#Toku!Ink

[ink-au-askblog]

Introducing Kan and Toku, The Co-Directors of Multiatre!

Although they'd rather deny it. They care for each other quite a bit. They are a duo, never to be separated, after all.

[stars-and-wish-fulfillment]

Have you heard of Toku Multiatre? He's a bastard, that's all I can say.

Clothing folds are actually so fun to draw, I have no idea how I did it though.

Anyway- Did you know Toku has these paintbrush daggers? They're normal paintbrushes that he has hidden, wrapped on his leg (I imagine near the femur). The ink on the brush sharpens midway when he throws them.

And he really likes his star motif as you can see.

[peterkothe]

INKtober 2024-Versus👊

Son of Ultraseven, the face of the Heisei era New Generation Ultras, Ultraman Zero vs. Ultraman Belial, the fallen, devilish, corrupted Ultra, and Zero’s arch-nemesis!

[cerastes]

If Kroos and Mr. Nothing spotted you from across the room and liked your vibes, would you?

Okay, hypothetical.

Let's say that I, drunk with wanderlust, went exploring the Yanese mountainside. In my trip, I end up finding a house in the middle of my wilderness wandering, and looking to perhaps have a roof over my head this wintry eve, I knock on it, only to get launched headfirst into a mysterious town that gets attacked by ink-like monsters every night, only to return to normal every morning, as if nothing had happened.

Now, let's say I refuse to learn a damn thing from my experiences, because famously, I don't know a fucking thing, and thus engage in sundry timeloop shenanigans. It can be assumed I'll spend quite a while there.

After what feels like a couple of years in which I've come be known as the town freak, but only to the individuals that can actually remember or discern what's going on (a very intrigued Saga, a very confused Dawn, and a very irritated Dusk), I see two new faces and I assume, oh! There's still more to learn about this place! Cool! So I rain check that day's activity (construct large hadron collider from teaware and Bitey organs) in order to acquaint myself with these new faces.

THAT's when Kroos and Mr. Everything use their Scouter to check my vibes, and they find them of a most agreeable disposition and panache. The eyebrow rises, the lips smack, and the invitation is loose like the Nue-slaying arrow.

Quoth the anon, "would you?"

Well, see, Kroos is Kroos, she's pretty much a flawless creature so of course I'm fine there. About Mr. Nothing, well, I'm straight, but also, he looks like that, and it's not gay if it gets retconned, I rationalize, so let's have an unforgettable night that never will have been, come morning. I already did the teahouse story teller and most every farmer, coolie, and shopkeeper, might as well.

Then I wake up and I realize I've been made a member of the Midnight Crew, where's the RETCON. The story teller doesn't look at me in the eye. The bedsheets are less like sheets and more like paleolithic era cave art. Nothing's kung fu cumshot made a hole in the wall and killed a stray Bitey. Kroos pulled out toys in shapes and colors we have no names for but with functions and features I am now intimately acquainted with. The memory of being the patty in a bunny and bird sandwich is seared into my mind's retina. Restraint and protection were helpful suggestions kindly ignored. A pop-up in the corner of my vision reads "Several cutscenes will play in sequence". I have a LOT of unusued skill points and I have no idea where they came from. What was formerly a rustic Yan-style bedroom now looks like the toku quarry.

And that's when I realize: Right.

An executive decision has been taken and I'm about to have lore.

So, "would you?"

Would. But watch out.

[emerald-onion]

Yes... It's yet another Alternate Multiverse...

Say hi to Error and Ink! Or rather, Kan and Toku from my newest Alternate Multiverse, Behind The Scenes! It's still in the middle of development so I won't reveal much, but the basic idea is that Kan and Toku are the only people in the Multiverse who knows they are just fictional characters, and as the moment the Creators stopped watching them, they would literally stop existing, the two have to cooperate in order to make an interesting story to keep the attention of the Creators.

Except, the others have never known they are the unwilling actors in a stage of their own lives.

[chanoyu-to-wa]

Nampō Roku, Book 7 (61a):  Concerning the Kanban [看板]¹ for the Shō-ka-dō [松下堂]².

61) With respect to the kanban [看板] for the Shō-ka-dō [松下堂], we prepared the draft [of the text that would be carved onto the kanban]³.  [I] visited [Ri]kyū to let him see it, and he was delighted⁴! -- and [he] immediately decided to add a postscript⁵.

    When everything was ready, up to the application of the [name] seals, [I decided] it was time to have the board carved⁶ -- and [Ri]kyū also felt the same⁷.

    Just at that time, when [Rikyū] was serving [me] a portion [of koicha] and the like, on the eighteenth day of the First Month [of Tenshō 19], [his] daughter took her own life⁸.

    During the period of mourning following that [tragedy], the world began to whisper⁹.  And in the end, because of the disaster [that befell Rikyū] on the twenty-eighth day of the Second Month, the kanban stayed as it was -- [so] all [of our efforts] proved to be in vain.

    No matter what happens from now on, this has all been so regrettable¹².

_________________________

◎ Only one version of entry 61 is found in the different editions of the Nampō Roku*.

    If any of the entries in Book Seven were actually written on the third anniversary of Rikyū’s seppuku, in the hours between the dawn memorial service and the time when Nambō Sōkei left the Shū-un-an to walk to the mountains (where his intention was to do away with himself by falling off a cliff), a majority of scholars consider this to be one of the most likely passages.  That said, the language is simply anachronistic for the end of the sixteenth century, and would better site the drafting of this entry to the late seventeenth -- or even eighteenth -- century...suggesting that this was an attempt, on the part of the Sen family, to insert their preferred version of events into the historical record. ___________ *In addition to the text that is translated here, Shibayama’s toku-shu shahon, and Tanaka’s genpon, include the text that was carved onto the kanban itself, which is known as the Nambō Sōkei no Roji・Sō-an no Shin-gi [南坊宗慶ノ露地・草菴ノ 清 䂓] (Nambō Sōkei’s Rules of Purity for the Roji and Sō-an).  This text was preserved in Tachibana Jitsuzan’s Ko-chū-ro dan [壺中爐談].

    In addition to the material quoted by Shibayama and Tanaka, a second version of this text is also known (which incorporates certain significant modifications).

    As there seem to be doubts regarding the dates of these different versions (with the cited dates sometimes appearing to be anachronistic in light of the language used), the best solution would be to discuss the Nambō Sōkei no Roji・Sō-an no Shin-gi in a subsequent post (because there was not enough time for me to prepare all of this before today’s publication -- and a basic analysis of the text will require some 30 footnotes).

¹Kanban [看板, 鑑板] is usually translated signboard or plaque.  In this case, it refers to a wooden board on which a text* is written.

    Today the kind of kanban most frequently encountered in the context of chanoyu are those that show the name of the tearoom. __________ *Often, in the interests of permanence, the words would be carved into the board, with the carving either colored with ink or gesso to make the words easier to read.

    The example shown above is an ink-rubbing of a kanban depicting Tachibana Jitsuzan’s copy of the text around which the present episode revolves.  This document is known as the Nambō Sōkei no roji・sō-an no shin-gi [南坊宗慶ノ露地・草菴ノ清䂓] (Nambō Sōkei’s Rules of Purity for the Roji and Sō-an) which, as the text of this entry states, was intended to be hung up in the koshi-kake of the Shū-un-an, to provide guidance to the guests during their visit.

²Shō-ka-dō [松下堂] was the name of a waiting room (dō-machi-ai [堂待合]) in the roji of the Shū-un-an.  The kanban featured a list of seven points that should be observed by visitors to the Shū-un-an (see the appendix that will be published as the next post).

³Shō-ka-dō no kanban ha, warera sōan-shite　[松下堂ノカンバンハ、我等草案シテ].

    Warera [我等] means “we.”  Ostensibly this is referring to Nambō Sōkei and Rikyū.

    Sōan-suru [草案する] means to prepare a draft (of a document).

    In other words, Sōkei and Rikyū jointly drafted the text that would appear on the kanban that would be hung up in the waiting room, to guide the behavior of the guests* while in the Shū-un-an.

    Needless to say, perhaps, this kanban does not survive.  I have seen written versions in some recently published books that are put forward as copies, but these (though often written by Daitoku-ji monks) invariably date to the modern period, and so are more than likely based on the modern conception of what a kanban of this sort would look like than any surviving historical evidence. ___________ *In light of Sōkei’s tea activities, and his closeness to Rikyū (it appears that he acted as the unofficial steward of the Ima-ichi household -- this property was a 10 or 15 minute walk from the Shū-un-an -- whenever his official duties compelled Rikyū to be elsewhere), it was likely that people who did not know how to behave in the temple setting could be visiting the Shū-un-an.  It was to instruct these people that Sōkei wished to hang this kanban in his koshi-kake.

⁴Kyū [h]e mise mairasekeru ni, jin-kiesshi tamai　[休ヘ見セマイラセケルニ、甚喜悅シ玉ヒ].

    Mise-mairasekeru ni [見せ参らせけるに] means to visit in order to show the text of the kanban (to Rikyū).

    Jin-kiesshi tamai [甚喜悅し給い] means (Rikyu) was delighted (by the kanban).

⁵Soku-za ni oku-gaki dekiru-shi　[卽座ニ奧書出來シ].

    Sokuza ni [卽座 に = 即座に]* means immediately, as soon as (Rikyū) saw it.

    The word oku-gaki [奧書] refers to the final sentences added by Rikyū that follow the date and Nambō Sōkei’s name and seal†. __________ *Use of this variant form of soku [即] was fashionable during the Edo period -- probably in light of the reintroduction of these antique forms from Korea during the early decades of that period.

†Possibly his written kaō [花押], rather than a name-stamp.

⁶Han-made totonoi, yagate ita ni horite kakeshi nari　[判マデトヽノヒ、ヤガテ板ニホリテカケシ也].

    Han-made totonoi [判まで調い] means up to the (carving of the) seal, everything has been finished.  

    The process for transferring a written text onto a board has to be understood before this phrase will make sense.

    The text that will be carved on the board is written by the calligrapher (usually on a piece of paper, though on rare occasions* this could be done directly on the board itself), and this is provided to the craftsman, so he can begin to lay the work out.  However, the text, at this point, usually lacks the name-seals (or the kaō) that will certify it as authentic.  After the person who wrote the text approves of the arrangement (he must check it again to make sure that it contains no mistakes or miswritten kanji), he provides his kaō or name-seal, and the text will then be carved onto the board.

    Yagate ita ni horite-kakeshi nari [軈て板に彫りてかけしなり]  means presently the board will be carved.

    In other words, nothing but Rikyū's final approval was needed before giving the order to the craftsman to begin the carving process. __________ *Because it is easy to change to a new piece of paper if a mistake has been made.  When the writing is done directly on the board, this means that it must be perfect, since it cannot be changed.  (Of course the entire board could be sanded down, but then everything else will be lost as well as the mistaken kanji.)

⁷Kyū ni mo onaji-yō ni koshiraerarete　[休ニモ同シ様ニコシラヘラレテ].

    Kyū ni mo onaji-yō ni [休にも同じように] means “Rikyū, in the same way...,” or “Rikyū, in like manner....”

    Koshiraerarete [拵えられて]* means things like make, reconstruct, make over, prepare, and so forth -- though here the nuance is closer to something like “be satisfied with” (i.e., make something full, make something complete, satiate).

    The basic meaning is that it was the same for Rikyū -- that he felt the kanban was ready to be carved.  In other words, Rikyū was prepared to give his approval (as per the previous footnote). __________ *Today this word is usually conflated with tsukuru [作る], which means to make.

⁸Kinjitsu, kakete ippuku mōsu-beku nado to no tamau-uchi ni, shōgatsu jū-hachi nichi soku-jo jisatsu-serare　[近日、掛テ一服可申ナドヽノ玉フ内ニ、正月十八日息女自殺セラレ].

    Kinjitsu [近日] means at or around this time, shortly, one of these days, imminently*.

    Kakete ippuku mōsu-beku nado to tamau-uchi ni [掛けて一服申すべくなどとの給う内に]:  kakete [掛けて] means something like while†; ippuku mōsu-beku [一服申すべく] means to offer a bowl of tea†; nado to [などと] means and so forth; no tamau-uchi ni [の給う内に] means when (Rikyū) was proffering (the bowl of tea to Sōkei).

    The image is of the two men -- Rikyū and Nambō Sōkei -- chatting together (seemingly about the kanban) over a bowl of tea.

    Shōgatsu jū-hachi nichi [正月十八日] means (on the) eighteenth day of the First Month‡.

    Soku-jo jisatsu-serare [息女自殺せられ]:  soku-jo [息女] means (Rikyū’s) daughter**; jisatsu-serare [自殺せられ] means to do the deed of killing oneself, to commit suicide. __________ *This seems to be an example of typical Edo period indirection.  In fact, the breaking of the bad news (explained in the second phrase) occurred while the two men were sharing a bowl of tea (rather than at some later date).

†It is used for an action that extends across a certain span of time.

‡The year was Tenshō 19 [天正十九年].  The date was February 11, 1591 in the Gregorian calendar.

**This is a reference to Rikyū's second daughter, the widow of Mozu-ya Sōan [萬代屋宗安; ? ~ 1594] (who was also nicknamed Shōan [少安], “Little An”), who had been one of Rikyū’s closest friends since childhood.  Most of the stories about Rikyū and “Shōan” that are told today actually referred to this man, rather than to the Shōan who was the father of Sōtan (and who had been a machi-shū follower of Imai Sōkyū -- who was 42 years old when his mother, the widow of Miyaō Saburō Sannyū, Shōan’s father, was given to Rikyū to run his Kyōto household, and act as Hideyoshi’s in-house spy).

    At any rate, the Sen family's story is that, following Mozu-ya Sōan’s death, this daughter (whom they refer to as Ogin [お銀] -- though her actual name is not known) had been pursued by Hideyoshi (who wished to add her to his harem); but Rikyū objected.  And since this brought the displeasure of Hideyoshi down upon her father, she committed suicide.

    This, along with the episode regarding the Daitoku-ji san-mon (where Rikyū's life-sized statue was installed), are given (by the Sen family) as the reasons why Rikyū was ordered to commit seppuku several months later.

    That said, the fact that Mozu-ya Sōan died 3 years after Rikyū tends to disprove at least half of this thesis.

⁹Sore-yori shūshō no uchi ni, sejō hisomekite　[ソレヨリ愁傷ノ内ニ、世上ヒソメキテ].

    Shūshō no uchi ni [愁傷の内に] means during the period of morning (for his daughter).

    Seijō hisomekite [世上密めきて] means society (began to) whisper (about Rikyū having fallen out of Hideyoshi’s favor).

¹⁰Tsui ni ni-gatsu ni-jū-hachi nichi no nan ari-shi yue　[ツヰニ二月廿八日ノ難アリシユヘ].

    Tsui ni [遂に] means at long last, in the end, finally, eventually.

    Ni-gatsu nijū-hachi nichi no nan ari-shi yue [二月廿八日の難ありしゆえ] means “because of the disaster (that befell) on the twenty-eighth day of the Second Month....”

    Because Tenshō 19 had two First Months*, the twenty-eighth day of the Second Month corresponded to April 21, 1591 in the Gregorian calendar. __________ *A timeline of which the author of this entry appears unaware.

¹¹Kanban mo sono-mama ni, munashiku nari-hateshi nari　[カンバンモ其マヽニ、ムナシク成ハテシナリ].

    Kanban mo sono-mama ni [看板も其儘に] means the kanban also (stayed) as it was.

    Munashiku nari-hateshi nari [空しく成り果てしなり] means (it) proved to be in vain.

¹²Nani ni tsukete mo zan-nen sukuna-karazu　[何ニ付テモ殘念スクナカラズ].

    Nani ni tsukete mo [何に付ても] means whatever happens (from now on)....

    Zan-nen sukunakarazu [殘念少からず] means it is so very unfortunate; it is so very regrettable; it is so very disappointing.

[pleuvoire]

i love the ink color dots in scans of older toku photos from magazines and stuff..... it's so nice......

[dynamitesunshine]

[#DynamiteSunshine] I didn't draw as much for Ink-Toku-Ber this year, but here are the 6 I did get done!

Kamen Rider Ex-Aid

Saba

Kamen Rider Blades

Kingranger

Crimson Thunder Ranger

Mighty Morphin White Ranger

[nonamem9]

One long clear dream involving a bunch of tokusatsu type monsters, of which I largely forget by now

Though one is noteable enough that I remembered it

A typical toku monster goes through an alleyway made of bricks, short in height, going to a street with a pile of trash covered by one large yet thin sheet of wood. There lies a live living organ of some sort and a growing set of blood vessels and nerves, it suddenly flashes into ink black and the monster runs away from it and swiftly returns, there are more nerves and vessels now, nearly covering the plywood, the monster runs away in disgust. The monster tries to be brave from it and returns to it once more, the organ is now a whole hand and chases the monster. Okay what the fuck the hand gets the OOO driver from Kamen Rider OOO, who does he think they are, fucking Ankh?‽ The hand henshins with it, I don't know what core medals did it used or what form it just end there as i

Woke up at 11 O'clock AM

[5mind]

💅🐸

(For the Munday memes)

💅🏼 What's your aesthetic?

Tokusatsu monster suits and coloured fumes! But also leafy plants and oddly located ink stains. Plaid shirts and canned drinks.

🐸 Something that makes you smile for fandom reasons?

Footage of toku hero meet n greet sessions and like live show stuff. I loooove seeing audience - performer interactions i looove the ol 'gaining power from the cheers of the audience' trope !!!! AND I LOVE WHEN THE ANNOUNCER AND THE CHARACTERS ASK THE AUDIENCE HOW EVERYONE IS DOING!!!

[ink-au-askblog]

[jojoflynnart]

SHIN KAMEN RIDER

[peterkothe]

INKtober 2024-Ultraman Leo

The epic protagonist of the 7th Ultraman series! For the uninitiated: it follows Ultraman Leo, a giant hero and exiled prince from the Leo Constellation, whose home-world was destroyed by evil cat aliens, Alien Magma! After saving the legendary Ultraseven from Magma’s monsters, who leave him (Ultraseven) crippled and unable to properly transform, Ultraseven takes Leo under his wing as his pupil; training him to become the Earth’s newest defender! Under human guise of Gen Ootori of the Monster Attack Crew (MAC), led by Commander Dan Moriboshi (Ultraseven), Gen learns what it means to be human, and a true hero and avenge his world!

[matiassotolopez]

#classic #kamenrider #ichigo I wanted to some heavy contrast and just let go inking with a brush a bit. #breaksketch #warmup #ink #inking #inks #inkstagram #artinstagram #toku #tokusatsu #maskedrider #japan #superhero #仮面ライダー #スーパーヒーロー #特撮 #scifi #monster #cyborg https://www.instagram.com/p/CMvNOkqAg7X/?igshid=1pa5jsdwyurk1

[omikujii]

I took a small break from Inktober to recharge. Now I don’t know where I am. Anyways here 12. It’s my summoner/blackmage/Ejinn FFXIV character.

[iristial]

I had to change the shipping method for my metsuboujinrai mook and once again I’m reminded merchandise kills your wallet several times over