBZ & I found out that Matsui is a Vegeta fangirl as well. And she also seems to dislike Yamcha and Krillin...

Multiple ppl in charge of official material inaccurately portraying Toriyama's characters that helped influence the hatred for Krillin & Yamcha. Sheesh...

[magpiejay1234]

Episode 49.

This episode, despite being called The Last Armor Evolution, does not feature a new Armor Evolution. It is, however, written by Atsushi Maekawa, from various YGO series.

Belial Vamdemon, losing badly due to the nature of the subspace, pulls an Aizen.

After Belial Vamdemon is shot back, the cast finally come back to the Digital World, but Belial Vamdemon reveals his ultimate plan was to merge all worlds to Dark World, and rule it as its king.

****

Mind Illusion is not part of Belial Vamdemon's official blurb, it is something introduced for this episode exclusively.

This episode exists largely to give some last minute character development for the 02 cast, since the next episode will be largely the epilogue, and previous arcs were not really focused around the cast, but rather the various different plot points.

This episode is in theory parallels OG Adventure cast losing their crests in Apocalymon fight.

It is also unclear why Belial Vamdemon would want to transform the multiverse to Dark World, since it originates from the regular Digital World, and would not achieve his goal of becoming the king, since Demon is far stronger than it. So either it will lose to the cast, or the far more stronger Digimon that will defeat it. It could be desperation.

His goal of becoming a king would inspire Lucemon, and Bagramon, though. It would also help Atsushi Maekawa's future YGO career.

[kazarinn]

A translation of the voice cast and staff interviews from the booklet included with the Digimon Adventure 02 15th Anniversary Blu-ray Box (released March 2, 2016), which featured comments from the following:

Voice actors for the main six Chosen Children and their Digimon partners

Producer Hiromi Seki

Director Hiroyuki Kakudou

Lead writers Atsushi Maekawa and Genki Yoshimura

*Note: Yoshimura's interview (the last one) merits a bit of a body horror content warning

[sunkentreasurecove]

[analyzingadventure]

If it helps to bring comfort, Impmon’s arc and character were written entirely by Atsushi Maekawa with very little to no involvement from Konaka.

👆👆👆👏👏👏

[leenaevilin]

[Announcement] 舞台「殺人の告白」(butai satsujin no kokuhaku)

the show will be running from June 30th, 2022 to July 5th, 2022 (Tokyo) @ サンシャイン劇場 (Sunshie Gekijou)

Cast:

Yunhak as Lee Doo-seok (イ・ドゥソク)

Douchin Yoshikuni as Choi Hyeong-goo (チェ・ヒョング)

Kominami Kouji as Kwangsoo (グァンス)

Okada Mei as Jeong Soo (チョン・スヨン)

Higano Shou as(カン・ドゥヒョク)

Shiramata Atsushi as Jeong Tae-seok (チョン・テソク)

Katou Rihona as(チェ・ガンスク)

Oobayashi Motoko as(チャン・ミジャ)

Maekawa Yasuyuki as J

Okada Kouki as(チョン・ウヌ)

homepage twitter natalie

[sailormoonpedia]

[EPISODE] 198. Dying Stars! Uranus and Neptune's Last Stand.

Series: Bishoujo Senshi Sailor Moon Sailor Stars

Kana: 消えゆく星々! ウラヌス達の最期 Romaji: Kieyuku Hoshiboshi! Uranusu tachi no Saigo

Original Air Date: January 25, 1997

Director: Junichi Satou Writer: Atsushi Maekawa Animation Director: Yoshihiro Kitano

Plot: The Starlights try to protect Sailor Moon and Sailor Chibi Chibimoon from Sailors Uranus and Neptune, who have both allied with Galaxia.

FIRSTS

Sailor Galaxia’s black sword, which resembled the Sword of Sealing, first materialized here.

LASTS

This episode included the final appearances of Chibiusa, the Chibi Moon Compact, World Shaking, and Deep Submerge.

This was Junichi Satou, Atsushi Maekawa, and Yoshihiro Kitano’s last episode as a director, a writer, and an animation director respectively.

PLACES

Ginga TV

[biomic]

the fishing fool episode was written by magi’s head writer hhhhhhh

[shihalyfie]

Regarding Konaka’s influence on Tamers (or how much he actually didn’t have)

(Rest assured that if you’ve had a conversation with me recently about this issue, I’m not vaguing you; this conversation has come up a lot in the last few weeks, especially in my private chats, so this is just me deciding that I should write something about this for once since it’s been weighing on my head lately.)

I think, right now, with what happened regarding the DigiFes debacle, a lot of people are having complicated feelings about how to feel about Tamers, and this is completely understandable. I think there are also some things that may be inevitably unavoidable, such as starting to second-guess certain nuances in the series and what they might lead to. All of that is perfectly reasonable, and in the end, it’s going to be up to everyone to decide how they feel.

In light of this, a lot of people have been bringing up the fact that, while Konaka was the head writer, he was by no means the only person working on it. This is very much true, but I’d like to add something else to the equation: this is an issue that goes much deeper than the usual claiming death of the author for the sake of sanity. The full picture is that Konaka has always had much less influence on the series than the fanbase tends to attribute to him. Official statements have been very clear as to not attribute the entire series to him, and, among all the other controversial statements he’s made, Konaka himself has at least been very active about crediting the other staff members as far as their influence on the series! The idea that he was the only person who ever did anything substantial for Tamers is something I’ve been warning against since long before any of this happened (if you want proof, I have a post from April with this sentiment in it), and right now we just happen to be seeing what’s basically the worst possible outcome of the fanbase constantly worshipping him like the only real creative heart behind the series to borderline cult-like levels...when that’s never been true, and has resulted in unfairly taking credit away from people who deserved it.

I’ll go into detail below, and I hope this can help people understand the situation better and sort out how they feel about it.

Note that I make references to his infamous blog in this post, which I’m deliberately refraining from directly linking for obvious reasons, but all of the information is still there, so it should be verifiable if you decide to look for it yourself.

Personally, I’ve always found it really bizarre how there’s been this obsession with portraying Konaka as some kind of auteur whom the entirety of Tamers depended on. I’m not saying this out of spite towards him, because, again, even he himself was very insistent on disclaiming credit for things he wasn’t actually responsible for (he was quite humble in this respect, actually). Not to mention that I think it’s a mistake in general to constantly pin a single person in a multi-person production as the sole heart behind it, and the Digimon fanbase has historically had this strange double standard behind it when it comes to uplifting him as the only heart behind Tamers when nobody says that about any of the head writers for...anything else. (How many times has Nishizono’s name ever popped up when talking about Adventure? People are usually more obsessed with talking about Kakudou or Seki.) Konaka’s work is certainly distinctive, but Tamers had a lot more going on besides just that.

In fact, based on his own statements on the matter and all of the other official information we’ve gotten about Tamers production, while you can’t really quantify such things, it’s generally been estimated that Konaka was responsible for something like only a fourth of the series. Which is an incredibly low amount compared to what the fanbase would have told you before all of this happened, because of this fixation that he must be the genius mastermind behind the whole series. Not only that, this “brilliant auteur” image of him was so inflated that people were attributing way more of 02 to him than he deserved; 02 episode 13 was the only thing he contributed to the series and he was specifically brought on as a “guest writer”, and the overall plot of the episode was determined by the rest of the production staff and not him -- but ask the fanbase and they’ll tell you stories about how he invented some grand planned arc for 02 that got cancelled, or even that Tamers exists because of a “writer revolt” from him and other writers not being allowed to do what they wanted. (You know, as much as I understand 02′s a controversial series, it would be really nice if people didn’t make up completely baseless stories like this just to scapegoat it...)

I honestly cannot emphasize enough how much of the problem we’re in right now has been horribly enabled by the weird pedestal the fanbase has been putting him on. This is to the point where there’s even been a double standard where some of the more unpopular/criticized elements of Tamers must not have been the fault of a brilliant writer like him, and in fact was forced on him by the executives (this excuse had always been brought up anytime someone doesn’t like something about Tamers, just to make sure the image of him as a perfect writer was maintained). Turns out, as per his own admission on the infamous blog, while he wasn’t the one who initially had the idea of putting Ryou in, the part that rubbed the fanbase the wrong way -- that he came in as an accomplished senior who was better than everyone and played up by everyone in the cast -- was unabashedly his idea (he apparently was enamored with the idea of having someone like Tuttle from the movie Brazil). Again, this is a weird scenario where even Konaka himself has been more humble about this issue than the fanbase’s perception of him; he fully admitted whenever he had trouble writing certain parts. For instance, he doesn’t actually like writing about alternate worlds, felt they were out of his comfort zone, and only wrote in the Digital World because the franchise needs one; he’d stated that if he’d had his way, the Digital World arc wouldn’t have come in as early as it did, which might be a pretty shocking statement for a Digimon fan to hear.

If you want even more specifics, here are some extremely major parts of the series that Konaka was not actually the one behind:

The character backgrounds. Konaka stated on his blog that he wasn’t interested in going too much into character backstories because he felt it was too plot-limiting to say that a character is the way they are thanks to something in their past or background (basically, he cares more about plot than character for the most part), and that he’s also not into worldbuilding. Certain things like Ruki going to a girls’ school were supplied by Seki, who infamously loves worldbuilding, family backgrounds, and character settings.

Certain nuances of Ruki’s character, especially the part where she’s pigeonholed into uncomfortable places due to being a girl, were informed by Yoshimura Genki, writer from Adventure and one of the head writers of 02 (who eventually would go on to create an entire career out of feminist cinema).

According to the posts on his blog, Impmon’s character arc didn’t have much input from Konaka himself and was largely written in by Maekawa Atsushi (also a writer from Adventure and one of the head writers of 02).

The whole concept of Yamaki being redeemable in the first place was something Konaka didn’t originally plan for; he’d initially intended to make him a straightforward antagonist, but, of all things, his Christmas song, combined with the input of the other writers (especially Maekawa) humanizing him, led to the development where Yamaki eventually changed sides and became sympathetic. (This makes Konaka’s recent stunt revolving around Yamaki a bit painfully ironic.)

The director, Kaizawa Yukio, was deliberately picked because he didn’t have experience on the prior series, for the sake of changing things up, and he spent Tamers as a period of studying what Digimon should be like. Based on what he’s hinted, it seems Konaka's writing style and choices were able to have as much influence as they did because Kaizawa approved of them -- that is to say, Konaka’s detailed imagery and descriptions were extensive enough that Kaizawa could go “sure, let’s go with that.” But in the end, nothing Konaka did would have gone through unless Kaizawa and Seki (among many others) didn’t also approve of it or provide input. Moreover, Kakudou Hiroyuki (director of Adventure and 02) has also been stated many times to have been a valuable consultant on invoking Digimon so that the new staff could understand what to aim for and how to get the right feel (and also assisted with providing stuff for the mythos, such as the Devas). Nevertheless, Kaizawa also seems to have had his own strong opinions and input on the story; he especially seems to get passionate when it comes to the topic of making the story something the kids watching it could relate to and imagine. (He would eventually go on to direct Frontier and Hunters, along with several episodes of the Adventure: reboot.)

So in other words, looking at this, a lot of these things that people emotionally connected to and loved about Tamers are things that literally were not his personal creation, and were largely contributed by the other writers! Of course, Konaka’s “creator thumbprint” is very obvious -- he was the head writer, after all -- and all of this had to go through his own vetting to make sure he personally liked it as well -- but nevertheless, you can see that this very much was a collaborative effort from head to toe, with him being very open about this fact himself. Insisting on making sure that this fact is well-known isn’t just a coping mechanism to try and remove his presence in the series, but rather a desire to get people to seriously stop giving him credit that really should be going to others (especially since, again, even he himself was very diligent about assigning that credit).

In the end, I’ll leave you with another thing to keep in mind: Konaka doesn’t get paid anymore for Tamers work (unless they make something new like the DigiFes thing), so continuing to buy Tamers merch and supporting the series through fanart and such will probably end up going more towards the Digimon IP as a whole. Basically, if we’re just talking about Tamers specifically, what degree this is going to matter is only really relevant to the content in the original series, which is now twenty years old and remains unchanged. By Konaka’s own admission, he wasn’t into all of these conspiracy theories until 2010 at the earliest, so while it’s understandable to be a bit wary about the themes in Tamers having traces of the base sentiment, the original series itself does not seem to be an outlet for alt-right propaganda, and it’s probably forcing it a bit much to read into it that way. Konaka’s also repeatedly insisted that all of his attempts at a Tamers sequel have been rejected and that he’s been doing increasingly strange swerves to get around members of the original cast not entirely being available, and the Japanese audience has turned out to not be very fond of the contents of the 2018 drama CD and the stage reading for reasons entirely separate from the politics, so it’s also unlikely we’ll be getting a Tamers sequel from him or something in the near future.

So -- at least for the time being -- what’s done with him is done, and the remaining question is how all of us feel about Tamers. I think everyone will have differing feelings on it, and that’s perfectly understandable. Personally, given everything I just said above, I’m going to continue treating it as a series very important to me, and one that many people (including, as it seems, a very different Konaka from twenty years ago) worked on with a lot of effort and love, although you may see me getting a bit more willing to be critical about the series and its themes thanks to my concerns about some of the sentiments in it and what they imply. I also completely understand that there are probably people whose associations are going to be much more hurt and who will have a much harder time seeing the series the same way ever again, and I think that’s reasonable as well. But at the very least, going forward, I hope all of us can understand the depth of this situation, give credit where it’s due, and not force credit where it’s not due.

[feminariden]

I have been reading the interviews from one of the main writers on GT, Maekawa Atsushi (for my Yugioh peeps, he's the guy wrote Yami vs Weevil in season 4, yep he wrote that scene, this guy is a quite good "original content" writer) and i'm just trembling with rage over the fact we had a perfectly fine Gohan sideplot which was THROW AWAY for what? executive meddling? I hope so

Even when he talks about Piccolo he says that he's not relevant in it because of Gohan getting sidelined :/ (that aside the fact he implies that Vegeta and Piccolo are merely accessories for Goku and Gohan is WILD)

Also is it just me or... isn't this the bare bone plot of Super Hero?

Hell, both plot rely on "Dr Gero" making a crazy and unexpected comeback from obscurity and creating a ridiculously strong, improved version of one of the androids of the Cell saga, insert some Pan and Piccolo sheninagans, Gohan getting a transfomation and we are halfway there, kinda funny how things turn around uh

[millennium-puzzle]

The interview with Atsushi Maekawa (who writed the amazing "Draw! Monster Card!" scene) is the best thing that happened to me this week

Specially the last sentence

[arkadiaasks]

What do you think of Atsushi Maekawa's work on Yugioh franchise?

Let's see...

Duel Monsters

His Battle City stuff (Roba, God 5 Combo, the Anchor Duel, Bakura vs Yugi, Bakura vs Marik) were generally pretty solid competent adaptations along with Hikokubo's Duel Reconstructions.

I liked Jounouchi vs Big 3, and was a fun combination of Luck vs. BS Fusion Strategy. The Big 5 Merger was a pretty fun Duel in terms of intensity. The villains might of not had much to really forward them but you can't say it wasn't a fun hammy over the top Duel.

And Exodia Necross was pretty cool. Like at worst, it was just good over the top, at best DM tried to let Gozaburo have his 15 minutes.

He generally handled Alcatraz as showrunner/head writer at the time pretty well, I think, as most of the stretch bloat of that arc was giving Takahashi breathing room

I liked the Train Duel stuff in DOMA, yeah, that was fun? And his Memory World stuff was as good as any of that mess could really work out, since it felt like the writers got passed notes to make it more "Duel-y" and streamline it.

GX

Never was huge on the first Asuka focus Episode (3).

Liked Hayato's Dad, whose Duel was one of the most interesting in GX. (9)

Super Animal Learning (13) and Tennis (15) were fine filler. I think Tennis was a reference to him having worked on Prince of Tennis.

Umi Duel I always remember because of the damn joke from the beginning, and the "UNDERWATER DUEL ACADEMY".

ARC-V

Uh, I think he generally got handed a shit hand having Kamishiro Tsutomu as his superior, as did many of the writers.

I think his part of Edo vs Yuya was okay (110) but that was never a Duel that was going to please people.

I think 115 and 116 he did capture the spirit of GX's dumb randos of the week, but this probably wasn't the place to do that, or they should of felt more meaningful as like Elite Mooks on home turf.

119 he caught how Ruri vs Shun should of stayed as the result. That worked perfectly as a catharsis moment for Shun saving his sister from mind control, and Ruri have control in stopping her own brainwashing.

He sold Battle Beast in 120 pretty okay.

124 to 125. Was. Okay? He generally got a good energy with letting Yuto take over, but I think people are still mad from no corrupt Lunalight Fusion and Ruri's Deck being wholely Parasites basically, basically the thing just felt like a general L creatively.

Massively indifferent to 130-131.

Not fond of Z-ARC!

141-142 I liked for the Train Samurai Duel.

And 145 was a perfect capstone for Shun that got shat on by Mr. Kamishiro.

So Ambivalent but when he did good stuff he did good stuff for ARC-V?

VRAINS

6-7: Hot Take, this was fine for setting up Aoi's character, arc and world setting.

16-17: This was okay Duel fluff, which Mr. Atsushi does well.

24-26: Same as 16-17.

29: Someone had to write it.

Like, he does try to give Aoi a decent shake in a progression for her arc. So most of her early on stuff people liked was from him.

39-40: This was a pretty good Duel, I liked Go vs Revolver.

51-52: Go going psycho worked here in all honesty. Go was always driven by his shitty petty pride, and him going to become toxic out of his desire to cleanse his sense of pride works!

62-63: I view this mostly as filler fluff for Yoshida to escape Beer Bar Anime Hell, and it was generally funny to have Soulburner already dealt and approached a previous trauma.

66-67: I liked these, with Earth and everything. He made Earth feel pretty relatable.

76-77: Look, if you're going to have to stitch Aoi into the plot for Aqua and give her a cardboard cutout MacGuffin friend for her to chase, this works.

90-91: Don't like these but I realize Aoi's arc ending this way was chiefly the result of VRAINS' anemic as fuck pool of cardable opponents, wrestling lingo wise. And if I recall she did nearly bounce Bowman into a wall.

94-95: This was. Okay. It was a shit arc, Flame and Soulburner got a pretty cool fight.

110: I generally liked Ai's arc.

VRAINS was fine, he was pretty good to Aoi, Soulburner and Go, main problem was VRAINS was a creature of its own creation conditions, but he seemed to give the cast decent time of day.

Like his tenure for the franchise has been fine, he gave characters decent focus and he was good at comedy episodes, and at worst, he did some some pretty kino boss fights.

[magpiejay1234]

Also, looking at Digimon Adventure 02 writing staff, it is absolutely insane that Atsushi Maekawa from Yu-Gi-Oh! DM/GX/ARC-V/VRAINS was involved here.

Cyberse-Types really are just Digimon huh.

For those wondering, this is the writer who wrote many JuuAsu episodes of GX, so if you noticed any parallels between that ship, and Daisuke x Hikari, well, you have a new fanfic idea now.

A cursory glance at the last remaining episodes of 02 makes me wonder how this amazing writing staff failed to deliver. This is ARC-V levels of mystery.

It is really hard to comphrend how can you fail to plan ahead this badly when you have this strong of a team, and material.

[tmsapnap]

a kinnie is someone who heavily relates to a character and like sometimes thinks they are that character

I am Killua Zoldyck from animanga HunterXHunter written by Yoshihiro Togashi, whose 2011 adaption was roduced by Nippon TV, VAP, Shueisha and Madhouse. The series is directed by Hiroshi Kōjina, with Atsushi Maekawa and Tsutomu Kamishiro handles the series composition, with Takahiro Yoshimatsu designing the characters and Yoshihisa Hirano composing the music.

[crazyasianlove]

HiGH&LOW THE WORST (JM, 2019) (Sub. Esp.)

DESCARGAR O VER ONLINE AQUÍ

Título: HiGH&LOW THE WORST País: Japón Duración: 125 min. Género: Acción Fecha de estreno: 4 de octubre, 2019 Dirección: Kubo Shigeaki Guion: Hiranuma Norihisa, Matsumoto Shoichiro, Watanabe Kei SINOPSIS El Instituto Oya está dividido en un sistema a tiempo parcial y a tiempo completo. Murayama Yoshiki es el líder del Instituto Oya y Hanaoka Fujio aspira a hacerse con el control de los alumnos a tiempo completo para desafiar un día a Murayama. CAST INSTITUTO OYA Kawamura Kazuma como Hanaoka Fujio Yoshino Hokuto como Takagi Tsukasa Fukuyama Kohei como Jamuo Sato Ryuji como Yasushi Uekiya Satoshi como kiyoshi Kamio Fuju como Kakagoshi Nakajima Ken como Nakaoka Maeda Goki como Todoroki Yosuke Ryu como Shibaman Suzuki Takahide como Tsuji Yamada Yuki como Murayama Yoshiki Suzuki Takayuki como Furuya Hideto Ichinose Wataru como Seki Torataro Kiyohara Sho como Nakabayashi Aoki Ken como Nakakuki Jinnai Syo como Nakazono HOUSEN Shison Jun como Ueda Sachio Shiono Akihisa como Odajima Yuken Aoi Yo como Sawamura Shoji Koyanagi Shin como Jinkawa Eimei Arai Atsushi como Shida Kenzo Sakaguchi Ryotaro como Sabakan HOPE HILL Shirasu Jin como Kirihara Seiji Nakatsuka Yuta como Oochi Shinya Komori Hayato como Oochi Masaya Tomita Miu como Ishii Madoka Yano Masato como Maekawa Arata OTROS Sato Kanta como Tetsu Sato Taiki como Chiharu Ozawa Hitoshi como Seki Masatora Tsukamoto Takashi como Parko Yanai Yumena como Ueda Yui