#Shingo Adachi

[rockmiyabideusexmachina]

Megaman Production Art Scan of the Day #750:

Shingo Adachi's Story of Meteor Artbook: Page 15

Not making a translated page for this, but essentially the one note here just says to keep Luna flat-chested.

Full Resolution Scan: https://imgbox.com/XGmNSUsY

[jinxekkotimebomb]

Corvin's character is pretty fun, as someone who grew up with Sword Art Online his design is really fun, clearly inspired by both Kirito and Eugeo. His quest story is pretty basic besides the iconic Tora line. However, it is interesting how it questions the dynamic between blades and drivers, and why they need to class themselves as different from one another. Corvin views the party as friends and equals and they began to feel the same in response.

[ashitakaxsan]

Maybe a good ship:Majima x Chisato

 Majima is the weird antagonist in Lycoris recoil,people dislike him,while others deduce he’s kind.Let’s keep in mind this isn’t a yuri anime,plus let’s see that a maybe healthy ship began.

A Pacifist Warrior

In the entire series he doesn't seem to kill anyone directly despite totting all kinds of guns, from a small hand revolver to a friggin PKM.

Episode 12 and the cleaners. For all intents and purposes they look just knocked out. No trace of blood everywhere, no odd limb or neck angles to indicate anything broken or twisted necks... yes, he likely had to fight them hand-to-hand presicely for the reason of being allowed by  Chisato and Takina to leave unarmed,albeit he didn't seem to have gone for the kill, just knocking them out of his way.

The Scene

I ship them. The serene scene of their conversation is Wholesome:)

I’ll wait to watch Lycoris Recoil season 2,to see more of them.

[newsintheshell]

✨ LYCORIS RECOIL: CHISATO E TAKINA TORNERANNO CON UNA SERIE DI CORTI SLICE OF LIFE!

Esatto, il nuovo progetto che ci avevano anticipato l'anno scorso si è rivelato essere una miniserie di 6 episodi dall'impronta, all'apparenza, più cozy e rilassata. Cosa fra l'altro gradita, da parte mia.

Ogni puntata sarà diretta da un regista differente, che si occuperà anche dello storyboarding. Shingo Adachi, ovviamente seguirà la propria creatura in qualità di supervisore, mentre il character designer Imigimuru (Makeine: Too Many Losing Heroines!, This Art Club Has a Problem!), per l'occasione, aiuterà anche con la sceneggiatura.

Se vi chiedete dove recuperare la serie originale, trovate tutti i 13 episodi sottotitolati in streaming su Crunchyroll.

[jichanxo]

haul under the cut 👍 (this is gonna get long because i want to link to as many artists as possible)

kseichu (beatrice, oc stuff) (linktree) crmsnmsk (arakawa family pin) (etsy) kirvia (carrd), qosic (bio site), naroym (tw, ig) -- they boothed together, but i think the sigma is from qosic, and the zine from kirvia+naroym. naroym drew the little tomi! dearmiini (bunny stickers) (store, ig) anime abbotsford (cardcaptor sakura x sanrio figure) (website) kr3amroll (yagami keychain, shishido keychain) (linktree) jarofjamm (ichi+tanimura print) (website, tumblr) pastel aggressive (glitter heart stickers) (facebook) alli ens (photocard holder) (website, tumblr) marinewaltz (ffxiv and vocaloid stickers) (website, tumblr)

and of course, the magazine i mentioned in this post. grabbed it secondhand from hondarake! was recommended to me by someone (and my sister insisted on going) and yeah. good spot tbh i enjoyed it very much and i will be back (or perhaps lurking their site now that i know it exists...)

probably going to be less active for about a week or so cause i'm going to sydney (and attending smashcon).

[reinerist]

Lycoris Recoil  • Chisato Nishikigi Episode #04: Nothing seek, nothing find Directed by: Shingo Adachi

[animesavior]

Clark: “One week ago, Earth faced an alien invasion. You’ve heard different versions of what happened, but we at the Daily Planet have a duty to bring you the truth.” Jimmy: “The truth is that Superman and his cousin [Supergirl] saved us. But they weren’t alone.” Lois: “The people of Metropolis came together to help them, putting aside their differences to protect our home.” Clark: “The invader was defeated, and justice came to those who those who tried to benefit from fear and pain.” Lois: “But even as this brought out the best in many, it brought out the worst in others. And there will always be new threats to face.” Clark: “No one knows what will come next for Metropolis, but there’s one thing we at the Daily Planet know for certain…” Jimmy: “No matter what the future holds…” Lois: “No matter what is thrown at us…” Clark: “We will face it together.” -          My Adventures with Superman (Season 2, Ep. 10)

The Toonami Trending Rundown for the month of July 2024. During these past few weeks, fans got to enjoy the final two episodes of My Adventures with Superman season 2, among other great moments. And as July is the month of San Diego Comic-Con, Toonami viewers got to enjoy some big announcements in regard to several upcoming shows.

During the night of the airing of the penultimate episode of My Adventures with Superman season 2 on July 13-14, #MyAdventuresWithSuperman would trend on the USA on Twitter, while One Piece trended on Tumblr. And during the night of July 20-21, where we saw the season 2 finale of My Adventures with Superman, #Toonami would trend in the US alongside #MyAdventuresWithSuperman and #NarutoShippuden. #Toonami also trended on Tumblr. The night of July 27-28 did not see any trends, as Toonami showcased a MAWS marathon of season 2 during SDCC week.

As for Toonami Rewind, #ToonamiRewind would trend in the US during the broadcasts of July 12, 19, and 26, though on July 19, Sailor Moon and Naruto would also trend in the US, while Naruto also trended on Tumblr. Which isn’t bad, especially considering that on July 26, both the Olympics opening ceremony and Comic-Con were occurring at the same time.

As mentioned, San Diego Comic-Con took place at the end of July, and in case you missed it, Toonami fans got to enjoy several announcements during the convention. The big news was that we got a brand-new show announcement in Rooster Fighter by Shū Sakuratani.

Adult Swim announced that the English dubbed version of Rick and Morty: The Anime will premiere on Thursday August 15 @ midnight EDT/PDT, while the Japanese (with English subtitles) version will air on Toonami on Saturday, August 17 @ midnight.

Also, towards the end of the Rick and Morty panel, Jason DeMarco also revealed that we finally have a release date for Junji Ito’s Uzumaki after several years of delays: September 28, 2024 at 12:30 a.m., following premiere episodes of Rick and Morty: The Anime. Back during Anime Expo 2024, the Uzumaki cast was revealed by Production I.G, with Abby Trott as Kirie Goshima and Robbie Daymond as Shuichi Saito. In addition, Lazarus, the newest work of Shinichiro Watanabe, will be scheduled to premiere in 2025.

Finally, during the Demon Slayer panel on Saturday night, Aniplex announced that Demon Slayer’s third season, the Swordsmith Village arc, will begin airing on Toonami this August 10.

Meanwhile, for those who have been wanting to see more Lycoris Recoil, it’s been announced during the show’s second anniversary program that there are six short films in the works, that will depict the daily lives of Chisato, Takina, and others in the LycoRico cast. While Director Shingo Adachi will return in supervising, each of the six movies will feature different people handling direction and storyboarding, including character designer Imigimuru will be in charge of some of the scripts. A release date is to be announced.

Of course, this won’t be the end of My Adventures with Superman, as DC is hard at work creating the show’s third season, so stay tuned. In the meantime, we’ll have the trending rundown for the first few weeks of August, including the premiere of Demon Slayer's Swordsmith Village arc and the premiere of Rick and Morty: The Anime, out in the coming days, as with other articles and interviews from San Diego Comic-Con coming soon. Until next time, Be sure to register to vote for this year’s elections if you’re eligible and haven’t already, and let’s go Team USA.

Legend: The shows listed are ordered based on their appearance on the schedule. Show trends are listed in bold. The number next to the listed trend represents the highest it trended on the list (not counting the promoted trend), judging only by the images placed in the rundown. For the Twitter tweet counts, the listed number of tweets are also sorely based on the highest number shown based on the images on the rundown.

July 12, 2024 Toonami Rewind Trends

United States Trends:

#ToonamiRewind [#25]

Tweet Counts:

#SailorMoon [2,303 tweets]

July 13-14, 2024 Toonami Trends

United States Trends:

#MyAdventuresWithSuperman [#26]

Tweet Counts:

#MyAdventuresWithSuperman [2,539 tweets]

Tumblr Trends:

#one piece [#8]

July 19, 2024 Toonami Rewind Trends

United States Trends:

#ToonamiRewind [#17]

#SailorMoon [Trended with #ToonamiRewind]

#Naruto [Trended with #ToonamiRewind]

Tweet Counts:

#SailorMoon [3,307 tweets]

#Naruto [14.3k tweets]

Tumblr Trends:

#naruto [#9]

July 20-21, 2024 Toonami Trends

United States Trends:

#Toonami [Trended with #MyAdventuresWithSuperman]

#MyAdventuresWithSuperman [#7]

#NarutoShippuden [Trended with #MyAdventuresWithSuperman]

Tumblr Trends:

#Toonami [#8]

July 26, 2024 Toonami Rewind Trends

United States Trends:

#ToonamiRewind [#2]

Tweet Counts:

#ToonamiRewind [1,552 tweets]

#SailorMoon [4,244 tweets]

#Naruto [8,515 tweets]

If you wish to send me a tip for the work on the trending rundown, donations can be sent to PayPal.Me/DanielLimjoco.

Only Toonami on [adult swim] on Cartoon Network.

[toonamisquad]

Lycoris Recoil sets up shop on Toonami on January 20, 2024

Lycoris Recoil sets up shop on Toonami on January 20, 2024.

Chisato, Takina, and the girls of “LycoRico” will be joining the Toonami lineup this January 20, 2024. Edit Revealed on Friday afternoon on Aniplex USA’s social media pages and during the Lycoris Recoil Special Event Panel at Anime NYC 2023, Aniplex would announce that Lycoris Recoil, the original anime series created by Spider Lily and Asaura and directed by Shingo Adachi, will be making its…

[mrawkweird]

w e l l

Now that Lycoris Recoil got its Japanese dub, English dub, and wrapped up its English Toonami broadcast, there's just 1 thing I'm still wondering:

when's the Blu-Ray? 👀👀👀

The way my ass went to Amazon and found no complete series set on there. However, Crunchyroll's store apparently has something.

And of course they Crunchyroll'ing hard as shit.

[artbookie]

Artbook that you can add to your collection: Shingo Adachi Artworks Full flipthrough:

Wanna watch more artbook previews? Visit my channel Artbookie!

[rockmiyabideusexmachina]

Megaman Production Art Scan of the Day #808:

Shingo Adachi's Story of Meteor Artbook: Front and Back Covers

Finally, this now closes the book on my first sorta attempt at a full scanlation of something. Yes, it's been posted online by many others over the years in some form, but I tried to make my attempt at it as clean and nice as possible, due to how much I adore this art.

15 years after it first came out, I was personally just learning what was actually said in it myself for the first time, so hopefully I did it some justice. Thanks for being patient with it over the last 2 and a half months. For those who don't save my stuff daily (how dare you not! ;p), I guess I'll make a zip available of it as well, for your convenience. You can get that here. (746 MB) As I alluded to last week, going to take another short hiatus from Scan of the Day posts so that I can fully focus on Secret Santa art. Whether I'm back before Christmas or not depends on how well I do on that with my free time. Otherwise, I should be back posting at the end of December.

Already have scans started, but I will be diving into storyboards from Axess Ep. 6 (The Most Dangerous Ball Game!) next. Let's Bowling! Because I have the whole episode for this one, that is a lot of pages. Also, the storyboard art is not as detailed this time around. So I might do 2 pages a day or more, just to speed through it a bit faster. Otherwise, it would be 4 months worth, if I do a page a day. ^^; We shall see.

Full Resolution Scans: (Front): https://imgbox.com/sdiU5vLF (Back): https://imgbox.com/uEN4XXdN

[teragames]

Realizan cortometrajes de "Lycoris Recoil"

Lanzan seis cortometrajes sobre la vida cotidiana de los personajes del anime "Lycoris Recoil" (@lycoris_recoil).

Los fans del anime Lycoris Recoil tienen una recompensa a su espera, esta vez en forma de una serie de cortos. Un programa especial del segundo aniversario anunció planes para seis cortometrajes en total, cada uno de los cuales representa la vida diaria de Chisato, Takina y otros. Con la supervisión del director Shingo Adachi, cada una de las seis películas contará con diferentes personas a cargo…

[joyce-stick]

The actual answer is that simpler character designs with less details are easier to animate.

In Callum May's video on Lycoris Recoil, he discusses this (this guy knows what he's talking about, he cites sources in the description, I'm mostly citing him cause he's an English language tertiary source) and says that, in essence, project director Shingo Adachi hired the anime's character designer, Muru Imigi, because Imigi draws "moe garbage". Although Imigi was a manga author who had no prior experience with character designs for an anime, Adachi felt that Imigi's style of simple faces and expressions suited the production's needs and would result in something more natural and interesting than if he'd hired a more experienced character designer.

"Less detail to animate, less work" has been a constant law of animation since, like, forever. If you watch a lot of American cartoons, you'll notice that a lot of characters have four fingers instead of five. The reason why this is, is because four fingers were easier to animate. (source)

There's a lot of things that have changed in anime production since the '90s and I can't give you a complete picture of why character design habits have changed since then, but it's most generally to do with that the ceiling for production value is higher now and there's a lot more young and inexperienced animators entering the fold (which is the cause of a lot of things really).

In my personal opinion, this meme is pretty reductive and blatantly cherrypicking. Both aesthetics are fine, and there's a lot of really good examples of both to be found across anime's history. Some anime go for more realistic detail and less flexibility, and some anime (albeit, yes, most these days, the animators have to die less somehow) go for less realistic but simpler designs that are really malleable and have a wider range in animation. It's a creative choice and a preference. (Albeit one that a certain contingent of anime fans disagree with because they feel it conflicts with their "mature" idea of anime or some such nonsense, and then people who simply don't like moe get lumped up in with those people... *cough* Well, anyway.) It's fine to not like a certain artstyle. You can just not like it and say it's not your thing without claiming that the prominence of a particular creative choice means anime has "degraded" somehow, or saying the people who do like it have shit taste.

EDIT: apparently the meme is supposed to be a joke, which, I didn't pick up on, but alright, I guess. Anyway the post is still true so I'm leaving up the post

What happened?

[newsintheshell]

✨ SEMPRE IN TEMA DI NOVITÀ IN CANTIERE, IL TEAM DI "POMPO LA CINEFILA" È AL LAVORO SU UN NUOVO PROGETTO!

Il film questa volta sarà del tutto originale e, al momento, è conosciuto solo con il nome in codice "WASTED CHEF", ma avendo visto di cosa è capace lo staff, ha già la mia curiosità.

Alla regia si cimenta nuovamente Takayuki Hirao (God Eater, Gyo) e il character design è sempre in mano al buon Shingo Adachi (Lycoris Recoil, Sword Art Online).

Il tutto, ovviamente, è in produzione presso lo studio CLAP (The Tunnel to Summer, the Exit of Goodbye) e le musiche sono curate ancora una volta da Kenta Matsukuma (Kamen Rider Black Sun).

[b4nanaa]

JAPAN INDUSTRY DRAFT

The earliest examples of anime dates back to 1917 in the four minute short titled Nanakura Gatana. The animation has no style and has crude movement, with a vastly different style compared to the bright, doe eyed style that it eventually evolves into. From early adaptations of Astro Boy and classics like Dragonball, Bleach, and Naruto, to the current top mainstream anime like Jujutsu Kaisen, Demon Slayer, Chainsaw Man, Attack on Titan, and One Piece. These works and the medium itself has slowly dominated the world and no longer resides in only Japan. We ourselves have seen it's growth, especially during quarantine when it exploded in popularity. We see it when we scroll through social media to stores where anime is more prominent now. Japan has seen an economic boom from anime, so the same should go for the industry, right?

https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fjmy9ysoiwyi41.png

Evolution of anime through the decades.

While the animation industries and the studios behind them are thriving, the same can't be said for the workers. If anything, they're facing the complete opposite from the success of their work. Those that work in anime, such as animators, instead are overworked and even face poverty from how little they're paid. The only question is; why? Why do they suffer when their work are doing so well?

The anime of each decade.

First, it’s important to understand the roles of anime production. There are various roles in producing a show; art designers, character designers, story boarders, directors, and more. All of them flow into one another and are responsible for different but key aspects of creating an anime. 

When examining salaries, a series director is paid the most, having an average monthly salary of 540, 833 yen (4,878 USD) and a yearly salary of 6,460,000 yen (58,540 USD). In between staff are paid the lowest, having an average monthly salary of 92,500 yen (841 USD) and 1,110,00 yen (10,007 USD).

https://washiblog.wordpress.com/2011/01/18/anime-production-detailed-guide-to-how-anime-is-made-and-the-talent-behind-it/

Roles in producing anime.

Of course, top positions are expected to have the highest earnings. However when compared to other countries, such as the US, animators’ average pay can be ‘$65,000 a year or more, and more advanced work pays around $75,000’ (insert citation). Not only that, but to get paid that decently, you have to climb up to that position. From a survey, the average age of series directors is 42 years old. Meanwhile, the lowest paid jobs which are in between animators, on average are 24 years old. That means for the first few years, newcomers are stuck working low wages to eventually reach a decent salary. And even then, it isn’t a lot in comparison to other countries. “Even if you move up the ladder and become a key-frame animator, you won’t earn much, and even if your title is a huge hit, like Attack on Titan, you won’t make any of it. … It’s a structural problem in the anime industry. There’s no dream [job as an animator] (Shingo Adachi, The New York Times).” 

In addition, their pay doesn’t even meet minimum wage. “Animators are paid about 200 yen ($1.80) per drawing. It’s possible to do up to 20 drawings a day. For a monthly take home salary of 107,833 yen ($972). Each workday is 11 hours long with around four days off (Brian Ashcraft).” This isn’t even an issue of their wages not hitting the US minimum, but it violates Japan’s requirements as well. It's nearly impossible to live off such meager pay, especially when you consider that most animation studios locate in Tokyo, one of the most expensive places to live. When looking at the lowest average rent in the prefecture, the cheapest is 71,583 yen ($682 USD) for one room. That's barely scraping by the average salary of animators if you're ignoring other factors, such as electricity and water bills.

Working conditions don’t fare any better. Studios are completely silent and animators find themselves asleep at their desks. As mentioned above, many work for long hours with little to no breaks, such as the case in studio Madhouse in 2019. The company was found violating ‘Article 32 of the Labor Standards Act (illegal overtime work) and violation of Article 37 of the Labor Standards Act, Paragraph 1 (overtime pay) and Paragraph 4 (overtime pay) (Ruchiyo Fukuda, Madhouse).’ It was also found that there was 100 hours of overtime work per month, with no additional premium payment if hours exceeded 50. 

Mr. A, a production manager at the studio, gave a testimony of his experience. "On average, I worked more than 12 hours a day this month, and I was so busy that I didn't go home for three days and ended up working at the office. I was forced to work for 37 days straight with no days off. The total working hours were 393 hours (Mr. A, Madhouse)." The working conditions were so grueling that one day he collapsed on the street on his way home and was taken to the hospital. However he'd leave the next day just to go back to work and only when the episode was finished, would he take ten days off to rest. Afterwards, he'd continue working while receiving treatment for the next two months.

https://collider.com/anime-series-studio-madhouse/

Some anime from Madhouse. This includes Hellsing Ultimate, One Punch Man (season 1), and Death Note

Henry Thurlow, a Westerner that worked at Japan's animation industry, shares similar testimonies. "Let's just be clear: It's not a 'tough' industry... It's an 'illegally harsh' industry. They don't pay you even remotely minimum wage, they overwork you to the point where people are vomiting at work and having to go to the hospital for medicine. They demand that you come in whenever they realize a deadline isn't going to be met. That probably means about a month and a half of nonstop work without a single day off. Then you will be allowed to go back to your regular six-day workweeks of 10-hour days (Henry Thurlow, Buzzfeed)." Like Mr. A, Thurlow has been hospitalized three times for these low wages.

https://www.facebook.com/photo/?fbid=833194558632965&set=pcb.833194768632944

Some of Henry Thurlow's work in One Piece.

If such experiences are so common in the industry, why do workers continue? Why does this continue to happen? There are a multitude of reasons, such as entrenched workplace culture, a lack of proactive measures to acknowledge and address the problem, and more.

Lets start with the work culture. Japan is known for having a work alcoholic mindset, emphasizing 'extreme dedication to one's work (Wikipedia)'. As a result, the phenome 'karoshi' was born. Karoshi, which translated means 'overwork death', is exactly as the name tells; dying suddenly in relation to work. Common causes can be heart attacks or strokes caused by stress, malnourishment, fasting and exhaustion. Mental stress is also a factor and some commit suicide even after quitting. The first reported case was in 1969 with a 29 year old newspaper worker dying of a stroke. Though there has been efforts of making work spaces better to prevent karoshi, it continues to plague society due to the Japanese embracing and even taking pride in working under such conditions. This is especially popular amongst the Japanese Animation industry, as seen in cases of Mr. A and Henry Thurlow.

For artists, they take pride in their hard work because of their overwhelming passion for their projects. This is best explained by Thurlow. "Keep in mind all of this hard work was essentially all for the sake of simply being involved in and credited in the animation projects I love... I treat it more like a piece of fine art I'm just trying to satisfy myself with rather then make enjoyable for other people." In spite of the treatment and small pay, people continue to work in these industries simply out of love. They see value in their dedication due to their passion and from how Japan's work culture normalization of these circumstances.

Even those in higher positions face this problem, such as Yoshifumi Kondo. Born on March 31, 1950, Kondo was an animator at Ghibli Studios. He was the animation directors for films such as Kiki's Delivery Service and Only Yesterday, and the director of Whisper of Heart, three movies that the studio is best known for. He was a talented animator and director, and was in line to being Hayao Miyazaki's successor.

Kiki's Delivery Service, Only Yesterday, and Whisper of The Heart.

But on January 21, 1988, Kondo died at the age of 47 from an aneurysm, which doctors said was caused by karoshi. It was a devasting loss, hitting Miyazaki personally. Yoshifumi Kondo had been in the industry since 1968, meaning he had a career for about two decades. Working in the anime industry was hard enough, but Ghibli expects high levels of quality. Instead of using scripts, they use storyboards drawn by Miyazaki with some not being finished until a year into animation. That meant for the most part, Kondo had to work without the knowledge of what came next, and under the pressure of his career being on the line. Not only that, but he was known for working on multiple projects per year, as well as taking on more than one job. Even after the success of Whisper of the Heart, he jumped right into working on Princess Mononoke until his death. In comparison to others, Kondo's time in the industry is impressive. Most people only last a decade and after three years either die from karoshi or leave.

Ryosuke Hirakimoto left after years of working, gaining only 38 dollars a day, due to the birth of his first child. He now works at a nursing home, where there's a high demand for workers and better pay. Although it was his life long dream of working in anime, he looks back on his decision with no regret. After all, a job in anime isn't sustainable for everyone, let alone a marriage or a family. Tetsuya Akutsu, a top animator, is faced with this decision as he prepares to start a family. "I know it's impossible to get married and have a child." It's nearly impossible to maintain relationships when majority of your time is spent working and your health is nearly screwed over by your job. Even if you're in a high position like Yoshifumi Kondo was, you're still at risk for karoshi from the grueling work ethics of anime. In the end, dropping out and pursuing other careers seem more likely for a better life.

Anime faces a risk of decline of animators, with many either dying or quitting from these conditions. But it isn't a shortage of animators being a problem, rather a lack of talent. With nearly 200 animated TV series alone made in Japan each year, there aren’t enough skilled animators to go around. Instead, studios rely on a large pool of essentially unpaid freelancers who are passionate about anime (Eric Margolis, Vox).

Rather than raise wages or improve working conditions, companies will instead rely on freelancers who are cheaper. Due to them being independent contractors, that means they don't need to worry about labor code and push deadlines without providing benefits. It doesn't help that most free lancers are in between animators too, meaning they're not being paid that much in general. Besides using freelancers, studios also continue to get away with cheap pay because there's an endless supply of young people wanting to animate. Many dream of getting their name out like Hayao Miyazaki had, who had also started as just an animator. Therefore even if they do lose a couple of workers, they can always just replace them.

Of course, not all studios are like this. A few like Kyoto animation are known for treating their employees well and not using freelancers. But what can be done to improve the overall conditions for workers in the anime industry?

There are countless solutions, such as raising wages or affordable housings for animators. The biggest action that must be taken is by the workers, who must speak up about their mistreatment and unionize. As mentioned, Japanese people prefer not to cause trouble and go with the status quo, instead persevering through hardships. In order to change and improve the working conditions in anime, people must speak up and take action.

[reinerist]

Lycoris Recoil  • Chisato Nishikigi Episode #08: Another day, another dollar Directed by: Shingo Adachi