#Kowai Hanashi

[faggotfungus]

Sensei, Kowai Hanashi Shimasenka?

[horrorwomen]

Gakkou de Atta Kowai Hanashi S (PlayStation, 1996).

[negamekos]

Various games Himaruya has worked on: a small compilation

(Warning: 3/4 of them are horror games)

With my newest hyperfixation now being visual novels, I've recently turned my attention to some of the visual novel-style games Hima has made in the past. There's a few super short personal project ones like Noto-sama and Cleaning Prussia which he made in pre-anime adaptation times, but I just want to share the more notable/interesting ones I know about.

Gakuen Hetalia (2011-2012)

You've probably heard of this one. Given that it was released in the early seasons of the anime adaptation, it has that art style, for better or for worse. I honestly thought the existence of this game was a joke when I first heard of it but no it's a real game, developed by the one and only Otomate and released for the DS and PSP. It's an otome game with Seychelles as the protagonist, and is fully voiced. From what I've heard about this game, there's not much romance and has mostly platonic interactions. Also Gakuen AU.

Since this is pretty much a game adaptation of the anime, this is probably the one that Hima least had a hand in making, as compared to the ones I'm about to talk about. Still a neat game in its own right.

The Hetalian Horror Show (2015)

Another one you might have heard of if you browse Hetarchive, which has a partial translation for this game. This one's a fairly short free game set in the Gakuen AU (again) with Bulgaria as the protagonist. It's basically about a couple of the nations gathering to tell 'scary' stories (whether they're actually scary varies). Features highlights such as:

Robul moment

America casually revealing Classified Government Secrets

Bear Grylls

Iggy bullying

Low-key nsfw illustration of Bul butt-naked and tied up

And a twist ending you will not believe! (not clickbait)

Like the other free games he's made, Hetahorror is completely made by Hima (even the background images were taken by him). You can download the game here from his blog. And Hetarchive's partial translation is here.

Now here are the non-Hetalia ones (which I think are a little more interesting)

Apathy Midnight Collection: Volume 1 (2007)

See those characters in the top right? That's Hima's art. Yeah. This game is a horror anthology game released all the way back in 2007, with three different stories and each having different writers and artists. The first two stories are the longest (apparently they have over a hundred different endings combined), and if you look around I think you can find some posts about them, they're quite interesting. The one Hima did the illustrations (and direction) for is the final story, Hashira no Kizu (or Scratches on the Pillar), which is the one that I heard leans the hardest into the horror atmosphere, and is quite different overall from the other two stories.

If you're curious about this game, you can purchase it here on BOOTH, and you can find an English fan translation here.

By the way, this game is a retelling of sorts of a much older game (from the 90s!) called Gakkou de Atta Kowai Hanashi (Scary Stories at School). Which leads me to this game...

Inaka no Gakkou de Atta Kowai Hanashi (2014-2016)

Edit: I have since played this game and boy what a wild ride it was! Full overview here.

This is a full-length visual novel made by Hima's doujin group Shimaoka Kenkou Land, and it's a homage to the aforementioned Gakkou de Atta Kowai Hanashi. It's pretty similar in setting to Hetahorror (in fact that game was probably inspired by that too), with students coming together to share their horror stories. It's very atmospheric, with a lot of ambient noises and background images which really drive home the 'inaka/countryside' part of the story. Hetahorror had shades of this too, so consider this a 'deluxe' version lol. Except unlike the Hetalia one I feel this game is actually pretty scary ngl...there's a lot of comedic moments, but also just as many genuinely gruesome scenes (I'm not kidding, some of the images are quite violent)

I only played the demo (which can be downloaded from the same page as the Hetalia game), and man the stories really range from 'I saw this lady walking her dog and holding a cute plush toy from afar so I asked if I could take a picture of it, but it turned out it wasn't a plush toy, it was a bag for dog droppings' to 'my friend and his entire family were mauled to death and it wasn't an animal that did it'.

The full game apparently has voice acting too, but this was a super-duper limited release (like it was sold in Animate stores for less than a year back in 2016) and I really liked the demo so I'm just considering getting it second-hand at this point. It's so obscure I can't find much info on the game in Japanese, much less English...

Just to show how atmospheric it felt, I have here a recording of part of the game which I can't stop replaying (sorry for no audio)

Anyway looking at the games he made really makes me wish he had the time to make one nowadays....he could probably make an amazing official Hetaoni horror game and I would pay real-life money to play it. This has been a PSA.

[koppashiren]

So I was playing this Japanese exclusive Super Famicom (Super Nintendo) game called Gakkou de atta Kowai Hanashi (学校であった怖い話) which is both a visual novel and a survival horror game that was developed by Pandora Box Creative Office and published by Banpresto, the game was released on August 4, 1995. So I had this idea were Ginny, Bitsy, Buddy, and Sparks from SuperKitties and Koppa from Shiren the Wanderer also Serval Chan from Kemono Friends, Nekomata  Okayu from Hololive, and Daijin from Suzume meeting up outside of a gate, mostly because I think it would be really interesting seeing Ginny, Bitsy, Buddy, Sparks, and Koppa appearing in Gakkou de Atta Kowai Hanashi.

[papillonprisme]

Now that I think about it, does a route where Hino lives and is NOT the bad guy exist?

To be fair, the only 2 routes I know of where he’s actually good is from Kiwame where he faced off against Arai and the one where he acted as a decoy to draw the stalker’s attention, in which he ended up dying in both.

It’s like… whenever Hino appears, someone (most of the time Sakagami) dies, or he himself dies 🥲🥲

I guess School Trip!Hino from I can’t remember the name of that game..! is harmless enough (as in not up to anything that involves other people being dead) and he lives until the end..?

[genkinahito]

Gekijouban Hontou ni atta kowai hanashi henna madori, Shinjuku Inco, Cardcaptor Sakura: The Movie, CLOVER, Japanese Film Trailers

Welcome to the second trailer post of the week. You can find the first trailer post here. I posted about the Tokyo Student Film Festival and the indie films at the Kanazawa Film Festival. I also posted a review of The Seppuku Pistols, a music documentary, and an interview with its director, Yo Umezaki, because the band are on tour in the UK. In terms of films watched, I tried out Pearl (2023)…

[dailydefunctmangamagazine]

Honto ni Atta Kowai Hanashi (ほんとにあった怖い話) / Asahi Sonorama (朝日ソノラマ) / Jul 1992 issue

[videostarblogs]

4. hime gyaru

hime gyaru, also know as princess gal, is a subculture of the broader gyaru fashion movement from Japan. it blends hyper femininity, elegance, and opulence, drawing inspiration from princesses and rococo fashion. here is a detailed breakdown of hime gyaru.

origins and development

hime gyaru emerged as a subculture of the gyaru fashion movement in the early 2000s. gyaru, which means gal is Japanese, is a youth fashion subculture that emphasizes glamour, beauty, and rebellion against traditiona; Japanese beauty standards.influences by european rococo and Marie Antoinette aesthetics, hime gyaru combines elements of japanese kawaii culture with an extravagant and princess like style. brands like Jesus diamante and Liz Lisa were instrumental in popularizing the look.

key motifs

elegant and opulent clothing: hime gyaru putifts often feature dresses and skirts with luxurious fabrics, laces, ribbons, and frills. silhouettes are typically aline or fit and flare to enhance a feminine, princess like appearance.

pastel and soft colors: the color palette includes pastel pinks, white, creams, and other soft, delicate hues that add to the fairy tale charm of the style.

statement hair and accessories: big, voluminous hair is a signature of hiem gyaru. hairsty;es often includes large curls, bouffants, and elaborate updos, sometimes adorn with tiaras, bows, and floral headpieces.

luxurious details: pearls, rhinestones, and other sparkling embellishments are common in hime gyaru fashion, both in clothing and accessories. shoes after featured high heels with bows or other decorative elements

doll like makeup: makeup is characterized by flawless, porcelain skin, dramatic false eyelashes, and gradient or glossy lips, the overall look aims to create a doll like, elegant appearances.

music

hime gyaru fashion doesn't have a very specfic music genre associated with it, but j-pop artis and idols who embrace a cute elegant style, such as kyary pamyu pamyu and AI otsuka, often resonate with the aesthetic.

here are a few other music artists I suggest personally!!!!!!

Kyary Pamyu Pamyu

Momoiro Clover Z

Faky

Babymetal

Guso Drop

Sakura Fujiwara

Necronomidol

Mary’s Blood

Lovebites

Broken By The Scream

movies

films and media that feature princesses or luxurious, elegant settings align well with hime gyaru. movies like Marie Antoinette directed by Sofia Coppola and Disney princess films provide visual inspiration for the opulent and regal aspects of the style.

here are some other movies to watch as well!!!!!!!!!!!

Kamikaze Girls (2004)

Paradise Kiss (2011)

Boys Over Flowers (2005)

Hanayome wa Yakudoshi (2013)

Sailor Fuku to Shichinin no Kobanashi (2012)

Honto ni Atta Kowai Hanashi (2007)

Himitsu no Hanazono (2012)

Koibito ni Hanataba wo (2011)

Love Exposure (2008

books and other medias

manga and anime: shojo manja and anime that feature beautiful, elegant characters and romantic storylines often appeal to hime gyaru athusiasts. titles like nana ny AI yazawa and cardcaptor Sakura by clamp showcase characters with a sense of style that resonates with hime gyaru

magazines: japanese fashion magazines like ageha and egg often feature hime gyaru style, providing readers with the latest trends, makeup tutorials and hairstyle ideas.

social media: platforms like Instagram, youtube, and TikTok are vital for hime gyaru fashionistas to share their outfits, makeup routines, and diy projects. influencers and fashion icons within the community play a significant role in popularizing and evolving the style.

moodboard

outfit inspo

overall, hime gyaru is a glamorous and elegant fashion subculture that celebrates femininity, opulence and a fairytale princess aesthetic. it combines luxurious clothing, dramatic hairstyles, and doll like makeup to create a look that is both extravagant and charming.

make sure to like, reblog if you'd want, and follow my blog for more fashion breakdowns and inspo

videostar signing off.................

[keikotwins]

Mokumokuren

Birds of different feathers flock together

Noticed online by head-hunting publishers, Mokumokuren hasn’t waited very long before polarising the attention of Japanese readers. With strange The Summer Hikaru Died, horrific bromance dealing with body dispossession, the mangaka signs a series of sophisticated oddity, that sets itself apart from the predictability of current fantasy productions.

Interview by Fausto Fasulo. Original translation: Aurélien Estager. English translation: “Keikotwins”. Bibliography: Marius Chapuis. Thanks: Camille Hospital & Clarisse Langlet (Pika), Yuta Nabatame, Mayuko Yamamoto & Mana Kukimoto (Kadokawa), Chiho Muramatsu (Tohan)

(T/N: Interview given to ATOM in winter 2023; 2 volumes were out in French.)

-

In an interview given to the CREA website in November 2022, you confided inventing stories since very young. Did your first fictions resemble the ones you draw nowadays?

It’s true that there are quite a lot of common points between the stories I imagined when I was a child and the ones I tell nowadays in my mangas. Especially a specific motif, that has been haunting me since the time when I wasn’t really aware of the world surrounding me: the presence amongst us of “non-human” beings, that nonetheless have a perfectly normal, ordinary appearance…

And how was this “obsession” born?

Precisely identifying the origins is complicated, my memories are too blurry, I think… What I can tell you is that I’ve always been fascinated by “creatures”. For example, I remember being very impressed by Peter Jackson’s bestiary in the Lord of the Rings trilogy. By the way, still in a fantasy register, I am also a big fan of Harry Potter adaptations… (She thinks.) And I’ve always liked yōkai stories, you know. I think that what I like in all these mythologies is the idea of species classification: each has its own characteristics – physical, biological – its own way to apprehend its environment.

In Japan, yōkai are integral part of regional folklore. Did the place you grew up in have some specific beliefs?

I was born and grew up in Tokyo, and, as you must know, yōkai are mostly associated with rural areas. I was thus never really bathed in this type of regional fantasy folklore. There are all kinds of yōkai and we can perhaps see in some more contemporary urban legends the echo of certain past beliefs? (She thinks.) I am a bit frustrated, because I believe that I could remember a legend that would have impacted me, but nothing comes to mind immediately, sorry!

You have already said so in an interview and it’s quite obvious when reading your work: you are a big amateur of horrific fiction. What has been your first contact with the genre, all medium included?

It was television that introduced me to horror: special shows, television films, series, I was watching these programs with a mix of fear and enthusiasm, a confused sensation that particularly delighted me! (She thinks.) And amongst all the aired shows, I will remember two titles: Hontō ni atta kowai hanashi and Kaidan shin mimibukuro*.

* Inspired by the homonymous manga magazine published by Asahi Shimbun, Hontō ni atta kowai hanashi (lit. “Scary stories that really happened”) is a series produced by Fuji Television that has been airing more or less weekly since 2004. Derived from literary material (a series of compilations of hundreds of short stories by Hirokatsu Kihara and Ichirō Nakayama, published from 1990 to 2005) Kaidan shin mimibukuro is a series made of several short movies depicting ghost stories based on real testimony.

Did you read horror mangas when you were young?

Let’s say that I was more interested in live-action productions. Nowadays, I obviously appreciate some horror manga authors, without pretending to be any expert in the subject. For example, I like Junji Itō’s work, but I am far from knowing it for a long time… (She thinks.) I could also talk about Shigeru Mizuki, who I also appreciate a lot.

The mechanics of fear aren’t the same in occidental and oriental fictions. You like American horrific productions – like Ari Aster movies – as much as ones from Japanese origin – you notably quote Ichi Sawamura novels and Kōji Shiraishi feature films. Can we say that you are tying these two perspectives with The Summer Hikaru Died?

My relationship with horror is more imbued with oriental sensitivity. But what I find remarkable in occidental horrific productions is work on image. In The Shining like in Ari Aster movies, for example, there is real research made on frame composition and choice of colours. I also try to follow this aesthetic reflection in my work as a mangaka.

In Ari Aster’s work, beyond the very precise staging, there is this permanent desire of ambiguity. Do you try to dig this same equivocal trench?

Absolutely. I try to tell complex feelings as well in The Summer Hikaru Died, like fear dyed with nostalgia or attachment, repulsion mixed with fascination, with attraction…

How do you “sort out” the shots that inspire you in cinema?

I don’t draw while freeze-framing during specific scenes. I would always rather watch a movie as a “focussed” spectator. However, I pay a lot of attention to the way the director composes their frame. I sometimes take some notes, but I most often simply keep it in a corner of my mind.

Could you tell us when and how the story and characters of The Summer Hikaru Died appeared to you? Have they matured a long time within you?

I’ve started thinking about this story when I was preparing university entrance exams. I was aspiring to join an art uni, and I was drawing every day. I can’t really say I made my characters “mature”: back then, I wasn’t thinking that the drawings I was making would one day end up being published, way less being serialised! I innocently created characters close to me, without guessing that one day they’d become manga protagonists.

One of your foundational reads was Sui Ishida’s Tokyo Ghoul manga. Can you tell us how you discovered it and what effect it had on you?

I don’t really remember how I discovered this series, but what I know is that I became crazy about it at first read. What I liked – and what I still like – is this idea of telling a story that confronts humans to these “different” beings while following the point of view of a character that represents alterity. Beyond this strictly dramatic aspect, Sui Ishida’s storyboarding and character design have had a strong impact on my work. However, I want to add that Tokyo Ghoul isn’t the only title I took inspiration from, I obviously have other references…

Do you do a lot of researches to define the design of your characters? You seem to draw them easily, in a very natural gesture…

I haven’t spent a long time defining my protagonists. First, there are few in the manga, then, they evolve in a rather realistic universe. My goal was rather simple: they had to look believable in the reader’s eyes. I wanted people to be able to imagine crossing them in the street, you see?

It’s after seeing illustrations posted on social media that depicted the future characters of The Summer Hikaru Died that the publishing department of the Young Ace Up magazine noticed you. How have you reacted when approached?

I was very surprised, because I absolutely wasn’t trying to become a mangaka. I would have never projected in such a future, you see. And, very honestly, if they hadn’t suggested working on this series, I don’t think I would ever had pushed the doors of a publishing house… I am then very thankful towards the persons who have allowed me to enter.

And what would you have done if you hadn’t been solicited?

Back when I’ve been contacted, I was considering – still vaguely – working in the video games field. But I wasn’t really proactive, I wasn’t contacting anyone, wasn’t sending resumes…

Did you want to do chara-design?

Why not, yes. What I like in video games is the range of possibilities they offer. You can then create an entire universe and this is rather exhilarating.

So you’re a gamer…

I have dropped my controller since I’ve started drawing manga. But yes, when I had more time, I played rather regularly, especially Nintendo productions…

Even if you play rather little nowadays, do video games influence your work?

I can’t say whether it really is an influence, but the Undertale game has left a big mark on me. I felt its creator’s strong will to surprise players, to make them feel unprecedented sensations…

Horror manga only relies on art and storyboard to provoke fear, whereas cinema and video games can also rely on sound. Is it from this observation that you have decided to particularly work on your sound effects?

Absolutely. I have thought a lot about the way to introduce and stage sound in The Summer Hikaru Died. The sound effects that you can find in the manga are indeed the result of this approach.

In an interview given to the Realsound website, you mention the use of the シャワシャワ (“shawa shawa”) sound effect. Knowing that occidental readers are way less sensitive to these graphicoustic details, can you explain its meaning?

“Shawa shawa” expresses the song cicadas make in western Japan. It’s a very special noise because in the different regions live different species that make specific sounds. So when I choose this specific sound effect, I convey a geographic and temporal piece of information to the reader, who can then guess the location and season the action takes place in. (She thinks.) When using this sound – that we especially find in the beginning of the manga – my goal was to play with silence, particularly when the song stops. I thus had the idea of representing this sound effect with an easily readable font, so the reader would make no effort to decipher it, as if the sound was asserting itself naturally, you see? I hoped to suggest a saturation they couldn’t avoid and that, when it’d stop, would immerse them in absolute silence.

The Summer Hikaru Died transcribes very well this particular atmosphere of Japanese summers…

Yes, I really wanted to signify this languor in my manga. And the cicadas’ song we discussed earlier contributes to creating this atmosphere: it’s an overwhelming sound, sometimes irritating, you cannot escape from in summer – Japanese readers obviously know what I’m talking about. (She thinks.) I also gave special attention to shadows: summer light being very bright, shadows are very sharp, very deep.

Do digital tools allow you to get this result more efficiently than traditional?

I work on Clip Studio Paint, and it’s true that it sometimes allow me to save time. Consider the work on shadows: I never apply solid black because I like saturating space with hatches and, with digital tools, I can obtain the desired result faster because I can duplicate each of my lines.

Your use of hatches is sometimes reminiscent of Shūzō Oshimi’s…

I don’t know his mangas very well, but it’s funny that you mention him because I recently read his latest series, Okaeri Alice. In any case, I really like his style and I perfectly understand how you can bring his universe and mine together.

The Summer Hikaru Died relies on the concept of body dispossession, that obviously takes back to the Body Snatcher novel by Jack Finney and its movie adaptations. Did you think about it?

I don’t know this book very well, but I know its theme has been approached often, especially in movies. As I was saying at the beginning of this interview, my idea was to adopt the point of view of a non-human and tell his indecision, his moral questions…

We also find this idea in Hitoshi Iwaaki’s Parasite…

I haven’t read the manga fully, but I’ve watched the anime adaptation that was released a few years ago (R/N: in 2014). I remember rather liking it, even if I think I offer something different with The Summer Hikaru Died. What interests me is sounding the inwardness of my non-human character out and expose all his dilemmas. What is his place amongst men? Is he legitimate in our world? Here is the type of questions that pushed me.

One of the impacting scenes of volume 1 of The Summer Hikaru Died is the one when Yoshiki penetrated Hikaru’s body by shoving his arm into his torso. It’s a sequence that is both very sensuaI – to not say sexuaI – and also very horrific. How did you get this idea?

I wanted to put the readers in an uncomfortable position. A stressful situation that could take several forms because, according to your sensitivity, you can feel very different emotions in front of this scene: sexuaI arousaI, fear or disgust. For me, it was supposed to put the reader in some kind of catatonia, you see?

Do you chat a lot with your tantō, especially around these slightly “complicated” scenes?

I have free rein, you know, I can draw everything I want. My editorial supervisor has never asked me to temper some sexuaIIy connotated parts. My discussions with him don’t revolve around this kind of things, but rather around the structure of the scenario itself: where to place this scene in the narration? Is it better to put this sequence before this other one? Nowadays, I am more at ease with all the scripting layout but, at the beginning, I needed support.

What allows you to get, from a dramatic point of view, the mix between bromance and horror?

I wanted to show the differences in sensitivities and values between a human being and an “other than human”, and tell the misunderstandings this can cause when both meet. When Yoshiki “scratches” under the appearance of the one who is supposed to be his best friend, it creates a first point of conflict in the story. I then hoped to make his relationship with Hikaru – or rather with the “entity” that pretends to embody him – a kind of undefinable bond, that wouldn’t be friendship, nor love.

Do you know today where this strange relationship between your two heroes will lead you?

I know more or less how all of this will evolve, yes. I have decided on my story’s general plot since the beginning. I can only tell you that The Summer Hikaru Died won’t be a long series.

How do you explain the almost instant public plebiscite of your series in Japan? You perhaps cannot have perspective on it but, in a saturated publishing landscape, you have managed to stand out…

Hm… Indeed, I don’t really have precise explanations to give you about this success. Maybe the covers’ design has been in favour of the manga? I asked the person in charge of graphics to make sure that the visuals would be noticeable in bookstores. That’s why the books have this monochrome aspect, with the title discreetly placed. I didn’t want obvious advertisement banners, but something simple, like this blue background for the first volume, on which the character stands out. I also wished to create contrast between the jacket’s and the inner cover’s drawings. I thus had requirements that didn’t quite go alongside what we can nowadays see on the shelves of Japanese bookstores.

[jariten]

ときめきまんが道 (Tokimeki Manga Michi), Koi Ikeno こわいはなし (Kowai Hanashi), Anthology cover by Yumi Tamura サプリ (Suppli), Mari Okazaki ショート・プログラム (Short Program), Mitsuru Adachi 睡沌氣候 (Suiton Kikou), Shinya Komatsu トーマの心臓 (The Heart of Thomas), Moto Hagio

[itscalledmidgar]

tagged by @drhegemony !

Last Song: do not recall what the playlist at work finished on so i'm just gonna say endwalker footfalls cus i listened to it like 4 times (ffxiv)

Three Ships: kinamoto touya/tsukishiro yukito, aeris gainsborough/tifa lockhart, kurogane/fai d fluorite

Favourite colour: purple! and most mixtures with it

Currently consuming: green apple lemonade V

First Ship: either matt/tai from digimon or jack/sally from tnbc (i thought jack was a girl and thought her being bald was a power move) (we ignore that he is a skeleton)

Last movie: the wife the bestie and i watched uhhhhh Cursed (Chō Kowai Hanashi A: Yami no Karasu) (Extremely Scary Story A: Dark Crow) and it was fucking great. 2004 indie film about a cursed mart, it was real good

Currently working on: i'm getting through ffxiv MSQ on 3 different characters and currently making a carrd for my main. i'm also clipping together catgirls recordings so i can make compilation videos of funny deaths in dungeons

if you see this feel free to do it \o/

[tan-abe]

Oh! Whats your favorite danganronpa character?? Any game you like more than the others?

I like Ishimaru in Danganronpa, Hiyoko in the sequel, Tenko for girls and Gonta for boys in V3. There are so many attractive characters that it's hard to decide…but I think Ishimaru is my favorite in the whole series.

Hmmm…you mean the game I like the most, right? I like the horror game on the Super Nintendo called "Gakkou de atta Kowai Hanashi" released in 1995. The main character collects scary stories from various people at school, and the story changes each time depending on the order of the characters you choose, so even though it is a Super NES game, it is very voluminous. It is a horror game using actual photographs, so it is quite a scary lol.

I like this game when I was in elementary school. Thinking back, it seems that I have liked scary games since I was in elementary school.　 Not that I don't mind scary things, lol. I also like Outlast and Hotline Miami. Anyway, I think I like games that people die hahaha.

[bancho-zx]

⚠️Flashing

【PC Engine CD】 Hyaku Monogatari ~Honto ni Atta Kowai Hanashi~ | 百物語 ～ほんとにあった怖い話～ ~Intro

[ Kagome Kagome | かごめかごめ ]

// Game music: Munetaka Sakamoto | 坂本志崇

// MiSTer FPGA // TurboGrafx16 core // Y/C Composite // Sony KV-13TR20 CRT TV

[thegreatestwarden]

ongakushitsu ni tsutawaru kowai hanashi mukashi seito ga dokoka ni kietarashii saigo ni mita no wa ongakushitsu deshita tsubaki to iu onnanoko ga mitetarashii

nishitou sankai kyuu kousha no uragawa bukatsu no monooki mukashi no ongakushitsu

tsubaki no shibutsu no gakki ga kifu sarete oite aru dakedo sore wa yoru ni naru to oto ga naru to uwasa ga

Uhm...

Who is this?

[sorairokakera]

some sentiments about Tamamori Yuta's acting journey - part 1

*💛 : drama main role || 💛💛 : movie main role

Gokusen 3 SP & Gokusen The Movie (2009) - as Takasugi Reita

It's the first time I saw Tamamori Yuta~! I started watching Gokusen series from Gokusen 2 then when I saw Tama, I'm not exactly sure what was it, there's something adorable about him that stuck on me. I got interested in him and searched more about him, found that he is one of Kis-My-Ft2 members, one of Johnny's junior groups that hadn't officially debuted yet. I already knew Kat-tun at that time, Kisumai got me interested for a while before some things in life put me away from internet world.

Support roles in Shiawase ni Narou yo (2011), Saikou no Jinsei no Owarikata (2012), Shiritsu Bakaleya Koukou The Movie (2012), Zeni no Sensou (2015)

I watched all his small roles after I watched his big/bigger roles~ I actually skipped almost everything except his parts (gomen) >_<

Ikemen desu ne (2011) as Katsuragi Ren 💛

Tama's first main role in drama!! I've watched the Korean drama they adapted long years ago (maybe soon after it aired at that time) but I watched this Japanese adaptation after I'm interested in Tama again (will mention this later on the drama that made me into him). Maybe because I watched this 10 years later, I cringed so hard ; x ; ugyah- I enjoyed the Korean one (story pretty much the same in adaptation) when I was much younger but not anymore? 😅 I even have the pig-rabbit doll from this drama that I bought soon after I watched the original long years ago haha~ The only reason I watched this whole (cringey) drama was because Tama, of course. Somehow he matched his role pretty well. First main role (and his real main job is idol) which not bad, pretty good for his career.

Ataru (2012) as Ebina Sho

Tama-chan acting with Nakai-san!! Tama's supporting role here was good and I enjoyed watching this drama, it's pretty nice and exciting~

Nobunaga no Chef (2013) & Nobunaga no Chef Season 2 (2014) as Ken 💛

Tama's main role for 2 seasons drama!! French chef travels to the Sengoku period (time-slip), eventually becomes the chef of Nobunaga Oda. It was pretty nice drama to watch. Tama got his main role here after the director (iirc) watched his (really) hard work on variety show, and he did it pretty well.

Pin to Kona (2013) as Kawamura Kyonosuke 💛

I like Tama's main role here~! His character is adorable and kind, he did well and I enjoyed watching this drama~ I'm not fond of main female character here but kabuki world as setting is quite interesting.

Yonimo Kimyou na Monogatari 2014 Spring Special - Neet na Kare to Cute na Kanojo, Honto ni Atta Kowai Hanashi 2015 Summer Special - Doko Made mo Tsuitekuru, Yonimo Kimyou na Monogatari 2019 Rain Special - Sakasama Shoujo no Tame no Piano Sonata (one of main roles in special dramas)

from these 3 drama specials I like Sakasama Shoujo no Tame no Piano Sonata the most, simply because Tama as pianist~! 笑 It's the most interesting from all 3 too. Neet na Kare to Cute na Kanojo is the kind of story I'm not interested to watch, it's okay~ I tend to avoid horror story but since it's Tama, I watched Doko Made mo Tsuitekuru with anxious heart ;_; (it's scarier since it based on true story?)

Seishun Tantei Haruya: Otona no Aku wo Yurusanai! (2015) as Asagi Haruya 💛

didn't enjoy watching this drama, watched it only because Tama's there ;_; one of his (drama) friends there becomes his good friend in real life, lovely~

Raintree no Kuni (2015) as Sakisaka Nobuyuki 💛💛

Tama's first main role in movie!! It's pretty okay~ not the kind of romance I enjoy though. Tama worked hard learning kansai dialect here, he did pretty nice in this movie.

Reverse (2017) as Asami Kosuke

THIS. When I first watched this (was it 2021?) I just finished watching one drama with Tama in it that made me interested in him again. I started watching this before checking casts, I used to see good reviews about this drama and finally watched it after several years. I was surprised to see Tama in this drama, first he looks different!! and then his acting here, I really enjoyed watching him~! his character gave me various feelings and Tama did very well. Heard that he really learned about acting from the director here and it improved him, like a turning point. I really wish Tama gets more chances to do grey/darker roles ; ;

Juuyou Sankounin Tantei (2017) as Maneki Kei 💛

Tama's acting improves gradually year by year but it's more apparent starting from 2017 (reverse drama). Actually I didn't really enjoy this drama, I also not fond of main female character here (again ; ;), but visuals, good~ When watching 2017's dramas of Tama I realized that his acting style is the type of acting I like a lot (the most), subtle and profound acting.

Parallel World Love Story (2019) as Tsuruga Takashi 💛💛

great actors and actress, adapted from a novel by popular mystery author, Higashino Keigo, I feel like this movie can be much more but okay, it still impactful personally because it's Tama's first bed scene >///< really, Tama is great in more complex/darker roles. Tama in this movie is very different with real him, and he did it very well.

--continue to part 2--