#Toshio Yamaguchi

[onepiece-song-tournament]

One Piece Character Song Tournament

Round 5

Save My Heart | You Are the One

Strawhat VAs:

Luffy - Mayumi Tanaka

Zoro - Kazuya Nakai

Nami - Akemi Okamura

Usopp - Kappei Yamaguchi

Sanji - Hiroaki Hirata

Chopper - Ikue Ohtani

Robin - Yuriko Yamaguchi

[redsamuraiii]

Binta! (Ep 5)

🤣

[pixelit0s]

Pls who's the alt guy in leather jacket and tell me some facts about him 😭 he's so fine

adjkajhd hi anon, this is toshio yamaguchi (my favorite sim) and here are 5 facts about him:

he's 25 y/o

he's a scorpio

he has two sisters

he got really drunk one night and got nipple piercings

he really wanted to be a chef but somehow ended up working as a bartender at a strip club?

[alexthegamingboy]

Toonami Weekly Recap 10/26/2024

Uzumaki EP#01: Kirie Goshima and her boyfriend Shuichi Saito live in the small, quiet Japanese town of Kurouzu-cho, which is enveloped by supernatural events involving spirals. Shuichi tells Kirie that he is concerned about the recent increase of spirals and that it is beginning to affect his father, Toshio, who has abandoned his job to obsess over them. When Kirie arrives home, she finds Toshio talking to her father about commissioning spiral pattern pottery. Later at school, Kirie and fellow classmate Azami Kurotani discuss the latter's crescent-shaped forehead scar which seems to have the ability to attract boys with whom she has crushes for. After class, Kirie introduces Azami to Shuichi at the local railway station. Shuichi becomes startled and takes Kirie away, telling her that he senses the spiral curse on the girl. Later, Kirie delivers her father's finished pottery to Toshio, who declines it as he is now interested in becoming a spiral himself. Toshio scares Kirie off by forming a spiral with his own tongue. Meanwhile, Shuichi runs into Azami who attempts to confess her feelings towards him and shows him her scar, which has now turned into a spiral. Shuichi warns Azami to leave town before she is infected by the curse. Some time later, Toshio dies and is cremated, with the cover story being that he fell down a flight of stairs. Shuichi reveals to Kirie that in actuality him and his mother discovered his body contorted into a spiral inside a drum container back at home, which crushed his bones and killed him. The crowd in attendance for the cremation become startled as Toshio's ashes rise up into the air and form a spiral and his own face. Shuichi's mother Yukie goes insane upon witnessing this and is admitted to the hospital. Back at school, another one of Kirie's classmates, a slow-moving boy named Tokuo Katayama, arrives late during a rainy day. He is bullied after gym glass by Kazuki Tsumura, who strips him naked and pulls him out into a hallway where Kirie happens to be passing by. It is revealed that there's a spiral on the boy's back. At the hospital, Yukie's mental health continues to deteriorate as she begins to fear spirals to the point where she shaved her hair and cut off her own finger and toe prints in order to avoid seeing them. Later that night, Azami tricks a classmate boy who has a crush on her named Okada into bringing Shuichi to the park so she could meet with him. Okada, feeling betrayed by Azami's promise go out on a date with him for doing this favor, rips off her hat and it is revealed that her spiral scar has now completely enveloped her head as a vortex. Okada becomes shocked upon seeing this and gets closer to her before being sucked into it. Kirie arrives as Shuichi warns her that Azami's body is starting to be consumed by her scar, which immediately proceeds to completely devour her.

Uzumaki EP#02: Katayama arrives to school late again and is noticed to have swelling from where the spiral is on his back. Elsewhere, teenage lovers Kazunori Nishiki and Yoriko Endo are hiding from their parents in an abandoned rowhouse. Following the incident at Toshio's funeral and others, Kurouzu-cho has outlawed cremation and restarted whole-body inhumations. After school in the town cemetery, Kirie and her friend Shiho Ishikawa are ambush pranked by Mitsuru Yamaguchi, nicknamed 'Jack-In-The-Box' for his trademark pop-up surprises on everyone. Yamaguchi confesses his feelings for Kirie, to which she rejects and the girls walk away. After departing from her friend, Kirie witnesses Yoriko's family assaulting Kazunori for spending time with her. Kazunori tells Kirie that their families hate each other, and as a result won't let the two come into contact. He also tells Kirie that the two are planning to run away from town soon. Later, Kirie discovers that her hair is becoming long and distorted into curls. After the class witnesses Katayama on the school's windows crawling around as a snail person, Kirie runs away during the chaos to a barber where she requests to get her hair cut. Before the barber can cut it, the hair reacts in a hostile manner in order to stop them. Kirie's hair becomes even more distorted and soon becomes the center of attention with people, which makes her friend Kyoko Sekino become jealous. Later, Yamaguchi presents Kirie with a present, to which she rejects. In an attempt to impress her, Yamaguchi runs onto the street to try and make a car stop but it instead runs over and kills him. The next day at school, everyone discovers that Tsumura has also become a snail person and they place him in the school's chicken coup with Katayama. Kyoko arrives to confront Kirie, now also with the same curled hair, in an attempt to win over classmates' attention. Shuichi arrives and stops both hairs from attacking each other, proceeding to cut all of Kirie's off. Kyoko declares herself the winner and walks off into town where her hair consumes all her energy. Tsumura and Katayama escape the coup and the two lay eggs on a local pathway. Kirie and Shuichi discover school teacher Mr. Yokota destroying the eggs before running off to see that Kazunori and Yoriko leave town safely. They meet up with the couple at the train station, but they tell them that their parents spotted them and are actively chasing them. Shuichi suggest they cut through to the beach and all four run off. Both Nishiki and Yoriko's families spot them and catch up on the beach. Refusing to be separated once again, the couple twist their bodies to intertwin with each other and crawl off into the ocean. Some time later, Kirie encounters townspeople walking in endless circles. Rumors catch on about the town lighthouse's recent reactivation at school where everyone discovers that Mr. Yokota has also turned into a snail person. Traveling home after school, Kirie's brother Mitsuo convinces her to go to the lighthouse with him as a boat had crashed into nearby rocks, with the crew having walked in circles. Mitsuo and his friends travel up into the lighthouse and Kirie follows him in. Walking up the lighthouse's stairs, Kirie discovers the corpses of men who were assigned with investigating the lighthouse's reactivation and encounter two of Mitsuo's friends who didn't go up any further upon seeing them. Kirie reaches the top where her brother and his friend are and discovers the tower's light is severely melted, realizing it becomes extremely hot when it turns on. She warns them to run back down and as they do the light goes on at sundown, burning Mitsuo's friend who failed to escape in time and injuring Kirie.

Uzumaki EP#03: Kirie is admitted to the town's hospital for her burns. Multiple pregnant women are also admitted after complaining of being sick from mosquito bites. Kirie's pregnant cousin, Keiko Nakayama, arrives and shares the same room as her due to overcrowding in the maternity ward. The next day, three patients are found dead in the hospital and appear to be completely drained of their blood. The following night, Kirie wakes up and discovers that the pregnant women are roaming the hospital and using manual hand drills to drain and suck the blood of patients. The women spot Kirie and attempt to kill her but she uses Shuichi's mosquito repellant to disperse them. Meanwhile, Yukie continues to mentally deteriorate, with her husband telling her there's a spiral in her ear during hallucinations. Fearing them, she uses a scissors to stab herself in the ear and ultimately succumbs to the injury. Some time later, Kirie and Shuichi walk the hospital hallways, seeing the newly born babies growing spiral-patterned placentas and then discovering in the doctor's surgical room that Keiko's baby has been put back into her womb. Keiko demands blood and the doctor attempts to use Kirie as a sacrifice but she dodges, killing the doctor instead. The two immediately leave the room. Kirie's family welcomes her back home from the hospital with a celebratory dinner along with Shuichi, who becomes startled after discovering her father, Yasuo Goshima, has been making spiral-patterned pottery. Shuichi breaks Yasuo's kiln, as he hears his deceased parents from within. The pottery inside disperses and the shed it's located in catches fire. Later, a typhoon descends upon the town and the eye rests over Dragonfly Pond, calling out to Kirie. She and Shuichi attempt to escape the eye but it sucks them up and drags them near the pond before dispersing. Due to damage the Goshima's household took from the storm, they move into one of the town's rowhouse. One of the neighboring tenants dies from an unknown disease. Another tenant, Mr. Wakabayashi, catches the same disease and attempts to attack Kirie outside but is hit by a tree log from another storm. Yamaguchi's corpse randomly appears, jumping thanks to the car suspension spring inside his torso.

Uzumaki EP#04 Finale

-Toonami Rewind Shows-

Sailor Moon EP#36 - The Usagi's Confusion: Is Tuxedo Mask Evil?: Minako takes a depressed Usagi to the hairdresser to cheer her up. There they are attacked by a monster who is convinced that Minako is Sailor Moon. Tuxedo Mask appears, alive and whole, but addresses himself as Endymion and appeared to be fighting for the Dark Kingdom.

Sailor Moon EP#37 - Let's Become a Princess: Usagi's Bizarre Training: Usagi daydreams of her past and enrolls in a special seminar to become more like a princess. Kunzite and the evil Endymion argue about which is more important: obtaining the Silver Crystal or killing Sailor Moon.

[op-charasong-index]

Main Index

(Each character with three or more songs is listed here. The links lead to individual posts compiling all their music. If you’re looking for a character with two or less songs (eg Sabo), type in “op-charasong-index.tumblr.com/tagged/(character name here)+sings”.

Luffy (voiced by Mayumi Tanaka)

Zoro (Voiced by Kazuya Nakai)

Nami (voiced by Akemi Okamura)

Usopp (voiced by Kappei Yamaguchi)

Sanji (voiced by Hiroaki Hirata)

Chopper (Voiced by Ikue Otani)

Robin (voiced by Yuriko Yamaguchi)

Franky (voiced by Kazuki Yao)

Brook (voiced by Cho)

Jinbe (voiced by Daisuke Gori and Katsuhisa Hoki) 

Vivi (voiced by Misa Watanabe)

Ace (voiced by Toshio Furukawa)

Law (voiced by Hiroshi Kamiya)

[cremariana]

WARNING: OUT SPOILERS

Mi amor por ellos comenzó en forma de chiste porque me era gracioso que Toshi fuera prácticamente su acosador, pero ahora me da tanta ternura que comencé a tomarme esto en serio. Dios. Esto es estar enamorado.

[leenaevilin]

[Announcement] ミュージカル『INTERVIEW～お願い、誰か僕を助けて～』(musical interview ~onegai, dareka ore wo tasukete~)

the show will be running from March 24th, 2021 to April 4th, 2021 (Tokyo) @ 品川プリンスホテル クラブeX (Shinagawa Prince Hotel Club eX)

Cast:

Team RED

Matsumoto Toshio Itokawa Youjirou Inami Anju

Team BLUE

Kiyama Haruki Onozuka Hayato Yamaguchi Nonoka

homepage twitter natalie

[adamgcraig]

Last post of pictures from the Jeffrey Deitch Tokyo Pop Underground exhibit.

There is a lot more to see, but a lot of it is NSFW.

Go see it for yourself: http://deitch.com/los-angeles/exhibitions/tokyo-pop-underground

[netego]

⛤ 𝔱𝔞𝔤𝔩𝔦𝔰𝔱

+ my works +

#uploads

jp lit: #japanese literature, #yukio mishima, #ryu murakami, #natsume soseki, #yasunari kawabata, #fuminori nakamura,

photography + models: #issei suda, #daido moriyama, #nobuyoshi araki, #ihei kimura, #kiichi asano, #gasho yamamura, #Kansuke Yamamoto, #masao yamamoto, #takuma nakahira, #shomei tomatsu, #hisaji hara, #fukase masahisa, #xiuxiukong, #yuko tatsushima, #sayoko yamaguchi, #fashion, #fruits mag, #daisuke yokota, toshio enomoto, shoji ueda, nakaji yasui, ishiuchi miyako

tunes + musicians: #music, #zabadak, #jun togawa, #tmge, #zelda, #syoko, #dendö marionette, #j-rock, #playlist,

painters + illustrators + mangaka: #art, #yoshitomo nara, #shuji tateishi, #takabatake kasho #suehiro maruo, #hiroshi nakamura, #harawatazinja, #ai yazawa, #nana,  #keizo miyanishi, #shigeru mizuki, #tadanori yokoo, #yutaka Matsuzawa, 

#dai nippon gothic (thx akkawi), #dolls and bodyparts, #noh, #shibari/kinbaku, #jp-cd,

#flowers, #beetle, #wings,

#fav, #asks

sideblogs: dainippongothic + mishimaesque + 100yencoin + tokyodarkcastle + noires x roses + lovenippon + 

[sputnikaguya]

Into the psyche of Toshio Matsumoto

One of the most seminal Japanese visual artists of the 20th century, Toshio Matsumoto(1932-2017), pioneered the 60s avant-garde experimental filmmaking and multimedia. Matsumoto’s wild and visionary work went on to heavily influence Kubrick’s “A Clockwork Orange”. Subversive and radical in his approach- he presented a body of work that, infused with surrealist strategies, made a discordance not only artistically groundbreaking but politically charged. 

Shortly after graduating, Matsumoto worked on his first short called Ginrin (1955), an experimental PR film. Ginrin was made at Shin-Riken Film Company, in collaboration with the members of Jikken Kōbō, an artist group of the post-war collective, consisting of composers and artists like Shozo Kitadai and Katsushiru Yamaguchi, who would later work on the Godzilla series. 

A contemporary to the post-war creative elements of Japan like Shuji Terayama and Yukio Mishima, Matsumoto's work remains strikingly relevant to this day. Ahead of his time, Matsumoto’s avant-garde collides tradition with pop culture. In an interview with Tate, he alludes to pop culture’s stimulatory effect on him, “At the time, we understood pop art as a new movement which was represented by artists such as Warhol, Lichtenstein, or Wesselmann. There were discussions about the boundaries between pop art and concept art or kitsch; however, I have never heard of any other term being used.” 

His 1973 short film, Mona Lisa, fuses those boundaries by deriving direct references from Marcel Duchamp and Andy Warhol. Using the mass famous mysterious image of the inner subjective life of Mona Lisa, Matsumoto experiments with a litany of colors, evocative and bright, constantly changing, applied to Mona Lisa- the sole still element of the film. 

Matsumoto developed in the 1960s, what he called ‘neo-documentarism’, a documentary type that was rejecting its traditional objective nature for one and confronting the subjectivities of an echoed, internal life. Made around the same time as Chris Marker’s La Jetee- a monumental feat in changing the course of cinema from being a medium of moving images to stillness- a sci-fi tale in a series of images; Matsumoto’s The Song of Stone (1963) too, weaves an abstract collection of still images into an experimental epiphany. 

The idea of stonecutters carving into stone,  breathing life into the inanimate- juxtaposed against the stillness of the images, almost as still as its stony subject, pushes the boundaries of the film as a medium. Strikingly sublime, The Song of Stone attempts at changing the discourse of how cinema can be perceived. 

This exploration of mediums to convey a euphoric and provocative stream of ideology is important to Matsumoto’s art. Featured on Tate, MoMA, New York, and London, his art paves the way to the frenetic psychedelia that he endorsed, amidst the still objectivity that life offers. Responsive to the unconventional and unspoken, his films always narrate a structurally adventurous tale. In his most famous film Bara no Soretsu (Funeral Parade of Roses), Matsumoto retells the myth of Oedipus featuring a transvestite trying to move up their way through the euphoric nightlife of Tokyo hostess clubs. 

In art exhibitions of Hong Kong's Everything Visible is Empty, and the Japanese Expanded Cinema Revisited at the Tokyo Photographic Art Museum, he presented a dynamic hyper-sensory stream of projections culminating his electric video synthesizer pieces like Metastasis (1971) and Mona Lisa (1973) with a post-war culture that stands in direct contrast with them. Matsumoto’s key works such as Atman (1975), Engram (1987), Phantom (1975) is an examination of his psyche, that reaches far beyond the realm of normality and offers captivating chaos. 

Toshio Matsumoto experimented in an array of genres ranging from iconography and architecture to political undertones in pop culture. Aiming at creating more than flicker films, his robust immersive work with a distinct sound influenced forever the normal sense of psychosomatic rigidity.

[rewovenfate-a]

a huge infodump re: miyako’s connections with junji ito’s uzumaki

this will be long and have tons of trigger warnings, which will be tagged.

also, it’s worth noting that i wrote this mini-essay on miyako’s blog, during which time her main verse was that of a villain. miyako no longer seeks to return to kurozu-cho, but i thought this essay would be good to include on the blog anyway.

section 00. disclaimer.

now, uzumaki itself has a lot of talk about the nature of mesmerism and the spiral’s cause of it. chapter 6, medusa, in particular references the nature of the spiral and its desire for attention. reading off of shuichi’s dialogue...

the manga itself already implants that seed, therefore, there’s not much else to theorize here about mesmerism and attention. tv tropes’ page on uzumaki also talks about this with some theorizing, but again, this post focuses more on other aspects as to how the spiral works.

anyway, with that out of the way, time for the main portions of this post.

section 01. the eternal spiral.

this is the section where I basically just infodump about uzumaki and the symbolism that’s very heavy-laden on the manga. there’s really a few smaller items in here that i’ll go over. womb imagery, life/death/rebirth, and the occasional endpoint of life into death without rebirth.

for the purpose of making things easier, here’s the characters i mention by name who will appear more than once in this analysis:

kirie goshima: the protagonist of uzumaki

yasuo goshima: kirie’s father, a potter

mitsuo goshima: kirie’s little brother

keiko nakayama: kirie’s cousin; she is pregnant in chapters 10 and 11, which are HEAVILY influential to this analysis

shuichi saito: kirie’s boyfriend, who seems to be clairvoyant in the matters of the spiral

toshio saito: shuichi’s father; i’m using the given name from the movie so i don’t have to type “shuichi’s father” ten thousand times

yukie saito: shuichi’s mother

chie maruyama: a journalist from toyo tv who arrives to kurôzu-cho, a brief deuteragonist to kirie between chapters 14 and 18

mitsuru yamaguchi: a seventh-grader who has a crush on kirie, but dies when trying to prove his love for her would stop a car

womb imagery?

basically, i define “womb imagery” as being the presence of several factors in representing the womb. googling actually brings it up as “mother/birth” imagery, but for the purpose of being accurate and direct, i’ll be using “womb” instead.

the very first instance of this imagery shows up in chapter 1, the spiral obsession pt. 1, when toshio contorts himself into a spiral within a wooden tub, in the room where he once kept his collection of spirals. a person COULD count a couple of scenes earlier on where he’s crouching among spirals or talking about spirals as being hints of it, but for the purpose of this, i won’t.

however, i did notice that the saito family’s choice of alibi as to how he’d died was an odd choice as well ---- falling down the stairs. technically that could involve a spiral, despite not fitting into womb imagery, but let’s move on.

chapter 2, the spiral obsession pt. 2 introduces yukie saito’s fear of spirals. in this chapter, she sees her deceased husband in any image of a spiral, one of these being a centipede; this specific imagery is important, as what toshio specifically says is that he wants to curl up inside of her ears.

“why her ears?” because there’s a spiral inside of it, the cochlea. the fact it’s a small, enclosed space makes it a candidate for ---- you guessed it ---- womb imagery.

after yukie stabs her ears to attempt getting rid of the cochleas, she is wrapped entirely in bandaging, but ends up dying regardless. still, another point towards the womb imagery, although she is not curled up during this.

chapter 4, the firing effect, could be interpreted as a womb in a different manner ---- that is, the warping of what comes in and the rebirthing into something entirely new. normal pots that yasuo makes turn into spiral-laden creations with the faces of the previously-cursed dead.

chapter 6, medusa, also touches upon it, without the death aspect that usually accompanies it, with kirie’s hair wrapping around shuichi when he tries to cut it, before he’s forced to cut it from the inside-out. sekino, the other victim of the spiral hair, isn’t so fortunate.

ironically, chapter 7, jack-in-the-box, touches upon this imagery with a literal corpse. of course, a jack-in-the-box itself could be considered it too, since it appears in this chapter, but mitsuru is a huge example of a point i’ll make in the next subsection.

chapter 8, snail people, and the mentions of snail people afterwards is also a prime candidate for imagery of the womb; snails by their nature can curl up into their shells, similar to babies in the womb. later, another character curls up in their shell to protect themselves from being eaten. yikes tm.

chapters 10 and 11, mosquitoes and umbilical cord, are the BIGGEST portions of this analysis due to the fact that it dedicates two chapters to an incident regarding pregnant women who, after being bitten by swarms of male mosquitoes, began to drain the blood of other patients using hand drills.

they all gave birth within the hospital to extremely beautiful babies ---- babies who wanted to return to the womb. keiko being one of the victims, was also the first to give birth and the first to have her child returned to the womb. the fact that they regrow their umbilical cords and placentas is used as evidence that the children want to return to the womb, not just the dialogue the babies have when talking.

( this is where i say, “listen, uzumaki? is weird. bear with me.” )

chapter 12, the storm, does hint towards the “return” to the womb that finalizes at chapter 19, with the storm insistently dragging kirie and shuichi back to dragonfly lake, which leads down to the spiral city.

chapter 13, the house, focuses a lot on the dark room/cranny aspect of the womb imagery, with the warts mutating two men beyond comprehension, both of those men having been in the dark for prolonged periods of time. while kirie’s family also have these spiky warts, they are able to leave and thus recover from them afterwards.

the row houses become a fundamental part of the womb imagery as well, as later chapters show numerous inhabitants forced to take refuge in their safety; it was either become packed like sardines, turn into snails walking too slow outside, or become swept up by the tornadoes outside. by chapter 15, chaos, we’re well-established that there is no escape from kurozu-cho.

chapter 17, escape, brings up the snail people once again, with a snail-person attempting escape from being eaten by going into his shell. however, when a man enters the snail’s shell to eat him, he gets stuck and has to be forced out.

finally, chapter 19, completion, leads to the spiral city down below the town. this is definitely the culmination of the “return to the womb” that chapter 11 had been working towards, with the previous chapter showing that the people in the row houses had also been heading to the center --- to dragonfly lake.

and...yeah, that’s the end of the womb imagery. one may notice that there’s hints of a cycle of life -> death -> rebirth going on in the story, but we’ll make that portion a lot shorter. we did just go through the entire manga, after all.

life, death, and rebirth.

one may have probably noticed hints of this cycle going on within certain chapters. we’ll make a brief recap, but i’ll also add some additional information that i didn’t mention.

chapter 6, medusa, has an ironic skip from “life”, to “death -> rebirth”, when he’s swept up in kirie’s hair trying to cut it. however, his “rebirth” from kirie’s hair leads to cutting it, and thus, kirie sports a new haircut throughout the rest of the manga, sans the lost chapter.

chapter 7, jack-in-the-box, ironically uses a corpse for the rebirth aspect, similar to a zombie. mitsuru’s corpse, brought out with the intention of preventing him from completing that cycle, then chases kirie and shuichi.

chapter 8, snail people, introduces the death of the old human self, and the rebirth of the self as a snail.

chapters 10 and 11, mosquitoes and umbilical cord, the image of rebirth comes up with the plants made from the babies’ placentas turning into “mushrooms”; on top of that, keiko is the first to be "reborn” as a mutated appropriation of a human mosquito, complete with proboscis designed to drain blood from her victims.

chapter 13, the house, has the peeping tom who mutates be “reborn” from exiting a wall after being discovered, now a large spiky monster who has no objection to eating live animals. yikes.

the row houses after that point become a huge portion of this imagery as well, with the death of the individual and rebirth as part of a larger whole, a spirally whole in which another death is possible.

also, the entire town. see the below image from the manga itself.

there’s also a quote where kirie finishes up telling the story of kurozu-cho, at the very last page of chapter 19, completion. remember that, at this point, it’s implied that kirie and shuichi have both turned into stone in the spiral city below the town.

and with the spiral complete, a strange thing happened...

just as time had sped up when we were on the outskirts ( chapter 17, escape ), in the center of the spiral it stood still.

so the curse was over the same moment that it began, the endless frozen moment that i spent in shuichi’s arms.

and it will be the same moment when it ends again...when the next kurozu-cho is built where the ruins of the old once lay.

when the eternal spiral wakes once more.

by now, you’ve basically got the gist that the eternal spiral goes into its own cycle, with waking/cursing -> destroying everything but the row houses -> calling people to the city -> destroying the rest of the city -> “sleeping” -> repeating the entire cycle again.

so...what does this have to do with miyako?

section 02. miyako’s role in the spiral.

to focus on miyako, we have to first start with miyako’s mother, kaori nakamura, a former resident of kurozu-cho until chapter 11, umbilical cord. by this time, we’ve already seen that the smoke from the cremation of kurozu-cho’s inhabitants turn into a spiral. this also applies to those who escape the town prior to the town “closing up”, as seen below.

naturally, this will likely happen with miyako as well, and presumably any who are tied with miyako in blood. yes, this includes any children she may have, but EXCLUDES spouses unless they, too, fulfill the condition that she does ---- that is, being tied to the town of kurozu-cho.

naturally, miyako seeing her mother’s ashes turn Into That only fuels an interest in the spiral ---- but she doesn’t throw herself into it until after she’s caught daisuke cheating on her, resulting in his and nana’s death by forced spiraling.

miyako’s own turn of events results in a downward spiral, one that she works to hide by keeping herself in a positive appearance. this downward spiral also causes her to turn her attention to kurozu-cho, and then turns into a full-on obsession with finding the town.

her feelings of being less than a person after daisuke ease into a desire to reconnect with what she considers as her roots ---- that is, the spiral, the eternal spiral in the town her mother was born at and became a part of even after escaping it.

after her murder of daisuke, when she becomes a villain, miyako gets a spiral branded onto her back and several tattoos of spirals on her body, sort of a way to be ritualistically prepared to return to the spiral.

in her search for the town, it’s very likely that miyako has acquired certain information about the town from later chapters as well as prior ones. for example, the below image shows the town of kurozu-cho recorded on a map as a spiral itself.

all of this adding up? miyako planned to return to the spiral on her own terms ---- that is, either dying on kurozu-cho’s soil or ( as she WOULDN’T know ) going down into dragonfly lake’s spiral staircase and joining the spiraled people under the town itself, within the spiral city.

this also becomes a huge influence on her methods of crime, in a spiral pattern, escalating/de-escalating depending on her position within the pattern.

really, the best way to describe this outlook would be that miyako views “joining the spiral” as “returning home”, or ---- more accurately ---- “returning to the womb” and “completing the cycle of life -> death -> rebirth”.

section 03. what about rehab?

the pro-hero who’d met miyako ironically STOPPED miyako from following through entirely with her plan, their outlook of miyako as a person easing her to finally take up rehab and begin to recover. being spoken to about the city in rehab could lead to her divulging her plans, but...well...

early on? she may not even acknowledge “joining the spiral” as suicide, simply because it’s a completion to a process as she herself sees it. to end the lives of those who “killed” her, then heading to the city and becoming a part of the spiral itself, in a way that is “fulfilling” a purpose ---- being “reborn” within that purpose.

however, later on, as she comes to terms with both her own feelings and the reality behind them, it becomes harder to face the fact that she had planned to die, moreso when given a second chance. it’d lead into a reclamation of both her own feelings and the spirals of her quirk, and becoming something new.

...ironically, allowing herself to be “reborn”.

aaaaaaaaaand that’s the end of this ted talk, if you came to the bottom of this, whew. thanks for joining.

[onepiece-song-tournament]

One Piece Character Song Tournament

Round 1, Part 5

Save My Heart | Utae! Jingle Bells

Strawhat VAs:

Luffy: Mayumi Tanaka

Zoro: Kazuya Nakai

Nami: Akemi Okamura

Usopp: Kappei Yamaguchi

Sanji: Hiroaki Hirata

Chopper: Ikue Ohtani

Robin: Yuriko Yamaguchi

[redsamuraiii]

Binta! (Ep 5)

When people assumed you've never been in love just because you're career minded.

[vgdensetsu]

List of every artist featured on VGDensetsu, Part 2

Part 1: A-M Naohisa Yamaguchi / 山口 直久, AKA NaoQ Naoyuki Katoh / 加藤 直之 Naoyuki Onda / 恩田 尚之 Nobuteru Yuuki / 結城信輝 Nobuyuki Kuroki / 黒木信幸 Nona / ノナ Norio Shioyama / 塩山 紀生 Noriyoshi Ohrai / 生頼 範義 Noriyuki Moto / もとのりゆき Noriyuki Yokoki & Kenji Okamoto Oliver Barrett Osamu Muto / 武藤 修 Peter Chan Philip Howe Philippe Dessoly Rampty / ランプテイ Range Murata / 村田 蓮爾 Rieko Kodama / 小玉 理恵子, AKA Phoenix Rie Roger Loveless Roger Motzkus Ron Villani Ryō Hirata / ヒラタリョウ Ryo Kudou / 工藤 稜 Ryō Nakamura / 中村 亮 Ryouji Minagawa / 皆川亮二 Ryota-H Ryuichi Makino / 牧野 竜一 Ryūichirō Kutsuzawa / 沓澤 龍一郎 Ryūji Higurashi / 日暮竜二 Sachiko Kamimura / 神村 幸子 Sachiko Wada / ワダサチコ Satoru Yamashita / 山下智 Satoshi Nakai / 仲井さとし (formerly 中井 覺 / 中井 覚) Satoshi Urushihara / うるし原 智志 Satoshi Yoshioka / ヨシオカサトシ Seijin Tomobe Senno Aki / せんのあき, AKA Tonko Senri Kita / 北千里 Shigenori Soejima / 副島 成記 Shigeo Koike / 小池繁雄 Shigeru Komatsuzaki / 小松崎 茂 Shigeru Miyamoto / 宮本 茂 Shinichi Morioka / 森岡 慎一 / もりおかしんいち Shinichi Ōnishi / 大西��一 Shinnosuke Hino / 日野 慎之助 Shintarō Majima / 眞島 真太郎 Shinya Edaki / 枝木真也, AKA Edayan / えだやん Shōji Kawamori / 河森 正治 Shuhei Matsumoto / 松本州平 Shujiro Hamakawa / 濱川 修二郎, AKA Shuzilow HA Shunichi Taniguchi / 谷口 俊一 Shusei Nagaoka / 長岡秀星 Sohhei Oshiba / 大柴 宗平 Steve Peringer Susumu Matsushita / 松下進 Syd Mead / シド・ミード Taisuke Kanasaki / 金崎 泰輔 Takamasa Shimaura / 島浦孝全 Takami Akai / 赤井 孝美 Takao Kōzai / 香西 隆男 Takashi Akaishizawa / 赤石沢 貴士 Takashi Amasaka / 天坂隆志, AKA Daikichi Takashi Kinoshita / 木下崇 Takashi Yuda / 湯田 高志 Takayuki Takeya / 竹谷隆之 Takehiko Itō / 伊東岳彦, AKA Hiroyuki Hataike / 幡池裕行 Taku Engawa / エンガワ卓 Taku Makino / 牧野卓 Takuhito Kusanagi / 草彅 琢仁 / 草なぎ 琢仁 Takuro Fuse / 布施拓郎 Tamio / たみお Tatsuji Kajita / 梶田 達二 Tatsuya Ishikawa / 石川達也 Tatsuya Yoshikawa / 吉川達哉 Tatsuyuki Tanaka / 田中達之 Tetsuhiko Kikuchi / 菊地徹彦, AKA HAN / はん Tetsuya Nomura / 野村哲也 Tim & Greg Hildebrandt Tōichirō Yanagida / 柳田東一郎 Tom Chantrell Tom duBois Tomō Yamane / 山根ともお Tomoharu Saitō / 斎藤智晴 Tomomi Kobayashi / 小林 智美 Tomomi Sasaki / 佐々木知美, AKA Sasatomo Tomoyoshi Yamane / 山根知美 Tony DeZuniga Tony Taka Toru Yoshida / 吉田 徹, AKA Yoshibon Toshiaki Mori / 森気楼, AKA Shinkiro Toshihiro Kawamoto / 川元 利浩 Toshimi Sato / 佐藤敏巳 Toshinobu Kondo / 近藤敏信 Toshio Yamamoto / ���本 利雄 Toshiyuki Kubooka / 窪岡俊之 Toyo Ozaki / 尾崎豊中 Tsukasa Jun / 司淳 Tsukasa Kotobuki / ことぶき つかさ Tsuyoshi Nagano / 長野剛 Victor Gadino Viktor Antonov Yasumitsu Okuda / 奥田泰光 Yasuo Fujita / 藤田 泰男 Yasushi Ishizu / 石津泰志 Yasushi Nirasawa / 韮沢靖 Yasushi Nozaki / 野崎泰 Yasushi Torisawa / 酉澤安施 Yasushi Suzuki / 鈴木康士 Yasushi Yamaguchi / 山口恭史, AKA Judy Totoya Yoh Yoshinari / 吉成 曜 Yōichi Amano / 天野洋一 Yoichi Kotabe / 小田部 羊一 Yoshiaki Yoneshima / 米島義明 Yoshihiko Umakoshi / 馬越嘉彦 Yoshihiro Takaiwa / 高岩 ヨシヒロ Yoshihisa Aran / 亜蘭 善久 Yoshikazu Yasuhiko / 安彦 良和 Yoshimiru / よしみる Yoshitaka Amano / 天野 喜孝 Yoshitaka Tamaki / 玉木美孝 Yoshiteru Tsujino / 辻野 芳輝, AKA Torajiro Tsujino / 辻野寅次郎 Yoshitoh Asari / 浅利 義遠 /  あさりよしとお Yoshitoshi Abe / 安倍 吉俊 Yoshitsugu Satō / 佐藤 由紹 Yoshiyuki Takani / 高荷 義之 Youshi Kanoe / カノエユウシ Yū Kinutani / 衣谷 遊 Yūichi Nakatani / 中谷祐一, AKA Violetche Nakamoto Yūichirō Shinozaki / 篠崎雄一郎 Yūji Ishihara / 石原雄二 Yuji Kaida / 開田裕治 Yukihisa Fujita / 藤田幸久 / ふじたゆきひさ Yukiko Hirai / 平井 有紀子 Yukio Kitta / 橘田幸雄 Yukito Kishiro / 木城ゆきと Yuri Kataiwa / 片岩ゆり Yusuke Murata / 村田 雄介 Yusuke Nakamura / 中村佑介 Yusuke Naora / 直良有祐 Yutaka Izubuchi / 出渕裕 Zavier Leslie Cabarga Zennosuke / 禅之助

[otakunews01]

Gegege no Kitarou TV Anime key visual!! Airs april 1st 2018.

CAST

Miyuki Sawashiro: Kitaro

Masako Nozawa

Toshio Furukawa

Umeka Shouji

Yukiyo Fujii

Mayumi Tanaka

Bin Shimada

Kappei Yamaguchi

PV

[leenaevilin]

[Pics] 舞台 アンフェアな月 第2弾「～刑事 雪平夏見シリーズ～『殺してもいい命』」(butai unfair na tsuki dai 2 dan ~keiji yukihira natsumi series~ koroshitemo ii inochi)

main visual and visuals update under the cut^^

Cast:

Shinoda Mariko as Yukihira Natsumi (雪平夏見) Matsuda Ryou as Andou Kazuyuki (安藤一之) ??? as Satou Yuuko (佐藤由布子) Yamaguchi Makiya as Rindou Wataru (林堂航) Mizutani Atsushi as Yamaji Tetsuo (山路徹夫)

Nakamura Yuuichi as Satou Kazuo (佐藤和夫)

Yamada Meikyou as Haneda Toshio (羽田智夫)

Kamura Mami as Hiraoka Tomoko (平岡朋子)

Tanaka Toshihiko as Matsuoka Tomosuke (松岡智輔)

Seto Keita as Kami Masaomi (神雅臣) Kojima Yoshio as Sakoda Masaru (迫田勝) Uchida Yuuya as Hanuma Kouki (羽沼弘毅) Nozaki Bentou as Nagai Takashi (永井隆) Makio Yuusuke as Nagai Takashi (永井隆) Saitou Kenshin as Anzai Kazuma (安西馬) Maniwa Ryousuke as Kageyama Ryuuta (影山隆太) Nakamura Masataka as Namazue Norio (鯰江規雄) Yamaya Katsumi as Kannagi ??? (神無月誠) Kawana Kousuke as Makimura Akashi (牧村燈)

Misaki Karen as Oda Manami (小田愛美)

Kawaguchi Naoto as Aida Benihiko (相田紅彦) Segawa Momoe as Kawate Momoko (川手桃子) Suematsu Anri as Satou Mio (佐藤美央)

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