#Io Ueda
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My favorite shoujo & josei manga!! ♡ ♡ ♡ ♡ ♡ ♡
I’ve been reading shoujo & josei manga for many years and I have many favorites. Take this as a recommendation list, if you want.
(Note: I have not finished all of these mangas, but I have read enough of them to form an opinion of them.)
(Note #2: this list will change over time, so come back every so often to see if things have changed!)
“Magical Angel Creamy Mami and the Spoiled Princess” josei by Emi Mitsuki
“Kiss Him, Not Me!” shoujo by Junko
“Tokyo Mew Mew” shoujo by Reiko Yoshida
“Tokyo Mew Mew à La Mode” shoujo by Mia Ikumi
“Shugo Chara!” shoujo by PEACH-PIT
“She Loves to Cook, and She Loves to Eat” josei by Sakaomi Yuzaki
“Pretty Guardian Sailor Moon” shoujo by Naoko Takeuchi
“My Love Story!!” shoujo by Kazune Kawahara
“Run Away with Me, Girl” josei by Battan
“Strobe Edge” shoujo by Io Sakisaka
“Magic Knight Rayearth” shoujo by CLAMP
“The Rose of Versailles” shoujo by Riyoko Ikeda
“Peach Girl” shoujo by Miwa Ueda
“Even Though We’re Adults” josei by Takako Shimura
“Princess Jellyfish” josei by Akiko Higashimaura
“Dear Brother” shoujo by Riyoko Ikeda
“Claudine...!” shoujo by Riyoko Ikeda
♡ ♡ ♡ ♡ ♡ ♡ ♡ ♡ ♡ ♡
#shoujo#josei#shoujo manga#josei manga#manga recommendation#kawaii#otakucore#neetcore#manga#about#my post
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Shaman King Mobile RPG Launches in Japan on December 8
A mobile game was announced for the ongoing Shaman King anime back in May, and now we have a release date. Shaman King: Funbari Chronicle—which is being developed by Studio Z for iOS and Android devices—is set to launch in Japan on December 8.
To celebrate the release, the official Twitter account for the game will count down with voice messages from the cast members starting today. Participating VAs include Yoko Hikasa (Yoh Asakura), Megumi Hayashibara (Anna Kyoyama), Katsuyuki Konishi (Amidamaru), Inuko Inuyama (Manta Oyamada), Romi Park (Tao Ren), Masahiko Tanaka (Ryunosuke Umemiya), Yuji Ueda (Horohoro Usui), Takehito Koyasu (Johann Faust VIII), Yui Horie (Iron Maiden Jeanne), and Nana Mizuki (Tamao Tamamura).
Check out a trailer from August:
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Via Comic Natalie
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Joseph Luster is the Games and Web editor at Otaku USA Magazine. You can read his comics at subhumanzoids. Follow him on Twitter @Moldilox.
By: Joseph Luster
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ENG - Fantasy dress-up battle game
Cencilia : Fashion Fantasy, English version of Sensil (https://sensil.jp)
Geme: Cencilia : Fashion Fantasy
By: cocone
Genre: Dress-up battle game, J-RPG
Language: English
Website: http://cencilia.jp
In the world of Cencilia, you must use your fashion sense to win battles by creating the best outfit possible.
On the morning of your entrance ceremony to Cencilia Fashion Academy,
you discover a mysterious puzzle piece in your bag.
The piece is a fragment of a secret formula to make your dreams of becoming a fashion designer come true.
In order to collect the remaining pieces, you set off on a fantastical quest...
เกมแต่งตัวแปลอังกฤษใหม่จาก cocone จากเกม Sensil สู่ Cencilia ดาวน์โหลดเล่นฟรี พร้อมเสียงพากย์ญี่ปุ่น
Characters
Seiji Choloe CV: Toshiki Masuda #増田俊樹
Shion Sakuraba CV: Yuichiro Umehara #梅原裕一郎
Saya Akane CV: Yoko Hikasa #日笠陽子
Yume Aotsuki CV: Kayo Hikari #嘉陽光
Kou Cavallini CV: Ueda Keisuke #植田圭輔
Lime CV: Suzuki Misaki #鈴木美咲
Eng ver.
iOS: https://apps.apple.com/us/app/id1539384644
Android: https://play.google.com/store/apps/details?id=jp.cocone.sensilglobal
Japan ver.
iOS: https://apps.apple.com/app/id1260279454
Android: https://play.google.com/store/apps/details?id=jp.cocone.sensil
◆ internet is required
◆ Dress-up battle game
◆ Size 190.6 MB
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⭐⭐⭐⭐⭐STAGE 71: Games Of 2020⭐⭐⭐⭐⭐
Last year may not have gone down as one of the best years we had, if anything, comparing it to a dumpster fire wouldn’t be too far off .
In a year where so many things went wrong, video games were pretty much one of the very few Highlights that stood out in 2020.
The ability to spend hours disappearing into a beautiful world like those in the far away islands of Animal Crossing, the competitive but fun gameshow aesthetic of Fall Guys or revisiting old friends in the land of Midgar was a much welcomed breather that we all needed.
These video games provided the much needed distractions from everything else happening in the world, by enabling us to visit far away places filled with hours upon hours of entertainment, colorful, unique and intriguing characters …and most of all amazing music.
SO This is why THIS stage of the Retro VGM Revival Hour has chosen the 3 most amazing tracks from the various games released in 2020 to get you excited for what’s to come in 2021.
I hope you’re ready…. so lets begin.
Full track listing: ⭐⭐⭐⭐⭐Game – Composer – Title – Company⭐⭐⭐⭐⭐
1.) Yakuza: Like a Dragon – Hidenori Shoji, Yuri Fukuda, Chihiro Aoki & Saori Yoshida – “Kamurocho Battle Theme, Overcoming the Dragon & Substory Battle Theme“ – January 16, 2020 – Ryu Ga Gotoku Studio/Sega – Windows PC, PS4, PS5, Xbox One & Xbox Series X/S
2.) Granblue Fantasy Versus – Nobuo Uematsu, Yasunori Nishiki & Tsutomu Narita – “Such a Blue Sky, Noble Execution & Arvess“ – February 6, 2020 – Arc System Works/Cygames – PS4 & Windows PC
3.) Persona 5 Strikers – Atsushi Kitajoh, Gota Masuoka, Ayana Hira, Hiromu Akaba & Shoji Meguro – “Camping Trip, A Waltz of Feasting & Keeper of Lust“ – February 20, 2020 – Omega Force & P-Studio/Atlus – PS4, Windows PC & Nintendo Switch
4.) Ori and the Will of the Wisps – Gareth Coker – “Separated by the Storm, Hornbug & Escaping the Sandworm” – March 11, 2020 – Moon Studios/Xbox Game Studios – Windows PC, Xbox One, Xbox Series X/S & Nintendo Switch
5.) Nioh 2 – Yugo Kanno & Akihiro Manabe – “Battle II, Azai Nagamasa & Dark Realm II” – March 12, 2020 – Team Ninja – PS4, Windows PC & PS5
6.) Animal Crossing: New Horizons – Yasuaki Iwata, Yumi Takahashi, Shinobu Nagata, Sayako Doi & Masato Ohashi – “K.K. Slider Dream, Island Tour (Day/Snowy) & New Years Eve (12:00 a.m.)“ – March 20, 2020 – Nintendo – Nintendo Switch
7.)Doom Eternal – Mick Gordon – “BFG Division 2020, The Only Thing They Fear Is You & DOOM Eternal“ – March 20, 2020 – id Software/Bethesda Softworks – Windows PC, PS4, Google Stadia, Xbox One, PS5, Xbox Series X/S & Nintendo Switch
8.) Final Fantasy VII Remake – Nobuo Uematsu, Shotaro Shima, Tadayoshi Makino, Masashi Hamauzu & Yasunori Nishiki – “Scorpion Sentinel, J-E-N-O-V-A – Quickening & One Winged Angel (Rebirth)“ – April 10, 2020 – Square Enix – PS4
9.) Trials of Mana – Hiroki Kikuta – “Axe Bring Storm, Swivel & Farewell Song“ – April 24, 2020 – Xeen/Square Enix – Nintendo Switch, Windows PC & PS4
10.) Sakura Wars – Kohei Tanaka – “Anastasia’s Theme, Hatsuho’s theme & Geki! Teikoku Kagekidan (w/ vocals provided by Ayane Sakura, Maaya Uchida, Hibiku Yamamura, Ayaka Fukuhara & Saori Hayami)“ – April 28, 2020 – Sega CS2 R&D/SEGA – PS4
11.) Streets of Rage 4 – Yuzo Koshiro, Olivier Deriviere, Groundislava, XL Middleton, Keiji Yamagishi, Harumi Fujita, Motohiro Kawashima, Yoko Shimomura, David Scatliffe (Scattle) & Das Mörtal – “Nora, Estel (Round 2) & Ms Y“ – April 30, 2020 – Dotemu, Lizardcube & Guard Crush Games/Dotemu – Windows PC, Nintendo Switch, PS4, Xbox One, Linux & macOS
12.) Maneater – Daniel James – “Prologue Theme, The Great Hunter & Arc Shark“ – May 22, 2020 – Tripwire Interactive & Blindside Interactive/Deep Silver – Windows PC, PS4, PS5, Xbox One, Xbox Series X/S & Nintendo Switch
13.) Shantae and the Seven Sirens – Mark Sparling, Kentaro Sakamoto & Gavin Allen – “Risky Blows the Hatch, Turbulent Hip Shaking & Rise and Shine Shantae (w/ vocals provided by Cristina Vee)“ – May 28, 2020 – WayForward – iOS, macOS, Windows PC, PS4, Xbox One & Nintendo Switch
14.) The Last of Us Part II – Gustavo Alfredo Santaolalla & Mac Quayle – “It Can’t Last, Allowed to be Happy & Beyond Desolation“ – June 19, 2020 – Naughty Dog/Sony Interactive Entertainment – PS4
15.) Marvel’s Iron Man VR – Kazuma Jinnouchi & John Paesano – “Old Tech/New Threats, Cost of Doing Business & Heroes“ – July 3, 2020 – Camouflaj/Sony Interactive Entertainment – PS4
16.) Ghost of Tsushima – Ilan Eshkeri & Shigeru Umebayashi – “The Way of the Ghost, The Last of Clan Adachi & The Fate of Tsushima“ – July 17, 2020 – Sucker Punch Productions/Sony Interactive Entertainment – PS4
17.) Paper Mario: The Origami King – Yoshito Sekigawa, Shoh Murakami, Yoshiaki Kimura, Hiroki Morishita & Fumihiro Isobe – “Event Battle, Swan Lake (Punk Remix) & Battle at Bowser’s Castle“ – July 17, 2020 – Intelligent Systems/Nintendo – Nintendo Switch
18.) Fall Guys: Ultimate Knockout – Jukio Kallio & Daniel Hagström – “Didn’t Fall! (You Win), Fall ‘n’ Roll & Final Fall“ – August 4, 2020 – Mediatonic/Devolver Digital – Windows PC & PS4
19.) Battletoads – David Housden & David Wise – “Battletoads, Olympian Amphibians & To the Queen!“ – August 20, 2020 – Dlala Studios & Rare/Xbox Game Studios – Windows PC & Xbox One
20.) Marvel’s Avengers – Bobby Tahouri – “The Light That Failed, God of Thunder & By Force of Mind“ – September 4, 2020 – Crystal Dynamics/Square Enix – Windows PC, PS4, Google Stadia & Xbox One
21.) Hades – Darren Korb – “No Escape, The Painful Way & The Unseen Ones“ – September 17, 2020 – Supergiant Games – macOS, Windows PC & Nintendo Switch
22.) 13 Sentinels: Aegis Rim – Hitoshi Sakimoto, Mitsuhiro Kaneda, Yoshimi Kudo, Rikako Watanabe, Yukinori Kikuchi, Kazuki Higashihara & Azusa Chiba – “METHIONINE, Go Sentinels, Go! & VALINE“ – September 22, 2020 – Vanillaware/Atlus – PS4
23.) Genshin Impact – Yu-Peng Chen – “Make Haste Partner, His Resolution & Symphony of Boreal Wind“ – September 28, 2020 – miHoYo – Windows PC, PS4, Android, iOS & PS5
24.) Crash Bandicoot 4: It’s About Time – Walter Mair – “Rude Awakening, Stage Dive (N. Gin Theme) & A Hole In Space (N. Tropy Theme)“ – October 2, 2020 – Toys for Bob/Activision – PS4 & Xbox One
25.) Amnesia: Rebirth – Mikko Tarmia – “Ghoul Chase, The Shadow & Ending (Part 2)“ – October 20, 2020 – Frictional Games – Linux, Windows PC & PS4
26.) Cobra Kai: The Karate Kid Saga Continues – Leo Birenberg & Zach Robinson – “Arcade, Encino & Woodley Ave“ – October 27, 2020 – Flux Game Studio/GameMill Entertainment – PS4, Xbox One & Nintendo Switch
27.) Ghostrunner – Daniel Deluxe – “Infiltrator, Let Them Know & Truth to Power“ – October 27, 2020 – One More Level & Slipgate Ironworks/All in! Games SA & 505 Games – PS4, Xbox One, Windows PC & Nintendo Switch
28.) Watch Dogs: Legion – Stephen Barton – “A Room with a Queue, It’s All Gone a Bit Tom Tit & Orwell That Ends Well“ – October 29, 2020 – Ubisoft Toronto/Ubisoft – Windows PC, PS4, Xbox One, Google Stadia, Amazon Luna, Xbox Series X/S & PS5
29.) Assassin’s Creed Valhalla – Jesper Kyd, Sarah Schachner & Einar Selvik – “Kingdom of Wessex (w/ Vocals provided by Melissa R. Kaplan), Raids of Rage & Drenglynda Skáldið/ The Steadfast Skald (w/ Vocals provided by Einar Selvik)“ – November 10, 2020 – Ubisoft Montreal/Ubisoft – Windows PC, PS4, Xbox One, Google Stadia, Amazon Luna, Xbox Series X/S & PS5
30.) Sakuna: Of Rice and Ruin – Hiroyuki Oshima – “Mayhem, Resentment & War“ – November 10, 2020 – Edelweiss/Marvelous – PS4, Windows PC & Nintendo Switch
31.) Marvel’s Spider-Man: Miles Morales – John Paesano – “All In, Rhino Rampage & New York’s Only Spider-Man“ – November 12, 2020 – Insomniac Games/Sony Interactive Entertainment – PS4 & PS5
32.) Kingdom Hearts: Melody of Memory – Yoko Shimomura, Takeharu Ishimoto, Tsuyoshi Sekito, Kristen Anderson-Lopez & Robert Lopez – “At Dusk: I Will Think of You (Main Menu 3), Night of Fate & Let It Go (Japanese ver. w/ Vocals provided by Takako Matsu)“ – November 11, 2020 – Square Enix – PS4, Xbox One & Nintendo Switch
33.) Immortals Fenyx Rising – Gareth Coker – “Heart of the Hero, The Corrupted Heroes & Art of Warfare“ – December 3, 2020 – Ubisoft Quebec/Ubisoft – Amazon Luna, Windows PC, PS4, PS5, Google Stadia, Xbox One, Xbox Series X/S & Nintendo Switch
34.) Cyberpunk 2077 – Marcin Przybyłowicz, P.T. Adamczyk, Paul Leonard-Morgan, Mattias Bärjed, David Sandström & Kristofer Steen – “The Rebel Path, The Heist & Juiced Up“ – December 10, 2020 – CD Projekt Red – Windows PC, PS4, Google Stadia, Xbox One, PS5 & Xbox Series X/S
35.) Resident Evil 3 – Kota Suzuki, Azusa Kato, Ryo Koike, Masami Ueda, Takayasu Sodeoka, Saori Maeda, Takumi Saito, Jeff Broadbent & Zhenlan Kang – “Invincible Nemesis, Resistance & Save Room“ – April 3, 2020 – Capcom – Windows PC, PS4 & Xbox One
36.) Hyrule Warriors: Age of Calamity – Kumi Tanioka, Reo Uratani, Ryotaro Yagi, Haruki Yamada, Ayana Hira, Asami Mitake, Hikaru Yamada, Shigekiyo Okuda, Gota Masuoka, Junya Ishiguro, Masako Otsuka, Takashi Yoshida & Hiromu Akaba – “Overlooking Hyrule/Prelude to Calamity (Title Screen), Urbosa: The Gerudo Chief & The Knight Who Seals the Darkness“ – November 20, 2020 – Omega Force/Nintendo – Nintendo Switch
Edgar Velasco: @MoonSpiderHugs Youtube: www.youtube.com/c/NostalgiaRoadTripChannel Official Site: nostalgiaroadtrip.com/ FaceBook: www.facebook.com/groups/nostalgiaroadtrip/ Official Twitter: @NRoadTripCast
#SoundCloud#music#RETRO VGM REVIVAL HOUR#Game#Video Game Music#Final Fantasy 7#Streets of Rage#final fantasy 7 remake#resident evil 3#vg music#vgm#paper mario#streets of rage 4#assasins creed valhalla#persona 5#kingdom hearts#cobra kai#doom eternal#animal crosing new horizons#yakuza like a dragon#ps4#ps5 games#xbox series s games#nintendo switch games#spider-man miles morales
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Just announced today: “Sakura Kakumei ~Hanasaku Otome-tachi~” is a new game in the Sakura Taisen franchise by SEGA and Delight Works. It is a “dramatic RPG” for iOS and Android. some basic information (some details may be a bit off, I’ll try to double-check later):
-no release date yet (but scheduled for some time in 2020)
-a rather long animated introduction/preview video was posted. Major bonus points for being actual animation and not cheap, cell-shaded CG (*cough*Shin Sakura Taisen the Animation*cough*). I’ll admit that I didn’t understand a whole lot of it, though...
-it seems that a disaster took place in Taishou 84 (”on that day, Japan died”), and Shinguuji Sakura is seen holding a baby in the rubble.
-the game takes place 16 years after that, in Taishou 100 (Shin Sakura Taisen took place in Taishou 29/1940).
-the Aogashima Kagekidan includes main heroine Sakura Shino (her surname is ‘Sakura,’ given name is ‘Shino’; CV: Kishimoto Moeka), Aoshima Fuuka (CV: Matsuura Ayu), and Mikohama Asebi (CV: Natsuyoshi Yuuko). They were designed by Ohara Misao.
-The Daiteikoku Kagekidan B.L.A.C.K. Includes the three characters who were previously introduced under the “Project B.L.A.C.K.” label, but it looks like there are five members overall.
-other characters who were not introduced in today’s event, but who were mentioned on the Delight Works twitter account in relation to the project: siblings (and commanders?) Ooishi Yoshitaka (CV: Nishiyama Koutarou) and Ooishi Yura (CV: Takahashi Hinako). They were designed by Ohara Misao. Hokkaido heroine Juujimachi Mana (CV: Minami Saki), who was designed by Ginka. Gunma prefecture heroine Takasaki Tsutsuji (CV:Yamaguchi Megumi), designed by Kuroboshi Kouhaku. Yamagata prefecture heroine Mogami Mutsuha (CV: Takahashi Karin), who was designed by Taiki. Kyoto prefecture heroine Hijikata Benishi (CV: Ueda Reina), who was designed by LAM.
Official site: https://sakura-kakumei.sega.jp
Official twitter: https://twitter.com/sakura_kakumei
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Hortensia Saga, nuovo teaser per l’anime in arrivo a gennaio 2021
Svelati staff e cast della serie basata su videogioco fantasy di Sega.
Diffuso un secondo teaser trailer per la serie animata tratta dal videogioco fantasy “Hortensia Saga” di Sega Games, annunciata lo scorso dicembre, il cui debutto sulle tv giapponesi è previsto per gennaio 2021.
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Prodotto presso lo studio LIDEN FILMS (Blade of the Immortal, Love and Lies), l'anime è diretto da Yasuto Nishikata (Killing Bites, The Seven Deadly Sins the Movie: Prisoners of the Sky) e sceneggiato da Rintarou Ikeda (The Seven Deadly Sins: Wrath of the Gods, Magical Sempai). Il character design è curato da Takayuki Onoda (direttore d'animazione in Granblue Fantasy the Animation, The Seven Deadly Sins), mentre la sigla è ad opera della rock band MY FIRST STORY (Arpeggio of Blue Steel - Ars Nova, Golden Kamuy).
Confermati anche i primi membri del cast:
Alfred Ober: Yoshimasa Hosoya
Mariyus Casteledo: Yui Horie
Maurice Baudelaire: Kenjiro Tsuda
Nonnoria Folley: Reina Ueda
Kuu Morimol: Aya Uchida
Deflott Danowa: Yuichiro Umehara
Il gioco di ruolo è disponibile per sistemi iOS e Android devices dall’aprile del 2015 e vede il giocatore impersonare un giovane signore feudale, alla scoperta delle verità nascoste del Regno di Hortensia, fra nuovi incontri e battaglie.
Dal 27 marzo viene serializzato su Monthly Comic Alive un manga, disegnato da Pon Jea e Seiji.
Autore: SilenziO))) (@s1lenzi0)
[FONTE]
#hortensia saga#anime#serie tv#manga#videogame#fantasy#newsintheshell#news in the shell#cartoni animati#giappone
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iNat Turns 10
iNaturalist made its internet debut 10 years ago in March 2008 as part of a Masters project by Ken-ichi Ueda, Jessica Kline, and Nate Agrin at the UC Berkeley School of information. Since then, it went from a website used mostly in California, to a platform with international portals, multiple languages, mobile apps for iOS and Android, and observations from every country in the world.
One of the original team members, Ken-ichi Ueda, is still deeply involved as a co-director and lead developer. We asked him to reflect on the beginning of iNaturalist.
How did you end up working on iNaturalist for your Masters project?
iNaturalist was actually one of the main reasons I enrolled at the UC Berkeley School of Information. I’d been thinking about making something like iNat ever since I moved to the Bay Area from New England. I’d always been interested in nature, but from the moment my plane broke through the July clouds and revealed the drab, brown hills and neon pink salt ponds surrounding San Francisco Bay, I knew I was in a different ecological world. Luckily, I had a digital camera and the Internet, and I soon discovered that sharing photos of my findings was a great way to both learn about this new ecosystem and connect with others who shared my interests. This was in 2003, pretty much the dawn of modern social media and online mapping, so combining natural history with these things seemed like it had a lot of potential. However, it also seemed like a lot of work, and, being lazy, I did nothing about it. Attending the iSchool was a way to force myself to work on this idea.
What do you wish you’d known 10 years ago when you started?
Nothing, really. If I'd known then what I know now about what it would take to make iNat successful, I probably would have given up.
What has surprised you most about iNaturalist?
When I started I suffered from the Field of Dreams fallacy: turns out building something doesn't mean people will use it. You also have to convince people to use it, especially when it is this kind of weird edifice for conducting an activity not that many people are into (i.e. naturalizing). This “if you build it, they will come” myth has been pretty thoroughly crushed in the modern age of social networks (Would you invest in a Facebook competitor? How about a new search engine?), but it was never more than a myth. iNat didn't take off until Scott Loarie came along and started spreading the word about it.
- Travel back to 2015 when we made an interactive animated map showing all iNat observations over time.
- Hear Ken-ichi and Scott talk about iNat waaay back in 2013 at the Commonwealth Club in San Francisco.
- And go even further back to 2011: San Francisco’s KQED wrote an article about iNat and posted a video of Scott and Ken-ichi demonstrating the iOS app in sweet sweet 240p resolution.
- Read more about iNaturalist.
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Fate/Grand Order Releases Prequel Poster
Fate/Grand Order[a] is an online, free-to-play role-playing mobile game developed by Delightworks using Unity,[2][3] and published by Aniplex. The game is based on Type-Moon's Fate/stay night franchise, and was released in Japan on July 29, 2015 for Android[4], and on August 12, 2015 for iOS. English iOS and Android versions followed on June 25, 2017 in the United States and Canada,[5][6] and a Korean version was released on November 21, 2017.[7] An arcade version titled Fate/Grand Order Arcade was released by Sega in Japan on July 26, 2018.
The game is centered around turn-based combat where the player, who takes on the role of a "Master", summons and commands powerful familiars known as "Servants" to battle enemies. The story narrative is presented in a visual novelformat, and each Servant has their own scenario which the player can explore.
The Fate/Grand Order franchise is expanding into the world of anime with two huge new projects. One is a set of films based on the original game's Camelot storyline releasing in 2020, and the other is a new TV anime series based on the Babylonia storyline releasing this Fall. Fate/Grand Order fans in Japan were recently treated to a special event for the franchise where they got the first glimpses of these upcoming anime, but now fans everywhere have a much closer look.
Fate/Grand Order: Babylonia is based on the "Order VII: The Absolute Frontline in the War Against the Demonic Beasts: Babylonia" storyline from the original mobile game. This special episode is dubbed "Episode 0," and Aniplex of America has confirmed that they have licensed the series for an English language release. Though it's still much too early for news about the English dub, fans might be getting more information when the full series releases this Fall.
A special prequel episode for the Fate/Grand Order Absolute Demonic Front: Babylonia TV anime series has been released, and fans can actually view it for themselves with FunimationNow. There's a poster for the new episode too, and you can check it out below!
Scheduled for a release October 5th, Toshifumi Akai will be directing the series for CloverWorks with Miyuki Kuroki as assistant director, Tomoaki Takase as character designer, and Ryo Kawasaki serving as composer. Details about the new anime series such as episode order are still largely being kept under wraps, but the cast of the series is coming together with Nobunaga Shimazaki as Ritsuka Fujimaru, Rie Takahashi as Mashu Kyrielight, Ayako Kawasumi as Fou, Tomokazu Seki as Gilgamesh, Yu Kobayashi as Enkidu, Kana Ueda as Ishtar, Takahiro Sakurai as Merlin, Yuu Asakawa as Ana, Kenichi Suzumura as Romani Archaman, and Maaya Sakamoto as Leonardo Da Vinci all confirmed for the cast.
For those unfamiliar with Fate/Grand Order, it is a mobile online RPG from Type-Moon. This game takes place in a future universe where the Chaldea Security Organization, which is a company whose numerous projects have essentially guaranteed humanity's existence for the future, discovers that humanity will soon go extinct. To avoid this event, the organization use time-travel to send various agents from across time to find the source of this extinction.
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Primer vídeo promocional del juego de rol para móviles de Granadia Saga de Bushiroad
El reparto del juego también es revelado
Bushiroad lanzó una web oficial de su próximo juego de rol para móviles de Granadia Saga la semana pasada. El sitio comenzó la transmisión de del primer vídeo promociona del juego, que ofrece una vista previa de su historia, personajes, sistema de combate, y modo multijugador:
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El juego tendrá voces en toda su historia. El reparto incluye a (Nota: romanización de los nombres de personajes no oficial):
Haruki Ishiya como Evan, un caballero de Arvur
Katsuyuki Konishi como Myrtle, el tío de Evan
Marina Inoue como Alicia, una princesa de Celesta
Junichi Suwabe como Keefer, el ayudante cercano de Alicia
Wataru Hatano como Leonid, un príncipe de Belmeria
Sora Tokui como Rosetta, guardaespaldas y consejera de Leonid
Atsushi Abe como Orkis, un príncipe de Arvur
Kana Ueda como Kokuriko, una refugiada de Northeria
Reina Kondo como Bell, una sirviente de Orkis, y la ayudante del juego
El juego será lanzado para dispositivo iOS y Android este año.
Shinnosuke Hino (diseñador de personajes en Spectral Force, Dragon Force, e ilustrador de personajes en Guilty Gear XX) es el diseñador de personajes principal del juego. Takumi Miyajima (Tales of the Abyss, guión en el Anime de Fate/Zero) esta a cargo del mundo del juego, y él es el guionista principal.
El juego de rol de simulación de fantasía se centra en un conflicto entre tres países. El juego se basará en batallas por turnos con varias clases de personajes. Los jugadores serán capaces de participar en batallas a gran escala con personajes de todo a Japón a través del juego en linea. Las batallas entre gremios también serán posibles. El juego además contará con un modo de aventura.
Ami Sasahara lanzó un Manga prólogo para el juego en la revista Monthly Buhiroad de Bushiroad el pasado 8 de junio. La segunda mitada el Manga prólogo debutó en la edición de agosto de la revista el pasado 7 de julio.
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The witching month is upon us, everyone! It’s that time once again to gather your most spookiest looking plastic skeleton, fully avoid every black cat you would come across, and start mastering your pumpkin carving skills. For this is Halloween!
But for those who’ve already had their fill of Halloween parties over the weekend and were planning a quiet night in front of the TV watching some horror classics, while munching down on the various sweets you collected while trick’ or treating all over your neighborhood, we here at the Retro VGM Revival Hour have a special Treat …just for you!
++===========Game – Composer – Title – Company========++
1.) Unforgiving: A Northern Hymn - William Sahl - “A Northern Hymn & Näcken Theme” - November 27, 2017 - Angry Demon Studio - Windows PC
2.) Resident Evil 2 - Masami Ueda, Shusaku Uchiyama & Syun Nishigaki - “Secure place“ - January 21, 1998 - Capcom - Sony Playstation, Windows PC, N64, Sega Dreamcast, Nintendo Gamecube
3.) Deadly Premonition - Riyou Kinugasa, Takuya Kobayashi & Hiromi Mizutani - “Forrest Kaysen, Greenvale, York and Zach & Life is Beautiful” - February 23, 2010 - Access Games/Marvelous Entertainment & Rising Star Games - Xbox 360, PS3 & Windows PC
4.) I Have No Mouth, and I Must Scream - John Ottman - “Ellen's Fatal Flaw, Ellen's Redemption II & Gorrister's Fatal Flaw” - October 31, 1995 - The Dreamers Guild/Cyberdreams – iOS, Android, MS DOS, Windows PC, Mac OS & Linux
5.) Haunting Ground - Seiko Kobuchi & Shinya Okada - “Endless Zero & Precious Hewie“ - April 21, 2005 - Capcom - PS2
6.) Bloodstained: Curse of the Moon - Michiru Yamane, Ippo Yamada, Aoi Takeda, Takumi Sato, Hiroaki Sano, Ryo Kawakama & Ryo Yoshinaga - “Frigid Hell(Stage 2 Theme), Sunder the Night(Stage 5 Theme) & Defiler of Taboos(Stage 7 Theme)“ - May 24, 2018 - Inti Creates Co., Ltd. - Windows PC, PS4, PlayStation Vita, Xbox One, Nintendo Switch & 3DS
7.) Obscure II/Obscure: The Aftermath - Olivier Deriviere - “Corruption with Rage and Melancholy, We all die & Ballets of Deads“ - September 7, 2007 - Hydravision Entertainment/Ignition Entertainment - Windows PC, PS2, PSP & Nintendo Wii
8.) Layers of Fear - Arkadiusz Reikowski - “Memories From The Child's Room, Paintings On The Walls (part 2) & The End (w/ Vocals by Penelopa Wilmann-Szynalik)“ - February 16, 2016 - Bloober Team/Aspyr - Windows PC, Mac OS, PS4, Xbox One & Nintendo Switch
9.) Devil May Cry 3: Dante's Awakening - Tetsuya Shibata ( w/lyrics written by Shawn McPherson & Vocals By David Allen Baker) - “Devils Never Cry“ - February 17, 2005 - Capcom - PS2, Windows PC, PS3, Xbox 360, PS4 & Xbox One
10.) Yakuza: Dead Souls - Mitsuharu Fukuyama, Takahiro Kai, Takeshi Isozaki, Yuri Fukuda, Susumu Tsukagoshi, Chihiro Aoki, Yuichi Kanatani, Daniel Lindholm & Hiroshi Furukawa - “Akiyama (Battle Theme) & Inescapable Battle“ -June 9, 2011 - SEGA - PS3
11.) Castlevania Judgment - Yasushi Asada - “Vampire Killer” - November 18, 2008 - Konami & Eighting/Konami - Nintendo Wii
12.) P.T. ("playable teaser") – Ludvig Forssell –“BGM 3, Bonus Track & Silent Hills”- August 12, 2014 – Kojima Productions (7780s Studio)/Konami – PS4
Edgar Velasco: @MoonSpiderHugs www.patreon.com/nostalgiaroadtrip
#SoundCloud#music#RETRO VGM REVIVAL HOUR#Game#Chiptune#VGM OST#Video Game Music#halloween#horror game#horror video games#castlevania#devil may cry#silent hill#resident evil#retrogaming#retrogames
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(via The Last Guardian)
Non è passato molto tempo da quando vi ho parlato di Ico e Shadow of the Colossus. Posso ritenermi fortunata; Shadow of the Colossus venne pubblicato nel lontano 2005 per Playstation 2 e da allora ci son voluti circa undici anni prima che il mondo di Fumito Ueda vedesse la luce con un terzo capitolo. Io ho dovuto attendere molto poco, visto che sono venuta a conoscenza di questi giochi solo un anno fa, circa (per poi amarli tantissimo, ma credo che ormai non ci siano più dubbi in proposito). La sua storia di sviluppo travagliata ha lasciato un segno indelebile, gettando ombre sul tanto discusso The Last Guardian. Andando con ordine, stiamo parlando di un gioco uscito il 7 dicembre 2016 per Playstation 4 (esclusiva sony), del Team Ico, sotto la direzione di Fumito Ueda.
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Iwa Kakeru, primo teaser trailer e nuovo cast della serie animata
Svelati altri sei personaggi assieme alle relative doppiatrici.
Diffuso un primo breve video promozionale per la serie animata basata sul manga sportivo “Iwa Kakeru! Sport Climbing Girls” di Ryudai Ishizaka e dal recente sequel “Iwa Kakeru!! Try a new climbing”. Il debutto dell’anime è atteso in Giappone per il mese di ottobre.
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Di seguito trovate la nuova parte di cast presentata nel trailer:
Chinari Iwamine: Mikako Komatsu (Yume in Hai to Gensou no Grimgar)
Chigusa Kumagai: Sachi Kokuryu (Tamie Idogawa in Welcome to the Ballroom)
Masumi Fujita: Chihiro Ueda (Masaru Saiga in Karakuri Circus)
Rina Samura: Daria Midou (Chihiro Onizuka in Hi Score Girl)
Kurea Ōba: Machico (Ithea Myse Valgulious in WorldEnd: What do you do at the end of the world? Are you busy? Will you save us?)
Anne Kurusu: Yukari Tamura (Io Euclase in Granblue Fantasy The Animation)
L’adattamento è diretto da Tetsuro Amino (Broken Blade, Macross 7, Shiki) presso lo studio Blade, con l’assistenza di Tomohiro Matsukawa. La sceneggiatura è curata da Touko Machida (Harukana Receive, Runway de Waratte), il character design è ad opera di Yoshihiro Watanabe (Haganai, Sora no Otoshimono) e Motohiro Taniguchi, mentre le musiche sono composte da Tsubasa Ito (The Price of Smiles, Princess Connect! Re:Dive). Alla produzione collaborano anche Wit Studio e Studio Massket.
Konomi Kasahara ha vinto un sacco di tornei di puzzle game alle medie, ma una volta alle superiori scopre una nova passione: l’arrampicata! Affascinata da questo sport, decide di unirsi alla squadra femminile della scuola.
Il manga è stato serializzato online sul sito Cycomics fra il 2017 e il 2019, venendo raccolto in quattro volumi. Il sequel è stato lanciato subito dopo e per il momento conta un solo volumetto.
* NON VUOI PERDERTI NEANCHE UN POST? ENTRA NEL CANALE TELEGRAM! *
Autore: SilenziO))) (@s1lenzi0)
[FONTE]
#iwa kakeru#anime#serie tv#manga#sportivo#scolastico#commedia#newsintheshell#news in the shell#sport climbing girls#cartoni animati#giappone#animazione
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Everything We Know So Far On This Remake
July 27, 2020 11:06 PM EST
Fate/Extra Record will have voiced protagonists, a Slay The Spire inspired card deck battle system, and a lot of cool stuff we detailed here.
Type-Moon Studio BB held a special stream for the 10th anniversary of Fate/Extra on July 22, a few hours after the full remake Fate/Extra Record (tentative title) was announced. The stream was MC’ed by seiyuu (and Gundam EXVS top player) Kana Ueda, using the appearance of her Nasuverse character Rin Tohsaka. Type-Moon Studio BB Director Kazuya Niinou was also present, voice only. We learned many details on the remake including how the battle system works, with live gameplay. Here’s a summary of everything we learned on stream.
First off, Kana Ueda started reading fan comments from Twitter, with Director Niinou answering and commenting. He most notably confirmed the protagonist, Hakuno Kishinami, male and female versions, will be voiced in the remake. Players who feel like games are more immersive when the protagonist is silent will be able to turn off their voices in the options.
Niinou also said he wants to make the remake fully-voiced, but he’s not sure yet if it’ll be possible.
Judging from the stream as a whole, the remake is far from complete to do and the remake won’t be launching soon.
Niinou can’t comment on the remake’s platforms yet. But he reminded us he’s been saying for a while he wants to bring the game to as many people as possible. So he’s not ruling out a Steam release.
Next, we got the result of the poll that was held for a few hours before the stream started on Twitter. 57,318 votes were gathered:
アンケート実施中! 「Fate/EXTRAをプレイしたことはありますか?」 最終結果は本日20時からの生放送にて発表します。 回答は7月22日 18時まで 回答お待ちしております。
『Fate/EXTRA』シリーズ10周年記念生放送 ご視聴はこちらhttps://t.co/zNaFm0RCm0#TMstudioBB
— TYPE-MOON studio BB (@TMBBOfficial) July 22, 2020
48.1% voters played the original, 17.2% only watched the anime adaptation, 29.7% only know the characters, and 5.0% never heard of Fate/Extra. Director Niinou said less people than he expected played the original, but he’s still happy overall. A lot of voters on Twitter mentioned they technically didn’t play Fate/Extra but did play its sequel Fate/Extra CCC.
After that, when quickly mentioning Fate/Extella and its sequel Fate/Extella Link, Director Niinou said it’s unlikely they’ll add some of the new characters appearing in these two action games to the Fate/Extra Record remake. Such as Charlemagne.
Starting the 32:40 mark, the stream started focusing specifically on Fate/Extra Record.
Kazuya Niinou explained Fate/Extra Record is based on three concepts, plus another concept. First off, it’s simply to answer the call of fans who wish to play the game again, and of those who didn’t have the chance to play it, only knowing the characters through FGO, etc.
The second concept: when they first talked about this remake, they had to decide between making a typical mobile game that’d reach a very large base of players, or a firm & traditional console game. They decided on the later. This remake is made to answer those who want a firm console Fate game. This will also allow them to do what they couldn’t with the original game, without changing the core of the game either.
Aruko Wada also made a brand new key visual for the remake, and it also reflects how it keeps the original’s core: Redsaber has a serious and cool expression on it, because she was originally that type of character. Even if nowadays her appearances makes her focus much more on comedy and cute. Her seiyuu Sakura Tange also said she’s used to voicing Redsaber in a cute way nowadays, so it feels weird voicing a serious version again.
The third concept behind the Fate/Extra Remake is to have a game that makes it easy for newcomers to get into the franchise with. Nowadays the Fate franchise is huge, so this remake will be the perfect place to start for those who don’t know about stuff like Servants, etc. (Personally, I’d simply suggest just watching/playing everything by release order. Most of the time this is the simplest and best answer when it comes to Japanese franchises).
The fourth concept behind Fate/Extra Record is to make Type-Moon Studio BB known to the world. Kazuya Niinou explained he left Square Enix for two reasons, the first one is to make this remake. The second one is to make a brand new game, which they’re also working on. As Studio Director, Niinou wants people to realize Studio BB is working hard, good, and get his team recognized.
Following up next, we got to see some live gameplay at the 39:33 mark till the 48:30 mark:
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Kazuya Niinou wanted to show actual gameplay so people know the game exists. The trailer isn’t just some rendering they put together.
Players will be able to speak with most of the NPCs at school in the final game. We saw the novel parts are still in too. The game has day and night scenes too.
We got to see some of the debug menu and boot menu of the game too, something you’d usually never see. The boot menu allows the devs to boot to any important feature or location in the game basically. You have the title screen, the game over screen, a dungeon, a battle result screen, the church, etc.
When the dungeon part started, Niinou explained how now Servants walk in front of the Master, protecting them. We got an explanation of the battle system too.
The battle system of Fate/Extra Record is turn-based and deck of cards based, “like in many popular indie games nowadays” Niinou said. it’s like Slay The Spire, etc. Each turn, you get cards at random, offensive cards, defensive cards, etc. Different servants has different specific cards too, and for example Redsaber has guaranteed critical hits offensive cards. The game also tells you how much damage enemies will deal when they attack next.
We also saw how the game uses 3D animated portraits during dialogues. Nasu in a text message published during the stream, really praised these, saying Redsaber and all the chars are super expressive.
Once the battle ends, you can get new cards. The gameplay sequence ended with this.
Kazuya Niinou, later on the stream, commented in detail on the battle system. He stressed out how compared to the original game, this new battle system really feels like you are a Master fighting together with your Servant, and that the players are not the Servant themselves. That’s why he definitely didn’t want to change to an action battle system, as it would mean directly controlling the Servant. The cards deck based systems feels great, as if you’re giving orders to the Servant, and fits the Fate atmosphere.
Next up, we saw the original character designs drawn by Aruko Wada for Fate/Extra Record:
Redsaber looks more serious than the usual you’d see today. And Rin’s outfit colors were reversed from the usual. Aruko Wada, needless to say, kept the Zettai Ryouiki, but instead of doing it with thigh highs, she did it with needle high heel boots instead, because she really likes high heels like these. They also gave Rin some cool hacker-like glasses.
Next, we have Julius B. Harwey. His design changed a bit compared to the original game. We also have the new designs for the Ball and Golem monsters.
Following that, at the 52:09 mark, we got to see more in-development footage:
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Taiga gets in the classroom and then trips horribly. She always trips like that, at that moment. This is a classic scene from the original game, and they’re recreating it. The text narration mentions she made a huge thud sound when falling, and the students got worried, thinking she passed out.
Kazuya Niinou jokingly explained they showed this scene to show all the iconic Showa era-like scenes from the original game are still there, and they won’t change things to fit Reiwa Era. Indeed, characters tripping is a very old anime trope at this point. Personally it still makes me laugh if done well. The characters are all Archers as placeholders.
Following up next was the announcements corner.
First off, an artbook tentatively titled Amor Vincit Omnia by Aruko Wada, dedicated to her work on the Fate series so far, will be published in 2021. A message by Aruko Wada was published. She’s ultra happy the game is finally getting a remake, and hopes everyone will enjoy it, especially those who always wanted to try it but couldn’t. She’s super happy to be working on the remake’s new designs too.
Kazuya Niinou mentioned they’re done designing nearly all the characters, and are currently working on the facial expressions and key visuals.
Next up, Android iOS mobile ports of Fate/Extella and its sequel Fate/Extella Link were announced in Japan. They’re available now.
Following this, the Fate/Extella Celebration Box was announced. It contains copies of Fate/Extella, Fate/Extella Link, and a Ekusuteracchi: Tamagocchi but with Servants. This is an official collab with Tamagocchi and Fate/Extra, with 30 different servants you can raise. Buying this box is the only official way of getting an Ekusuteracchi.
A message from Fate/Extella Producer Kenichiro Tsukuda was also shared. He mentioned how he only started working on the series starting Fate/Extra CCC. He still remembers back when he joined, how new he was and all, and can’t believe it’s been ten years since the original Fate/Extra. He hopes everyone will keep supporting the series.
Lastly, the game DigDug BB was announced. It’s free, but it’ll only be accessible for a limited time on this page. it’s based on the 1982 game released by Namco, except with BB instead of the character from back then. Clearing it nets you a wallpaper.
Finally, when the stream ended, a slightly different version of the remake’s trailer was shown. Kazuya Niinou explained the visuals are identical, but the sound composition is different.
Fate/Extra Record First Trailer Another Version
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As the stream ended, Kazuya Niinou said he was really nervous about the remake reveal and this stream at first, but all the comments and reactions have been really nice and positive, so he’s eager than ever to complete the game. Kana Ueda also said it was her first time speaking through a character like this so she was pretty nervous herself. Personally, I find it funny even such an iconic character as Rin is “reduced”, you could say, to being a VTuber. As that’s what everyone does nowadays, and is required to do so to stay relevant with younger audiences in Japan, since the boom with Kizuna Ai in 2016.
As a reminder, Kazuya Niinou already confirmed Type-Moon Studio BB is working on two other projects. The second one isn’t a remake but a brand new game that could “take ten years”, Niinou jokingly said on stream.
Fate/Extra Record has no release date estimate for now.
July 27, 2020 11:06 PM EST
from EnterGamingXP https://entergamingxp.com/2020/07/everything-we-know-so-far-on-this-remake/?utm_source=rss&utm_medium=rss&utm_campaign=everything-we-know-so-far-on-this-remake
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Dialogo con Maria Teresa Orsi: ha tradotto il libro più bello del mondo, “La storia di Genji”
La bellezza è tale perché appena la raggiungi si sbriciola, lasciando una eredità di malinconia, di neve. La storia di Genji (“Genji monogatari”), il primo romanzo del pianeta, scritto intorno all’anno Mille da dama Murasaki Shikibu, esplicita la visione del mondo giapponese e tratteggia caratteri umani esemplari. Sembra la sintesi, in kimono, di Dante, Shakespeare e Marcel Proust. Quel libro sommo e gigantesco – quasi 1400 pagine nell’edizione italiana – mi sembra, infine, un fiore di vetro: è così bello che ogni volta che lo leggo ne esco ferito, nel sangue – e bisogna leggerlo con tatto, con il rischio che s’infranga. Giace sul mio comodino. Spesso lo apro, a caso, per entrare in quella civiltà di paraventi e di donne saggiate dall’ombra, di relazioni d’amore pattuite nell’enigma di un verso, di rancori frenati, di efferatezza della mente, di allusioni e di fraintendimenti, di anime sarchiate dalla reincarnazione, raffinate dalla rassegnazione. Tutto sta nel governo delle emozioni, nella rabbia decimata in un cartiglio, dove balugina una poesia, nella frazione di una fioritura, assecondando i moti della vita di Genji, figlio dell’Imperatore del Giappone. La corte, di fatto, è una specie di sistema solare, ma è anche misura dell’abisso che ci morde. “Essendo nato in questo mondo in una posizione privilegiata, non vi era nulla di cui dovessi essere insoddisfatto, ma d’altro canto non posso fare a meno di pensare di aver avuto un destino molto più infelice di quello della gente comune. Forse ciò è avvenuto perché il Buddha voleva che mi rendessi conto della tristezza e della caducità della nostra vita… ora che sono consapevole del mio destino e dei miei limiti, mi sento in qualche modo libero”. Del “Genji” ho le edizioni disponibili in Italia: quella di Adriana Motti (Einaudi) e di Piero Jahier (Bompiani), entrambe, però, condotte sulla versione inglese di Arthur Waley. Nel 2012, per Einaudi, Maria Teresa Orsi ha compiuto l’impresa di tradurre per intero La storia di Genji dal giapponese antico: una avventura culturale straordinaria. Antonio Moresco condivide con me l’amore, inesauribile, verso il “Genji”: “È stata una folgorazione… Io non lo so perché amo tanto questo libro e quel modo particolare di narrare… Questo libro per me è un magnete”, scrive ne Lo sbrego. Io amo quel libro perché ti costringe ad arrenderti: è come se quella donna giapponese, mille anni fa, sia riuscita a capire, interamente, in ogni più infima peculiarità, l’uomo, le sue emozioni; come se sotto il kimono custodisse tutta l’umanità – a volte la scambio con la Madonna della Misericordia di Piero della Francesca, con il manto aperto ad abbracciare tutti, anche chi non ha coraggio di richiesta. Da tempo desideravo dialogare con Maria Teresa Orsi: per me è un idolo. Leggendo Murasaki Shikibu, quegli squarci meravigliosi (sentite che soave tinnio: “La casa, già malandata prima della morte del padre, era divenuta rifugio per le volpi, fra gli alberi, così incolti e trascurati da essere quasi lugubri, si udiva mattina e sera la voce della civetta, e se un tempo creature misteriose, trattenute dalla presenza umana, si nascondevano alla vita, ora spiriti dei boschi e altre inquietanti presenze si manifestavano spavalde…”), ignaro del giapponese ‘medioevale’, leggo lei, in fondo. Già docente di Lingua e letteratura giapponese a Roma, la Orsi, tra l’altro, ha curato il doppio ‘Meridiano’ Mondadori dei Romanzi e racconti di Yukio Mishima, ha tradotto, per Marsilio, Ueda Akinari, Natsume Soseki, Sakaguchi Ango… tutti autori che dormono nella mia libreria. Finita la lettura di questa intervista, vi prego, infilatevi tra le pagine del “Genji”, è una esperienza estetica, e dunque spirituale: “Le tenebre del cuore oscurano la via e forse posso seguirvi solo fino alla barriera… Egli era sopraffatto dall’emozione e i suoi occhi arrossati di pianto apparivano di un indicibile fascino. Esiste un motivo per cui io non vi dimentichi e spero al più presto possiate rendervene conto”. Il “Genji” non è un libro, ma un millennio, un cosmo in cui siete inclusi anche voi, anche se non lo conoscete, perché è la vita stessa, trascritta. (d.b.)
“La storia di Genji” è un lavoro di traduzione ‘omerico’, mi pare. Da un lato, dama Murasaki Shikibu viene quasi tre secoli prima di Dante, dall’altro pare il preludio a Proust. Di certo, la sua sconvolgente modernità è frutto di una lettura da qui, dal XXI secolo, eppure, in quel libro c’è qualcosa di magico. Mi aiuti a capire cosa.
Non credo che la “sconvolgente modernità” sia solo frutto di una nostra lettura. In fondo, il Genji monogatari, scritto nell’anno Mille o giù di lì, ha una conformazione sorprendentemente vicina ad un concetto di “romanzo” in senso moderno: la centralità della dimensione privata, la presenza di personaggi ben definiti che riescono a non cedere allo stereotipo, il ruolo dell’eros, la presenza di una realtà interiore accanto a quella esterna dell’ambiente in cui si svolgono le vicende narrate. Tutto questo inserito in una cornice linguistica di espedienti retorici non troppo lontani da quelli che hanno dato forma alla prosa più celebrata del “nostro” Novecento: periodi lunghissimi, costellati di incisi, nessuna soluzione di continuità fra l’intervento “arbitrario” della voce narrante e le riflessioni dei protagonisti o – al limite – un finale “aperto” che non offre soluzioni ma lascia spazio a tutte le ipotesi. Per contro, resta invece indissolubilmente legato al tempo e all’ambiente in cui Murasaki è vissuta il ricorso continuo a poesie inserite nel testo, a citazioni, quasi sempre implicite, di tutto un patrimonio letterario coevo o antecedente, giapponese ma anche cinese. E ancora, resta il fatto che il mondo descritto e vissuto dall’autrice resta lontanissimo dal nostro, in termini sia di tempo sia di spazio sia, soprattutto, di ambiente sociale. Forse la magia di cui lei parla sta proprio in questo sovrapporsi di piani e realtà che nel momento stesso in cui sembrano disposti a dialogare con il lettore (o se preferisce con il traduttore) si chiudono inesorabilmente.
Maria Teresa Orsi in una fotografia di Chiara Pasqualini
Nell’introduzione al ‘Genji’ lei vede nell’aware uno dei temi dominanti del libro, forse la melodia di quel ‘regno splendente’ nel ‘mondo fluttuante’. Che senso hanno le relazioni, le emozioni, la vita, insomma, nel chiostro romanzesco di dama Murasaki?
Aware è un termine che all’interno del Genji monogatari ha un’ampia gamma di significati che vanno da emozione, turbamento, malinconia, fino ad ammirazione per ciò che è bello e che può commuovere; è stato poi successivamente identificato da commentatori e studiosi (in particolare nel XVIII secolo) come l’ideale estetico che permea la Weltanschauung dell’aristocrazia di Corte durante l’epoca Heian (VIII-XII secolo) – e che pervade tutto il Genji monogatari – caratterizzato dalla partecipazione emotiva nei confronti della bellezza presente nella natura e nella vita umana, sempre accompagnata dalla consapevolezza della sua fragilità. Detto questo, le emozioni, ovviamente quelle relative ai rapporti umani, ma anche intese come risposta allo scorrere del tempo, all’alternarsi delle stagioni, alla bellezza del paesaggio, quello naturale e quello ricostruito nei giardini, alla eleganza, all’attenzione e alla cura riservata alle sfumature dei colori dell’abbigliamento fino all’uso di un particolare tipo di carta per scrivere lettere o poesie, all’apprezzamento della musica, della poesia, della danza e (non ultimo) dell’amore, danno sostanza al concetto di eleganza raffinata (fūryū), concetto essenziale, imprescindibile, che condizionava ogni aspetto dei rapporti sociali dell’aristocrazia del tempo, così come ce la presenta una dama di Corte conosciuta con il nome di Murasaki Shikibu.
Che presa ha il ‘Genji’ nel Giappone odierno, ne dice ancora i caratteri interiori, i moti del cuore?
Niente sembra essere così lontano dal Genji monogatari come il moderno Giappone, industrializzato, tecnologico, esponente di punta (almeno nelle grandi città) del consumismo e dell’efficienza. Eppure a ben riflettere qualcosa rimane: il rispetto per la forma, il gusto della ritualità, l’attenzione rivolta al passare delle stagioni, la necessità di partecipare a cerimonie collettive annuali, o, se proprio vogliamo esagerare, la scarsa incidenza di tabù sessuali. Ma a parte questo, proprio il Genji monogatari, inteso come prodotto culturale, resiste nel campo della letteratura, ma anche e soprattutto in quello dell’immagine, attraverso il cinema, l’anime e i manga. Non solo Tanizaki, ma anche altri scrittori hanno proposto una traduzione in giapponese moderno: fra le più conosciute, al punto da diventare un best seller, quella della scrittrice Setouchi Jakucho, apparsa fra il 1996 e il 1998 ha avuto un enorme successo anche fra i più giovani. Per non parlare della versione in manga, intitolata Non farò sogni effimeri, pubblicata a puntate su una rivista per adolescenti dal 1979 al 1993 e poi raccolta in volumi e apparsa in varie edizioni, tascabili e non, dal 1992 almeno fino al 2008 e forse anche oltre. D’altro canto, una delle caratteristiche del Genji è stata proprio quella di riproporsi, nel corso dei secoli attraverso diversi mezzi di comunicazione, assumendo vari e differenti ruoli, in quelli che potremmo chiamare, citando Jauss, i «processi di esperienza» messi in atto da parte di lettori, commentatori, critici e così via . Allo stesso tempo, nei mille anni intercorsi dal momento in cui il Genji monogatari è stato scritto, al processo di canonizzazione e ri-canonizzazione, verificatosi in diversi momenti e in diversi ambiti culturali, si è accompagnato un altrettanto rilevante percorso di popolarizzazione, che ne ha modificato, in modo spesso radicale, forma e contenuti, ma che a sua volta ha creato modelli e proposto diverse «immagini» del Genji monogatari, intendendo «immagine» nel senso più ampio di tutte le possibili riproposte e sostituzioni del testo, dai dipinti alle riscritture, dai commentare alle allusioni poetiche.
Attorno a ‘Genji’ ruotano, necessariamente, i grandi giapponesi del ‘900: Tanizaki (che lo traduce), Kawabata (che a noi occidentali pare corrispondere alla nostra idea romanzesca di Sol Levante), Mishima (a cui costantemente ritorna, come emblema della tradizione). Eppure, i ‘Grandi Tre’ sono stati svezzati, per così dire, dalla grande letteratura decadente europea, da Poe a Wilde, sono stati segnati da Thomas Mann (penso a Mishima) e da Baudelaire e Dostoevskij. Come si tempera e tempra, in loro, la tradizione estetica giapponese con quella letteraria occidentale?
Verissimo che la maggior parte degli scrittori giapponesi e non solo i nuovi “classici (Mishima, Tanizaki e Kawabata) sono cresciuti metabolizzando la letteratura occidentale; del resto anche altri, in anni più vicini a noi (vedi per tutti Oe Kenzaburo e Murakami Haruki), non sfuggono a questa realtà. Ma allo stesso tempo credo che tutti siano consapevoli e accolgano l’eredità di una propria tradizione ricchissima, che si è formata attraverso secoli di scambi e suggerimenti culturali “esterni” elaborati e sviluppati in autonomia. Una tradizione giapponese intesa nel suo significato più positivo, ossia non come qualcosa di stabilito e immutabile, ma che implica conflitti e cambiamenti, resta saldamente nella coscienza culturale e convive con un mondo che più che esterno o occidentale definirei globalizzato.
Su Mishima lei ha curato il doppio ‘Meridiano’ Mondadori. È corretto intenderne l’opera come intrisa di un profondo anelito alla morte, come se la morte fosse la cristallizzazione di una bellezza irraggiungibile? In ogni caso, qual è l’opera di Mishima a suo avviso più rappresentativa?
Pur riconoscendo Mishima come una delle voci più originali e provocatorie del secolo scorso, ho sempre provato una certa diffidenza, non tanto nei suoi confronti quanto nell’immagine che attorno a lui è stata costruita e diffusa, forse con la stessa narcisistica complicità dello scrittore, in Giappone ma soprattutto all’estero. Certamente alcune sue opere ruotano attorno a una esasperata rappresentazione del binomio morte/bellezza, eros /thanatos, ma spesso questo elemento ha messo in ombra altre valenze riconoscibili nella produzione dello scrittore: l’ispirazione derivata dalla letteratura classica e dal mondo cortese da cui ha preso vita; la creazione di personaggi femminili accuratamente cesellati nelle loro complesse sfumature psicologiche, i procedimenti “teatrali” di alcuni suoi racconti, che gli derivavano dalla consuetudine con il teatro no e kabuki, la capacità di elaborare con altrettanta sicurezza un quadro impietoso della classe politica contemporanea e la storia di un amore adolescenziale nato su un’isola di pescatori. Di Mishima apprezzo alcuni racconti brevi, non so quanto “rappresentativi” in senso assoluto: La morte di Radiguet e L’amore dell’abate di Shiga (inclusi nella raccolta dei Meridiani), e poi alcune sue opere teatrali: Madame De Sade, per esempio. Fra i romanzi sicuramente sceglierei il primo volume della quadrilogia Il mare della fertilità: Neve di primavera che dichiaratamente è nato come una storia d’amore sul modello della letteratura classica.
Al di là dei ‘Grandi Tre’, qual è l’autore giapponese della contemporaneità che più la convince? Ricordo che mi fece una certa impressione (positiva, intendo) la lettura di Sakaguchi Ango, ad esempio.
Ho tradotto quasi sempre autori che mi convincevano e che ho scelto proprio per simpatia. Non so poi per quale strana congiunzione astrale è risultato che siano per lo più personaggi solitari e introversi come Ueda Akinari, oppure decadenti, ribelli e trasgressivi come il gruppo emerso nell’immediato dopoguerra (Dazai Osamu, Sakaguchi Ango, Ishikawa Jun) o intellettuali tormentati come Natsume Soseki. Ishikawa Jun resta tra i miei preferiti, forse perché nonostante tutto è uno scrittore di nicchia anche in Giappone e i suoi romanzi storici, spesso percorsi da un sottofondo anarchico e da una irriducibile sfiducia nel potere costituito, mescolano storia e leggenda, elementi tratti dal folclore e dal fantastico, demoni e divinità, artisti e guerrieri, saggi buddhisti e forze del male.
So che sta lavorando a una antologia della poesia giapponese: me ne può dire qualcosa? Di fatto, a parte rare occasioni si sa poco in Italia della poesia nipponica: esiste? Con quale intensità lirica?
Certo che esiste e conta anche molti esponenti di primo piano, che però tranne poche eccezioni sono sconosciuti in Italia. L’idea era proprio quella di affiancare alla poesia “classica” (waka e haiku) che invece ha anche da noi un gran numero di conoscitori, quella degli ultimi cinquanta/sessanta anni e di includere esclusivamente poesie in verso libero (shi). Il progetto è stato portato avanti a due voci, in collaborazione con Alessandro Clementi degli Albizzi, attualmente residente a Tokyo. L’antologia dovrebbe uscire in primavera con Einaudi e per ciò che riguarda il criterio di scelta degli autori, abbiamo optato per una scelta “cronologica”, partendo da poeti nati nel corso degli anni Trenta, per giungere fino alla più giovane, Fuzumi Yuki, nata nel 1991, allo scopo di offrire un quadro sufficientemente ampio della produzione che, sviluppatasi dopo l’immediato dopoguerra, arrivasse approssimativamente ai nostri giorni. Sulla “intensità lirica” lascio a lei il compito di giudicare, non appena l’Antologia sarà disponibile nelle librerie.
*In copertina: Izumi Shikibu, poetessa vissuta intorno all’anno Mille, come Murasaki Shikibu, in un disegno del 1765
L'articolo Dialogo con Maria Teresa Orsi: ha tradotto il libro più bello del mondo, “La storia di Genji” proviene da Pangea.
from pangea.news https://ift.tt/31XGBUr
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Mega Man X Dive Smartphone Game Prepares for Closed Beta
The characters of the Mega Man X series are coming to smartphones in Mega Man X Dive, which aims to offer up classic style running, gunning, and platforming on iOS and Android devices. Sign-ups are now available (until August 25) for a closed beta test that's set to kick off globally on September 6, with a limited number of players able to check out the first few chapters of the story, co-op action, and more.
In the meantime, Capcom Taiwan has been uploading a bunch of footage from the game, so have a look below for a preview of co-op, PvP, the Chip System, and the Reina Ueda-voiced RiCO.
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Via Siliconera
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Joseph Luster is the Games and Web editor at Otaku USA Magazine. You can read his webcomic, BIG DUMB FIGHTING IDIOTS at subhumanzoids. Follow him on Twitter @Moldilox.
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Visual, staff, main cast and preview video for TV Anime "Grimms Notes The Animation" revealed!
<Staff> Studio: Brain's Base Director: Shizutaka Sugahara (D-Frag!) Series composition: Hiroshi Yamaguchi (Gingitsune) Character design: Kentarou Matsumoto (D-Frag!)
<Main cast> Shane (CV Miyu Kubota) Reina (CV Reina Ueda) Ekusu (CV Ryota Ohsaka) Tao (CV Takuya Eguchi)
Grimms Notes is an online free-to-play role-playing game created by Square Enix. It was released in Japan on January 21, 2016 for Android and iOS devices. (via Wiki)
src: https://natalie.mu/comic/news/294305
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