#Metallized Films Market

[reedintelligence]

Metalized Films Market market Report 2023: Global Size, Share By Forecast Period

The global Metalized Films Market size was valued at USD 2.68 billion in 2024 and is projected to reach from USD 2.83 billion in 2025 to USD 4.37 billion by 2033, growing at a CAGR of 5.60% during the forecast period (2025-2033).

The latest Global Metalized Films Market by straits research provides an in-depth analysis of the Metalized Films Market, including its future growth potential and key factors influencing its trajectory. This comprehensive report explores crucial elements driving market expansion, current challenges, competitive landscapes, and emerging opportunities. It delves into significant trends, competitive strategies, and the role of key industry players shaping the global Metalized Films Market. Additionally, it provides insight into the regulatory environment, market dynamics, and regional performance, offering a holistic view of the global market’s landscape through 2032.

Competitive Landscape

Some of the prominent key players operating in the Metalized Films Market are 

Jindal Poly Films Limited (India)

Cosmo Films Ltd. (India)

DUNMORE Corporation(the U.S.)

Sierra Coating Technologies LLC(the U.S.)

Flex-Film International BV (the Netherlands)

Avery Dennison Corp (the U.S.)

PolinasPlastikSanayiveTicaret A.S.(Turkey)

Accrued Plastic Ltd. (the U.K.)

POLIFILM Group(Germany)

Invico S.A.(Poland)

Manucor S.p.A.(Italy)

Taghleef Industries Group(the UAE)

KlöcknerPentaplast Ltd(the U.K.)

Innovia Films Ltd. (the U.K.)

JolybarFilmtechnic Converting 1987 Ltd.(Israel)

Get Free Request Sample Report @ https://straitsresearch.com/report/metalized-films-market/request-sample

The Metalized Films Market Research report delivers comprehensive annual revenue forecasts alongside detailed analysis of sales growth within the market. These projections, developed by seasoned analysts, are grounded in a deep exploration of the latest industry trends. The forecasts offer valuable insights for investors, highlighting key growth opportunities and industry potential. Additionally, the report provides a concise dashboard overview of leading organizations, showcasing their effective marketing strategies, market share, and the most recent advancements in both historical and current market landscapes.Global Metalized Films Market: Segmentation

The Metalized Films Market segmentation divides the market into multiple sub-segments based on product type, application, and geographical region. This segmentation approach enables more precise regional and country-level forecasts, providing deeper insights into market dynamics and potential growth opportunities within each segment.

By Material

Polypropylene (PP)

Polyethylene Terephthalate (PET)

By Metal

Aluminum

Copper

By End-Use

Packaging

Decoration

Electronics

Stay ahead of the competition with our in-depth analysis of the market trends!

Buy Now @ https://straitsresearch.com/buy-now/metalized-films-market

Market Highlights:

A company's revenue and the applications market are used by market analysts, data analysts, and others in connected industries to assess product values and regional markets.

But not limited to: reports from corporations, international Organization, and governments; market surveys; relevant industry news.

Examining historical market patterns, making predictions for the year 2022, as well as looking forward to 2032, using CAGRs (compound annual growth rates)

Historical and anticipated data on demand, application, pricing, and market share by country are all included in the study, which focuses on major markets such the United States, Europe, and China.

Apart from that, it sheds light on the primary market forces at work as well as the obstacles, opportunities, and threats that suppliers face. In addition, the worldwide market's leading players are profiled, together with their respective market shares.

Goals of the Study

What is the overall size and scope of the Metalized Films Market market?

What are the key trends currently influencing the market landscape?

Who are the primary competitors operating within the Metalized Films Market market?

What are the potential growth opportunities for companies in this market?

What are the major challenges or obstacles the market is currently facing?

What demographic segments are primarily targeted in the Metalized Films Market market?

What are the prevailing consumer preferences and behaviors within this market?

What are the key market segments, and how do they contribute to the overall market share?

What are the future growth projections for the Metalized Films Market market over the next several years?

How do regulatory and legal frameworks influence the market?

About Straits Research

Straits Research is dedicated to providing businesses with the highest quality market research services. With a team of experienced researchers and analysts, we strive to deliver insightful and actionable data that helps our clients make informed decisions about their industry and market. Our customized approach allows us to tailor our research to each client's specific needs and goals, ensuring that they receive the most relevant and valuable insights.

Contact Us

Email: sales@straitsresearch.com 

Tel: UK: +44 203 695 0070, USA: +1 646 905 0080

[industryinsightsandanalysis]

Metallized Film Market is expected to display a steady growth by 2028

According to a new report published by UnivDatos Markets Insights, the Metallized Film Market is expected to grow at a CAGR of around 6% from 2022-2028. The analysis has been segmented into Material (Polypropylene (PP), Polyethylene Terephthalate (PET), and Others); End-User (Packaging, Decorative, and Others); Region/Country.

The metallized film market report has been aggregated by collecting informative data on various dynamics such as market drivers, restraints, and opportunities. This innovative report makes use of several analyses to get a closer outlook on the metallized film market. The metallized film market report offers a detailed analysis of the latest industry developments and trending factors in the market that are influencing the market growth. Furthermore, this statistical market research repository examines and estimates the metallized film market at the global and regional levels.

Market Overview

Metalized films, commonly referred to as polymer films, are coated with a thin coating of metal, such as copper, aluminum, nickel, or chromium. These films have a shiny metallic appearance and are made by the physical vapor deposition method. These films also increase the shelf-life of the food goods by providing transparency, high tensile strength, insulation from heat and gas, and smell barrier qualities. The main drivers of the global metalized film market are anticipated to be rising end-user demand and expanding food and beverage industry demands. Additionally, the market will expand due to the rising demand for packaging that is consumer-friendly and products that have a longer shelf life.  Furthermore, mergers & acquisitions, and expansions also attributes to the market growth of metalized films. For instance, in February 2020, Jindal Poly Films approved an investment of USD 99.4 million (INR 700 crores) for the expansion of its company’s operations in India, adding a polyester film line and BOPP film line.

The increasing food safety issues are expected to drive the global metalized film market at a CAGR of 6%, during the forecast period. Major companies in the market that offer Metallized Film are Dunmore corporation, Cosmo first ltd, Avery Dennison corp., Sierra coating technologies LLC, Accrued plastic ltd.

COVID-19 Impact

The metalized film market has been negatively impacted by the COVID-19 pandemic. The lockdown is impacting global manufacturing, supply chains, and logistics as the continuity of operations for various sectors is severely impacted. The sectors facing the greatest drawbacks are manufacturing, transportation and logistics, and retail and consumer goods.

The global Metallized Film market report is studied thoroughly with several aspects that would help stakeholders in making their decisions more curated.

·         Based on material, the market is bifurcated into polypropylene (PP), polyethylene terephthalate (PET), and others. The polypropylene (PP) segment is estimated to account for the largest share of the metalized film market. The PP metalized film has a decent oxygen barrier but a weak moisture barrier. This film has been metalized to strengthen its barrier capabilities and the shelf life of packaged goods. 

Metallized Film Market Geographical Segmentation Includes:

North America (United States, Canada, and Rest of North America)

Europe (Germany, United Kingdom, Spain, Italy, France, and the Rest of Europe)

Asia-Pacific (China, Japan, India, and the Rest of Asia-Pacific)

Rest of the World

The Asia Pacific is expected to experience the fastest growth in Metallized Film market due to the rising awareness about the importance of food quality among the population. Furthermore, the presence of a large population in the region supplemented by the increasing number of the food & beverage industry in the region are the important factors affecting the market size of the Metallized Film market in the region. 

Request Free Sample Pages with Graphs and Figures Here https://univdatos.com/get-a-free-sample-form-php/?product_id=30315

The major players targeting the market include

Dunmore corporation

Cosmo first ltd

Avery Dennison Corp.

Sierra coating technologies LLC

Accrued plastic ltd.

Innovia films ltd.

Taghleef industries group

Jindal poly films limited

Polifilm group

Klöckner Pentaplast Group

Competitive Landscape

The degree of competition among prominent global companies has been elaborated by analyzing several leading key players operating worldwide. The specialist team of research analysts sheds light on various traits such as global market competition, market share, most recent industry advancements, innovative product launches, partnerships, mergers, or acquisitions by leading companies in the Metallized Film market. The major players have been analyzed by using research methodologies for getting insight views on global competition.

Key questions resolved through this analytical market research report include:

• What are the latest trends, new patterns, and technological advancements in the metallized film market?

• Which factors are influencing the metallized film market over the forecast period?

• What are the global challenges, threats, and risks in the metallized film market?

• Which factors are propelling and restraining the metallized film market?

• What are the demanding global regions of the metallized film market?

• What will be the global market size in the upcoming years?

• What are the crucial market acquisition strategies and policies applied by global companies?

We understand the requirement of different businesses, regions, and countries, we offer customized reports as per your requirements of business nature and geography. Please let us know If you have any custom needs.

About UnivDatos Market Insights (UMI)

Browse Other Related Research Reports from UnivDatos Market Insights

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 Greenhouse Film Market

 Stretch and Shrink Film Market

About UnivDatos Market Insights

UnivDatos Market Insights (UMI) is a passionate market research firm and a subsidiary of Universal Data Solutions. We believe in delivering insights through Market Intelligence Reports, Customized Business Research, and Primary Research. Our research studies are spread across topics across the world, we cover markets in over 100 countries using smart research techniques and agile methodologies. We offer in-depth studies, detailed analysis, and customized reports that help shape winning business strategies for our clients.

Contact Us:

UnivDatos Market Insights

Email - contact@univdatos.com

Contact Number - +1 9782263411

Website -www.univdatos.com

[technolgy0411]

Metalized PVC Film Market Trends, Key Vendors Analysis, Import and Export, Revenue by Forecast 2031

The Insight Partners stands out as a reliable ally in the syndicated market research and consultation through its steadfast commitment to the market research industry. With extensive experience and proven dedication, we have been delivering outstanding outcomes. With a team of researchers catering to distinct business requirements, we can emerge as a trusted research partner in the past decade.

By prioritizing precision and trust ahead, we are proud to announce the addition of the latest offering titled “Metalized PVC Film Market Growth Outlook to 2031”. This report ensures spotless coverage of recent updates and a range of business environment factors impacting the Metalized PVC Film market growth. The meticulous approach opted by our researchers can assist companies in transforming business space into the Metalized PVC Film market.

Metalized PVC Film market report offers a comprehensive analysis of regional and global scenarios. The scope of the market report extends to the competitive landscape, cost analysis, key players, specific market regions, profit margin, and market situation. A glance at wide-ranging factors restricting Metalized PVC Film market growth is deliberately included in this study.

Objectives of Metalized PVC Film Market Report

To deliver a detailed market overview by integrating quantitative and qualitative analysis

To unveil growth strategies by evaluating the competitive landscape and examining key companies against their position and strategic advantage

To offer estimates on sales volume, market share, size, and CAGR for the projected period.

To offer segment wise insights

This detailed report on Metalized PVC Film market size is heavily based on verified information and authoritative sources. The study intended to offer market players an overview of market opportunities in the coming period. This report helps clients as a first-hand source of knowledge on the market while providing a full-fledged analysis of each segment.

The study contains details on frontrunners in the market along with their recent collaborations, segments, revenues, product launches, and Metalized PVC Film market trends. It projects the competition in the Metalized PVC Film market for an estimated duration. This research further looks at industry channels and the performance of key market players to help businesses stay ahead in the market.

Our Report Sample May Brief On:

Scope of Metalized PVC Film market report

Brief introduction of Metalized PVC Film market and Industry Overview

Table of Contents

Top market players covered in this report

Report Structure

Research Methodologies by The Insight Partners

Regional Insights:

This section includes insights on different regions and key players present in the region. This section attempts to analyze the growth of a specific regional market based on economic, technological, and environmental factors. Readers may expect revenue-based data and sales insights gathered by our team after comprehensive research. This informative chapter remains an absolute perk for investors, as it will help them to understand potential investment value and expected returns in specific regions.

Report Attributes

Details

Segmental Coverage

Type

Metalized Rigid PVC Film

Metalized Flexible PVC Film

Application

Packaging

Labelling

Lamination

Decoration

Insulation

Others

Regional and Country Coverage

North America (US, Canada, Mexico)

Europe (UK, Germany, France, Russia, Italy, Rest of Europe)

Asia Pacific (China, India, Japan, Australia, Rest of APAC)

South / South & Central America (Brazil, Argentina, Rest of South/South & Central America)

Middle East & Africa (South Africa, Saudi Arabia, UAE, Rest of MEA)

Market Leaders and Key Company Profiles

Item Plastic Corp

OLUNRO CORPORATION

APAC Enterprises

HS PLASTIC GROUP

Kassel Imports

Fenoplast Ltd.

Caprihans India Limited

Flex Films

Ace Plastics

Zibo Tianheng New Nanomaterials Technology Co., Ltd.

Other key companies 

Why The Insight Partners?

Proven Expertise: The Insight Partners comprises expert market research analysts who have extensive industry-specific knowledge. Through this report, our team is bringing years of experience to the table while safeguarding the accuracy of insights.

Actionable Insights: TIP relies on a combination of primary and secondary research methodologies that drive tangible results. We are committed to keeping our offerings clear, accessible, and concise to guide businesses in the decision-making process.

Integration of Technology: We embrace technology in all its forms as the core of our research tactics. We use various tools and platforms to analyze and interpret the data. This allows timely results.

Summary:

Current and Future Market Estimates- Metalized PVC Film Market Share, and Size | 2031

Market Dynamics – Drivers, Challenges, Regional Trends, and Market Opportunities

Market Segmentation – Product, Application, End-use Industries, and Regional Growth Prospects.

Competition Matrix – Key Market Players and Strategies

Recent Developments and Innovation contributing Market Growth

Author’s Bio:

Shashikant Ligade

Senior Analyst The Insight Partners

[univdatosmarket]

The global metalized film market is expected to register a robust CAGR of around 6% throughout 2022-2028.

[pet-holographic-film]

high quality holographic film is utilization by end users

Holographic film is popular for product labelling in the food and beverage industry, and the printing industry, especially the application of digital printing, will dominate the market growth of holographic film during the forecast period. Therefore, with the increasing use of holographic transparencies in a variety of end-user industries, the market is expected to open up a path of growth.

want know more information for pet holographic film,pet hologram film,pvc hologram film,bopp metalized transparent holographic film.get market report from email:dawoopack@163.com

[alnilaem]

slobbering and whimpering at the thought of butcher!simon who also happens to be your socially inept neighbour <3

—

It’s the seedier side of Manchester you move to. To a flat with wet rot between each brick and the peal of police sirens on every other street.

Crammed into the corner of your block is a little gem found between flats and markets: a well-loved butcher shop.

It’s suffocating when you walk in. Dewy and damp and misty and permeating with the angry odour of metal, poorly offset by an overripe air freshener hanging above the entrance.

A man lurks behind the counter. He’s big. Huge. Demands too much space as the coarsely-sewn sheers of his shirt look like they’re about to burst at his biceps. His hair is tamed under a Man Utd cap, but a few odd-angled curls peek out. His arm, swathed in tattoos, flexes as he hacks at a red piece of meat, slicing through the tendons, as you meagrely clear your throat for his attention.

His eyes, sunken in his sallow sockets, hinge upwards to stare at you.

“Um, hope I’m not interrupting you.”

His eyebrows purse because obviously you are. He steps away from the counter, wiping his big, bloodied hands against his apron.

“Could I just-“ you sharply inhale, then belatedly regret it as the smell of raw meat invades your senses. You suppress a cough as to not offend him. He stands with his arms crossed, the papery crows feet of his eyes folding as he stares at you above his mask. “Ah… lamb shanks?”

He grunts. It’s curt, but it doesn’t seem rude. More like socially inept in the ways in which he regards you, and how he prepares your order in sparse, quick movements.

“£6.00.”

You fish in your pocket and bring out a thin handful of coins. He swipes it, doesn’t bother to count it, for some reason, and slides the lamb into a repurposed Tesco bag, handing it over the display.

You reach over, your gaze flitting to his name tag which features only the tail-end of his name, the rest of the ink smudged and washed away from years of hard work.

As you swipe the bag from his hold, his finger brushes yours. A gossamer-thin layer of blood stains your forefinger and marinates your skin in the middle of the exchange.

You pivot, throwing a soft thanks over your shoulder, and rub your thumb into his vestigial warmth on your finger.

—

It’s after dark when you slip outside your flat, bin bag slapping against your thigh. You’re in a large sweatshirt and some shorts, chucking the trash down the disposal, when the tinny, grating sound of metal-against-metal peals from the elevator.

You throw a cursory glance over your shoulder, but freeze as you spot a familiar figure ducking under the roof of the lift and stepping onto your floor. The butcher.

He is clad in a filmy jacket, arms laden with shopping bags as he helps an elderly lady into her flat.

She says “Thank you, Simon,” and Simon nods, closing the door on his way out.

He fishes through his pockets for his keys and shoulders past you. You think he doesn’t recognise you, or worse, pointedly ignores you.

And for some reason, the latter thought causes a pang of sadness to seize you.

However, halfway down the corridor, in front of the flat next to your own, Simon turns around.

“You’re the new neighbour? Room 146?”

His eyes flicker from your legs to your face. A film of recognition glosses his eyes. Your mouth suddenly feels dry and you dumbly nod, preening under his intimidating eyes.

“Walls are thin,” he says, jamming his keys into the lock, “try keeping quiet, love. Some of us’ve got work in the mornings, yeah?”

Before you can reply, the conversation is already over with the slam of Simon’s door swinging shut.

[sp0o0kylights]

Indie horror filmmaker Eddie Munson, high off his first big (underground but notable) success, knows the movers and shakers of the film world have their eyes on him. 

They're just waiting to see if he was a one hit wonder before they open all the doors he's been trying to kick down. 

His next upcoming film is his chance, his shot at finally making it. Of being like Rob Zombie and the other creators he looks up to that masterfully blended metal and horror. 

This is his golden ticket. 

The project starts off smooth. His last success has greased the wheels, and things fall into place faster than ever before. 

He's got the best idea for this insane haunted house story, a true "mazes in mazes" type of deal with a queer twist. A real look at how a place can haunt a person just as easily as a ghost can.

 Everything's going swimmingly--until one of his leads drops out the day they're due to start shooting.

No call no show's, and later, Eddie will find out the guy got a last second call back to be a contestant on one of those Love Island bullshit romance gigs (and laugh his ass off when the main love interest takes one look at Billy Hargrove and goes on a five minute rant about ugly mullets on national television) but right now? 

He's fucked. 

He's called in every favor he has for this film. Maxed out every credit card he owns, tapped every contact, got on his hands and knees and begged his rising star journalist best bud to help him market it. (Which Nancy agreed too, for way less cash than she should have.) 

 Eddie can't get anyone on the phone, much less find a replacement actor and the amazing place they rented, that is so dark and wonderfully eerie, is booked out the rest of the year as an AirBnB. 

If he doesn't film now, he loses it all.

Cue the other lead, unknown theater actor Steve Harrington, watching his hair pulling, tire kicking, 'cursing and hopping while holding a toe' mental breakdown and asks why Eddie himself doesn't act in it. 

"Just go full Kevin Smith man. Act and direct." He says, with an easy grin. 

Jeff, Eddie's tried and true videographer, trades glances with Gareth and Grant (Eddie's long used special effects and makeup team, who double for about twelve other jobs because they're also his best friends and they're all in this together, make or break.)

"We don't really have a lot of other options." Gareth hedges. "You're already using me and Grant as background characters." 

Eddie, hands fluttering around his face as though trying to wave away this entire situation, squeezes his eyes shut and lets out a pained hiss. 

"Fine, fine!" He announces with the air of a man running towards a fire. "Fuck it, this is our one shot and so help me I will be shooting it!" 

Steve politely hides a laugh with a cough. 

"Chuckle all you want big boy, I'm going to tragically romance you so hard people will forget both of our characters actually live." Eddie snarls.

Steve, the handsome bastard, just winks.  "Looking forward to it." 

Eddie blushes, but hides it with a surge of frantic energy, conveyed by lots of yelling and moving and getting the ball rolling. 

Two days later, Steve would give the performance of a lifetime down on his knees, covered in a literal pound of fake gore, booty shorts and nothing else as he sobbed about how a lover could become a home. His hands clawed at Eddie's jeans before resting a tear stained face on a slim leg as he bent his body towards Eddie like it hurt to be away from him. 

Eddie would later receive equal praise in his own acting during the scene, with the world and every reporter in it asking how he conveyed an otherworldly panic so beautifully throughout Steve's performance. What was he thinking, to evoke those expressions on his face? 

The way his own pale hand, unmarred by blood and acting as a metaphor for the plot, would come to stroke Steve's cheeks.

Eventually he'd come up with a smooth polished answer that cheekily pleased his audience, but nothing would ever come close to the truth. 

("Eddie I've known you since grade school." Jeff said that night, a scant few hours after they'd wrapped. "You can act man, but not like that." 

Eddie made a wild "shut up" gesture, looking frantically over his shoulder before admitting; "You saw how close his face was to the prince of darkness!? I was seconds away from popping a boner next to his lips, in front of the 4K camera!” 

Eddie bounced into Jeff’s face so he could hiss: “He fucking had his chin on my thigh, Jeff, and I am only a man. A mere mortal!" 

"So we're gonna unpack all of that later." Jeff said finally, when he'd managed to get his mouth working and Eddie back out of his personal space. "But dude, we've talked about you calling your dick the prince of darkness." 

Eddie flipped him off.) 

One year later and critics named Corroded the best horror film of the year, praising the camera work, practical effects, and how there wasn't a soul alive who was surprised to hear Eddie and Steve were dating after their explosive on screen chemistry.

No one ever quite understood the prince of darkness jokes or why Steve mentioning it made Eddie blush, but that was a secret to find out later. 

Today on WIP’s I have no intention of writing, indie horror movie AU!

[knightobreath]

been watching a lot of showvember and ii recently. love those shows. unrelated but i should steal ideas from my friends more often. FAKE DASHBOARD INCOMING

(5 notes)

Anonymous asked: did you hear steve cobs died of ligma

🍿popcornbestcorn Follow

who tf is steve cobs. wouldn't be me though. stream showvember

🔲jjjjjjjejjjjjjj Follow

ligma BALLS

🍿popcornbestcorn Follow

FUCK YOU

🪛philipguy Follow

@meeple-inc

🍿popcornbestcorn Follow

why did you @ a phone company on my post

🍿popcornbestcorn Follow

OH

#THAT STEVE COBS

(205 notes)

🚪periwinkality Follow

why are so many ii blogs disappearing? did something happen?

2️⃣thepoweroftwo Follow

They’re filming the finale today, so they’re probably just busy!

🚪periwinkality Follow

oh you’re right! i forgot about that!

#i haven’t been keeping up with ii lately

(119 notes)

ㅤ metal-petal-deactivated11092023

THIS IS STUPID

🌸metal-petal2 Follow

i’m back on tumblr

🖥️tv-v-t Follow

\(^o^)/ welcome back

🦋b0tst3r Follow

roboblr missed you!!

(81 notes)

🧢beanie22 Follow

she’s so goddamn immature

#what does rotten apple see in her #text

(1 note)

Anonymous asked: My YinYang plush is under my bed soaking in milk. Maybe one day they’ll be free ❤️

🗳oscconfessions Follow

.

☯y1n-and-y4ng Follow

WHAT?!?!?!?!?!?!

🗳oscconfessions Follow

sorry

#not a confession #i can delete it if you'd like

(52 notes)

📱mephone4-ae Follow

Filming the finale today

🍿popcornbestcorn Follow

hey wanna collab

🧢beanie22 Follow

@mephone4-ae do NOT collab with her. she’s a shit host and will fuck up your show so bad you’ll wish you never made it

🍿popcornbestcorn Follow

YOUR MOM DIDNT THINK I WAS A SHIT HOST WHEN I HAD HER OVER LAST NIGHT

#i WILL block you

(784 notes)

🥄royalsilverwear Follow

Was taking a lovely walk on the beach earlier when i came across a WHOLE TOILET. Disgusting and distasteful! Completely ruined the scenery.

🟪mepad-ae Follow

Hello, could you please contact me? Your DMs and inbox are closed. This is urgent.

#reblog #royalsilverwear

(12 notes)

🍏meeple-inc Follow

For clarification on recent rumors, Founder and CEO Steve Cobs is alive and well. He is not suffering from any disease, nor is his life in any immediate danger.

Please report any misinformation you see to Tumblr Staff.

Thank you,

Meeple Marketing Team

🔪sharp--jerk Follow

He won't be for long

[industryinsightsandanalysis]

Metallized Film Market Size, Share, Growth & Forecast

The metallized film market is expected to register a growth of around 6% throughout 2022-2028. The main drivers of the global metalized film market are anticipated to be rising end-user demand and expanding food and beverage industry demands. Additionally, the market will expand due to the rising demand for packaging that is consumer-friendly and products that have a longer shelf life.  Furthermore, mergers & acquisitions and expansions also attributes to the market growth of metalized films. For instance, in February 2020, Jindal Poly Films approved an investment of USD 99.4 million (INR 700 crores) for the expansion of its company’s operations in India, adding a polyester film line and BOPP film line.

  For a detailed analysis of the Metallized Film Market browse through– https://univdatos.com/report/metallized-film-market/ Based on material, the market is bifurcated into polypropylene (PP), polyethylene terephthalate (PET), and others. The polypropylene (PP) segment is estimated to account for the largest share of the metalized film market.

The PP metalized film has a decent oxygen barrier but a weak moisture barrier. This film has been metalized to strengthen its barrier capabilities and the shelf life of packaged goods. 

Based on the end-user, the market is categorized into packaging, decorative, and others. Amongst them, the packaging segment is expected to have a significant share of the market during the forecast period. The market is being driven by factors such as rising consumer demand for packaged food products and their long shelf lives and the popularity of creative packaging. Furthermore, with the rise of the pharma & biopharmaceutical companies, the demand for strong packaging also increases.

Request for a Sample of the report browse through- https://univdatos.com/get-a-free-sample-form-php/?product_id=30315 For a better understanding of the market adoption of metallized film, the market is analyzed based on its worldwide presence in the countries such as North America (United States, Canada, Rest of North America), Europe (Germany, France, Spain, United Kingdom, Italy, and Rest of Europe), Asia-Pacific (China, Japan, India, Australia and Rest of APAC), and Rest of World. Asia-Pacific has a significant market share in the metalized film market owing to the rising demand from the food & beverage industry along with an increase in research & development activities in the region. Furthermore, due to the rising awareness about the effects of plastic packaging on the environment and the rising adoption of alternative packaging methods the market for metalized films has increased.

Some of the major players operating in the market are Dunmore corporation, Cosmo first ltd, Avery Dennison corp., Sierra coating technologies LLC, Accrued plastic ltd., Innovia films ltd., Taghleef industries group, Jindal poly films limited, Polifilm group, and Klöckner Pentaplast Group.

Contact Us:

UnivDatos Market Insights

Email - contact@univdatos.com

Contact Number - +1 9782263411

Website -www.univdatos.com

[blueikeproductions]

The Quintessons also got cards.

While we don’t know for sure if there’s other members of their race yet, these are a pretty big departure from the original designs, which have remained somewhat consistent.

Most notably the absence of the most recognizable Quintesson Judge is curious. There’s nothing that says they’re not there, but usually the Judge types are front and center for things, so removing them for a new High Command version is interesting.

The High Command and Soldier designs seem closer to some one off Quintessons from the 80’s cartoon.

The Quintessons have a somewhat complex conceptual history.

Their earliest concept looked like this.

A psychic biomechanical humanoid whose psychic abilities were so great they could make a horde of Sharkticons from scrap metal in an instant and probe the galaxy with a simple mind scan. Their head was apparently their true form, as it would eject and fly to another body when Hot Rod tried threatening it. The biomechanical look would persist for their final designs, but more modern media via Aligned and Cyberverse would instead state they’re actually organic creatures that look something like this:

Revealing their robotic bodies as merely being suits they pilot. It’s not clear yet if this is also the case in EarthSpark or ONE, though ONE feels like this is what they’re supposed to actually look like, but more organic this time than robotic as they typically are.

Some further revisions to the 80’s movie scripts and marketing of the time originally cast the Quintessons as working directly for Unicron, their mock trials were to punish and destroy any lingering survivors of Unicron’s wrath that passed by Quintessa. While this idea never made it into the original film, it was used in the Marvel comics and later revisited in early BotCon comics, but never became hard canon. The UK comics would make them into aliens clinging for survival as their home planet was destroyed by a time anomaly caused by the time traveling Galvatron. Running out of options, the Quints attacked Autobot City on Earth to try and colonize it, but were driven off by Rodimus Prime and Metroplex, their fate unknown but nevertheless swearing revenge on the Transformers.

The final version of the Quintessons in the cartoon cast them as the ancient creators of the Transformers, with some media explaining they also created Cybertron by terraforming a planet into a factory world (at least it wasn’t a parking structure planet). The cartoon would also establish them as slimy business men, having their tentacles in the affairs of other species for financial gain. Along with the Transformers starting out as in universe products to sell, it seems the writers might’ve been having a laugh at Hasbro.

The Quints’ primary goal in the cartoon was to push the Autobots aside so they could regain control of Cybertron, often conning the Decepticons into doing their dirty work for them. Where the Quints came from is never clear, as the show implies Cybertron was more their home planet originally due to their sentimental attachment to it. Their supposed home planet, Quintessa, is implied to merely be another planet they terraformed after getting booted off Cybertron.

Due to the more popular Primus origin from the Marvel comics, the Quintessons and their hand in the creation of Cybertron and its people was largely ignored in most mainstream media. While they saw a homage in Alpha Q in Energon (the connection to the Quintessons made stronger in the Energon Dreamwave comics), they didn’t really start resurfacing as major characters again until recently. The BotCon comics attempted to reconcile the two origins, stating the Primus origin was also the case in the cartoon, with the Quints interfering in the process, and this early idea served as the basis for the Aligned canon, where the Quints did the same in Cybertron’s early years, conning the young race into becoming their allies (servants), by bestowing both the futuristic space fairing technology Cybertronians enjoy today, their modern hierarchy (that became the corrupt caste system Megatron fought against) and the ability to Transform. Apparently the robots technically could already Transform as they all had Cogs, they just hadn’t LEARNED to Transform yet. Like the 80’s cartoon, these Quints intended to sell off the Transformers as products to the galaxy, with Sentinel (Zeta) Prime installed as their figurehead leader like in TFONE. Eventually they were chased off like in the old cartoon, but Prime nor RiD15 would ever revisit the Quintessons, though the prequel novels nobody read did claim the Autobots and Decepticons briefly became antagonized by them once more during the hunt for the Allspark in space.

Aligned’s main difference that’s fueled most modern interpretations is the Quintessons are the creations of Quintus Prime one of the newly established 13 original Transformers.

Aligned implies they killed Quintus and stole what they needed from him to become space fairing and eventually go to Cybertron, conquering other planets along the way.

The Quints were intended to be allies to Cybertron, as were other Quintus borne races, but this was not meant to be, due to the Quints’ hubris. EarthSpark’s version says the Quints were the first sons of the Prime, and in trying to discover their purpose, they became bitter and developed daddy issues, going around and killing off their cousins on other planets, attempting to acquire the Emberstone for their own use. The Quints and Transformers are strongly aware of each other, and clearly fought before, but their exact relationship has not been established yet, if at all.

TFONE greatly simplifies it to the Quints being an alien race that attacked Cybertron during the time of the Primes, though the hows and whys aren’t clear. What is clear is the jealous Sentinel made a bargain, helping them destroy the Primes and letting him be in control in exchange for paying them off in Energon to leave Cybertron alone. It’s not clear if Quintus Prime created the Quints in this universe, but there is a resemblance.

Quintus at some point: Sorry guys, you know how kids are!

Despite the Quintus origin, some modern media has gone back to the 80’s cartoon origin. Notably Age of Extinction and The Last Knight returning to the aliens created the Transformers idea, but the movies not directly using the Quintessons. However concept art does suggest the original intent WAS supposed to be the Quintessons…

Instead all we have is an alien hand and later Quintessa to go by.

It’s never clarified if the two are related, with Quintessa possibly being a Transformer and a Prime as well, but she is also called a liar by those formally in her employ so… She IS able to reprogram Optimus into doing her bidding however, so there’s that. She’s clearly inspired by Quintus, but isn’t connected beyond that. Her goal was to restore Cybertron by draining Earth of its life force and destroy Unicron in one fell swoop (as Earth is inexplicably Unicron again like in Prime). The organic Creators meanwhile were responsible for the extinction of the dinosaurs, deploying bombs that converted organics into cyber matter that made the metal of the Transformers. Lockdown was working for the Creators, but with the abrupt inclusion of Quintessa, it’s not clarified if he was working for her instead/also.

Cyberverse cast the Quintessons as major villains, but instead of the creation origin, they depicted them as trans dimensional entities that travel to other Transformers universes to judge them guilty and destroy them for no other reason other than they can. Truly the best kind of villain: petty. Still this Dr. Who meets The Matrix direction with them doesn’t appear to be at all popular despite the arc being regarded positively. I still think Cyberverse is awful top to bottom, but the general idea they went for is decent. The Primes exist here, as noted previously with Alchemist Prime, but it’s never stated if these Quintessons are related to Quintus Prime.

Netflix War For Cybertron and Skybound Energon Universe also return to the Quintesson origin for the Transformers, though in the former’s case, their connection, if any, to the Allspark is never clarified. Skybound’s Void Rivals is currently the main component using the Quints, and dialog heavily implies the cartoon origin, though some minor Aligned concepts creep up as well. Nevertheless the Quintus origin doesn’t appear to be as… nailed down as Hasbro probably would like.

Indeed despite the resurgence in relevance, Hasbro seems somewhat reluctant to use the Quintessons still. The Quintus origin in the modern era had only been used in EarthSpark, and even then it’s not used… super well. The Steven Universe Diamonds that need a family intervention, never mind the genocide they caused, persists here to much chagrin. With the inconsistency on how the Quints came to be in modern media, it also makes Quintus Prime unnecessary, if some media is treating the Quints as separate beings. Even IDW didn’t do anything with this, despite using a lot of the Aligned concepts, and for now Skybound seems content to ignore it also.

I think the reluctance is due to toys of them not doing well, with the Cyberverse ones doing especially poorly. The High Command guy being able to Transform toy wise seems to be an attempt to make it clear they fit in with Transformers, but their peg warming doesn’t seem to be fixing that.

Along with Hasbro and Paramount not handing the transition from Bee to ROTB properly (like how do we jump from what Bee did to suddenly Unicron attacks?), I don’t have high expectations that the Quintessons will be handled well for a possible TFTWO, if they’re even used at all.

Which is a shame because the ONE designs are pretty cool, they made the Quints more appropriately scary and intimidating vs the slightly goofy looking egg shaped Judges. And I like the Judges but still.

[eatmeandbirthmeagain]

Are you willing to write a kingdom of heaven fic where the reader has a child from a previous marriage that ended when her previous husband died. A girl like 6-8 years old who is shy at first

♡ New Family - King Baldwin x Reader ♡

♡ Fluff ♡

A/N: Hello Anon, thank you for your request! This is such a cute idea, so sorry its taken so long to get to. I hope it's what you had in mind! As always, this is based on the film Kingdom Of Heaven, not the real historical figures. Enjoy!

TW: Leprosy, Mention of Death, Mention of Domestic Violence (Not Baldwin dw), Nightmares/PTSD, Mention of Trauma.

It was a warm spring day when y/n and Baldwin were wed.

Their marriage was one of preference instead of arrangement after the two had met at the Jerusalem market.

Y/n ran a silk stand with her daughter, Miriam, when the king had decided to attend the market himself one day instead of sending a servant. He had been feeling well lately and wanted to take the opportunity to get some fresh air.

When their eyes met, it was love at first sight. There was no denying it.

However, there was one small problem. Y/n was a widow. Her husband had died in battle and as much of an inconvenience as it was, she couldn't help herself but feel slightly relieved.

He was a cruel man, a harsh man who believed in discipline for both wives and children. So needless to say, y/n couldn't help herself but feel relieved when she received news of his death.

But because of this, it was expected that she would not be married again and for a time, she had no issue with this. That was until she met Baldwin.

At first, she thought of herself as ridiculous when he had come by her stall. He was the king! And she was a widowed peasant who already had a daughter. It was simply not possible she had thought, until a servant came by her stall with an invite to the castle sent directly by the king.

Their love bloomed from there and despite being frowned upon, they were wed.

Y/n’s daughter was a naturally shy girl. The first time she had met Baldwin, she hid behind her mother and peeked out at the man from behind her robes.

His metal mask was less of the issue when it came to her fear (even though it did make him look far less human to her), it was more the past with her father.

At only seven years of age, she had experienced so much which was a great pain to her mother.

When they first met, the king gifted her a small carved, wooden horse as a present. She loved it and even approached him to take it from his gloved hand.

She was still nervous around him in the beginning, but she began to enjoy the benefits of becoming royalty. She loved the teachers who taught her all kinds of things that a peasant would simply not have the resources to know and she enjoyed playing with her cousin, Baldwin V.

She thought it funny that he had the same name as her step father and looked up to him as a big brother and he protected her as such.

Miriam’s nervousness around the king ended in just one night when her mother was away on royal duties overnight.

------------------

It was late at night when the girl’s eyes snapped open and she came awake, sweating and shaking.

She was prone to nightmares from the incidents with her late father.

Usually, Miriam would run to the royal chambers and call for her mother, who was a vastly light sleeper due to her own trauma. She would comfort her and bring her back to her own chambers. Y/n would read her a story and hold her until she fell back into sleep, but this time she was not there to do that.

The girl sat up in bed, her heart racing. All she could think about was her mother. She knew she was not going to fall back into sleep easily and would most likely lay awake in bed, with the fear of her fathers undead spirit returning and harming her.

Then she remembered Baldwin.

She was incredibly nervous approaching him about the subject.

It was late at night as she assumed he would be sleeping, she caught herself wondering if he slept in the mask or not. After a few minutes of thinking, a small noise made her practically jump out of her skin and she sprinted to the royal chambers.

Stopping outside the door she realized that her body had made the decision for her. Taking a deep breath, she pushed open the door as quietly as she could and slipped inside, closing it behind her.

Inside she was greeted by a comforting warmth and the distant sound of the king's quiet snoring. Taking another deep inhale, she focused on her footsteps as she approached the bed.

Her heart was pounding.

What if he was angry at her for waking him? What if he told her to get over it? No, he would not do that. He was a kind man, a gentle man. The opposite of her father.

He had told her the day they met that “if you ever need anything, I am here when you are ready”, and she really needed him now.

Finally, she reached the side of his bed.

The moonlight that shone through the window illuminated his face that was covered in.. bandages? His cheeks, forehead, nose, and chin were all covered with clean, white bandages. That explains the mask.

Seeing him like this took her nerves away instantly.

He looked entirely human without his mask. Without it, he was just a man. A human, like herself.

He had soft curly blonde hair that spread out on his white pillow like the halo of an angel, this was completely different to the harsh, rough textured brown hair of her father.

He lay on his back with one hand resting on his chest, the plush blankets covered his body and he looked quite comfortable.

Miriam observed him for a moment longer as she decided whether to wake him or not. Finally, she made up her mind.

Reaching out an arm, she touched his shoulder softly. His night clothes were just as soft as she imagined them to be. She pulled her hand back quickly when he shifted.

Baldwin groaned and stretched as his body awoke from a deep sleep. He turned his head, fully expecting Tibarias to be standing there with important news as he had done countless times before.

His eyes widened at the sight of Miriam standing beside his bed, her cheeks stained with tears.

“Miriam, are you okay? What happened?” suddenly realizing the absence of his mask, the king panicked and reached to his bedside table for it.

“No, don't! I like your face without it” the girl said urgently. Baldwin smiled slightly at that.

“That's okay. Are you alright? What are you doing here?” she was surprised at his concern for her over his concern for being woken in the dead of night.

“I had a nightmare” she whispered. Baldwin’s face turned from one of slight panic to one of sorrow and concern.

“Oh angel, it will be okay. Come on, let's get you back to bed and you can tell me about it if you would like?” he offered, she nodded quickly.

Baldwin sat up from the bed, desperately attempting to keep his face free from a pained expression as he stood slowly.

-------------------

Once back in the girl's chambers, the king tucked her in and sat down on the edge of the her bed.

“Would you like to tell me about this nightmare of yours?” he asked, his voice was so kind.

Miriam nodded and began to tell him all about the recurring nightmares that she had been having since she was five years old.

The nightmare consisted of her father returning from beyond the grave to kill her mother and eventually her, after he forced her to watch her mother be torn appart.

The king listened to her words intently as she spoke.

“That sounds awful Miriam, I am so sorry” he told her, a look of sincerity on his bandaged face. She thanked him and gave a weak smile.

“Would you like me to read to you until you fall asleep?” he asked, returning the smile.

The girl nodded, her eyes lighting up at the words.

Baldwin walked to her bookshelf and retrieved a short story book that he recognised from his own childhood.

He sat down on the edge of the bed when Miriam spoke, “could you sit here?” she asked, gesturing to the space right beside her, against the headboard of the bed.

The king smiled at the innocent request and shifted positions to where he was sitting right next to her.

She moved closer to him, leaning against the side of his body.

Baldwin tried his best not to smile, it was the first time she had requested his affection. This was a massive step in their relationship.

“Could you stay with me the whole night, father? I don't want to be alone” she whispered, causing the young man's smile to widen.

“Yes of course Miriam'' he replied, relishing for a moment in the fact that she called him ‘father’.

Baldwin moved his arm and placed it around her, pulling her close as he began to read.

---------------

Around twenty minutes past when the king looked down to see that she had fallen asleep against his side, her eyes were shut peacefully and her chest moved up and down silently.

The smile returned to his face at the sight, before he moved his hand to cover a soft yawn.

The king gave his daughter one last look before letting his eyes fall shut, joining her in sleep once again.

---------------

The following morning, y/n arrived home early. The sun had only just started to peek above the horizon when she entered the castle.

Entering the royal chambers, she expected to see her husband sprawled out on the bed, fast asleep. But he was not there?

Placing her bags down, she assumed he must have left to attend his duties early.

Y/n decided to check on her daughter, since she missed her greatly overnight.

She entered the room and a wide smile crossed her face at the sight before her. Baldwin and Miriam curled up against each other, sleeping soundly as the first rays of sun streamed in through the window.

She walked up to her daughter's bedside, pulling the covers further over the two.

This certainly was the progress that she hoped would happen while she was away.

Y/n bent down and kissed her husband's forehead gently.

“Im so proud of you” she whispered to him before turning to leave her beautiful family in peaceful rest.

[duffsmckagan]

DEBORAH FROST, DOKKEN, GROUPIES, HEAVY METAL, JAMES HETFIELD, KIRK HAMMETT, METALLICA, MONSTERS OF ROCK

Stories From The Road: Deborah Frost and Metallica

In Deborah Frost, Stories From the Road, music on December 7, 2008 at 2:28 pm

By Deborah Frost

“I once walked into the dressing room of a very huge metal band — well, they were not quite as huge then as they are now, oh what the hell, they are probably the biggest band in the world — Metallica (and they didn’t get that way without airing their own dirty laundry very publicly from revealing in various cover stories tales of the drummer being fellated under the stage nightly during the bass solo to the somewhat drippier venereal complications).

Anyway, they were somewhere in the middle of the bill on one of those late 1980s “Monsters of Rock” concerts at RFK Stadium in Washington, I think it was. There was a lot of waiting around in the days they were all lumped together without their own private jets or drivers and everyone seemed to be in a grumpy mood, particularly James Hetfield, who was sitting next to two fairly unattractive girls who could have been models — only for one of those “BEFORE” acne-medication ads.

Instead of his usual warm greeting, James barely grunted at me that he was doing an “interview.” Which was a little strange, given that he was not really even having a conversation with the skinnier one of the two girls, who was not equipped with any of the usual tools of the trade, like a tape recorder or pencil or piece of paper, only a flimsy little sun-dress which was only remarkable in its cheapness and that it was fairly inappropriate for the weather but did reveal all of her other lack of equipment in every other department.

James suddenly got up, jerking her by the wrist, and disappeared toward the bathroom where other members of the crew and band were, eager to try out the brand new little video cameras (they had just come on the market) they had been playing with. Kirk Hammett also grabbed what I called my Helen Keller camera — one of those point and shoot 35 mm things (this was in the pre-digital era) that even she could have operated.

There was a great deal of commotion when James discovered that Kirk was holding them both over the top of the bathroom stall — where — well, several months later, when I had forgotten all about it and the prints came back from the developer, I was shocked to discover, right in the middle of some happy family vacation, exactly what he was doing with this young lady crouched on the toilet and could not believe that I had not been arrested for pornography. Then again, maybe that only happens if it involves pictures of children and it was VERY clear in vivid living color that James was NO child.

It was almost the end of Metallica as we knew it, when James suddenly roared out of the bathroom, grabbing Kirk by the throat with one hand and the video camera, from which he ripped the film, with the other, before stomping on it and practically smashing the guitarist’s head against the wall as he begged for mercy.”

[eyeodyssey]

MOON AGE 15 : DAMNATION (English Translation) Moon Age 15: Damnation is a 1988 short comic by pseudonymous author Not Osada, who openly drew influence from the Tokyo Grand Guignol's work in such a way that can arguably give a loose insight to the TGG's mysteriously anomalous works. While only a slight window into what could've existed in Ameya's vision, each contemporary rendering of his world of gore-soaked medical equipment and rusted metal is valuable in what it represents. As mentioned in my prior Litchi essay, the fragments of the Tokyo Grand Guignol we have now are descendants of a cultural phantom, standing as shrouded windows to a strange intangible stage that's positioned somewhere between post-Maruo inferno, industrial subculture and decadent poetry. While Osada’s manga featured notably grizzly and cruelly morbid scenarios, his stories were made explicitly for the shoujo market with a distinctly shoujo-influenced art style. Characters appear almost doll-like with their visual perfections, all while they’re often dismantled and reassembled in bizarre surgical practices by sadistic doctors. Much like how Zera expresses horror to seeing his own imperfect organs in contrast with his youthful appearance, our pristine victims share the same internals as any other slaughtered cadaver, all in a maddening spiral of narratives that contemporary readers often described as resembling descents to insanity. This fixation of the contrast between perceived beauty and grotesqueness is arguably traced back to the Tokyo Grand Guignol’s own works, with lines accentuating the youthful features of certain characters while audience members were known to fondly look back on the actors’ appearances. Litchi himself was described as being a “cute��� robot despite the violence it was programed to carry out. It’s possible that this collision is inherent to Ameya’s conceptual destruction of the TGG. A known detractor to poetic writing, he called on a romantic author to pen the screenplays to the TGG’s first three plays so he could “destroy” them in his direction. The use of beauty could arguably be a mockery of it, taking these idealized dolls and leaving them trapped in worlds of fascism and hospital rooms that are haunted by the stinging stench of antiseptics and blood. Plastic hospital drapes were used in place of stage curtains and autopsy films were shown to the wide-eyed characters, who spoke of pure blood and dirty blood, the antithesis of blood, mercuro. What is beauty a representation of in the Grand Guignol’s works with the prominent fascist leanings of the protagonists? Considering the perspectives of our characters where the Hikari Club and the deranged teachers and Nazi doctors are treated as protagonists rather than explicit antagonists, the plays could arguably be read as the decay of a self-convinced beauty under fascist rule. Songs of the pure-blooded ubermensch fading into silence as the singers all collapse, lost in their own delirium as they pump mercurochrome into their hearts and try to rationalize their own organs that resemble the internals of the so-called ‘landraces’ they rendered into lifeless meat. It’s the natural conclusion of fascism, a collapse that occurs in demented violence to the face of a denial of death. I was originally split on publicizing my translation due to copyright-related complications, but after seeing the increasing gatekeeping of TGG materials at the hands of a rapidly growing market riddled with competitive spending and scalping, I feel obliged to share it to the public who (like myself) can’t afford to spend the now literal hundreds that are required to access angura ephemera that was meant to be openly available to the public to begin with. When originally finding this story, the book it was featured in was only 5 dollars. Now it goes for 60 to 200. That's ridiculous. With all the preamble out of the way, the story is under the cut...

While I made my best effort to maintain accuracy to the source material in translation despite my practically nonexistent understanding of Japanese (my translation method is a Frankensteining of language learning videos, a Japanese to English dictionary from the Internet Archive and Google Translate with a lot of localizing and dissection in between), there are several details I feel I should note for the sake of transparency. One smaller one was the inclusion of the term l * lita. It was in the original text, and I was honestly very unsure of including it in my translation as it’s a term I’m personally icked out by. While I was ultimately recommended to keep the line as is for accuracy, I wish to state that it's a term I'm personally very uncomfortable with in what it represents. The other note, which is the more prominent one in the final product, are the references to The Last Attempt at Paradise. In the original text the club members solely refer to their hideout as paradise and Eden, leaving a lot of excess space in the speech bubbles after translation when making the shift from Japanese text to English. The Last Attempt at Paradise was the name of S.P.K.’s 1982 live album that documents their set at the Off the Wall Hall venue in Lawrence, Kansas. Often considered one of their best concerts and a highlight of the industrial genre, the S.P.K. Appreciation Society of Sydney in their All The Way With S.P.K. / American Tour article describes the concert as being the group's “best performance to date”, further adding that they “Flattened (an) enthusiastic audience with massive P.A. amplification of FX bass regeneration”. This insertion wasn’t done at random, as the Tokyo Grand Guignol’s works were heavily engrained in the original industrial scene of the 80s. Both the 1985 and 1986 performances of Litchi began on a playback of the S.P.K. song Culturcide (from their 1983 Dekompositiones EP), and it was likely that use of the track that led to Not Osada’s early fixation on S.P.K.’s music. At the end of Blind Beast, in a sort of reader Q&A Osada is questioned about some of his favorite music. At the top of the list he features the tracklist of the Dekompositiones EP and the track Mekano from their 1979 Mekano / Contact / Slogun single. Interestingly enough he states that he only likes those four songs from the band, following the text with laughter in regards to their remaining discography. I’m unsure if this means he was unimpressed with their noisier work (which would be curious knowing his liking of Mekano with how it originated from their earliest noise-adjacent album) or if he was directed to their later Machine Age Voodoo material and was alienated by it. In the same Q&A he also mentions the band Funeral Party, who featured specially commissioned art by Suehiro Maruo on their Dream of Embryo single. It's apparent that he also had a copy of the compilation album Vision Of The Emortion, as the list also includes C·C·Mekka and Ego'n Mole, who were both featured in the album alongside Funeral Party's only two other documented tracks, Das Sunde and Gears - Night. S.P.K. references are sprinkled throughout this story along with Osada's other Litchi-adjacent entries. Aside from one of Zera's henchmen being named after the Mekano track, it's very likely that the frequent references to Eden are in homage to the lyrics of Mekano. The first lines of the track include the verses "One by one, odd to even. Break the scenes, rudely eden...".

Moon Age 15 was originally printed in 1988 as a two-part miniseries in the horror magazine Complete Collection of Horror and Occult Works - HELP, namely in volumes 5 and 6. While being an early work that derived from the TGG, it still wasn’t the first comic to adapt the Litchi stage play, with Das Blut : Blood and Eternal Girl preceding it with their 1986 publication in Osada’s debut anthology Night Reading Room, sharing the same year as the TGG’s early closure following creative conflicts between Norimizu Ameya and K Tagane (the group's author, who remains anonymous to this day). It’s to be noted however that while Das Blut and Eternal Girl were the first stories to feature the Hikari Club as antagonists, they are only tangentially related with Moon Age showing more distinct Grand Guignol archetypes (musings of the full moon, examinations of the Hikari club’s misogyny, idealization of technology, and even an early rendition of the Litchi robot itself). First kept solely as a brief serial, Moon Age was later reprinted in abridged form as a short story in the 1996 Blind Beast anthology. While copies of HELP are notably hard to find and demand high prices, I was given an in depth view of both volumes that featured Moon Age’s serialization by a collector earlier last year. While the drawings are still the same on a rudimentary level, the length of the serialized version is notably longer than the later Blind Beast variant, with the HELP serialization being over 40 pages while Blind Beast’s is only 24. This was the product of the manga being entirely revised for Blind Beast’s print, with the layouts being drastically altered along with basic revisions of the line art. Certain scenes that would usually take 2 to 3 pages in the HELP version were condensed to 1, resulting in a unique tradeoff where one version feels unusually spacious in its framing while the other is heavily condensed and almost chaotic by comparison. It’s only a thing that springs on you once you compare the two variants, I saw the revised version first and originally didn’t pay any mind to it. One thing that is certain is the polishing of the art. The brush work in the Blind Beast version is refined with a more elaborate sense of weight and flow while the HELP version is notably rough with the prominent use of rudimentary screentones. It reflects as a somewhat rougher variant of the art shown in Night Reading Room. It feels strangely digital, like it’s the product of early computer art. The line-by-line reuse of the decapitation scene from Eternal Girl being shown on the TVs further adds to the strange digital feel of the art style.

Similar to Moon Age, Osada's other stories of the Hikari Club featured the members luring girls to their brutal deaths. In Eternal Girl the members bring in a student and film her mutilation for a snuff film that acts as the story's namesake, in Das Blut they corner another student to the woods where they hang her, and in Jinta Jinta they kidnap a student who bullied one of her classmates to suicide before trepanning her with a strange device that's somewhere between an electric chair and a drill. Not Osada was very recently namedropped in the concluding essay of an English print of Kawashima Norikazu’s Her Frankenstein under the alternate Nagata Nooto anglicization of Osada’s pseudonym. Their name is a curious case as while there is a prominent written variant (長田ノオト), it’s seen numerous English iterations. In Osada’s own English signatures it is written as Not Osada (with the name apparently being derived from a German phrase), but other variants include Osada Nohto, Osada Nooto and Not Nagata. If I'm not mistaken, it could count as one of the first English acknowledgements of Osada's works in print.