#Taku Furukawa

[ghostnight]

Head Spoon (1972)

[anamon-book]

愛と性を説いて五十年－主婦会館クリニック所長の半生記 奈良林祥 中公文庫 カバー＝古川タク

[cocotome]

Happy 3rd Anniversary to Cupid Parasite~

[yaoisex]

Taku's laugh is so contagious!

They're promoting the Opus.COLORs event that will be on 24.9.

They were doing a photoshoot for the event's pamphlets. I wonder if there'll be a photo similar to this one from the OP 👀

Seems like we'll get videos of all the couples? I hope! I need to see Ryouta & Yoshiki together! *-*

[demifiendrsa]

New PANTY & STOCKING with GARTERBELT | Official Teaser

New Panty & Stocking with Garterbelt will premiere in 2025.

Cast

Arisa Ogasawara as Panty

Mariya Ise as Stocking

Koji Ishii as Garterbelt

Hiroyuki Yoshino as Brief

Yuka Komatsu as Scanty

Akeno Watanabe as Kneesocks

Takashi Nakamura as Chuck

Yuko Natsuyoshi as Fastener

Staff

Original creator: GEEKFLEET

Director: Hiroyuki Imaishi

Co-Directors: Hiromi Wakabayashi / Akira Furukawa

Series composition: Hiroyuki Imaishi & Hiromi Wakabayashi

Original character designer: Atushi Nishigori

Character designer: Shigeto Koyama, SUSHiO & Masaru Sakamoto

Art director: Shigeto Koyama

Special specialist: Yoh Yoshinari

Concept planner: Hiromi Wakabayashi

Title logo design: Ai Nonaka

Color coordinator: Yukiko Kakita

Background Director: Masanobu Nomura

Editor: Junichi Uematsu

Composite Director: Katsunori Shiradou

Recording Director: Yuuki Urakari

Music producer: Taku Takahashi (M-Flo)

In-between supervisor: Nahoko Kosugi

Animation Producer: Naoko Tsutsumi

Animation Production: Studio Trigger

[ikemenfangirl]

Cupid Parasite -Sweet & Spicy Darling.- (Cupid Parasite fan disk) Nintendo Switch

Goddess × matchmaking romantic comedy

Title: Cupid Parasite -Sweet & Spicy Darling.-

By: Otomate

Platform: Nintendo Switch

Language: Japanese

Website: https://www.otomate.jp/cp/fd/

Release: September 28, 2023

Character design: Yuuya (https://twitter.com/Y_at)

CAST

🩷 Lynette Mirror : Protagonist (No voice)

❤️ Gill Lovecraft CV: Kimura Ryohei #木村良平

💙 Shelby Snail CV: #KENN

🧡 Raul Aconite CV: Yashiro Taku #八代拓

💚 Keisaiin F.Ryuki CV: Enoki Junya #榎木淳弥

💜 Allan Melville CV: Furukawa Makoto #古川慎

💛 Peter Flage CV: Okamoto Nobuhiko #岡本信彦

💚 Merenice Levin CV: Uemura Yuto #上村祐翔

[amelikos]

Quick summary of the talk show that took place at AnimeJapan today (March 23), it was divided in three parts ("growth", "friends", "battles").

First part focused on Liko, Roy, and Dot and their VAs talked about their characters and the ways they've grown. They showed a clip show of HZ016 when the trio was fighting Spinel to illustrate the theme. Yoshino Aoyama (Dot's VA) also talked about how she feels about playing Dot and growing alongside her character.

Second part mostly focused on Orio, Mollie and Murdock. They showed a clip show of HZ021 when Orio and Murdock argued about the state of the ship and eventually shook hands to show Mibrim they had made up. They shared a behind the scenes story. Kenta Miyake (Murdock's VA) was apparently the one who came up with the pun "nakayoshi namakobushi" in that episode and asked Sakura Ayane (Orio's VA) for cooperation when they voiced their lines.

Third part focused on Friede, Amethio and Spinel. They showed a clip show of the battle at the castle in HZ025 between Friede and Amethio. Yashiro Taku (Friede's VA) and Horie Shun (Amethio's VA) shared their impressions and feelings about the characters and their dynamics. They also showed a clip show of the battle between Friede and Spinel in HZ044 (that just aired yesterday!) and Makoto Furukawa (Spinel's VA) shared his thoughts as well.

They revealed the VAs for the Elite Four in Paldea. Saiga Mitsuki will voice Chili, and it's the second time she voices a green-haired character in the anime (because she was Shuu's VA back during the Advanced Generation series).

[sakuwsker]

Opus.COLORs’ Birthdays

JANUARY:

由羅 大樹 YURA DAIKI (Okamoto Nobuhiko)     1/6

FEBRUARY:

多岐瀬 結愛  TAKISE YUA (uncast)              2/2

多岐瀬 響  TAKISE KYO (Ohsaka Ryota)     2/10

榊 知陽    SAKAKI CHIHARU (Furukawa Makoto)  2/14

MARCH:

御来屋 楓    MIKURIYA KAEDE (Nakajima Yoshiki)   3/9

APRIL:

月見里 和哉    YAMANASHI KAZUYA (Uchida Yuuma)   4/20

MAY:

中静 理央    NAKASHIZU RIO (Konishi Katsuyuki)    5/4

JUNE: 月見里 直輝     YAMANASHI NAOKI (Fukuyama Jun)   6/10

都築 純     TSUZUKI JUN (Hanae Natsuki)     6/30

JULY: 月見里 朱莉    YAMANASHI AKARI (Nazuka Kaori)    7/20

織堂 優一     SHIDO YUICHI (Nakamura Shugo)        7/31

AUGUST:

登世 康平       TOSE KOHEI  (Yamashita Daiki)            8/8

難波　道臣      NANBA MICHITAKA (Toyonaga Toshiyuki)   8/17

SEPTEMBER:

灰島 伊織            HAIJIMA IORI  (Umehara Yuichiro)       9/24

OCTOBER:  桐乃江 麻秀        KIRINOE MASHU (Suzuki Ryouta)          10/9

八柳 真             YANAGI MAKOTO (Ono Daisuke)               10/27

NOVEMBER: 由羅 拓海         YURA TAKUMI (Shimazaki Nobunaga)        11/3

  多岐瀬 統梧        TAKISE TOGO (Toriumi Kousuke)           11/23

DECEMBER:  斑鳩 杏寿             IKARUGA ANJYU (Yashiro Taku)              12/12

source: https://www.animenewsnetwork.com/news/2022-12-01/opus-colors https://www.opus-colors.com/character/

[alexswak]

On Animation

These are mostly some personal views and experiences, you are welcome to read but don’t hold high expectations. In the last 2 years or so I didn’t watch as much anime as I used to, probably because I don’t find anime as entertaining as before. My interest in sakuga and Japanese animators was the first time I found value in animation itself, regardless of other aspects such as the story. The sheer expressive power of Ohira’s drawings, or Kanada’s unique timing, all brought me joy and still do.

Yet even this joy I find in sakuga won’t last forever, and I can say that rarely does any scene amaze me like my first contact with works from not only legendary animators such as Ohira and Kanada, but even Ebata and Tanaka. I didn’t lose my interest in commercial sakuga that’s for sure, most what I watched lately were obscure shows I wanted to see what X animator or X director did in them. It’s just that I’m looking for something new, and I knowingly didn’t experience basically anything the wide medium of animation has to offer.

I think the majority of anime fans, animation fans in general even, just watch animation because it’s “anime” or maybe “Disney”. If an anime with a somewhat good story and almost still good-drawn images was to be produced, I bet it would gain some following and popularity among non-japanese fans at least. I also bet such a thing already happened. This reminds of a funny phrase I heard from a friend: “people think that animation isn’t important in animation”.

But then, everyone is free to prefer whatever they want in my opinion. I just think that people who have this view don’t see the real merit of animation and its real beauty, to a big extent at least. Works with outstanding stories and fascinating themes such as Ghost in the Shell receive praise mostly due to that aspect only, the story and themes, with maybe mentioning “good and smooth” animation as a side point. But such works exhibit what really makes animation what it is and takes of advantage of the capabilities of this medium, just look at the Hollywood adaptation to compare(regardless of the fundamentally different execution).

Maybe the main approach of commercial animation takes most of the blame here. Ask any random person “what is special about animation?”, and probably the answer would be something along the lines of “unlimited imagination” or “fascinating imaginary worlds”, referring to Disney’s princesses or Ghibli's fantasy. Yet live-action movies are capable of creating such worlds thanks to modern and even kinda old technology(if we ignore the ongoing controversy regarding the definition of these works), while other more realistic animation works such as Satoshi Kon’s show animations’ features and perks, the features that are the reason why he famously prefered to use animation in all his movies despite being more of a live-action director in nature. What I’m trying to say is this: animation isn’t just a container with the sole purpose of conveying a story or a message, nor is the importance solely in the content conveyed, but in the way it’s conveyed. That’s why a lot of people who work in animation refuse the idea of mimicking live-action, for example.  

After sakuga my interested shifted towards independent and experimental animation especially the japanese ones, like Koji Nanke and Youji Kuri. The story of independent japanese animators is a long one, better covered here. Watching their works made me realize more and more how diverse animation is, and the different exciting ways to transmit an idea through animation. You may say that everything I said till now was just cretesizing commercial animation and praising independent/experimental animation because I love them, yet I didn’t deny that Ghibli and Disney(2D) movies, which are commercial for sure, are some of the best animation works from a technical and artistic standpoint. What I’m criticizing is the narrow outlook on animation, even among the commercial works. Animation isn’t only hand-drawn or 3D, you have collage and stop-motion and puppets and others. It shouldn’t come as a surprise that the former Association of Japanese Animations(AJA) president, the late Kihachiro Kawamoto, never drew anything, he was but an amazing puppet animator. Before Kawamoto was Tezuka, a person who plainly hates commercial mainstream animation and whose experimental works probably outnumber his commercial ones. Kawamoto’s successor, the current president Taku Furukawa, is a renowned independent animator and one of Youji Kuri’s students. Movies such as Isle of Dogs getting a wide positive reception makes me happy.

A famous use of collage was in Madoka Magica’s labyrinths, which Gekidan Inu Curry duo handled. It consists of Shirashi Ayumi(former Gainax) and Anai Yosuke(former defunct studio named Tanto). Their participation in Madoka Magica and many other Shaft shows came probably due to their relation with the director Yukihiro Miyamoto. I went a bit off track, but all this was to say that I enjoy Kihachiro Kawamoto’s collage works especially such as The Trip(1973), although he is better known for his puppet works, that are great nonetheless. This isn’t because I don’t enjoy puppetry, Jiří Trnka amazes me- for example. I bet that his magnum opus, The Hand(1965), would astonish any animation fan not only in its visuals, but in the way it handles and presents its themes as well, which led to banning this movie that obviously opposes the communist occupation of Czech.

from right to lefr: Madoka Magica, The Trip, Kenju Giga.

Now that I mentioned Czech, it’s one of the richest countries when it comes to animation and animation history. Many other east-european countries as well. Trnka is enough on his own, but even with other animation arts it’s a region that has a rich and old history of experimentation and early works. Tezuka’s inspiration for his short Jumping(1984) came from none other than a hungarian short called The Fly(1980). The animator behind Jumping, Junji Kobayashi, reminds me always of a fun fact about Tezuka. Kobayashi himself has a deep passion for insects and wildlife in general. Alongside being a member of multiple insect societies and organisations, including The Japanese Association for Insects, he wrote a book on how to animate animals based on Mushi/Tezuka Pro's principles. But if there's a bigger insects nerd than him, it's Tezuka, who deliberately added the kanji for insect(虫) in his pen name(same reading to his original name). Tezuka also has some books on insects or animals, in a fictional or realistic depiction. The last book I want to mention, the most interesting probably, is Kobayashi's "Osamu Tezuka That No One Knows - The Mess of Mushi Pro", an interesting title especially when you consider that Kobayashi is one of the oldest Mushi Pro members, having spent about 23 years with Tezuka till his death. Kobayashi joining Mushi Pro in the first place may have been due to Tezuka sharing him his insects passion, as "Mushi" is the same "insect　虫" in Tezuka's pen name after all.

Anyway, what I was trying to say is this: If you are looking for something more than just "brainless fun", try watching different kinds of animation, the world of animation is vast and diverse. Some works that I like(not necessarily a good start for everyone):

Aru Machikado no Monogatari(1962, Mushi Pro)

The first project by Tezuka's Mushi Pro. He tried different styles in this movie, demonstrating his intentions from the beginning. Directed by Eiichi Yamamoto, whose start was in another experimental studio named Otogi Pro, with animators such as Gisaburo Sugii, it is one of the best works the studio produced. It contained a variety of interesting and beautiful styles, even limited animation was used although there is no economical constraint here, what makes me think that it was an experiment before going all limited with Astro Boy later. A great movie overall.

Jumping(1984, Tezuka Pro)

There is a nice interview about this short and experimental works in general with Osamu Tezuka here.

Machikado no Märchen(1984)

The Hand(1965, Jiří­ Trnka)

Tabi(1973, Kihachiro Kawamoto)

Kenju Giga(1970, Kihachiro Kawamoto)

The Fly(1980, Ferenc Rofusz)

[elegieenbleu]

TAKU FURUKAWA /

Affiche pour une exposition à Tokyo en 2011

Profil complet de l’artiste sur le site Tokyo Illustrators Society

Taku Furukawa a travaillé pendant 3 ans au coeur du studio d’animation de Yoji Kuri avant de devenir réalisateur de films d’animation indépendant. Très influencé par l’oeuvre de Saul Steinberg, il illustre en parallèle des livres pour enfants et de nombreuses publicités. Plusieurs de ces courts métrages sont sélectionnés au festival d’Annecy dont Oxed man en 1969, et Phenakisti-scope qui remportera en 1975 le Prix Spécial du Jury. Dans les années 90, Tarzan et From heart to heart sont distingués et récompensés au festival d’Hiroshima. Tyo Story est primé au Japan Media Arts Festival en 1999. Depuis, son travail est célébré à de multiples reprises lors de rétrospectives entre Ottowa en 2003, Seoul, Shanghai et Hiroshima en 2016. Il est représenté aujourd’hui par la Tokyo Illustrators Society.

Biographie complémentaire, entretien et filmographie de Taku Furukawa dans cette section du site Anipages

[ghostnight]

Oxed-man (1968)

[anamon-book]

面白半分 1979年9月号 Half Serious Vol.108 SEP. ’79 田村隆一 編集 表紙絵＝古川タク

[cocotome]

If you're looking to order Otomate Party 2024, let go! Click here to view the available versions on Animate International.

There's a standard with no extras and 3 limited editions. Each one comes with a bonus replica ticket with the character from one of the events so be sure to pick the one that has the guys you're looking for (I had a hard time choosing between B and C since I had pick Saint Germain or Lucas Proust lol)

Just know they've stopped offering the DVD and now only sell Blu-ray copies of the event!

[otakutale]

New Kaguya-sama Anime Project Announced

https://wp.me/p4jiOt-d82

Following the broadcast of the final episode in the third season anime adaptation of Aka Akasaka’s Kaguya-sama wa Kokurasetai (Kaguya-sama:…

[yabaifeelings]

⚔️Jinrou Battle ~lies & the truth~ ⚔️ 2017 || 🐺🆚🧙🏻‍♂️ || Round 3

Yashiro Taku 🧙🏻‍♂️Toki Shunichi 🧙🏻‍♂️Nakamura Shugo 🧙🏻‍♂️ Nogami Sho 🧙🏻‍♂️Shirai Yusuke 🧙🏻‍♂️ Yamaya Yoshitaka 🧙🏻‍♂️Furukawa Makoto 🧙🏻‍♂️Enoki Junya 🧙🏻‍♂️Umehara Yuichiro 🧙🏻‍♂️Hanae Natsuki 🧙🏻‍♂️Ichikawa Taichi

[trashexplorer]

BLCD Review: Given 5

Title: Given 5 (ギヴン－given－5)

Release Date: 2020/02/25

Author/Artist: Kizu Natsuki

Cast:

Furukawa Makoto + Saitou Souma

Hino Satoshi + Takumi Yasuaki

Tamaru Atsushi

Masuda Toshiki

Hamano Daiki

Enoki Junya

Yashiro Taku

Synopsis: Adaptation of the fifth volume of the series of the same name.

Review Proper

Why am I so weak when it comes to Mafuyu and Uenoyama’s relationship??? Not even a few minutes in and they already show Uenoyama’s anxiety. I JUST WANT MY CHILDREN TO BE HAPPY. WHAT DO I NEED TO DO IN ORDER FOR GUSARI TO JUST LEAVE THEM ALONE??? This is quite ironic seeing as how I was praising Gusari for adding some realism into their relationship in 4. 😂 But I’m honestly so beat up from Itsuka Koi ni Naru Made and Saezuru that I wanted my heart to take a break. Who the hell even made this log list and why the hell is Itsuka Koi ni Naru, Saezuru, and Given right next to each other??? I was initially going to put SuzuMinta’s works before Saezuru and Given, but did I really want to put Saezuru and Given before Therapy Game and Love Nest? That’s gonna be total heart ache after total heart ache! 

Anyway, the voice work and sound direction here was phenomenal as usual. Shout out to MSG for most of the sound work, Misa Sasa for the Ugetsu’s violin, and Yohei Matsui for the lyrics. It’s so sad that all the cast and staff of the BLCD were never brought in for that anime adaptation. I mean, what was the point in getting rid of all of them? Everyone absolutely loved the series and working with each other, so I don’t think any of them would ever refuse appearing in the anime, busy schedule or not. 

Scratch that. I’m gonna say it. I absolutely hated how they scrapped all of the VAs. Where was the need? Are my boys not good enough for the anime adaptation??? When they’ve got a solid fan base that’s about four years old now??? Is Saitou Souma not good enough of a singer for you that you replaced him with some inexperienced VA to voice Mafuyu instead? I know that prods tend to hold cast auditions for anime adaptations, and I don’t have any beef with Yano Shougo and I’m sure he did his best, but the audacity of Blue Lynx to even hold them and not pick Saitou Souma...

I’ve heard the anime version of Fuyu no Hanashi and I dislike how it’s so polished and commercialized when Given’s just an indie band with an inexperienced vocalist. Who y’all fooling? And the lyrics...it completely took away the most important point of the song which is the “fingers getting cold” which is a very vital part of the series because the act of hands slipping away is featured in ALL of the characters’ relationships. If they changed Yoru no Mukou in the movie, I will be livid. Now, I personally don’t care about the anime cast using different tones for their characters so long as they are able to bring their characters to life just as well, but were they really able to do that? Mafuyu was supposed to have “a beautiful husky voice” as per Gusari, but Yano Shougo was more light and sharp which makes his sound less mature and more emotional as compared to Saitou Souma’s more distant and low-key tormented Mafuyu. I definitely prefer Saitou Souma’s soft yet heavy tone over Yano’s because I think that it encapsulates the manga Mafuyu more, but Yano Shougo’s was decent enough for a rookie actor regardless. Yuuma and Nakazawa Masatomo did well in their respective roles even though the former is higher and the latter is lower in pitch than their BLCD counterparts. Yuuma had nailed Makonyan’s Uenoyama down to a degree without going down to his pitch which was nice—UNLIKE SOMEONE. What was the point in making Egu try and replicate Hino Satoshi’s obviously more lower voice??? Egu’s Akihiko might be two to three pitches lower than his Kaburagi and you can clearly hear him strain his throat when he does it—and he goes flat while he does it, too! Please stop making Egu do that, that can’t possibly be good for his throat. I don't want him to go through what Okamoto Nobuhiko did. If Blue Lynx wanted that type of Akihiko, then why didn’t they just cast the original cast in the first place??? If y’all retained all of the Saezuru cast members, then why couldn’t you do the same for Given???

UGH. Way to ruin a franchise. Let’s not even get started with the general animation.

Anyway, back onto the topic of the BLCD, all of my boys slayed their parts as usual. Looking at the cast now, I just feel so proud that they’ve all made names for themselves in the BL industry and have blossoming careers ever since the first BLCD. I would’ve never guessed that Saitou Souma and Makonyan would rise to the top of the industry in just a short span of time. Man, I’m getting emotional. They’re like my children whom I’ve seen grow and robbed right before my very eyes. 😭😭😭 I feel like it was just yesterday when Saitou Souma made his very first appearance as Noiz’ or Hino Satoshi’s younger brother in the DMMD special CDs and now he’s chil-chil’s top 1 BL seiyuu. 😭😭😭 Bless. 

No, we’re not going to talk about Haruki and Akihiko’s relationship here because you really can’t talk sense into someone’s who’s marupok. Anong siya pa den sa hule? MAHINANG NILALANG. If he’s happy being a clown, then let him be a clown. Let’s just hope that Akihiko doesn’t hurt him anymore (even though he’s said that he might hurt him again in the future). 

Red flags: *exists*

Haruki:

This adaptation stuck closely to the manga, so reading it along would be easy. Yoru no Mukou was amazing. I was tearing up while listening to it and I think I like it more than Fuyu no Hanashi (Saitou Souma’s version), but Fuyu no Hanashi is just a different sting yo. These days I just find myself listening to both just to cry myself to sleep at night. HAHAHAHA. I definitely recommend getting the Live Edition instead of just the normal version because you just have to listen to the whole song!