#Tomoya Tanaka

[saga-jihen]

Little Bodda Bope (リトルパラッポ , Little Bodda Bope)

Sung by: No.6 Lily Hoshikawa (星川 リリィ) [CV: Minami Tanaka (田中 美海)] Composed by: Jun Suyama (陶山隼), Tomoya Kinoshita (木下 智哉) Album: Franchouchou The Best Revenge (フランシュシュ The Best Revenge)

“Ribiri Biri Biribi Parappo Para Parappo Ska Parappo Sville Parappa Pappappa Digi Digi Digi Yeah Skidun Shubidubi Spidubi Babeba Ski Shubi Dubi Pariya Peeper Shubidun Widdan Widdan Widdan Wiperper With crystalline rivers that carry joy”

[superthatguy62]

FFIII Fun Facts of the Whatever: Dev Interview Edition (Part 1)

When the DS version of the Final Fantasy III remake was released in Japan, Square-Enix released an official strategy guide to go with it. This strategy guide went into quite a lot of detail about the game, giving tips on how to use jobs, showing off unusual team compositions and even discussing some mechanics that may not be clear in the game itself.

I’ll talk about that stuff later, but the most interesting aspect is an interview with the game staff at the back of the manual, touching upon various aspects of the game.

Thanks to Alex Highsmith of Shmupulations, a significant chunk of this interview has been translated. This section features Tomoya Asano and Hiromichi Tanaka as they go into topics such as the reason for the new character personalities, why they cut a significant amount of the new scenes and what drove some of the changes to the game's storyline. There are other topics as well, including explaining the switch from the Capacity Point system to the Job Adjustment Phase system.

(Character Personalities / Story Influences / Cut Scenes)

--Was it decided from the start that you would give the characters individual personalities?

Tanaka: That was actually something we'd thought about doing when we made the original Famicom version. The reason they had no personalities then was a reaction to the character-heavy setting of FFII, but ever since FFIV we've always given the characters actual personalities. It always felt weird that the sub-characters like Desch and Sara have names, but the main characters don't… especially considering how much talking there is in the event scenes. It helps bring the story into better focus, I think, when the characters have personalities. That's why we added them for this remake.

--Were there any influences for the story [scenario]?

Tanaka: In the Famicom version, there were a lot of key points in the story that were deliberately left vague. For this remake, given that we were adding personalities to the four heroes and re-structuring the story, we wanted to see if we couldn't re-visit some of those ambiguities and write something that explained things in a satisfying way.

Asano: I think "why is the floating contienent floating?" lies at the root of all that vagueness, so I put my effort into that area. However, I took care to make sure the character personalities weren't pushed too far forward, so as not to destroy the atmosphere of the original.

--Were there any scenes like that, were you felt "oh, this is actually too much character development" and they got cut?

Yabuta: At first, we had a lot of character-driven scenes throughout the entire game, all the way through to the ending, but ultimately we decided to go in a different direction. We decided instead to have it be more about leaving a certain impression, and we limited the overt character stuff to the beginning (up to where you get the jobs).

Asano: This time you acquire each party member one-by-one, and the story of each of their individual motivations are wrapped up in the ending, but initially--and in part because we were excited about using polygons--there were a lot more dramatic scenes. But we thought it was a little, hmm, cloying or obnoxious even…

Tanaka: If we were making a brand new game I think it would have been perfectly fine. But it would be jarring to the people who played the original. So we went for a decidedly lighter touch. (laughs)

--What were those more dramatic scenes like, by the way?

Asano: From what I can remember, it was like, Luneth and Princess Aria fall in love and Aria dies, and Ingus sets off on a journey after spending the night with Princess Sara.

(The Original Famicom FFIII)

--Did you replay the original in preparation for the remake?

Asano: Of course. I was in 5th grade when FFIII came out. It was the first RPG I'd ever played, so I have a ton of nostalgia for it. Replaying it now for this development, I was struck by how fun it is to experiment with the different jobs and party combinations. That's why I wanted to make the DS version such that you can use your favorite jobs throughout the whole game.

Tanaka: I didn't replay it, but I watched a lot of video replays. I'm still feeling the trauma from not getting enough sleep during the original FF3 development, you see, so I opted not to touch it this time around. (laughs)

--Sounds like that development was no cakewalk either. (laughs)

Tanaka: When we made FF3, we were kind of flying by the seat of our pants. That's why, when I look at the game now, there's all these puzzling things. Like, why did we call them Onion Knights? And why do Dragoons "jump"? The stat data and calculation formulas we used too, even though we put a lot of effort into them and did our best for the time, if we'd just imported that directly into the DS it would have created weird inconsistencies. So we talked with Matrix about freely re-mixing all that. Thankfully, of all the games in Final Fantasy's long history, FFIII was uniquely well-documented and we had all the planning docs and database material at hand.

Asano: It was super interesting to read through those original planning docs. They were written on graphing paper, and contained pixel art designs by Koichi Ishii, as well as jobs that never came to be, that no one knows about.

Yoshida: It was my job in FF3 to analyze the original source code, and I was very impressed by how much they crammed in there: not an ounce of space was wasted.

(Changes from Famicom Version + Last Dungeon)

--What parts of the Famicom version did you want to revise, and what did you want to retain?

Yoshida: We used the experience point table as-is. The other thing I knew I wanted to keep was the flying speed of the Nautilus. (laughs)

Yabuda: I wanted to keep the overall dungeon structure such that they'd feel familiar to people who played the original.

Tanaka: Though there were many things we wanted to change about the dungeons, to be sure.

Yabuda: Especially with the Cave of Darkness. The Famicom version had all these hidden passages, plus the encounter rate was sky-high, and it was really easy, after a battle, to lose track of your position in the dungeon.

Tanaka: That was a regret of ours from the original development, so it was something we wanted to fix here.

--Did Tanaka have any detailed requests or instructions about the dungeons, like what you mentioned about the Cave of Darkness?

Tanaka: No, I don't think I was too specific. Mostly I just gave them guidance about the overall feel of each dungeon, how the secret paths were laid out, things like that.

Asano: We wanted to retain the overall playfeel from the original, so I think the dungeons probably are a little harder than what'd you find in newer RPGs. We did make it a little easier overall though, since we want to bring in new players too. Allowing you to leave Eureka with teleport, restoring HP/MP after boss fights, that kind of thing. The Crystal Tower is probably the most emblematic of those changes, though.

--I bet opinions were divided among the team on whether to allow saving there or not.

Asano: A lot of people who were fans of the original were staunchly against adding save points.

Tanaka: Those would be the truly hardcore players. (laughs) I think more people out there had the experience of throwing their controller down in frustration. We didn't collect any data on this so I don't know for sure, but I think very few people actually beat FFIII and saw the ending. When you consider that, adding save points is one solution, but it does run the risk of making the dungeons less satisfying in some way. We were very careful about that balance.

(Job System Revisions)

--Next, I'd like to ask about the heart of FFIII, the job system. What was your goal in removing Capacity Points and introducing the "Job Adjustment Period" system?

Suzuki: In the Famicom version, if you earned enough CP from battles, there was no penalty for changing jobs, but it was easy to end up with too much excess CP by the end of the game. So at first, we removed the CP entirely and had it so you could change jobs whenever you wanted, but we realized there should be a penalty, or limitation of some sort, on changing jobs like that. So we decided to lower your stats while you "adjusted" to your new job.

Aoki: Almost everyone who played the Famicom version ended up with two Ninjas and two Sages, so you just had all this extra CP piled up. That was something we all decided on early in the development though: no more Sage or Ninja.

Suzuki: We've adjusted things so you should be able to reach the ending with any job.

Yabuda: One of the reason people didn't use certain jobs in the Famicom version was the dearth of available weapons for those jobs. When I played it I remember feeling like the latter half of the game only had weapons for certain jobs, so we adjusted the contents of several treasure chests. However, I do worry that doing so might have had the reverse effect of making players uncertain about what the really powerful items were. I'd like to hear from players on this point.

The second part of the interview, focusing on the battle system and the jobs, can be found here.

Thanks once again to Alex Highsmith of Shmupulations. Both parts of this interview will be on the site in the future.

[kpopmultifan]

[J-Pop] SUPER★DRAGON has released a set of solo photos of Sougo Ito, Koki Tanaka, Hyoma Ikeda, Tomoya Matsumura, & Raku Shibazaki for their upcoming 5th album “Mirror” which is scheduled to be released on March 1st.

[crazyasianlove]

Reversal Orchestra Ep. 10 Final (Sub. Esp)

DESCARGAR O VER ONLINE AQUÍ

[satoshi-mochida]

Urban Myth Dissolution Center launches in February 2025 - Gematsu

Mystery adventure game Urban Myth Dissolution Center will launch for Switch and PC via Steam in February 2025, publisher Shueisha Games and developer Haka Bunko announced. It will support English, Japanese, Korean, Simplified Chinese, Traditional Chinese, French, Italian, German, Spanish, Brazilian Portuguese, Russian, Arabic, and Hindi language options.

“We couldn’t be happier with the reception Urban Myth Dissolution Center received during Gamescom last week, and we’re so honored to be a part of Nintendo‘s Indie World ahead of us bringing the game to PAX West this week, in addition to the newly announced release date,” said Shueisha Games global public relations manager Tomoya Tanaka in a press release. “We encourage everyone to look at the latest trailer in the showcase, and we look forward to meeting new fans in Seattle this weekend!”

Here is an overview of the game, via Shueisha Games:

The game follows protagonist Azami Fukurai, who uses special glasses that allow her to see the supernatural, as she teams up with Ayumu Meguriya, the head of the Urban Myth Dissolution Center, to solve cases involving urban legends. Urban Myth Dissolution Center is a single-player psycho-detective mystery adventure where you will take on the role of Azami Fukurai, tasked with unraveling mysteries as she helps run the day-to-day operation of the titular Dissolution Center. She’s no ordinary rookie, though, possessing the ability to see the memories of places through her glasses. Utilizing her unique gifts and under the supervision of unenthusiastic but capable colleague Jasmine and wheelchair-bound director and psychic Ayumu Meguriya, Azami must navigate cursed relics, dimensional anomalies, and otherworldly creatures in search of answers, delving into the paranormal activity surrounding each case.

Watch a new video below.

Nintendo Direct: August 27, 2024

Japanese

[444lpblue]

Frieren: Beyond Journey's End #1-4 - It was... Perfect

Episode 1 - The Journey's End Screenplay: Tomohiro Suzuki Storyboard: Keiichirou Saitou Episode Director: Ayaka Tsuji Animation Director: Reiko Nagasawa Key Animators: Junko Abe, Shin Ogasawara, Ran Kamezawa, Jun Sekiguchi, Daiki Harashina, Kanata Yanagisawa, Shinichi Yoshikawa, Xujian Li, Odashi, Keisuke Kobayashi, Shinji Ootsuka, Hayato Kakita, Toshiyuki Satou, Ayaka Tsuji, Yoshiko Matsumura, Emi Yamazaki, Kanako Yoshida, Kerorira, Kou Yoshinari

Episode 2 - It Didn't Have to Be Magic... Screenplay: Tomohiro Suzuki Storyboard: Tomoya Kitagawa Episode Director: Tomoya Kitagawa Chief Animation Director: Reiko Nagasawa Animation Director: Ayaka Minoshima Key Animators: Junko Abe, Nobuhide Kariya, Toshiyuki Satou, Harumi Takagi, Daiki Tanaka, Masaho Hori, Yutaka Minowa, Kanata Yanagisawa, Xujian Li, Fuuko Abe, Kyousuke Ootori, Takahito Sakazume, Jura, Yuka Matsumura, Yukiko Watabe, Hayato Kakita, Hiroyuki Kobashi, Jun Sekiguchi, Airi Takahashi, Daiki Harashina, Ayaka Minoshima, Kouta Mori, Shinichi Yoshikawa, Aoi Ootani, Naoki Katou, Sanae Shitaya, Shinya Segawa, Zihan Liu

Episode 3 - Killing Magic Screenplay: Tomohiro Suzuki Storyboard: Daiki Harashina Episode Director: Daiki Harashina Chief Animation Director: Reiko Nagasawa Animation Director: Daiki Harashina Key Animators: Daiki Harashina, Junko Abe, Shin Ogasawara, Mai Toda, Kanata Yanagisawa, Daisuke Shibukawa, Kou Yoshinari, Fei Hung Donghua, Hanwen Ye, Tooru Iwazawa, Honami Takeuchi, Yoshiko Matsumura, Xujian Li, Yukiko Busa, Nonno

Episode 4 - The Land Where Souls Rest Screenplay: Tomohiro Suzuki Storyboard: Yoshiaki Kawajiri Episode Director: Kento Matsui Chief Animation Director: Reiko NagasawaAnimation Director: Ayaka Tsuji Key Animators: Shin Ogasawara, Hiroyuki Kobashi, Toshiyuki Satou, Harumi Takagi, Rie Arakawa, Yuka Koiso, Masahiro Yufune, Pinqiao Hui, Norifumi Kugai, Ayaka Satou, Jun Sekiguchi, Miyuki Inoue, Shuuji Maruyama, Ryuuguu-san, Yenxin Fan

Last week was utter hell, with a new class, a new schedule, and my sleep going out of whack. I'm still trying to readjust, and let me explain why I'm mentioning all of this. Almost nothing would have motivated me to get out of my zone and type this post except for Frieren. Frieren is one of my favorite manga series. If you've talked to me about anime/manga before, you would know this. So, ever since it was announced, it has been one of my most anticipated series. To add to that, Keiichirou Saitou was announced as the director. He's a great example of an upcoming new-gen director who has excelled in everything he's been a part of. From the beautiful and abstract EDs he created for The Executioner and Her Way of Life or Boogiepop, to the mesmerizing, dreamlike episodes he directed for Sonny Boy, and the expressive, now very popular Bocchi the Rock. He was a perfect choice as a director for a series like this, and let me tell you, he delivered fully.

Just from a quick glance, you can see how the show looks. Everything is eye-catching, making it almost hard to focus on one particular element because they all just look so good, and no, it's not just the chromatic aberration causing the lack of focus. The various departments responsible for compositing, the background, and the overall color design have done an outstanding job, creating a beautiful and cohesive piece of art. Seeing someone you might consider a less experienced director pulling off such a complete and harmonious experience is incredible. In terms of design, the whole show is aesthetically pleasing. It's not the experimental work you saw in Sonny Boy; it's going in a totally different direction, like a beautiful painting that should be framed on a wall.

It works very well when paired with, you know, how Frieren is as a story. The fantasy world they are in isn't an extremely unique one. You've seen it before; it's fairly typical in that sense. But that's not truly the point. The main focus is showing the day-to-day or year-to-year life of this immortal elf girl, Frieren, and how she views time, how she remembers her past. It's not an incredibly grand adventure, but with the small lens we have on these characters, it feels like a cherished moment, something that should be captured in a photo or painting. It's beautiful in a very simple way. It's not a series made for extremely large moments, I think Frieren has always been focused on a simpler view of life, much like a painting. The smaller details of such a straightforward approach are highlighted so well. The trees in the environment, the squirrels just moving around—there's so much life in each scene. It really all comes together for me like a piece of art.

The consistency lasts through all four episodes, and the staff distribution also seems fairly good, so I expect this to continue throughout the two cours. The pacing itself is perfect. I've really enjoyed how the story has been adapted to animation so far. I believe that nowadays, many anime series have fallen into the pitfalls of adapting things too quickly to capture the interest of newer viewers early on. However, the series composition for Frieren here is excellent.

This writeup might have been shorter than most people were expecting considering how amazing the anime adaptation is and how much I love the source material, but what can really be said about except just praising? I feel like even if you don't like the source material, the anime's execution is almost undeniably good. Additionally, as I said this past week has not been kind to me so my energy is a bit drained, at first I was planning to be more specific in my write up and make points more adhering to the specifics of each episode, but I didn't really have time for that. However, I will do my best to cover every Frieren episode weekly from now on. Make no mistake this is going to be my favorite series from this year.

[astoundingbeyondbelief]

Kaiju Week in Review (November 20-26, 2022)

Megumi Odaka, best known as psychic Miki Saegusa from the Heisei Godzilla series, retired from acting in 2000 due to health issues and disappeared from the public eye for a decade. The narration she contributed to Godzilla vs. Gigan Rex was her first role since then, and she's finally ready to go back in front of the camera. 3Y Film (The Great Buddha Arrival, Nezura 1964) has a new kaiju movie in the works, Hoshi 35, which Odaka is set to star in. Since it's a 3Y joint, and part of a celebration of the 35 years since her acting debut, expect it to get meta. As usual, Hiroko Yokokawa is directing; another key player is Daisuke Sato (Howl from Beyond the Fog), who will serve as director of special effects, cinematographer, and suitmaker (with Tomoya Ayaki).

3Y productions are known for bringing back veteran kaiju actors, and Hoshi 35 has already cast several besides Odaka, this time focusing on the Heisei era instead of the Showa era. Jun Hashizume played MOGUERA pilot Koji Shindo in Godzilla vs. SpaceGodzilla and Kojiro Inaba in Ultraman Z, Daijiro Harada was Mechagodzilla captain Takuya Sasaki in Godzilla vs. Mechagodzilla II, and Akira Ohashi stepped inside Gamera in Gamera 2, Iris in Gamera 3, and King Ghidorah in GMK. He'll be playing another monster in this one, Hoshikuzu. Hiroshi Miyasaka and Yumiko Tanaka will appear as well.

No plot details are currently known. The film is aiming for a October 2023 release date.

Gridman Universe, the crossover film for SSSS.GRIDMAN and SSSS.DYANZENON, has a new pair of posters and a teaser trailer. It'll hit theaters in Japan on March 24 (and hopefully arrive in the West before the year is out). Excessive fanservice aside, I really enjoyed GRIDMAN, but haven't gotten around to DYNAZENON yet... it aired in Spring 2021, which was a pretty chaotic time to be a Wikizilla editor, and I think I was under the impression it was all mecha, no kaiju. Guess I have to now!

Veteran Ultra Series director Takeshi Yagi debuted a proof-of-concept short at Tokyo Comic Con called AKARI, which you can also watch online. The story is simple—a giant heroine (Akari) battles a rampaging cyborg kaiju (Pythagodon) in a futuristic, neon city—but Yagi and company have far greater ambitions for it. They created it as part of a course on tokusatsu techniques, and hope to turn it into a feature or series with the funds from that course, as well as other crowdfunding efforts. The story they've drawn up is pretty intriguing: a 2076 Japan where corporations run amok, the AI uprising is at hand, and an alien race who survived their own rogue AI empowers a woman to save the Earth.

Matt Frank designed Akari. Akihiko Iguchi (Mechagodzilla, King Caesar, Titanosaurus) came up with Pythagodon, and boy, you can tell. I hope we haven't seen the last of them.

One more kaiju short for you to watch: Ivalla the Land Mine Monster: Case of Extra. This one is in more dire need of subtitles to get the full experience, but there's still a quality rampage to witness. From the other videos on the channel, Yuki Kurosu has been working on this for 8 years—props for persevering!

Godziban squeezed another episode out of Godzilla Festival 2022, this one focusing on the puppet displays and demonstrations at the event and the upcoming Blu-ray-only episodes which will see Bagan make his debut and many others battling it out.

Kadokawa released a fine video tribute to Gamera for his 57th birthday, which naturally ends by teasing the Netflix project. Interesting that they skipped over the 2015 short though.

Your reading assignment for the week is Patrick Galvan's excellent tribute to Kazuki Omori for Toho Kingdom, a well-researched overview of his career and analysis of the two Godzilla films he directed.

[mashleverse]

Mashle: Magic and Muscles Second Season is now broadcasting!

To celebrate the broadcast, here are the commemorative illustrations from the director Tanaka Tomoya and character designer Hisashi Higashijima!

[fukuokanodivision]

BLACKLIGHT - MEET THE CAST! [Teaser]

______________________________________ Team #1 - OverDrive ______________________________________ [Fukuoka Divisions 2nd battalion, they continue aiming and running harder than ever to become the next DRB champions. However, it appears another side of them shows more than just a 2nd rap team in the mix…] ______________________________________ Members = Eko Seishin, Mai Yousei & Yuno Kamora [Left to Right] ______________________________________

______________________________________ Team #2 - Loid ______________________________________

[Becoming legendary rap artists outside the DRB, their musical resolve lies in giving others hope by “loiding” the door it hides behind. Though…could they just be more than blockbuster faces on the inside?] ______________________________________ Members = Shiho Otogari [Left] & Akito Tomoya [Right] ______________________________________

______________________________________ Team #3 - 4HIRE ______________________________________

[A dynamic duo set on surpassing their limits and rivals, which consists of a murderous siren and reckless go karter. Their upcoming performances will easily prove their success as an energetic unit…] ______________________________________

Members = Jun Azarashi [Left] & Akira Moriya [Right] ______________________________________

______________________________________ Team #4 - Re ______________________________________

[Settling in as a “mystical” quartet, they’ve gained massive popularity outside of the DRB mainly in pop rock music. What will these magical artists stir up when the event finally comes around…?] ______________________________________

Members = Spade Eisu, Keikyo Tanaka, Aijo Tanaka & Shiroizu Shinomiya [Not to be confused with “Sumire Shinomiya” of Shinagawa] [Left to Right] ______________________________________

______________________________________ Team #5 - Arcanus ______________________________________

[Known for their darkened lyrics and theatric fan-service, the group establishes themselves with quite a following of others yearning for escapism…their unique sound grasps a hold on listeners hearts.] ______________________________________ Members = Mamoru Yoshiro, Utsuro Akuma & Maeno Zenshin [Left to Right] ______________________________________

[demifiendrsa]

Mashle: Magic and Muscles TV anime - Main PV

Taiiku Okazaki will perform the opening theme song “Knock Out,” and Philosophy no DANCE will perform the ending theme song “Shu Cream Funk.”

Mashle: Magic and Muscles TV anime will premiere in April 7, 2023.

Key visual

Cast additions

Yuki Kaji as Rayne Ames

Yuichiro Umehara as Abel Walker

Hiroki Nanami as Abyss Razor

Previously announced cast members

Chiaki Kobayashi as Mash Burnedead

Reiji Kawashima as Finn Ames

Kaito Ishikawa as Lance Crown

Takuya Eguchi as Dot Barrett

Reina Ueda as Lemon Irvine

Staff

Director: Tomoya Tanaka

Series Composition: Yousuke Kuroda

Character Designer: Hisashi Toshima

Music: Masaru Yokoyama

Animation Production: A-1 Pictures

[foundfamilyhq]

are there many danganronpa characters still in the queue?? also love the blog!! 💖

Thank you! And there are so many danganronpa characters in the queue Monomi/Usami Tomoya Morita Rantaro Amami Mondo Owada Kyiotaka Ishimaru Hifumi Yamada Celestia Ludenberg Min Jeung Chiaki Nanami Gundham Tanaka Hiyoko Saionji

[saga-jihen]

Mezame RETURNER (目覚めRETURNER, Awaken Returner)

Sung by: Franchouchou (フランシュシュ) No.1 Sakura Minamoto (源 さくら) [CV: Kaede Hondo (本渡 楓)] No.2 Saki Nikaido (二階堂サキ) [CV: Asami Tano (田野 アサミ)] No.3 Ai Mizuno (水野 愛) [CV: Risa Taneda (種田 梨沙)] No.4 Junko Konno (紺野 純子) [CV: Maki Kawase (河瀬 茉希)] No.5 Yugiri (ゆうぎり) [CV: Rika Kinugawa (衣川 里佳)] No.6 Lily Hoshikawa (星川 リリィ) [CV: Minami Tanaka (田中 美海)] Composer & Lyricist: Tomoya Kinoshita (木下智哉) Album: Franchouchou The Best (フランシュシュ The Best)

“Awaken Returner! Let your heart feel desire! Excitement, take joy wherever you can Give it to me! Reach for it, and grab it don’t back down, you got it To all the doubt you have say “Bye, bye, bye!” Our passion, devotion our deepest emotions our souls laid bare when we sing! Cut in!”

[mandilo]

Musical Touken Ranbu ㊇ 乱舞野外祭 Cast & Dates announcement

Toumyu's next matsuri officially called "suehirogari ranbuyagaimatsuri" in FujiQ highland conifer forest openair concert hall will take place between the 17th and 24th of september 2023.

for the only 8 shows we will have 28 toudans and 2 humans

The returning cast we already know is

Ohira Shunya as Imanotsurugi Imari Yu as Nagasone Kotetsu Takahashi Kensuke as Hachisuka Kotetsu Torigoe Yuki as Yamatonokami Yasusada Yokota Ryugi as Monoyoshi Sadamune Sakamoto Shogo as Horikawa Kunihiro Tamura Shin as Mutsunokami Yoshiyuki Kiyama Haruki as Tomoegata Naginata Tanaka Ryusei as Otegine Nadaka Hiroki as Akashi Kuniyuki Okamiya Kurumu as Tsurumaru Kuninaga Sasamori Hiroki as Matsui Gou Fukui Tomoya as Kuwana Gou Tachibana Yuta as Buzen Gou Itokawa Yojiro as Urashima Kotetsu Ishibashi Hiroki as Hyuuga Masamune Raita as Oodenta Mitsuyo Konishi Seiya as Suishinshi Masamune Nobunaga Sato as Minamoto Kiyomaro Seiichirou Nagata as Murakumo Gou Yamazaki Shougo as Samidare gou Matsushima Yunosuke as Ookanehira Nagata Kohei as Koryuu Kagemitsu

And our new swords :

Kihara rui as Heshikiri Hasebe Kunishima Naoki as Ichigo Hitofuri Kyoten Waku as Daihannya Nagamitsu Hayashi Mitsuaki as Onimaru Kunitsuna

The human cast is :

Fujita Ray as Enomoto

Kojiro Oka as Date Masamune

all the SNS infos of all of the actors are in this Gdrive

Source : 25News

i will soon publish all the infos on the all new toudans and the new toumyu show announced for this spring,

[kpopmultifan]

[J-Pop] SUPER★DRAGON has released individual artists photos for their upcoming digital single "Reach the Sky" which is scheduled to be released on June 28th.

[crazyasianlove]

Reversal Orchestra Ep. 4 (Sub. Esp)

DESCARGAR O VER ONLINE AQUÍ

[eirinstiva]

Dios - ＆疾走 (Dios - &SPRINT / Official Music Video)

((( Dios ))) Tanaka Ichika Nito Sasanomaly

((( credit ))) Directed by Creative Collective　F A T I M A Girl：Riko Cinematographer：Yosuke Torii 1st AC：Sei Shimura 2nd AC : Yuto Mori 3rd AC : Riku Matsuo Lighting Director : Takuma Saeki Lighting Chief : Akira Nishimoto Lighting Assistant : Mizoe Toshifumi, Yasuda Masanao Stylist : Yuki Tsuchida Hair & Make : Tomoya Nakamura Assistant Producer : Ryo Kato Character Design：Naoyuki Asano Character Motion Designer: nmr