#Morimoto Kenji

[typingatlightspeed]

TF2 Fanfic - The Extreme Path Chapter 4

Spy witnesses the Makai family's threats firsthand, and with no doubt left in his mind, has to reconcile with the fact that a promise made to him almost forty years ago was being broken. Yoko is horrified about this revelation of Spy's past, and poor Sniper, Scout, and Kazuhiro are caught in the crossfire. Good news, however, the team's final member has arrived, and man oh man is he immediately gunning for the team's gunman.

Ao3 Link! Part of Monstrous Intent!

I promise I didn't mean to rip off a major plot point of Ryu Ga Gotoku/Yakuza 1, it just ended up happening that way! o-o Also warning for domestic violence, as well as murder but this is ostensibly a TF2 fic so murder is part and parcel yanno?

---------

Yamamori Ryokan, Izumisano, Osaka, Japan. June 6th, 1970.

The crash of splintering wood woke Spy with a start. He heard men yelling, and sprung to his feet. Snatching his balisong and watch from beneath his pillow, he tore out of his room in his underwear, skidding barefoot to a halt in the lobby, where Yoko stood. Her hands were clenched into fists as she watched Kazuhiro charge outside with a wooden practice katana clutched in one hand.

"Yo-chan?"

"They're back again. Those Makai family assholes."

Spy made to follow Kazuhiro out, but was stopped by Yoko's hand on his bare shoulder. He turned to see her holding one of the yukata from the rack behind her, and looked down at himself. "Ah, yes. Merci."

A loud crack filled the air as wood shattered and broke, creaking as the sign for the ryokan toppled over, its supports broken yet again. A burly hibagon, an ape-man covered in shaggy black fur and wearing a suit with an ornate lapel pin, hefted his sledgehammer up over his shoulder, laughing at the destruction he'd wrought.

"Oi, Aniki! Looks like you got the bird-man's attention," called a man with white cat ears and a long black and white tail that split into a Y-shape, standing beside a car that had been haphazardly parked halfway up the walkway from the road. He was a nekomata, and he too wore a suit with a lapel pin, and a gold chain around his neck, shown by the open buttons of his garish purple shirt.

"Looks like I did," the hibagon replied with a chuckle, turning to stare down Kazuhiro as he approached, practice sword in hand. He widened his eyes. "Decide to pay up yet?"

"Get off of our property, or I will throw you off," Kazuhiro threatened, bringing the sword to bear.

The hibagon bristled. "See, that worked last time: your little samurai routine. But this time you're a little outnumbered." He motioned to the car, and two more thugs, both human in appearance, climbed out, grinning. They were dressed similarly, all glaring with wide eyes, looking wild and eager to fight.

Kazuhiro held his ground, his face stern.

"You got two options, tengu. Either you pay up, or we beat your ass and burn this cute little onsen to the ground while we carry off your woman." He dropped the sledgehammer down to just above the ground, ready to bring it to bear.

"You'd have to fight her first. May as well cut your own throat and save yourself the trouble," Kazuhiro countered with a smirk. "I'm out here to be the nice one."

"Don't think the whole nice approach is workin' for you, bud."

A knife pressed to the hibagon's throat, and in a puff of smoke, Spy decloaked, wearing the shape of his Frenchman self. "Oh good. I hate the nice approach."

"Aniki!" the nekomata yelled, holding back from charging forward as Spy forced the hibagon to turn, giving him line of sight to everyone involved. He snarled, fangs on display. "Who the fuck is this white boy?"

"I'm the guardian kami of this spring," Spy snorted, holding the knife closer, cutting through a chunk of fur to press the blade to skin. His eyes flickered to the pin on the thug's lapel, taking in its details before returning to the nekomata.

"Real fuckin' funny," the hibagon grunted. He dropped the sledgehammer and looked to Kazuhiro. "You think hirin' muscle's gonna help you? We know what you are, and some hired goon ain't gonna save you from your customers findin' out. You got 'til the end of the week to pay up, or Captain Nagoshi's making sure all of Osaka knows what you two are."

"You're makin' an awful lotta threats for a guy with a knife to his throat," Spy hummed, smirking.

"You gonna murder me on the doorstep of this ryokan? Sure that'd be great for business."

"Nobody would miss a lowlife chinpira like you."

"You talk a lotta shit for a foreigner."

"You talk a lotta shit for a dead man."

"Stop!" Kazuhiro called, looking pleadingly to Spy. "If we kill the messenger, do you think they're going to hold back on exposing us?"

Spy scoffed and pulled the knife away, shoving the yakuza thug away with an annoyed, "Tch."

Rubbing at his throat, the hibagon backed up to the car, nodding to his companions, who all climbed back in. "Friday," he growled. He stalked over and got in, slamming the door loudly. The car backed sloppily out onto the road, knocking over a jizo statue on its way and crushing a lantern, and sped off down the mountain road from whence it came.

Spy sagged. "Sorry."

"Don't be," Kazuhiro replied, sighing as he beheld his re-broken sign. "They would've beaten me bloody if you hadn't showed up."

"I'm surprised Yoko wasn't out here backin' you up."

"I don't want her dealing with them if I can avoid it," Kazuhiro reasoned. "Unlike you, she wouldn't have moved the knife."

Spy flipped his knife closed and shifted back to Shigeru. "That's true. Either way, I got a look at those lapel pins. No mistake, that really is the Makai family. Which doesn't make any sense."

"Why not?"

"Because Patriarch Ugaki swore an oath to me that the family would never touch the Morimoto foxes."

*

Sōemonchō, Chūō-ku, Osaka, Japan. April, 1932.

"Han!"

"Are you serious? This is fuckin' bullshit!"

The clacking of gambling tokens and clattering of dice filled the smoky room of the little gambling hall. Tucked away in a side alley, it was a large, mostly unadorned room with old-fashioned decor, a wall with a sliding door separating it from the back of the house. Upon the tatami floor sat a host of gamblers sitting across from a few dealers running cho-han, shaking dice in small baskets and upending them in games of guessing evens or odds. An angry young man dressed in an ill-fitting suit jumped to his feet, pointing accusatorily at the dealer in front of him.

"This game's rigged! No way it's han five rolls in a row!"

"Sir, please be seated if you wish to continue to play," the dealer—a pretty young woman dressed in a kimono—asked, lifting the dice between her fingers and dropping them back into the basket.

"The fuck you mean 'sit down'?" the young man barked, leaning in angrily, towering over the seated woman. "I want back all the money you fucks stole from me!"

"Sir." The dealer looked past him and flashed a hand sign, then looked back up to him. "Sir, I understand losing is difficult, but I must ask that you calm down. You're making a scene."

"Makin' a scene?! Good! You're straight-up fleecin' me!" Reaching into his jacket, he pulled out a pocket knife, flipping it open to a chorus of gasps and the thumping scramble of other patrons moving away. "I oughtta cut your tongue out for takin' to me like that!"

The dealer stared at him, looking exhausted.

The wet thump of impact interrupted any further threats, as the man fell to the ground in a heap, his knife clattering to the floor beside him. Behind him, Shigeru tucked his blackjack back into his pocket and smoothed out his jacket, which bore a lapel pin showing the Makai family crest. He took a drag from his cigarette. "Dipshit."

"Thank you, Morimoto-han," the dealer said, bowing.

"Don't worry 'bout it," Shigeru replied, stepping over the unconscious patron and past the line of dealers. He slid open a door behind them and poked his head into a room with a low table, where a group of men in finely-tailored suits were seated on the floor around it, sharing sake and chatting. "Captain Ugaki?"

A slim man with a wide nose, rounded eyes, and close-cropped salt-and-pepper hair lifted his head, smiling slightly at the sight of him. "What's up, Morimoto-chan?"

"Guy out here makin' a ruckus, drew a knife. He's takin' a nap right now. Should I take the trash out or should I make sure it's properly disposed of?"

Captain Ugaki shook his head with a laugh. "Just toss the asshole in the street. Take his wallet as a warning shot. If he decides to start shit with the family again we'll put the boots to him."

"On it, Oyaji," Shigeru said, slipping out and sliding the door closed.

*

Yamamori Ryokan, Izumisano, Osaka, Japan. June 6th, 1970.

The sliding glass doors to the ryokan were locked. A pair of sliding wooden doors were locked in front of them. The broken sign still laid in the rock garden beside the path. In the lobby, the phone rang unanswered.

On the second floor of the main building, in Yoko and Kazuhiro's small apartment, the team sat on the living room floor around a short, square table. A sake cup rested in front of each person, a small jug at the middle of the table.

Yoko stared at Spy, not breaking eye-contact as she slugged back her sake and set the cup on the table, clacking it loudly.

Spy picked up the jug and refilled her cup.

Yoko's brows furrowed, and drank her cup again, clacking it down a little louder.

"Yo-chan..." Kazuhiro started, but was silenced as Yoko held a finger up to shush him, not sparing him a glance. She kept her eyes firmly on her brother.

Spy refilled her cup again. Yoko drank it in a single gulp and slammed the cup onto the table, rattling the other cups, making Scout, Sniper, and Kazuhiro jump.

"So tell me, Shigeru. What the fuck were you thinking?" Yoko barked, tails lashing in annoyance.

"It was after I got into espionage, but before the war. The guy I was working for had been blackmailed by someone on the extreme path—"

"Yakuza."

"What?"

"Don't use their words for themselves. They're fucking yakuza."

"You're awful venemous about them considering how much crime you've done yourself over the years."

"There's a difference."

Spy scoffed and continued. "The blackmailer was in the Makai family. Guy name of Daito Shigeki. So I came back over to get into the family to get close to him."

"Using your real name?"

"Not at first. I was goin' by Sawamura Kazuma at the time. Turned out Daito wasn't just blackmailin' foreigners who did business with the clan. He was a mole in the family, workin' on a plan to assassinate the family captain, Ugaki Goro. My employer just wanted Daito dead. The family, once I gave them a small mountain of evidence I'd gathered over a year, made that happen. But to prove all of that to Captain Ugaki, I had to play my hand about bein' undercover. Captain was so grateful anyway he made us sworn brothers, and asked if I'd stay in the family." Spy shrugged. "The Makai family targeted youkai businesses and interests, both to keep 'em as turf and to keep human families from causin' 'em trouble. The protection money was in exchange for actual protection, for the most part. Still extortion, but they at least walked the talk. So I stuck around, 'cause I knew bein' a kitsune named Morimoto on their payroll might put other kitsune named Morimoto on their radar. So if I were in the family, I could keep 'em away from anythin' you and Ken-chan might be up to."

"Don't play like you did this for our sakes."

"At first? No. Once I realized I'd fucked up royally by being exposed? Believe what you want, but I'm tellin' you that's why I stuck around."

"How long were you with them?"

"Two more years. Then it all went to shit. The patriarch, Kanda, was dating Captain Ugaki's sister, Rie. Always on the bubble of not treatin' her good, but nobody saw nothin', and even if we did, what could we say to the patriarch? But we all got the feelin'. He didn't put much respect in his mouth when he talked to her. Well one day they had it out, and he ended up hittin' her somewhere you could see it. And her brother found out."

"What'd he do?"

*

Sōemonchō, Chūō-ku, Osaka, Japan. April, 1934.

Everyone had heard the screaming. By the time Shigeru had arrived, he could hear police sirens in the distance. Drawing himself up, he charged up the stairs to Ugaki Rie's apartment, his guts drawn tight.

The door was ajar, the frame broken by forced entry. Splinters of wood were everywhere. He could hear a woman sobbing. Steeling himself, Shigeru pushed the door slowly open and crept inside into the darkened, single-room apartment.

Moonlight shone in from the balcony, reflecting off of a darkened puddle on the wood floor, silver-white on shadow-blackened crimson. A woman, Ugaki's sister Rie, was curled up against the side of the kitchen cabinets, holding her knees to her chest and crying. Her skirt was ripped, her hair a mess. In the middle of the room lay the body of Patriarch Kanda, dead. Deep, ragged gouges covered his body, slashed by claw and fang, his throat torn open. Hunched over him, a man-shaped otter youkai—a kawauso—knelt, blood dripping from his claws and soaking his suit.

Shigeru stopped, choked on his own breath, barely croaking out, "Captain..."

The kawauso turned, blood splattering his face, and slowly shifted into human shape, agony creasing his tear-stained features. "Morimoto-chan..."

"Captain, what—"

"I... I couldn't stop myself. When Rie called me, said he was yellin', gettin' violent, that he hit her before and she was afraid he was gonna do worse this time..." Ugaki shook his head, looking down at his hands, "I snapped. I ran the whole way here, and ripped his fuckin' throat out. I... I'm sorry, kyodai."

The sirens grew closer. "Sorry?"

"That you're gonna have to deal with a patriarch like Lieutenant Nagoshi. If the family don't just dissolve."

"The family ain't dissolvin'; what're you talkin' about?"

"The patriarch's dead. Ain't no way I ain't goin' down for this, Morimoto-chan. If the cops don't get me, the clan will. Patricide..."

Shigeru knelt beside Ugaki and looked down to the lifeless body of Kanda on the floor. "No." He shook his head. This was his sworn brother, defending his family. He'd have done the same or worse if Yoko had been in Rie's position. Panic welled in his heart as he realized the decision he'd already made, with absolutely zero deliberation. He slammed his hands down into the puddle of blood and began to wipe it on himself, soaking his hands in it, smearing it on his arms, his face, his suit.

"What the hell are you doin'?" Ugaki barked, grabbing hold of Shigeru's wrists.

"My duty as your sworn brother. The family needs you. Rie-san needs you. And you know there's not a prison that can hold me. You need to run, before the cops get here. Get to the river, ditch those clothes. Lay low, and get back to the family." He dug in his jacket pocket, pulling out a large pearl, about the size of a tennis ball. It glowed softly, subtly, barely lighting the hand that held it, and he handed it to Ugaki. "Hide this somewhere I'll expect. I'll need it once I break out."

"Your hoshitama? Shigeru, no..."

"Look, I discovered my sworn brother's sister was bein' brutalized, and I went to take matters into my own hands before the family even found out. I—I'm a new swear-up. Kasuga Akira." Shigeru shifted his face to something generic, an everyman who didn't stand out, and looked to Rie. "Rie-san? Do you hear that? My name is Kasuga, and I came here to defend you! Your brother had no idea!"

Sniffling, Rie nodded, eyes blackened and swollen nearly shut, her nose bloody. Shigeru looked back down to Kanda's corpse and snarled. Being mauled was too easy a death for what he deserved.

Ugaki nodded, clearly unable to change his subordinate's mind. "Fine, okay. I'll get you an identity, a-and I'll lawyer you up and make sure you don't hang. But you better get outta prison like you said."

Taking a deep breath to steady himself, a sad smile crossed Shigeru's lips. "Just promise me somethin'."

"Anythin'."

Shigeru leveled a severe glare at his captain. "The family never touches the Morimoto foxes."

Ugaki took Shigeru's hand and clasped it tightly. "I swear you this oath. Nobody touches the Morimoto foxes."

Satisfied, Shigeru gave his hand a squeeze, then released him. "Thank you, kyodai. Now go! Get outta here before the cops show up!" With a wave of his hand and a flash of magic, he pushed an invisibility spell onto his captain and shoved him away, staring at the empty air as his unseen sworn brother took flight, his footsteps retreating until sirens drowned them out.

Looking back down at Kanda, Shigeru let his hands slip into claws, and gave the son of a bitch one last gouge for good measure.

*

Yamamori Ryokan, Izumisano, Osaka, Japan. June 6th, 1970.

"You went to PRISON for them?!" Yoko yelled, slamming her hands on the table and pitching up onto her knees. The other cups on the table clattered, and Kazuhiro recoiled in shock. Sniper and Scout shared a nervous look, while Spy remained nonplussed.

"For three months. Their security was a joke. Captain Ugaki hid my hoshitama on the roof of the family office, which I took and left without contact. I was back in Paris before the season changed."

"NOT THE POINT!"

"Then what is the point? Yo-chan, the amount of morally suspect shit I've done in my life, both before and after leavin' Japan the first time would turn your fur white."

"If my fur were white then I'd be able to get a job workin' for Inari-okami and I wouldn't be here puttin' up with your bullshit!"

"She's awful mad," Scout mumbled, leaning in to Sniper. "Should we..." he jerked his thumb over his shoulder, wordlessly suggesting an exit.

Sniper nodded, and looked to Kazuhiro, who made eye contact and slowly nodded in agreement. Each slugged back their sake and quietly made their egress.

*

"She's a spitfire," Sniper muttered as the three descended the stairs into the ryokan proper, the 'staff only' door at its bottom left open.

"Like gettin' yelled at by Ma. Same kinda attitude, like 'is this the time I finally push 'er over the edge an' she stabs me?'"

"Yo-chan is often more calm," Kazuhiro replied, his English hesitant, and thickly-accented. "She hate yakuza."

"I mean, can't say I blame 'er," Scout replied, carefully hopping down the last step to avoid scuffing the hardwood with his hooves. "They keep rollin' in an' wreckin' 'er shit. If I built all this up by hand I'd wanna light the fuckers on fire too."

"Strewth."

Scout winced as a tirade he couldn't understand echoed down the stairs in Spy's voice. "You think they're gonna be okay?"

"I think they will. Lot of emotion," Kazuhiro assured him, looking nervously back the way they'd come.

"Tadaima!"called a man's voice from the entryway, startling all three men.

Kazuhiro dashed through the lobby, sliding to a halt on his socks as he saw a man dressed in a business suit stepping out of his shoes and onto the hardwood floor, both doors closed behind him. "Kenji-san! How did you get in here?"

Sniper and Scout trotted in after Kazuhiro, eyes on the newcomer. He was about Scout's height, but broader, athletically built even under the concealing lines of his navy suit, which bore a lapel pin in the shape of a rounded sunflower with a balance scale at its centre. His face was narrow and clean-shaven, with golden-brown eyes and an aquiline nose. His short salt-and-pepper hair was parted to one side. From his backside, three orange tails trailed, the white at their tips more pronounced than Spy's and Yoko's. He had a duffel slung around his torso, with one hand resting on the strap.

"Well I knocked for about ten minutes, then just gave up and picked the locks. Don't worry; I locked up behind me. You know, if you're expecting visitors, you should really be listening for them to arrive," the man, Kenji, explained with a chuckle. He looked to the foreigners, lifting an eyebrow, tensing and almost-instantly relaxing the moment he saw Scout's antlers and cervine legs. "You have guests?"

"Oh, these are friends of Shigeru-san, from his work in America."

"Of course Shige-chan surrounds himself with gorgeous men," Kenji snorted.

"He's a man of taste. This is Mun—"

Kenji surged forward and offered Sniper a handshake and bow together, his eyes roving the taller man, checking him out without any attempt at concealing it. "Morimoto Kenji, a pleasure to meet you," he said in English, flashing him a winning smile, complete with fangs.

Sniper smiled in return, taking his hand for a hearty shake and bowing in addition, making sure to make an obvious show of appraising him in return. "Mundy," he replied. When Kenji released him, he gestured to Scout. "And this is Scout."

"Nice to meet you," Kenji offered, affording Scout a far less lacivious but still pleasantly flirty handshake and bow combination.

"Yeah, right back atcha," Scout replied with a wink, glad he was willing to talk to him rather than just let Sniper translate. "Your English is real good!"

"Thank you," Kenji chuckled, releasing Scout. "I don't speak as many languages as Shige-chan, but I like to think I'm no slouch. And in my line of work, it's more helpful than you'd expect."

"Whatcha you do for a livin'?"

"I'm a defense attorney," Kenji chirped proudly, tapping his lapel pin. "I specialize in representing youkai in court, since we have differing needs compared to humans." He looked to Kazuhiro. "Speakin' of youkai, where are Shige-chan and Yo-chan? I brought some sweets from the city."

"Upstairs. It seems Shigeru-san has a more... intimate knowledge of the situation than any of us had thought."

[tiberius-kirks]

WOW I really do love cooking competition shows

[musicalueion]

Super Smash Bros. Ultimate - Beginning

Artist: Kenji Ito

Original Composers: Hidenori Maezawa, Jun Funahashi, Yukie Morimoto, Yoshinori Sasaki

Original Work: Castlevania III: Dracula's Curse - Beginning

[kadomania]

KAVKANIZE [ Kavka Shishido ]

Shishido Kavka  1st.Album  “Kavkanise” released on 2013/09/04 Kavka Shishido (Drums / Vocal /  Lyrics) Guitar:Shogo Oonishi / Youhei Makabe / Haruhisa Naito / Satoru Hiraide / Kenji Ooshima) Bass:Spyke / Satoru Hiraide / Kenji Ooshima) Keyboard:Yuji Morimoto Back Vocal:Silva(track2) T-douji(track14) 01. デイドリームライダー (daydream rider) 02. ラヴコリーダ (love corrida )　★ 03. キケンなふたり (kiken na futari) 04.…

[ramascreen]

Morimoto's SUSHI MASTER Official Trailer | Available on The Roku Channel on June 16

Watch this official trailer for Morimoto’s SUSHI MASTER. Available on The Roku Channel Friday, June 16, 2023 Hosted by Lyrica Okano Judges Chef Masaharu Morimoto, Chef Dakota Weiss, Chef Kenji López-Alt  Morimoto’s Sushi Master features renowned chef and restauranter Masaharu Morimoto as head judge of a cooking competition centered on the world’s most popular cuisine: sushi. Hosted by Lyrica…

[shroomedits]

❥ shroomyronpa 1/4 ↳ yukina morimoto - ultimate drummer. ↳ cecelia van der barben - ultimate reality tv star. ↳ kenji kobayashi - ultimate paranormal investigator. ↳ adrien anderson - ultimate basketball player.

[doraemonmon]

The Tigers   ザ・タイガース

[mitjalovse]

Sakamoto could be seen as one of those rare musicians who can move from pop to avant-garde with such an ease, though he rarely settles on any idiom. Moreover, he can surprise you, we said that a lot, though nothing in his opus can describe the shock of something like The End Of Asia, a collaborative album he did with Danceries, which is a collection of medieval tunes. Yes, you've read that correctly. I assume you're not going to be baffled by the fact Mr. Sakamoto doesn't make a fool out of himself on the record. On the contrary, I think he should return to this soundscape again, he fits well within the genre. Of course, Sakamoto's a restless spirit, he didn't take a break until his cancer diagnosis, so I assume he's already looking for another style to mold.

[tsun-zaku]

ザ・タイガース 明治チョコバー：広告－1968年

[human-renascence]

[no-oto-recs]

Playlist / mori no oto

"森の音" "鳥の声"をテーマとしたプレイリストです。森の中でゆったりとした時間が流れるような楽曲たちです。

1. Morning Birds - Valotihkuu

2. Log_20210714 - LOG by MIYAUCHI YURI

3. dawn - morimoto naoki

4. Good Morning Patrick - Fuubutsushi

5. Putting on a Band Aid - Duelling Ants

6. Autum - Taylor Deupree

7. Komorebi - KETA LA

8. SLEEP - Hiroshi Yoshimura

9. Hayama Ambient 003 - KENJI KIHARA

10. 雨男 - 田辺玄

11. Morning Fanfare - 蓮沼執太

12. Until The Rise of The Sun - Ryosuke Miyata

Playlist / mori no oto

[atr-xx]

Manga Masterpost

~ February Update ~

All the manga I've ever read. I couldn't think of another way of writing this post so I categorized it according if it's horror + demographic.

Those with green font are my favorites, those in red font are the ones I hated wouldn't recommend. Those in italics were added in the monthly update.

(Manga name) - (Author)

For more information check my anilist

Horror

8 Tales of the ZQN - Various Artists

Ajin - Gamon Sakurai

Anamorphosis no Meijuu - Shintaro Kago

Black Paradox - Junji Ito

DEAD Tube - Touta Kitakawa

Dead World Puzzle - Tajika Kouhei

Dream Toy Factory - Shintaro Kago

Ekimae Hanayome - Shintaro Kago

Franken Fran - Kigitsu Katsuhisa

Franken Fran Frantic - Katsuhisa Kigitsu

Twins of Darkness - Sachiko Uguisu

Fraction - Shintaro Kago

Fuan No Tane - Nakayama Masaaki

Goth - Otsuichi

Gyo - Junji Ito

Harem End - Shintaro Kago

Hellstar Remina - Junji Ito

Homunculus - Hideo Yamamoto

Horror Anthology Comic Shikaku

Inugami Hakase - Suehiro Maruo

Jisatsu Circle - Usamaru Furuya

Kiriko - Shingo Honda

Kiriko Kill - Shingo Honda

Kouishou Rajio - Nakayama Masaaki

Litchi☆Hikari Club - Usamaru Furuya

Lunatic Lovers - Suehiro Maruo

Mahou Shoujo Site - Satou Kentarou

Mimi no Kaidan - Junji Ito

Misu Misou - Oshikiri Rensuke

MoMo: The Blood Taker - Akira Sugito

Museum - Tomoe Ryousuke

Mushihimi - Masaya Hokazono

No Longer Human - Junji Ito

Paranoia Star - Suehiro Maruo

Plastic Girl - Usamaru Furuya

Pumpkin Night - Seima Taniguchi

Sensor - Junji Ito

Shigahime - Hirohisa Sato

Shoujo Tsubaki - Suehiro Maruo

Super Dimensional Love Gun - Shintaro Kago

The Junji Ito Horror Comic Collection

Travelogue of the Succubus - Junji Ito

The Voynich Hotel - Dowman Sayman

Tokyo Akazukin - Tamaoki Benkyo

Tomie - Junji Ito

Tomie: Takeover - Junji Ito

Uzumaki - Junji Ito

Yami no Koe - Junji Ito

Youkai Kyoushitsu - Junji Ito

Warau Kyuuketsuki - Suehiro Maruo

Josei

3 am Dangerous Zone - Youko Nemu

& - Mari Okazaki

A Silent Voice - Yoshitoki Ouima

A Song to the Sun - Kenji Bandou

Amegashi - Gunjou

Anata ni Hana wo Sasagemashou - Tomu Ohmi

And It Will Be Sunny - Tendou Kirin

Another World Where I Can’t Even Collapse And Die - Tommy Matsui

Biyaku Cafe - Ayane Ukyou

Boxed Garden - Mame Fujimoto

Bread & Butter - Hinako Ashihara

Cappuccino - Wataru Yoshizumu

Chiguhagu na Karera no Koi no Yukue - Mori Kou

Haru's Curse - Asuka Konishi

Dame na Watashi ni Koishite Kudasai - Aya Nakahara

Dame na Watashi ni Koishite Kudasai R - Aya Nakahara

Diamond Life - Fujiwara Akira

Dokuhime - Mitsukazu Mihara

Fiancée of the Wizard - Masaki Kazuka

Full House - Woon Seo Yeon

Gokusen - Morimoto Kozueko

Hapi Mari - Maki Enjouji

Honnou Switch - KUJIRA

I Am Troubled That My Fiance Is a Villain - Hachi Mitsuno

I was Summoned by Mistake, but I'm the Heroine - Yuu Geni

In Clothes Called Fat - Moyoco Anno

Isekai Otomotenashi Gohan - Shinobumaru

I'm nearly 30, but this is my first love. - 310 (satou)

Kijima-san to Yamada-san - Ruka Ichinose

Koudaike no Hitobito - Kozueko Morimoto

Ladies on Top (+18) - Nejiga Nameta

Life Lessons with Uramichi Oniisan - Gaku Kuze

Little House with an Orange Roof - Yamahana Noriyuki

Loving Yamada at LV999! - Mashiro

Love Rerun - Aki Amasawa

Miss Kiryu Doesn't Know What Love is - Haruka Ono

Mizutama Puzzle - Shoko Hidaka

Ms. Seal: I don't wanna be killed anymore - Yukiko Uozumi

My Broken Mariko - Waka Hirako

My Lesbian Experience With Loneliness - Kabi Nagata

Mystery For My Dear A - Satoshi Morie

Nana - Ai Yazawa

Oishii Kankei - Makimura Satoru

Perfect World - Rie Aruga

Pretend-Lovers Serenade - Toochika Nekome

Sesame Salt and Pudding - Yufuko Suzuki

The Earl's Daughter was Suddenly Employed as the Crown Prince's Fiancée - Midori Azuma

The Embalmer - Mitsukazu Mihara

The Full-Time Wife Escapist - Tsunami Umino

The Mitarai’s House is On Fire - Moyashi Fujisawa

The Rain of Teardrops, and Serenade - Haruka Kawachi

The Saint's Magic Power is Omnipotent - Azuki Fuji

The Tales of Marielle Clarac - Tomoko Mitani

The Third Finger Offered to a King - Shiho Watanabe

The Wolf Lord's Lady - Machi Kanna

This Time I Will Definitely Be Happy! - Mamenosuke Fujimaru

Usemono Yado - Hozumi

Witch of Thistle Castle - John Tarachine

Wotakoi: It's Difficult to Love an Otaku - Fujita

Yoru Cafe - Maki Enjouji

You're My Pet - Yayoi Ogawa

Seinen

A Bride's Story - Kaoru Mori

A Girl on the Shore - Inio Asano

All You Need is Kill - Hiroshi Sakurazaka

Are You Really Getting Married? - Tamiki Wakaki

Arte - Kei Ookubo

Berserk - Kentaro Miura

Bitter Virgin - Kei Kusunoki

Bonnouji - Eda Aki

Devil's Line - Ryo Hanada

Dorohedoro - Q Hayashida

Emma - Kaoru Mori

Genocyber - Tony Takezaki

Genshiken - Shimoku Kio

Haru's Bandaged Girl - Mito Satou

Her Majesty’s Swarm - Akira Minamoto

I Sold My Life for Ten Thousan Yen per Year - Taguchi Shouichi

Innocent - Sakamoto Shinichi

Innocent Rouge - Sakamoto Shinichi

Interviews with Monster Girls - Petosu

Jigoku Kurayami Hana mo Naki - Ruka Toudou

Murcielago - Kana Yoshimura

My Dress-Up Darling - Shinichi Fukuda

No Longer Human - Junji Ito

Oogami-san, Dadamore desu - Yuu Yoshidamaru

Oyasumi Punpun - Inio Asano

Saturn Return - Akane Torikai

Sekine's Love - Haruka Kawachi

Shounenshoujo Ryouryuuki - Usamaru Furuya

Shut Hell - Yu Ito

So I'm a Spider, So What? - Asahiro Kakashi

Solanin - Inio Asano

Spirit Circle - Satoshi Mizukami

Suicide Island - Kouji Mori

Sweat and Soap - Kintetsu Yamada

Telepathic Wanderers - Yasutaka Tsutsui

The Apothecary Diaries - Nekokurage

The Kurosagi Corpse Delivery Service - Eiji Ootsuka

The Way of the Househusband - Kousuke Oono

Toorigakari ni One Point Advice Shiteiku Type no Yankee - Otsuji

Watashitachi no Shiawase na Jikan - Sumomo Yumeka

Yokohama Kaidashi Kikou - Hitoshi Ashinano

Shonen

Blood Lad - Yuki Kodama

Boku No Hero -

Chainsaw Man - Tatsuki Fujimoto

Chrno Crusade - Daisuke Moriyama

Demon Slayer - Koyoharu Gotouge

Gwisin Byeolgok - Han Hyun Dong

Happiness - Shuuzou Oshimi

Horimiya - HERO

It's My Life - Imomushi Narita

Jujutsu Kaisen - Gege Akutami

Kaiju No.8 - Naoya Matsumoto

Kemono Jihen - Shou Aimoto

Marry Grave - Hidenori Yamaji

Meido no Koi wa Enma Shidai! - Runa Hirai

No. 9 - Gege Akutami

Pochi Kuro - Naoya Matsumoto

Sengoku Youko - Satoshi Mizukami

Sengoku Komachi Kuroutan: Noukou Giga - Kyouchikutou

SPY X FAMILY - Tatsuya Endou

Superior - Ichtys

The Duke of Death and His Maid - Inoue

To Your Eternity - Yoshitoki Ooima

Toilet Bound Hanako-kun - Iro Aida

Shoujo

A Sailor Uniform Please - Meca Tanaka

A Story for Sleepless King at Night - Toki Yajima

An Observation Log of My Fiancée Who Calls Herself a Villainess - Natsume Hasumi

Azufareo no Sobayounin - Shiki Chitose

Baby Dragon Sitter - Kusano Setsuri

Barajou no Kiss - Aya Shouto

Basara - Yumi Tamura

Beast Master - Kyousuke Motomi

Black Bird - Kanoko Sakurakouji

Crazy Girl Shin Bia - Mi-ri Hwang

Colette Decides to Die - Alto Yukimura

Dawn of the Arcana - Rei Toma

Endo and Kobayashi's Live Commentary on the Villainess The Play-By-Play Commentator - Rumiwo Sakaki

Hello, I am a Witch and my Crush Wants me to Make a Love Potion! - Misato Kamada

I'm the Villainess, So I'm Taming the Final Boss - Anko Yuzu

Is Dorothy in a Bad Temper? - Sora Honooki

It’s Virtually Impossible to Make This Boy Like Me - Roa Fuzuki

Kagehime no Konrei - Hisa Kyoumachi

Kainushi wa Akuma - Eiri Kaji

Kamisama Kiss - Julietta Suzuki

Kawaii Hito - Ken Saitou

From Far Away - Kyouko Hikawa

Fruits Basket - Natsuki Takaya

Fushigi Yugi - Yuu Watase

In Another World, I'm Called: the Black Healer - Yuichi Murakami

Innocent Dragon - Miyuki Yamaguchi

Isekai de Cafe wo Kaiten Shimashita - Mei Noguchi

Kingyo Sou - Yuki Fujitsuka

Lady Rose Wants to be a Commoner - Yura Kiyose

My Fiancé's falls in love with my sister - Mashiro

My Little Monster - Robico

My Little Sister Stole My Fiancé: The Strongest Dragon Favors Me And Plans To Take Over The Kingdom? - hi8mugi

Our Precious Conversations - Robico

Paperbag-kun Is in Love - Riko Amaebi

Plastic Girl - Yuki Shiraishi

Queen Of Hearts In Wonderland - Yohachi

Queen of Ragtonia - Chika Shiomi

Say "I Love You" - Kanae Hazuki

Stepping on Roses - Rinko Ueda

Strange Dragon - Keiko Ishihara

Sugar Apple Fairy Tale - Miri Mikawa

Tail of the Moon - Rinko Ueda

The Banished Villainess! Living the Leisurely Life of a Nun Making Revolutionary Church Food - Tsumuji Yoshimura

The Black Count Loves the Star - Hisamu Oto

The Duchess of the Attic - Maki Hayashi

The Plain & Unnoticeable Me is No More - Yukiko Sumiyoshi

The Princess and the Three Beasts - Mitsubachi Miyuki

The Savior’s Book Cafe Story in Another World - Kyouka Izumi

The Supreme Commander and My Circumstances - Roa Fuzuki

The Water Dragon’s Bride - Rei Toma

The White Cat's Revenge as Plotted from the Dragon King's Lap - Aki

The Worst Witch in the World - Nari Kusakawa

Two Saints Wander off into a Different World - Roa Fuzuki

Tokyo Lastochika - Furumachi Miyoshi

Usotoki Rethoric - Miyako Ritsu

Villainess Level 99: I May Be the Hidden Boss but I'm Not the Demon Lord - Nokomi

Wolf King's Bride - Mato Kauta

Your Voice - Miku Morinaga

[thomasmartelpublication]

Japanese Postwar Period Drama As a  Modern Metaphor

Japanese Postwar Period Drama As a  Modern Metaphor

Japanese Postwar Period Drama As a Modern Metaphor By Thomas Martel

With globalization cinema as a whole is becoming an art form without country, without borders and even without a definitive national language. An idea that buds in one country’s cinema may blossom in another. Cinema and the ideas that go along with it travel back and forth across oceans and continents. Japan imported it’s first Edison Kinetoscopes in 1896, and Japanese filmmakers immediately utilized cinema to engage the masses at home and abroad. My inquiry is to examine how post-war Japanese cinema took on the role of fictional historical narratives to interact with the psyche of the postwar Japanese nation. In many ways, all films made in Japan since the end of World War II can be considered post-war cinema, because of the way in which that war affected the country, and because of the way of cinema always reflects society. Japanese directors chose to represent the war, its aftermath, and apprehension about the future of the nation as a whole through the medium of chinema, and more specifically, through fictional historical narrative, or jidaigeki.

Jidaigeki, meaning “period drama”, is a term applies to fictional narrative films set before the industrialization and modernization of Japan; typically before or during the Meiji Restoration of 1868 when the Emperor Meiji reclaimed political power from the Tokugawa Shogunate. The Japanese are a very historically conscious people, and often draw on history for examples relevant to current events. Japanese film is no exception, and jidaigeki are full of metaphors for the present day. As American coauthors George Lakoff and Mark Johnson state, “We draw references, set goals, make commitments, and execute plans all on the basis of how we in part structure our experience, consciously and unconsciously, by means of metaphor”.

Indeed, it is through the use of metaphor that Japanese cinema uses characters, dialogue, and imagery to depict modern international relations and concerns, as well as specific fundamental elements of Japanese society, such as ie, or “household;”which was put under significant stress during and after the war. Due to the popularity of the genre, there were, of course, many jidaigeki produced during the Second World War. Take, for example, Kenji Mizoguchi’s 1941 film Genroku Chushingura, an oft- told story of forty-seven loyal samurai who avenge their innocent master’s execution and then proceed to dutifully follow him into death through disembowelment. There have been hundreds of film adaptations of the story, but this is perhaps the only one financed by The Ministry of Information while under military rule to boost morale. Even stylistically it is clear; the soundtrack consists of bugles, trumpets, and deep, plodding drum beats. Unlike many other adaptations, this one doesn’t show any blood, despite the gory nature of the story. The forty seven ronin are heroic, yes, but equally as

heroically depicted are their wives, who, with great strength and resilience remain true to their doomed husbands, not unlike the wives and families of soldier sent to war to die.

Akira Kurosawa’s 1945 film The Men Who Tread on the Tiger’s Tail is also a retelling of a classic history-based story. The viewer follows a young war hero, Yoshitsune, in disguise and on the run with a small band of loyal followers after being betrayed by his own brother- the military dictator of Japan. Because the story was so well known and respected, perhaps it was not viewed as the protest film that it actually was, further, the film was banned by the American Occupation supposedly for promoting feudal values, although the ban may have been in response to the film’s persuasive power. After WWII, jidaigeki re-emerged to perform new metaphorical functions.

Because the real and fictionalized events of jidaigeki are supposedly removed from the events of modern-day they serve as ideal, safe metaphors for a people in need of a means of discussing their present concerns- the disastrous results of imperialism and militarism, both Japanese and Western. Popular cinema was the ideal tool for these demilitarizing metaphors, and that is exactly where they were reinvested. As Japanese- American scholar Marie Thorsten Morimoto has suggested,“a nation’s metaphors converse with its politics. Hence, with the dismantling of the Japanese Empire at the close of the Second World War, the images which shaped the... state also, in a sense, became ‘demilitarized.’ Like the guns and missiles they supported, war metaphors were ‘left over,’ waiting to be reinvested into peacetime Japan.” (Morimoto, 11).

Typically in jidaigeki, samurai cast as the main role in Japanese cinema had represented the Japanese masculine ideal: strong, courageous, courteous and polite, and chaste. However, after the war this masculine machismo was seen as somewhat fascist, and the heroes onscreen changed into imperfect, often lost or wandering swords in a tumultuous, war savaged country. Alternatively, they are disenfranchised warriors in time of peace that has no need for bushido and the real lords are mob bosses and gamblers who dominate the fictional-historical and post-war Japanese and international society.

The 1966 film Dai-bosatsu toge, or “The Pass of the Boddhisattva” by director Kihachi Okamoto is a good example of cinema filled with metaphors. The story follows a young and sword-skilled samurai named Ryunosuke, who, while initially abiding by the samurai code, bushido, more or less embodies opposite. He is quite, contemplative, but also cold and merciless. His peers respect his finesse with the sword, but he is at times seen him as brutal and without remorse. He is constantly challenged by “good-hearted” samurai, and is left with no option but to cut them down one by one. Ryunosuke seems unbeatable. He is an intriguing model for postwar Japan; a nation grasping to traditional ideals all the while reevaluating them as brutal and cold, particularly after the atrocities committed during the Pacific expansion and conquest of China, of which to this day there remains a strong denial. Controversially, events such as the “Nanjing

Massacre” are not even included in Japanese textbooks. Therefore, the only way to speak about these events is through metaphor and cinema.

Ryunoske’s world is thrown upside-down when for the first time in his life, he meets as a sword of comparable ability. Ryunosuke and Shimada play opposites, with an ever growing tension between the two. Despite this, they always remain civil, bound by societal form. These characters represent conflicted and confused views of Japan’s supposedly noble warrior class. Could they be cold, brutal, sociopathic murderers or indeed, honest and humble protectors?

In the end, all of Ryunoske’s brutal acts, such as mercy-killing an old man he heard begging for death, killing an opponent out of self- defense in a tournament, cutting down his wife after she threatens to kill their baby, and other seemingly justifiable acts (just as the atrocities of WWII may have seemed justifiable) drive the anti hero mad with guilt at realization of the impossibility of his circumstances. The film concludes with Ryunosuke drunkenly and madly cutting his way through a burning mansion- an apt metaphor for the state that Japan was left in at the end of the war. He is injured, bleeding, and surrounded by enemies, but he refuses to lay down his sword. It is never revealed if he escapes or is killed, and this represented the uncertainty of Japan’s future that was prevalent in post-war Japan.

Japan had long considered itself the most virile, strongest and superior race in Asia, but defeat by a western power certainly posed a new threat to this nationalistic ideal. In this way Japan’s metaphors became increasingly trans- sexual; submissive to western “barbarians”, yet clinging to the position of an aggressive power in Asia. This persistent attitude became even more apparent during post-war cinema. Feminine characters (who represent Japan as a nation victimized by western powers) are starkly contrasted with brutish, old- fashioned, almost comical masculine characters, as is aptly illustrated in Masaki Kobayashi’s 1962 film Seppuku.

Seppuku tells the story of a young samurai named Chijiiwa who is fonder of the brush than the sword. When Chijiiwa’s father is forced by the Shoguante to commit seppuku, or ritual disembowelment, he goes to live with a family friend in poverty. He is forced to sell his sword, then, when his infant son becomes sick, Chijiiwa goes to a neighboring powerful household to beg for alms by means of threatening suicide, and he is then forced to slowly and painfully kill himself with a bamboo sword. The young and un-warrior like samurai’s body is then dumped off at the house unceremoniously . The rest of the film tells the story of how the family friend, a dangerous and impoverished ronin named Hanshiro, exacts and bring calamity to the household at fault for the destruction of the young and innocent family. Hanshiro arrives at the clan’s gate, threatening, like, Chijiiwa, to commit seppuku. He is admitted, but each of the clan’s assistants that he calls upon to act as a second happen to be home sick that day. Then, when he is about to be killed, he throws on the ground the topknots of each of the

supposedly honorable warriors responsible for Chijiiwa’s death, revealing their hypocrisy and sadistic nature. In the end, Hanshiro is unable to be killed by any of the clan’s warriors, so instead his is gunned down while carrying on his shoulders the clan’s ancestral armor. The empty suit of armor represents the vapidity and non-existence of the so-called bushido that was essentially reanimated for political use during the Second World War. Meanwhile, the dying Hanshiro represents a more realistic view of the nation’s recent past; that of a bleeding population struggling to maintain a dead ideal in the face of vain leaders. Moreover, Hanshiro’s death by a superior technology shows the viewer that modernity leaves little room for tradition.

A film that skillfully represents post-war Japan on an international stage through period drama is Akira Kurosawa’s 1961 film Yojimbo. A “yojimbo” is the old Japanese term for a “sword for hire,” essentially, a masterless samurai willing to sell his skills as a swordsman for assassination, dispute settlement, or protection. The main character of the film is just that, a lone swordsman walking down a dusty path without a name or direction. Like Japan, all he has left is his wit, and a remnant of whatever life he once led- his sword. Unlike the heroes of old Japanese cinema, he is carefree, blown about by the the winds of chance. He is lax, even comical at times. Not only this, but his name is never even revealed to the audience. He is not a famous or noteworthy hero; he represents any man, or every man.

Yojimbo is set in the 1860’s; a time when the warrior caste had essentially collapsed in favor of capitalism. Warlords no longer sought to hire famous or skilled swordsmen, they were too concerned with their own political preservation to even arm themselves to any great extant with modern weaponry. The protagonist wanders into a provincial town that is caught in a war between two rival factions. The yojimbo finds his skills as a swordsman lucrative, but his wit perhaps even more lucrative, as he plays to both factions of the town. He is a gruff, masculine samurai more than proficient with his sword, but he is also very cunning, and uses his wits to dupe the whole town, all the while making himself all the richer. This representation is relevant to post-war Japan primarily as a way of representing the disarmament of military super-power Japan and the transition into the scientific- economic superpower that it has become. “The transition was also one from a society threatened by the scarcity of food, where physical resources translated into physical strength, to a society hungry for knowledge, where young people began competing with their wits in a new game of “human capitalism” (Morimoto 21). Morimoto’s point is true, and can be seen in the rigorous preparation and competition between high school students applying for University. As such, this transition may be seen as beneficial but it also conveys the widespread feelings of nostalgia that the Japanese people felt during the difficult times immediately following the end of the war. Japan, and all of it history and traditions would be sold on the global market.

Besides serving as a metaphor for Japan’s transition from a militaristic

nation to an economically driven nation, Yojimbo illustrates Japan’s position in the Cold War as tension between the United States and the Soviet Union escalated. The village in which the entire film takes place can be seen as a miniaturized version of the world- in a transition phase, shrinking with huge gains being made in communication and transportation, but also dominated by two opposing forces. In the context of the film, these forces are rivaling factions, but in actuality the were the America/ NATO and the U.S.S.R./ Warsaw Pact. Much like Japan during the cold war, the unnamed yojimbo is often both detached and heavily involved in the “mutual assured destruction” of the town. He is ambivalent, an outsider, and the combined forces of the town are far more numerous and powerful than him and yet they both seeks his aid. Fitting with previous descriptions on how Japan views itself, “dominant themes in Japanese cultural self-representations have long been those of uniqueness, isolation, and victimization- hence, of a lone nation struggling against all odds” (Morimoto 22). In the end, the protagonist has prospered even more than either of the two factions, whose battle for dominance has ended in a clash leaving the town a quieter place than before. The “hero” of the film has saved a family, perhaps representative of the Japanese family as a whole, while dogs wander the streets feasting upon the remains of those less fortunate.

There are many more jidaigeki films with equally potent metaphors. Because of the context of film and viewership, we must be careful not to confuse metaphors or imagine them where they do not exist. However, metaphors are a powerful tool in the hands of Japanese filmmakers, and their many uses and examples should not go unnoticed.

Dissanayake, Wimal.1994. Colonialism and Nationalism in Asian Cinema. Indiana: Idianana University Press. Morimoto, Marie Thorsten. 1994. The ‘Peace Dividend’ in Japanese Cinema, Metaphors of a Demilitarized Nation. Indiana: Indiana University Press. Mellen, Joan. 1976. The Waves at Genji’s Door: Japan Through it’s Cinema. New York: Pantheon Books.

Said, Edward W. 1985. Orientalism Reconsidered. New York: Vintage Books. Lakoff, George, and Mark Johnson. Metaphors We Live by. Chicago: University of Chicago, 1980. Print.

[rz-jocelyn]

[VIDEO] PBS: Links for Episodes 01 and 02 of "Peanut Butter Sandwich"

Cast:

Yahagi Honoka as Tsubaki

Ito Kentaro as Kobayashi

Ito Shuko as Director Gonda

Hotta Akane as Katagiri Sayo

Takimoto Miori as Morimoto Miharu

Kakei Miwako as Yamashita Miwa

Niwa Niki as Matsuoka Akane

Okuno Sou as Tokita Yuuto

Sato Ryuji as Tanaka Ryota

Yoshida Jinto (M!LK) as Kaneko Shin

Hama Shogo as Aoki Haruto

Hamao Noritaka as Igarashi Shu

Ichinose Ryu as Tsuda Kenji

Oshinari Shugo as Sasayama Takumi

Episode 02 of "Peanut Butter Sandwich" has been made available online. To watch the episode, please refer to the links below.

TVer: HERE

MBS Dougaizm: HERE

GYAO!: HERE

The episode will be available until,

TVer: 01.29 (Japan time) on April 17, 2020

MBS Dougaizm: 00.29 (Japan time) on April 17, 2020

GYAO!: 01.29 (Japan time) on April 17, 2020

NOTE: VPN is required to access the sites. If a survey form pops up when the page loads, it isn’t necessary to fill it in, so just close the form.

"Peanut Butter Sandwich" Official Twitter Account: HERE

"Peanut Butter Sandwich" Official Instagram Account: HERE

"Peanut Butter Sandwich" Official Website: HERE

[vgdensetsu]

List of every artist featured on VGDensetsu, Part 1

Part 2: N-Z Adam Warren Ahndongshik / アントンシク Akari Funato / 船戸明里 Akemi Takada / 高田 明美 Akihiko Yoshida / 吉田明彦 Akihiro Itō / 伊藤明弘 Akihiro Yamada / 山田 章博 Akikazu Mizuno / 水野 暁一 Akimoto Kazuhide, AKA Akimoto Kitsune / 秋元きつね Akio Akira Komeda / 米田 朗 Akira Nishimura / 西村 彰 Akira Toriyama / 鳥山 明 Akira Watanabe / 渡邊 アキラ Akira Yasuda / 安田 朗, AKA Akiman Ami Shibata / 柴田 亜美 Ano Shimizu / ANO清水 Arnold Doong Arthur Nichols, Paris Cullins Atsuji Yamamoto / 山本貴嗣 Atsushi Nishigori / 錦織 敦史 Ayano Koshiro / こしろあやの Barry E. Jackson Bengus Bill Gold Bill Sienkiewicz Bob Wakelin Chisato Mita / 実田 千聖 Clyde Caldwell Chris Achilleos Christian Lorenz Scheurer Dave Gibbons Dave McMacken David Rowe David Schleinkofer Denis Beauvais Denis Loubet Didier Chanfray

Eiji Kaneda / 金田榮路 Eisaku Kitō / 鬼頭栄作 Eisuke Ogura Emika Kida / 木田恵美可 Eri Kohjitani / 糀谷 恵里, AKA Jitari Eri Nakamura / 中村 会里 Frank Cirocco Fujinomiya Mimoli / 藤ノ宮深森 Fujiomi Munemitsu / 藤臣 宗光 Gaku Miyao / 宮尾岳 Gary Ruddell Greg Martin Greg Semkov Greg Winters Gus Allen Hajime Itō / 伊藤 哉 Hajime Katoki / カトキ ハジメ Hajime Satō / 佐藤 肇 Hajime Sorayama / 空山 基 Haruhiko Mikimoto / 美樹本 晴彦 Hidari / 左 Hideaki Ebihara / 海老原 英明 Hideaki Kodama / 小玉英章 Hidefumi Kimura / きむらひでふみ / 木村英文 Hideo Nakajima / 中嶋秀夫 Hidetomo Tsubara / 円 英智 Higuchīta / ヒグチータ / HIGUCHI-TA Hikaru Yuzuki / 弓月光 Hiroaki Hashimoto / ヒロアキ Hiroaki Shioya / 塩谷博明 Hirohide Shikishima / 敷島博英 Hiroo Isono / 磯野 宏夫 Hiroshi Fuji / 冨士宏 Hiroshi Nagai / 永井博 Hiroshi Ono / 小野浩, AKA Mr. Dotman / Mr.ドットマン Hiroyuki Nishimura / 西村博之 Hiroyuki Kitakubo / 北久保弘之 Hisashi Eguchi / 江口寿史 Hitoshi Ariga / 有賀ヒトシ Hitoshi Nishio / 西尾 仁志 Hitoshi Sasaki / 佐々木 等 Hitoshi Suenaga / 末永仁志 Hitoshi Yoneda / 米田 仁士 Hyakkimaru / 百鬼丸 Ikuo Nakayama / 中山郁夫 Inio Asano / 浅野いにお Ippei Gyoubu / 形部一平 Isamu Kamikokuryō / 上国料勇 Ishihara Gōjin / 石原豪人 Itsuki Hoshi / 星 樹 Itsuki Imazaki / いまざきいつき Jean Solé Jeff Remmer Jerry Bingham Jin Mera / 米良 仁, AKA Eiji Shiroi / 白井影二 Joe Madureira John Berkey Jun Satoh / 佐藤樹云 Jun Suemi / 末弥 純 Jun-ichi Fujikawa / 藤川 純一 Jun-ichi Nakamura / 中村 淳一 Junny Junya Inoue / 井上淳哉, AKA Joker-Jun Kamui Fujiwara / 藤原 カムイ Kaori Fujita / 藤田香 Katsuhiro Otomo / 大友 克洋 Katsumi Yokota / 横田克己 Katsutoshi Fujioka / 藤岡勝利 Katsuya Terada / 寺田 克也 Kaz Aizawa Kazuhiro Ikeda / 池田和弘, AKA Bow Kazuhiko Tsuzuki / 都築和彦 Kazuko Shibuya / 渋谷員子 Kazuma Teshigahara / 勅使河原 一馬 Kazuo Ebisawa / 海老沢 一男 Kazuo Nakagawa / 中川和雄 Kazutoshi Yamane / 山根和俊, AKA Tetsuya Ueno / 上野哲也. Kazuya Nuri / 塗 和也 Kazuyuki Kurashima / 倉島一幸 Kei Furutsuki Kei Tōme / 冬目景 Keita Amemiya / 雨宮 慶太 Keizō Shimizu / 清水恵蔵 Ken Sugimori / 杉森 建 Ken-ichi Sonoda / 園田 健一 Kenichirō Yoshimura / 吉村健一郎 Kenji Andō / 安藤賢司 Kenji Mori, AKA Moriken / もりけん Kenji Tsuruta / 鶴田 謙二 Kensuke Suzuki / 鈴木健介, AKA Hiroshi Kajiyama / 梶山浩 Kenta Tanaka / 田中 健太 Kevin Jenkins Kevin Murphy, AKA Mure Kim Hyung Tae / 김형태 Kimihiko Fujisaka / 藤坂公彦 Kinu Nishimura / 西村キヌ Kohime Ohse / 桜瀬 琥姫 Kōichi Noda / 野田弘一 Kōichi Tokita / ときた洸一 Kōichi Yotsui / 四井 浩一 Kōji / 弘司 Kōji Aihara / 相原 コージ Kōji Morimoto / 森本 晃司 Kōji Ogata / 緒方コウジ Kōtarō Kita 喜多浩太郎, AKA Kentoo Kouki Kita / 喜多 綱毅 Kow Yokoyama / 横山宏 Kunihiko Tanaka / 田中久仁彦 Larry Salk Lawrence Fletcher, AKA Lars Lee Macleod Leiji Matsumoto / 松本零士 Ley Yumeno / 夢野れい Mahiro Maeda / 前田真宏 Makoto Kobayashi / 小林 誠 Makoto Shinkai / 新海 誠 Manabu Kusunoki / 楠木学 Manabu Sakamoto / 坂本学 Marc Ericksen https://twitter.com/search? Mari Shimazaki /島崎麻里 Mark ‘Crash’ McCreery Masahiro Imai / 今井 正博 Masakazu Ohya / 大矢 正和 Masaki Segawa / せがわまさき / 濑川雅树 Masako Sugiyama / 杉山正子 Masami Ohnishi / 大西将美 Masamune Shirow / 士郎 正宗 Masao Satake / 佐竹政夫 Masao Yamazaki / 山崎 正夫 Masaomi Kanzaki / 神崎 将臣 Masashi Iwasaki / 岩崎政志 Masato Kanamono / 金物昌人, AKA Kokomahi / ここまひ Masato Kato / 加藤正人 Masato Natsumoto / 夏元 雅人 Masayuki Katō / 加藤正幸 Michael Patrick Partners Michel Allaire Michiaki Satō / 佐藤道明 Mick McGinty Mika Akitaka / 明貴 美加 Mine Yoshizaki / 吉崎 観音 Minoru Maeda / 前田実

[doraemonmon]

The Tigers