#Shinichi Shinohara

[danielladigitalbunny]

Special Guest appearance:

Shinichi Shinohara

[movies-to-add-to-your-tbw]

Title: Lu Over the Wall

Rating: PG

Director: Masaaki Yuasa

Cast: Shota Shimoda, Soma Saito, Minako Kotobuki, Kanon Tani, Akira Emoto, Shizuka Itoh, Kenichi Suzumura, Tokuyoshi Kawashima, Cho, Takayuki Sugo, Shinichi Shinohara, Mutsumi Sasaki

Release year: 2017

Genres: fantasy, family, comedy, adventure, music

Blurb: In a small fishing village, a gloomy middle school student named Kai meets a mermaid named Lu.

[motorsportverso]

Resultados do Super GT Okayama

GT500

1-36-Sho Tsuboi\Kenta Yamashita-Toyota GR Supra GT500-au Tom's -82 Laps

2-39-Yuki Sekiguchi\Yuichi Nakayama-Toyota GR Supra GT500-Denso Kebelco Sard

3-100-Naoki Yamamoto\Tadasuki Makino-Honda Civic Type R GT500-Stanley

4-38-Hiroaki Ishiura\Toshiki Oky-Toyota GR Supra GT500-Keeper Cerumo

5-23-Katsumassa Chiyo\Ronnie Quintarelli-Nissan Z GT500-Motul Autech Z

6-3-Mitsunori Takaboshi\Atsushi Miyake-Nissan Z GT500-Niterra Motul Z

7-37-Ukyo Sashara\Giuliano Alesi-Toyota GR Supra GT500-au Tom's

8-8-Tamoki Nojiri\Nobuharu Matsushita-Honda Civic Type R GT500-ARTA Mugen

9-16-Hiroki Otsu\Ren Sato-Honda Civic Type R GT500-ARTA Mugen

10-64-Takuya Izawa\Riki Okusa-Honda Civic Type R GT500-Modulo +1 Lap

GT300

1-2-Yuui Tsutsumi\Hibini Taira-Toyota GR86 GT300-Muta Racing-77 Laps

2-65-Naoya Gamou\Takura Shinohara-Mercedes-AMG GT3-LEON PYRAMID AMG

3-7-Seiji Aara\Niklas Krutten-BMW M4 GT3-BMW Team Studie

4-52-Hiroki Yoshida\Seita Nonaka-Toyota GR Supra GT300-Green Brave

5-31-Kazuto Kotaka\Jin Nakamura-Lexus LC 500 h-APR- +1 Lap

6-96-Morio Nitta\Shinichi Takagi-Lexus RC F GT3-K-tunes +1 Lap

7-87-Kosuke Matsuura\Natsu Sakaguchi-Lamborghini Huracan GT3-Metalive +1 Lap

8-88-Takashi Kogure\Yuya Motojima-Lamborghini Huracan GT3-JLOC +1 Lap

9-4-Nobutero Taniguchi\Tatsuya Kataoka-Mercedes AMG GT3-GOODSMILE Hatsune +1 Lap

10-6-Yoshiaki Katayama\Roberto Hermi-Ferrari 296 GT3-Uni Robo Bluegrass +1 Lap

[otakutale]

Sono Bisque Doll wa Koi wo Suru Anime Slated for January 2022 - Cast & Promotional Video Revealed

https://wp.me/p4jiOt-cRE

The official website of the TV anime adaptation of Shinichi Fukuda’s Sono Bisque Doll wa Koi wo Suru (My Dress-Up…

[dweemeister]

Ghidorah, the Three-Headed Monster (1964, Japan)

Godzilla’s introduction in 1954 enthralled and horrified Japanese moviegoers. That classic kaiju film, so filled with action and fantastical interest, introduced the Japanese to a monster also bearing the burdens of being a victim to something possible only in the nuclear age. Godzilla’s body is filled with keloid scars, meant to evoke the images of those who survived (if only for a time) the atomic blasts at Hiroshima and Nagasaki. Created in humanity’s pursuit of a civilization-destroying weapon, Godzilla is often interpreted as nature seeking payback against humanity. Despite Godzilla’s seeming desire for natural vengeance, Japanese audiences could empathize with Godzilla, recognizing the allegory that they had been living since 1945.

In the first four films in the Godzilla franchise and the Shôwa era of Godzilla (named after the concurrent Japanese Imperial era of Hirohito’s reign), Godzilla is an antagonist – wreaking havoc upon humanity, even when fighting other kaiju foes such as Anguirus (1955′s Godzilla Raids Again), King Kong (1962′s King Kong vs. Godzilla), and Mothra (1964′s Mothra vs. Godzilla). For Ishirô Honda’s Ghidorah, the Three-Headed Monster, Godzilla begins a rehabilitation of his image that will take three subsequent films to complete. When faced with an extraterrestrial threat to the planet, Godzilla will set aside his affray with Rodan (after both are persuaded by Mothra) to defeat King Ghidorah – who makes his cinematic debut with this film.

Princess Selina Salno (Akiko Wakabayashi) of Selgina is en route for an official visit to Japan in the midst of a winter heatwave. Just as her plane is destroyed by an assassin’s bomb, an enormous meteor impacts into the Japanese countryside near Kurobe Dam in Toyama Prefecture – considering that this same dam was destroyed by Mothra in 1961′s Mothra, all credit to the construction workers for their work in fixing the dam that quickly. Soon after, Princess Selina announces herself in the middle of a Tokyo crowd, news of her death greatly exaggerated. Claiming to be from Venus, she warns the public that Rodan – presumed dead at the end of his film debut in 1956 – will rise from Mt. Aso and that Godzilla, who has just battled Mothra in the previous movie, will destroy a ship. Away from the ears of the public, the gaze of assassins, and known only by bodyguard Detective Shindo (Yosuke Natsuki) and psychiatrist Dr. Tsukamoto (Takashi Shimura in his final Godzilla film appearance), she reveals a third prophecy. The final prophecy is prefaced by the fact that Selina’s Venusian civilization was destroyed by a three-headed dragon named King Ghidorah. She prophesies that he will attempt to destroy the Earth. Ghidorah, hailing from beyond our solar system, is the creature that emerges from the impacted meteor.

The evolving Godzilla franchise from Toho Company would soon face budget constraints and the artistic decision to make Toho’s most prized kaiju more family-friendly. Japan’s demographics in the late 1950s and early ‘60s skewed far younger than today – a time where the nation is now shrinking because of its rapidly aging population and low fertility rates. These considerations impact Ghidorah, the Three-Headed Monster narratively and aesthetically. Beginning with this film, Godzilla’s rampaging presence is a side effect to his ultimate defense of Japan, not an attempt to annihilate the Japanese. Nuclear allegories though mentionable to children, are likely to be beyond a child’s appreciation (in the neutral sense of the term). Thus, discussions of Godzilla’s origins and the morality of conflict against kaiju all but disappear in Ghidorah, the Three-Headed Monster. 

In earlier Godzilla films, the combat between monsters or between Godzilla and the Japanese Self-Defense Forces (JSDF; which does not bother getting in the way of Godzilla, Rodan, Mothra, and Ghidorah in this monstrous rumble) was portrayed as a battle between or against a titan. One can feel the weight of these enormous, lumbering (“lumbering” does not usually apply to flying beings, so Mothra should be excluded) kaiju trudging against the urban battlefields scorched by electric and nuclear fire. With Ghidorah, the Three-Headed Monster, Honda and kaiju actors Haruo Nakajima (Godzilla), Masanori Shinohara (Rodan), and Shoichi Hirose (King Ghidorah) approach violence as if it was professional wrestling – not the Greco-Roman or freestyle wrestling associated with the Olympics. There is even a ludicrous moment where Godzilla and Rodan are batting an enormous boulder between each other with the former’s fists and tail and the latter’s wings. All that is missing in this scene are a net and a chair umpire announcing the score. A new Godzilla suit was commissioned for this film, giving Nakajima the ability to more fully personalize his character through gestures and an off-camera technician to control the direction of Godzilla’s eyes in the sockets.

These results are jarring, contributing to the perceptions of the franchise’s campiness in later Shôwa era-Godzilla films. In the West until only recently, these Godzilla films were only available in dubbed versions – readers who are anime fans know how poor some of those English dubs of Japanese media can be. These films, at least in North America, were also extensively re-edited to emphasize the increasingly cartoonish battles between and against the kaiju. With thanks to Janus Films and the Criterion Collection, the original, unedited, subtitled versions of Shôwa era-Toho Company kaiju films are easily accessible for the first time. This review is based on the original unedited and subtitled version of Ghidorah, the Three-Headed Monster. Beware the dubbed version of this film, which runs eighty minutes (as opposed to the original’s ninety-two minutes). But even with the restoration of all of the scenes with those supposedly boring grown-ups talking about tiresome things, the tonal dissonance between the human- and kaiju-centric scenes combined with the combat choreography is bewildering.

Debuting in Japan as San daikaijû: Chikyû saidai no kessen (translated literally as: “Three giant monsters: Earth’s greatest battle”), this is a film underselling – at least, in its title – the genius of the antagonist. Special effects wizard Eiji Tsuburaya (a co-creator of Godzilla) visualizes a serpentine dragon with, you guessed it, three heads. But to complicate things, Ghidorah also has two tails and wings – seven appendages in total. To keep all seven in motion as Ghidorah flies across screen, Honda and Tsuburaya utilized several wires (somehow, almost none of them are ever on-screen) and a handful of puppeteers to keep Ghidorah in realistic animation, even when he – screeching at Godzilla and Rodan – has his feet planted on the ground. Unlike Haruo Nakajima as Godzilla and Masanori Shinohara as Rodan, Shoichi Hirose cannot use his arms as Ghidorah. So where his fellow kaiju actor counterparts could keep their balance by maneuvering their arms, Hirose is left with no option other than to position his feet correctly and hope for the best. Future iterations of Ghidorah would look even more impressive than this first attempt. With this striking introduction into the Godzilla series (with a lower-string-heavy motif by longtime Godzilla composer Akira Ifukube... starting at 0:49 in the provided link), Ghidorah’s emergence begins the greatest rivalry in kaiju cinema.

Ghidorah, the Three-Headed Monster, for unknown reasons, was never released theatrically in many European countries. That makes it, outside of Japan and North America, one of the lesser-known films in the Toho Studios’ kaiju canon. The film is also, in addition to Mothra vs. Godzilla, the inauguration of – dare we say it – one of the earliest cinematic universes (and certainly one of the most sprawling). How the Marvel Cinematic Universe (MCU) is acclaimed for being so narratively innovative escapes me, especially given the financial and logistical realities of studio filmmaking in 1950s/1960s Japan and the 2010s in the United States. Even when fighting against the ill-informed wishes of producers and executives, the directorial vision is almost always apparent in these Godzilla films, including Ghidorah, the Three-Headed Monster. The same cannot be written for numerous other cinematic universes and their respective films.

In the halls of Toho throughout the 1960s and into the ‘70s, one of Godzilla’s creators was becoming unsettled by the requests of the company’s executives. As the director who brought Godzilla to being, Ishirô Honda insisted that Godzilla be seen as a figure warning against the folly of nuclear war. The increasing demands to make Godzilla a character engage in human-like behaviors and have identifiable human emotions fit perfectly with what some social critics saw as the infantilization of Japanese audiences because of the arrival of popular Japanese television. Honda – who essentially created the kaiju film, the monster film, and the disaster film – is an underappreciated figure in cinema whose legacy is undergoing a rapid reevaluation because of the fact that the Shôwa era kaiju films (in their original unedited and subtitled forms) are being made widely available outside Japan for the first time.

Nevertheless, after Ghidorah, the Three-Headed Monster, the pendulum would swing exactly the way Honda never wanted to witness. Honda would not live to see it, but I think he would have appreciated the fact that the pendulum has swung back.

My rating: 6.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found here.

[charactersbetterthanyumi]

Characters more interesting than Yumi Sawamura: Shinohara Shinichi

[kosaka-ryoutarou]

16 July 2018

Going to Brave10 rehearsals!

It’s! So! Hot! (x, x, x)

[kyoupann]

 5h Summer of 2018. BRAVE10⛓️ #BRAVE10燭

[newsintheshell]

Bisque Doll: trailer e nuova locandina della love comedy a base di cosplay e cucito in arrivo dall’8 gennaio

Annunciata un’altra parte del cast, assieme agli interpreti delle sigle.

Pubblicato da Aniplex un secondo trailer di “BISQUE DOLL” (in originale Sono Bisque Doll wa Koi wo suru e internazionalmente My Dress-Up Darling), la serie animata tratta dalla commedia romantica firmata da Shinichi Fukuda, attualmente in lavorazione presso lo studio CLOVERWORKS (Horimiya, Shadows House).

In sottofondo al video è possibile ascoltare un breve estratto sia della sigla di testa "Sansan Days", ad opera del gruppo j-pop Spira Spica, sia della sigla di coda "Koi no Yukue", cantata dalla TikToker e cosplayer Akari Akase. 

Assieme al promo è stata svelata anche una nuova locandina della serie, che inizierà ad essere trasmessa sulle televisioni giapponesi a partire dall’8 gennaio 2022. 

Inoltre, al cast già annunciato si vanno ad aggiungere:

Sajuna Inui: Atsumi Tanezaki (Chise Hatori in The Ancient Magus' Bride)

Shinju Inui: Hina Youmiya (Nodoka Yagi in Selection Project)

Kaoru Gojo: Atsushi Ono (Jaguar in Edens Zero)

Per quanto concerne lo staff, la regia della serie è in mano a Keisuke Shinohara (Black Fox, A3! Season Spring & Summer), mentre della sceneggiatura si sta occupando Yoriko Tomita (As Miss Beelzebub Likes, Osamake: Romcom Where The Childhood Friend Won’t Lose).

Wakana Gojou è un liceale, molto introverso e timido, che evita di aprirsi ai suoi coetanei per paura che scoprano la sua passione per le bambole giapponesi e la sua incredibile bravura nella sartoria. Un giorno però la sua maestria con ago e filo viene scoperta da Kitagawa, una bellissima e socievole gyaru con una passione altrettanto insospettabile: il cosplay! Nasce così un'amicizia atipica, creativa e molto… movimentata!

Il character design e la supervisione del comparto animazini sono invece affidati a Kazumasa Ishida (direttore d’animazione in Kiznaiver e Saekano the Movie: Finale). Infine, le musiche per la colonna sonora sono composte da Takeshi Nakatsuka (Magical Girl Ore, Brothers Conflict).

Il manga è stata lanciato sulle pagine della rivista Young Gangan nel 2018 e, attualmente, i vari capitoli sono stati raccolti in otto volumetti. L’opera arriverà presto anche in Italia grazie a J-POP Manga.

* NON VUOI PERDERTI NEANCHE UN POST? ENTRA NEL CANALE TELEGRAM! *

Autore: SilenziO)))

[FONTE]

[recentanimenews]

My Dress-Up Darling Manga Sells 1 Million Copies Since the TV Anime Began

  My Dress-Up Darling is the next manga series to get the "anime bump" and skyrocketing in popularity once people get a taste of the story through the anime. Aniplex, who produces the anime adaptation, revealed in a press release today that since the TV anime of Shinichi Fukuda's My Dress-Up Darling manga began in January, a staggering 1 million copies of the manga have been sold.

    ／ しゅごい・・・！ ＼ TVアニメ「その着せ替え人形は恋をする」 原作の累計部数450万部突破???? 今後もマンガ・アニメともに #着せ恋 を宜しくお願いします！https://t.co/GiPx8TBXyo pic.twitter.com/7nGcYMc66A

— TVアニメ『その着せ替え人形は恋をする』 (@kisekoi_anime) February 2, 2022

    This brings the grand total of copies of My Dress-Up Darling manga, including digital versions, in the world up to 4.5 million copies. According to the press release, the total was only at 3.5 million copies at the start of the year, giving the series nearly a quarter of all sales in a month. Who can blame people though? The sweet tale of Gojo and Marin is intoxicating.

  Manga creator Shinichi Fukuda celebrated the news over on Twitter, thanking fans for their support, as well as thanking the anime staff for their hard work, calling the staff and the situation "awesome."

  The My Dress-Up Darling TV anime is directed by Keisuke Shinohara and features animation produced at CloverWorks. The series began on January 8 and is streaming weekly right here on Crunchyroll, which describes the series as such:

  Wakana Gojo is a high school boy who wants to become a kashirashi--a master craftsman who makes traditional Japanese Hina dolls. Though he's gung-ho about the craft, he knows nothing about the latest trends, and has a hard time fitting in with his class. The popular kids--especially one girl, Marin Kitagawa--seem like they live in a completely different world. That all changes one day, when she shares an unexpected secret with him, and their completely different worlds collide.

  Source: Press Release

  ----

Daryl Harding is a Japan Correspondent for Crunchyroll News. He also runs a YouTube channel about Japan stuff called TheDoctorDazza, tweets at @DoctorDazza, and posts photos of his travels on Instagram. 

By: Daryl Harding

[itsmarjudgelove]

Judo Legends: Shinichi Shinohara - Judo Highlights (篠原 信一 柔道のハイライト )

[kyokushinpunk]

No training because lockdown means I have spent an obscene amount of time playing the Yakuza franchise (i’m currently on my second playthrough, halfway through Kiwami 2 at the moment)

And can I talk for a moment about how Kiryu’s fighting styles are just GREAT

(Footage from Yakuza Kiwami 2)

Since the very first game on PS2 Kiryu has used a hybrid of boxing, karate, judo and flashy pro wrestling moves. After the game switched engines on PS4 to the more refined Dragon engine with Yakuza 6 and then the remake Yakuza Kiwami 2, his style became even more crisp, with the boxing-like punches being even more obvious, different judo moves, and kicks that are part muay thai and part kyokushin (the low kicks and spinning kicks are defintely kyokushinesque).

I mean it’s absolutely beautiful and, barring video game craziness (and the craziness that is typical of the franchise), is quite a realistic style for someone who fought professionally for a while and spent his life street fighting thugs. It looks like what a striking specialist would do in MMA, especially in the Dragon Engine and Yakuza 6 / Kiwami 2. His old style from 1 - 5 / 0 is iconic too, if less realistic (but the original engine is a bit more stiff).

And what I love even more is how in the prequel, Yakuza 0, we see how he came to create that style, as characters in Yakuza 0 can switch between different fighting style in combat, adding an incredible layer of strategy and depth to what could pass as a simple 3D beat’em up.

You start with his style called Brawler, which is basically the untrained-looking fighting style that you can see in a lot of japanese media featuring furyo / thugs / bosozoku (see for example movies like Crows Zero) : exactly how someone untrained would fight, all about strength and wild swings with zero technique :

Then he meets boxers and learns the Rush style, which is 100% kickboxing, emphasis on boxing, with a bobbing-and-weaving mechanic, pure striking (no throws !), and a special footwork mechanic that lets you circle around like a savate master !

He then meets MISS TATSU aka one the best characters in the franchise and learns the Beast style, essentially a comically overpowered depiction of pure strength that relies on grappling / pro wrestling moves (Shinada from Yakuza 5 has a much better grappling moveset complete with BJJ / sambo style ground game, though !)

And all of these combine in the Dragon style, the one that he uses in all the other games.

Another moment of genius is when in the first game / Kiwami (the remake), he meets a martial arts master and finally gets proper training, which means he starts getting some actual technical skills like COUNTERS (the tiger drop !!!!), footwork, new combo chains and weapon training including krav maga / savate défense style disarms !

All other playable characters have great style but are much more fantasy based except maybe for Shinada in Yakuza 5 whose style is basically grappling + very basic striking kinda reminiscent of JKD, all about front segments. Kiryu has an incredibly coherent style, it just makes sense and is crazy efficient in game.

I am just completely in love with that franchise and the fighting style of the main character is honestly one of my favourite things about it. I started with Judgment and absolutely loved it, but when I got to Yakuza and saw Kiryu’s style I couldn’t help but feel disappointed that Yagami had a more kung-fu based style (although it definitely fits that vibe of classic Hong Kong action movie set in 2017 Japan), because a MMA-style like Kiryu is my personal holy grail (and i’m really a sucker for anything ressembling good boxing + good kicks).

I urge you to play that franchise if you are a martials arts nerd like I am. You see several incredible displays of boxing, muay thai, pro-wrestling, judo (Shinichi Shinohara, the REAL Shinohara, is actually in Yakuza Kiwami !!), jeet kune do, kali, kendo / kenjutsu, MMA, and I forget a lot of them !

Of course the main appeal of the franchise is definitely its excellent dramatic storyline, a serious approach to a classic yakuza drama reminiscent of Yakuza cinema such as the movies of Kinji Fukasaku, balanced with an insanely dumb humor and some glorious moments of wholesomeness / kindness (reminder that Kiryu basically says TRANS RIGHTS in Y3), but to me, the treatment applied to the combat, both in terms of depiction and gameplay, is a MAJOR draw. It’s the kind of game I’ve been waiting for literally all my life.

Yakuza Kiwami also features a savate fighter that does something that actually ressembles savate, full of kicks and side stepping, so it’s even more perfect :P.

PLAY YAKUZA.

[shoujotraveler]

YUI, MARINA, AND SAKI OMG!!! I can't believe I want to watch this for the new female cast.

[Announcement] 舞台 BRAVE10 ~燭~ (butai brave 10 ~tomoshibi~)

further cast announced

Keep reading

[tumblblabber]

Funimation Dates English Dubbed Adaptation For "My Dress-Up Darling"

Die, Die, My Darling.

Funimation has announced a January 29th start date for the English dubbed adaptation of My Dress-Up Darling. My Dress-Up Darling is directed by Keisuke Shinohara (A3!) at studio CloverWorks, with scripts by Yoriko Tomita (Fire Force) and character designs by Kazumasa Ishida (Kizaiver) and is based on the manga by Shinichi Fukuda. The English dub cast and crew is as follows: Cast and Crew: AmaLee…

[otakutale]

Sono Bisque Doll wa Koi wo Suru TV Anime Visual & Staff Revealed

https://wp.me/p4jiOt-cRn

The official website of the TV anime adaptation of Shinichi Fukuda’s Sono Bisque Doll wa Koi wo Suru (My Dress-Up…

[animefagos]

El anime Sono Bisque Doll wa Koi wo Suru se estrenará en enero y revela promo además de sus voces principales

Nueva entrada publicada en https://www.animefagos.com/2021/10/25/el-anime-sono-bisque-doll-wa-koi-wo-suru-se-estrenara-en-enero-y-revela-promo-ademas-de-sus-voces-principales/

El anime Sono Bisque Doll wa Koi wo Suru se estrenará en enero y revela promo además de sus voces principales

La página web oficial de la adaptación animada para televisión del manga Sono Bisque Doll wa Koi wo Suru, de Shinichi Fukuda, ha publicado el primer vídeo promocional del anime. El vídeo revela que el anime se estrenará en enero, y anuncia sus dos voces principales. Hina Suguta como Marin Kitagawa Shōya Ishige como Wakana Gojō Keisuke Shinohara (Black Fox, A3!…