#Kobayashi Yoshio

[mimidrulz]

nom nom nom

The inspo ✨️

[chuuyita0608]

Notas de Animes favoritos

#10.1. Noragami💕

Todos nos hemos sentido perdidos alguna vez en la vida, y eso está bien, a veces solo necesitamos salirnos del camino, conocer gente nueva, cometer errores, llorar por nuestras heridas y al final, encontrarnos de verdad❤️

#10.2. Trickster: Edogawa Rampo Shōnen Tantedai Yori💕

"Si quieres podríamos presionar borrar y hacer cómo que nada de esto ha sucedido, pero, ¿podrías levantar la cabeza con orgullo a eso?"❤️

No hay desempate, solo aprecio ambas series con lo sentimentales que son🥰

[jaykinarts]

More old artt but bringing back my bois because I miss them

[ghostscrown]

TRICKSTER FANS THIS IS OUR TIME TO SHINE, SUBMIT KOBAYASHI OMG

This is a competition for all of your favourite niche characters! Those who don’t normally make it onto polls, or get beaten early by more popular characters.

Rules and submission form to follow.

[eclecticpjf]

Now watching:

[byneddiedingo]

Godzilla vs. King Ghidorah (Kazuki Omori, 1991)

Cast: Kosuke Toyohara, Anna Nakagawa, Megumi Odaka, Katsuhiko Sasaki, Akiji Kobayashi, Tokuma Nishioka, Yoshio Tsuchiya, Chuck Wilson, Richard Berger, Robert Scott Field. Screenplay: Kazuki Omori. Cinematography: Yoshinori Sekiguchi. Designer: Shinji Nishikawa. Film editing: Michiko Ikeda. Music: Akira Ifukube. 

[mew-cake]

one of my favorite terrible anime

[everyfilmisaw]

切腹 (Harakiri) by Masaki Kobayashi, 1962

[matyas-ss]

Kwaidan (1964)

Directed by Masaki Kobayashi

Cinematography by Yoshio Miyajima

[demifiendrsa]

Weekly Shonen Jump 55th anniversary appendix in Weekly Shonen Jump 2023 issue #33

1968 Weekly Shonen Jump Issue #1 Otoko Ippiki Gaki-Daisho by Hiroshi Motomiya 1969 Dr. Toilet by Kazuyoshi Torii 1970 The Gutsy Frog by Yasumi Yoshizawa 1971 Tezuka Manga Award 1st Edition Samurai Giants by Ikki Kajiwara & Ko Inoue Boy of the Wilderness Isamu by Soji Yamakawa & Noboru Kawasaki 1972 Astro Kyudan by Shiro Tōzaki & Norihiro Nakajima 1973 Play Ball by Akio Chiba Hochonin Ajihei by Jiro Gyu & Jo Big 1974 Akatsuka Manga Award 1st Edition 1975 The Circuit Wolf by Satoshi Ikezawa Doberman Deka by Buronson & Shinji Hiramatsu 1976 Toudai Icchokusen by Yoshinori Kobayashi Kochikame by Osamu Akimoto 1977 Ring ni Kakero by Masami Kurumada Susume!! Pirates by Hisashi Eguchi 1978 Cobra by Buichi Terasawa 1979 Kinnikuman by Yudetamago 1980 Dr. Slump by Akira Toriyama 1981 Captain Tsubasa by Yoichi Takahashi Cat's Eye by Tsukasa Hojo Stop!! Hibari-kun! by Hisashi Eguchi 1982 High School! Kimengumi by Motoei Shinzawa 1983 Fist of the North Star by Buronson & Tetsuo Hara Ginga -Nagareboshi Gin- by Yoshihiro Takahashi 1984 DRAGON BALL by Akira Toriyama 1985 City Hunter by Tsukasa Hojo Miraculous Tonchinkan by Koichi Endo Sakigake!! Otokojuku by Akira Miyashita 1986 Saint Seiya by Masami Kurumada 1987 JoJo's Bizarre Adventure by Hirohiko Araki The Burning Wild Man by Tadashi Sato 1988 Bastard!! by Kazushi Hagiwara Jungle King Tar-chan by Masaya Tokuhiro Rokudenashi BLUES by Masanori Morita Magical Taluluto by Tatsuya Egawa 1989 Weekly Shonen Jump reaches 5.000.000 copies in circulation Dragon Quest: The Great Adventure of Dai by Riku Sanjo & Koji Inada Video Girl Ai by Masakazu Katsura 1990 SLAM DUNK by Takehiko Inoue Chinyuki by Man Gataro Yu Yu Hakusho by Yoshihiro Togashi 1992 Hareluya II Boy by Haruto Umezawa 1993 Tottemo! Luckyman by Hiroshi Gamo Hell Teacher Nube by Makura Sho & Takeshi Okano 1994 Midori no Makibao by Tsunomaru Rurouni Kenshin by Nobuhiro Watsuki 1995 Weekly Shonen Jump reaches 6.530.000 copies in circulation Sexy Commando Gaiden: Sugoi yo!! Masaru-san by Kyosuke Usuta 1996 Hoshin Engi by Ryu Fujisaki Yu-Gi-Oh! by Kazuki Takahashi Kochikame 20th Anniversary & Chapter 1000 1997 I's by Masakazu Katsura Seikimatsu Leader den Takeshi! by Mitsutoshi Shimabukuro ONE PIECE by Eiichiro Oda 1998 Rookies by Masanori Morita Whistle! by Daisuke Higuchi HUNTERXHUNTER by Yoshihiro Togashi 1999 Hikaru no Go by Yumi Hotta & Takeshi Obata The Prince of Tennis by Takeshi Konomi NARUTO by Masashi Kishimoto 2000 JoJo's Bizarre Adventure: Stone Ocean by Hirohiko Araki BLACK CAT by Kentaro Yabuki 2001 Bobobobo Bobobo by Yoshio Sawai BLEACH by Tite Kubo 2002 Strawberry 100% by Mizuki Kawashita Eyeshield 21 by Riichiro Inagaki & Yusuke Murata 2004 Death Note by Tsugumi Ohba & Takeshi Obata Gintama by Hideaki Sorachi Katekyo Hitman Reborn! by Akira Amano D.Gray-man by Katsura Hoshino Muhyo & Roji's Bureau of Supernatural Investigation by Yoshiyuki Nishi 2005 Neuro: Supernatural Detective by Yusei Matsui 2006 To Love Ru by Saki Hasemi & Kentaro Yabuki 2007 Sket Dance by Kenta Shinohara 2008 Nura: Rise of the Yokai Clan by Hiroshi Shiibashi Toriko by Mitsutoshi Shimabukuro Bakuman. by Tsugumi Ohba & Takeshi Obata 2009 Kuroko's Basketball by Tadatoshi Fujimaki Beelzebub by Ryuhei Tamura Medaka Box by Nisio Isin & Akira Akatsuki 2010 ONE PIECE New World Begins 2011 Nisekoi by Naoshi Komi 2012 Haikyu!! by Haruichi Furudate The Disastrous Life of Saiki K. by Shuichi Aso Assassination Classroom by Yusei Matsui Food Wars: Shokugeki no Soma by Yuto Tsukuda & Shun Saeki 2013 World Trigger by Daisuke Ashihara Isobe Isobee Monogatari by Ryo Nakama 2014 Hinomaru Zumo by Kawada My Hero Academia by Kohei Horikoshi 2015 Black Clover by Yuki Tabata 2016 Yuuna and the Haunted Hot Springs by Tadahiro Miura Kimetsu no Yaiba by Koyoharu Gotouge BORUTO by Mikio Ikemoto & Ukyo Kodachi The Promised Neverland by Kaiu Shirai & Posuka Demizu Kochikame 40th Anniversary and Serialization End 2017 We Never Learn by Taishi Tsutsui Dr. STONE by Riichiro Inagaki & Boichi 2018 Jujutsu Kaisen by Akutami Gege

2019 Chainsaw Man by Tatsuki Fujimoto Mission: Yozakura Family by Hitsuji Gondaira 2020 Undead Unluck by Yoshifumi Tozuka MASHLE by Hajime Komoto Ayakashi Triangle by Kentaro Yabuki Me & Roboco by Shuhei Miyazaki BURN THE WITCH by Tite Kubo SAKAMOTO DAYS by Yuto Suzuki 2021 The Elusive Samurai by Yusei Matsui WITCH WATCH by Kenta Shinohara Blue Box by Kouji Miura 2022 Akane Banashi by Yuki Suenaga & Takamasa Moue

[esonetwork]

Destroy All Monsters| Episode 349

New Post has been published on https://esonetwork.com/destroy-all-monsters-episode-349/

Destroy All Monsters| Episode 349

MONSTER ATTACK! returns following a lengthy break with a look at the 1968 Kaiju Classic “Destroy All Monsters,” Starring Akira Kubo, Yukko Kobayashi, Kyoko Ai, Jun Tazaki, Yoshio Tsuchiya and directed by Ishiro Honda. ark Maddox joins Jim for a rousing discussion on this monster fest as well as a look at future shows. Join us for this special episode of MONSTER AATTACK!, The Podcast Dedicated To Old Monster Movies.

[straycatboogie]

2023/02/13 English

BGM: Eminem - Lose Yourself

Today was a day off. This morning I went to the hospital to see my doctor. I always talked with him once a month as usual. I got some medicines and went to Aeon to stay for a while. With sweet soul music by Mrs. Lauryn Hill, I read Yoshio Kataoka's "Japanese and English" and got impressed by his crisp discussions. When we start expressing something in English, we use "I" and "YOU" to converse. In short, we make our subjects (this person and another) clear and build communication by saying things like "I love you". It's one of the huge differences from the Japanese because in Japanese we can erase our subject that shows who is talking. After erasing our subjects, there remains what we want to say, what we are trying to say. Of course, we can't judge which should be better. But it is in the contrast, also the core of learning English therefore it is interesting.

Clarifying our subjects means expressing our "individual" or "privacy" clearly. "Individual" is a counter concept to "public". Suddenly (probably it was 20 years ago today), two Japanese intellectuals Shinji Miyadai and Yoshinori Kobayashi, discussed them. What books would tell me that? I want to learn about the "individual" seriously and drastically by this chance. And also, I thought that clarifying "individual" like that also can mean becoming "an adult" who can stay independent and also connect themselves to the world. The philosophy about being "an adult"... I can't imagine. Thinking that I also thought if I am now an adult. I guess I am still a child. I am a person who watches various "adult" content on fishy sites with eating snacks every night... why that kind of person can be "an adult"?

This afternoon I went to a temple near my group home to join a meeting. We enjoyed good talking about philosophy. The topic became what is "being orthodox". Me, when I was a high school student, I was into Haruki Murakami alone. However, I couldn't enjoy talking with any other classmates so I was clearly an outsider there. The comment by a member reminded me of the concept of "adult children" which once became popular to enlighten the suffering of the "lack of esteem needs". I was the person who wandered to get esteem from others once. The talk got excited, and another member said that "talking honestly leads to others' honesty". It was impressive to me, and I also talked about my honest opinions with them. Now I can enjoy various kinds of "orthodox" by belonging to many groups (this meeting, the "danshu" meeting, Discord, etc) to escape from the very Japanese concept of "peer pressure". That is one of my tactics for living this life. If I felt "peer pressure" from a group, I would go to another one to enjoy a different atmosphere and point of view to set myself free.

This evening I enjoyed George Benson and read Kumiko Torikai's "English skill for talking". As I wrote about her yesterday, I listened to her opinions on a podcast program so I could enjoy this book too. How can we enjoy a vivid conversation that is made by ad-lib or improvisation, therefore can be an unpredictable thing? (and we have to understand that is done in a foreign language for us!). This book contains many clues for that. I got that she tries to explain how important we start talking about something to show our will to others. Not staying in shyness and still, even though that attitude is really Japanese. Me, I am never talkative. I adore Sanma Akashiya and Tamori, the two great talk show hosts in Japan, but actually, I speak "ultra" poor English. That's real. But if I didn't provide or afford my truth in that kind of conversation, nothing would start. I believe that "make mistakes with pride" is a great attitude. Today I also experienced shameful events, but it's Okay.

[ash-ooz]

Kobayashi, again-

(Scene of the final episode)

[byneddiedingo]

Tatsuya Nakadai and So Yamamura in The Human Condition I: No Greater Love (Masaki Kobayashi. 1959)

Cast: Tatsuya Nakadai, Michiyo Aratama, Chikage Awashima, Ineko Arima, Keiji Sada, So Yamamura, Akira Ishihama. Screenplay: Zenzo Matsuyama, Masaki Kobayashi, based on a novel by Junpei Gomikawa. Cinematography: Yoshio Miyajima. Art direction: Kazue Hirataka. Film editing: Keiichi Uraoka. Music: Chuji Kinoshita.

The first three and a half hours of Masaki Kobayashi's nine-hour, 47-minute epic The Human Condition are themselves divided into two parts, though the break seems more a courtesy to the Sitzfleisch of the viewer than to any inherent division in the story. I have a friend who says he's never read a bad novel over 600 pages long, because once he's done with it he has to justify the time spent reading. I think something like that may apply to The Human Condition once I've finished it. Which is not to say that there isn't a greatness that adheres to Kobayashi's unsparing, audacious film, even though at times I found myself feeling that The Human Condition I: No Greater Love derived as much from the more earnest black-and-white Hollywood films of the 1940s, the ones that starred Tyrone Power or Gregory Peck, than from the high artistry of Ozu or Mizoguchi. It is often unabashed melodrama: We worry that Kobayashi hasn't burdened his protagonist, Kaji, with more than is really credible. An idealist, he not only finds himself supervising slave Chinese labor in Manchuria during World War II, he also has to manage a brothel staffed with Chinese "comfort women." And the more he does to better the lot of the workers, the more he elicits the ire of the kenpeitai, the Japanese military police. On the other hand, if he compromises with the authorities, the Chinese prisoners and prostitutes make his life miserable. And not to mention that, his wife is incapable of comprehending the stresses that make him so distant at home. But Tatsuya Nakadai is such an accomplished actor that he gives Kaji credibility, even when we're beginning to think he's too virtuous, too idealistic, for his own good.

[ash-edits]

Trickster AMV

Anime : Trickster : Edogawa Ranpo "Shounen Tanteidan" Yori

Music : Fall Out Boy - The Phœnix