#aokute itakute moroi

[ahb-writes]

Book Review: ‘I Am Blue, in Pain, and Fragile’

I am Blue, in Pain, and Fragile by Yoru Sumino My rating: 3 of 5 stars The seduction of self-affirmation is infinitely dangerous. And the prickling unease that claws its way through the brokenhearted? One often mistakes it for a twinkling of presumption or insight. Such is the case for Tabata Kaede, closing out his final year of university studies by sprinting the final stretch of lazy afternoon classes, the blues of working part-time at a local drug store, and surviving the drudgery of job hunting. Such is the case for Tabata-san. Unless, of course, the man should parlay that twinkling of presumption into an earnest aggrievance; that is, revenge. I AM BLUE, IN PAIN, AND FRAGILE is a slow-moving novel of middling intrigue until the climax. Sadly and truly, very little of substance occurs in the novel's first 225 pages. Tabata laments the loss of his best friend, a wily and hyper-social young woman he often describes as "vexing" because of her boundless optimism. Akiyoshi Hisano, his friend, delighted in asking awkward questions during lectures and professing world betterment to be the grandest of aspirations. Akiyoshi was, in a word, an idealist. So then, what changed? Tabata and Akiyoshi only became friends through their mutual awkwardness. At some point in their freshman year, they founded a university club, Moai, to represent their embrace of the different, the unique, the cultural, and the idealistic. But disillusionment came fast for these two. The club grew, the pair drifted apart, and the personal philosophies to which both Tabata and Akiyoshi held at their cores forced the young adults to make several difficult decisions. Regrettably, this novel is only passingly about the conflicts that arose as a result of those philosophical complications. A story about agency, about college students' difficult and urgent scuffling with the adult world's philosophies would, perhaps, make for a good read. I AM BLUE, IN PAIN, AND FRAGILE, in contrast, is about a lazy braggart who redefines his cowardice as a means of exhaling his emotional debts onto others. Does Tabata's sophistry catch up with him? Absolutely. That's probably the best part of the novel. But everything that happens before then? Readers will surely fall asleep. The narrator, Tabata, schemes to sow chaos among the affairs of modern day Moai, a club no longer dedicated to culture and questions, but instead a club turned farm system for obsequious business-types. He feels bitter and betrayed by his cohorts. Nobody chases their dreams anymore. Nobody is eager to make a difference in the world. Students no longer visit museums and watch documentaries; they hold mock interview sessions and exchange business cards with dull-faced professionals. The novel's solution to Tabata's feeling of betrayal is circuitous and uninteresting. How indeed does one disband a club one doesn't belong to, and with only a few months until graduation? And why go through the effort? Are Tabata's wounds really so deep and untreated? These practical storytelling questions never get in the way of this bland tale of pseudo-revenge. Tabata attempts a handful of awkward blackmail schemes, and he fails, rather oddly, to fully convince his few friends to join a cause for which even he has reservations. Again, I AM BLUE, IN PAIN, AND FRAGILE isn't a discussion of the moral peculiarities best suited to ignorant young adults breaking into the wider world; it's a novel about one man's petty need to validate his emotional listlessness, and in doing so, identifies and reifies the listlessness of others. The narrator engages his best friend, Tousuke, whose charm masks an ardent ache for personal intimacy. The narrator engages his coworker, Kawahara, a casual kouhai of his, whose severe look belies an astonishingly casual, even childlike disposition. The overwhelming averageness of these and other characters frame Tabata as fool for believing his grievance is worth grieving, and an even bigger fool for attempting to pull others into the wake of his manufactured indignation. For readers bored to tears in tracking the mumblings of a student whose loneliness seeps into everything, they'll be delighted to know the confrontation that comprises the novel's climax is exquisite. The novel's climax is a 21-page argument, and while the scene doesn't quite make up for the passive plotting of the prior 200 pages, it does serve as an excellent case example for other storytellers in how to pen a scene that demands attention and thus defines the book on the whole. The argument scene itself possesses all of the highs, lows, gaffs, and screams native to exhaustive blow-up shouting matches. For all of the book's chronicling of average, human failings, the climax-argument is a fine literary example of what happens when these failings all come to a head. Tabata articulates, with unexceptional believability, his personal tenet of non-interference, of being so hopelessly agreeable that conflict is the farthest thing from people's mind. Akiyoshi herself confides that pursuing one's goals, no matter how idealistic, should take precedent. But what neither of them realize until it's too late, is that being overly agreeable leaves little room for individuality and that being an optimist often leaves one under the boot of realism sooner rather than later. I AM BLUE, IN PAIN, AND FRAGILE exposes the consequences of unimpeded self-affirmation, either internally or externally, to be a grotesque and painful emptiness tended to by illusory necessities.

Light-Novel Reviews || ahb writes on Good Reads

[sugihana-trans]

Sugisaki Hana’s Flower TOKYO (2020.08.30) Radio Guest: Yoshizawa Ryo (2nd time) Part 3

- Ryo’s Q&A for Hana (plus after-talk):

The most fun work you’ve had until now?

Your favorite color?

When was the last time you hit someone?

Your type of guy?

Your deciding factor when buying clothes?

The most relaxing spot at home?

Favorite part of your face?

The food you’ve eaten the most in your life?

What you want to do most right now?

The best person at werewolf game up until now?

[cietsutsu]

Yoshizawa Ryo and Sugisaki Hana in “Aokute, Itakute, Moroi” live Q&A YouTube event.

[oh-my-asian-boy]

Aokute Itakute Moroi 青くて痛くて脆い

Release Date: August 28, 2020

Kaede Tabata (Ryo Yoshizawa) is a university student with poor social skills. He meets Hisano Akiyoshi (Hana Sugisaki), who attends the same university. She seems to lack common sense and is also an idealist. She talks about ending wars and having no more bullies. Kaede Tabata & Hisano Akiyoshi have different personalities, but they are both outsiders. For their goal to change the world, they decide to make a secret club Moai. One day, Hisano Akiyoshi suddenly disappears. Their secret club Moai also changes. Moai becomes a club for job finders and the club gets larger. Kaede Tabata decides to leave the club, but he then decides to take back Moai for its original mission, dreamt up by himself and Hisano Akiyoshi.

[okdnn]

Okada Nana and Murayama Yuiri Mail August 29 2020

Okada Nana Mail

August 29

STU48 4th Single

Mubo na Yume wa Sameru Koto ga Nai

Individual HS event replacement event !

I will participate in the opening ceremony

My first opening ceremony … So happy …

http://stu.kingrecords.co.jp/info/000414.html

★ First hour from 11:00 〜

★ Second hour from 12:15 〜

★ Fourth hour from 14:45 〜

Please watch it on SHOWROOM ok ! I will be waiting !

Today is My brother’s 30th birthday!

Congrats

I really miss him ~... … …

I will do my best too today.

Fluffy~...

Piping hot soup~...

Delicious! Today’s breakfast!

1st hour and 2nd hour

Is over ! Talking is fun ! lol

Refreshing 

Summer-ish costume.

Very very cute.

Refreshing 〜 … Summer’s aroma 〜 … That’s what it feel 

Black hair, I l fell for it again.

Gratitude 

Today ends so fast〜 !

Individual HS event replacement event

in SHOWROOM .

So fun so fun

I talked so much and it’s really fun〜 … 

I’m so excited for september 6th too.

Film camera. It's nice isn't it.

B612’s

New film camera style filter

Is really really nice. Love it.

Today’s biggest happening…

When I saw 2nd gen

 Furuzaki Rinko chan’s SHOWROOM, 

She is troubled

Because she can’t read fan’s name 

In kanji character. lol

Invitation 

I will play dobon

At 21:00 to 22:00 today ! Let’s play!

I bought some daily necessities

And went back home.

Movies

Right now, I want to watch “Ito” the movie.

I also quite interested in

“Aokute, Itakute, Moroi”.

Yup yup yup.

Jingi naki tatakai DVD version …

Please release soon …

Murayama Yuiri Mail

A~lot

I wore a lot of costumes yesterday…

Also a happy thing happened

I received a gift

From Battle Fes ！！

To all the coaches, thanks for all this time！ 

Today I’m being surrounded by my niece and nephew

And played various things with them ！

They’re cute, so charming. 

Scold

I want to properly get angry

When my niece and nephew

Did something wrong.

I’m sure that I see Mama or Papa,

The adult of my generation

To decide whether it’s good or bad.

While judging it like a child

I guess soー？

When I’m angry at children,

I always cross my arm, look at their eyes

And not let them go until they say

“I’m sorry” for what they’re sorry for.

That’s something you would hate right? lol 

But they’re really cute

They took initiative like

I will do it all ! Let me do it !

They borrowed and crushed each other blocks,

When they made a mistake 

With their turn on game they would cry,

They would cry just by looking at mama’s eyes

There would be anyone run rampant

Somewhere in this house,

So when I’m the only one adult,

I really want to split myself into two if possible

But I’m also being spoiled

By both my older sister and mama

So I’m the one who raise their burden here!

[oryoyoshizawa]

Ryo Yoshizawa & Hana Sugisaki “Aokute, itakute, moroi” promo 16/8/2020

[bluryphoton]

distant hearts [aokute itakute moroi]

[recentanimenews]

Japan Box Office: Fate/stay night: Heaven’s Feel Ⅲ Moves Up One Spot in Its 4th Weekend

    In its fourth weekend, Fate/stay night: Heaven’s Feel Ⅲ.spring song moved up one spot from last week's sixth. This resurgence is likely thanks to the 4DX/MX4D screenings that began last Friday

  The third and final chapter of the trilogy anime film project based on the third route of Type-Moon's visual novel Fate/stay night was opened in 156 theaters in Japan on August 15, 2020. From September 4, 82 theaters also started its 4DX/MX4D screenings, which offered the advanced motion seating along with wind, mist, fog, lighting, and even smell effects. And as a bonus, the special screenings' audiences receive two-type special postcards newly drawn by ufotable.

  Last weekend's only new anime film, Hataraku Saibou: Saikyo no Teki, Futatabi. Karada no Naka wa "Cho" osawagi! (Cells at Work!: The Return of the Strongest Enemy. A Huge Uproar Inside the Body’s Bowels!) was released in 103 theaters on September 5, 2020, along with a short episode Kesshouban Eigakan he Iku (Platelets Go to a Movie Theater). The advance screening of events from the forthcoming TV anime second season, which was told in the manga's fifth volume, made its 10th place debut in its opening weekend.

  And, given, the 59-minute sequel film to the 11-episode TV anime of the same name, had still kept its No.1 position in Kogyotsushinsha's mini-theater ranking for three consecutive weeks.

         Weekend box office in Japan (September 5-6, 2020)

 (ticket sales basis)

    1 (1). "Jiko Bukken Kowai Madori" - 1.04 billion yen

 2 (2). "Doraemon: Nobita's New Dinosaur" - 2.69 billion yen

 3 (1). "Ito" - 1.2 billion yen

 4 (5). "Kyo Kara Ore Wa! The Movie"

 5 (6). "Fate/stay night: Heaven’s Feel Ⅲ.spring song"

 6 (5). "Onward"

 7 (new). "Bokutachi no Uso to Sinjitsu: Documentary of Keyakizaka 46"

 8 (7). "Confidence Man JP: Princess Arc" - 3.3 billion yen

 9 (8). "Aokute Itakute Moroi"

 10 (8). "Cells at Work!: The Return of the Strongest Enemy. A Huge Uproar Inside the Body’s Bowels!"

    【特別上映版】 『「#はたらく細胞!!」最強の敵、再び。体の中は“腸”大騒ぎ！』は9月5日(土)より全国の映画館にて公開????抗菌マスクケース付きムビチケ前売券は各上映劇場窓口＆通販にて発売中です????️✨ぜひ劇場のスクリーンでお楽しみください???? ⏬詳細はココから！⏬https://t.co/d0kctqGc6G pic.twitter.com/Q0ozHHRHzd

— 『はたらく細胞』公式 (@hataraku_saibou) July 25, 2020

    Source:  Eiga.com, Pixiin

  (C)TYPE-MOON・ufotable・FSNPC

©Akane Shimizu/Kodansha, Aniplex, davidproduction

  By: news+feed@crunchyroll.com

[ahb-writes]

It would be a lie to say that I was not at all sad, but some part of me knew this was inevitable. She was a special person. I was someone who had only moved into her field of view. So it wasn't as though I hoped she would remember me. I just wanted her back, that special person.

"Tabata" (in I Am Blue, in Pain, and Fragile, by Yoru Sumino)

[sugihana-trans]

hello do you happen to know english translation for the blue painful and brittle novel? since they're two novel that already translated from the same author it might be this novel will be translated too

Good news! The novel will have an official English release next year, February 8, 2022. It will be titled "I am blue, in pain, and fragile."

[sugihana-trans]

Sugisaki Hana’s Flower TOKYO (2020.08.30) Radio Guest: Yoshizawa Ryo (2nd time) Part 2

- Hana's Q&A for Ryo (plus after-talk):

What do you always bring with you to the set?

How do you remember your lines?

Your most memorable set so far?

What did you do during the self-restraint period?

What’s your house’s concept?

What’s your specialty dish?

Where would you like to travel to?

In the car, are you the driver or a rider?

Do you listen to music while commuting?

Name an artist you like?

[sugihana-trans]

SPUR September 2020 issue: Yoshizawa Ryo’s corner “TAKE YOUR SEAT” with guest, Sugisaki Hana

Hana-chan is always smiling and laughing

Yoshizawa: I met Hana-chan once before in a movie called “BLEACH.”

Sugisaki: That’s right. At that time however, we only had one scene so it was a situation where we couldn’t have a proper conversation.

Yoshizawa: Right. It was only for a little bit so we didn’t talk at all. After co-starring like this, even though it almost feels like we met for the first time through this work, I thought you were wonderful as an actress and really interesting as a person.

Sugisaki: For me as well, when we met properly for the first time during the script reading, I was nervous while wondering what kind of person Yoshizawa-kun was, but you kept a comfortable distance. I didn’t feel pressured to talk, but as we continued to film, we were able to gradually share things like our favorites or about interesting things which was a lot of fun.

Yoshizawa: We had many conversations about food, huh. At that time, I was really into ramen and would tell Hana-chan like, “I went to a ramen shop here yesterday.”

Sugisaki: You talked about ramen a lot (laughs). Also, there was that comedian named Oho Shintaro who posted a manga on Instagram, and we’d looked at it together and laugh while on-site.

Yoshizawa: That was really funny. The vibe at the filming site was really good, rather it was a harmonious atmosphere.

Sugisaki: Everyone, including the staff, would go out to eat together and that kind of thing is very memorable to me personally.

Yoshizawa: Similar to back then when we were filming, today as well, Hana-chan is always smiling and laughing. Somehow my only impression is of your smiling face (laughs).

Sugisaki: Eh, really!?

Yoshizawa: Yeah. Even in this movie, Hana-chan plays Akiyoshi who has a lot of laughing scenes, and that’s what left an impression on me. Depending on how you look at it, the role of Akiyoshi has some dislikable parts, but with Hana-chan’s straightforward and pure acting, she became an upright character and ended up looking very good.

Sugisaki: Really? That makes me happy. Yoshizawa-kun’s role, Kaede, claims to be not good at communicating with people, but I think he’s actually starving for love. That human-like clumsiness, the one-sided anger and hatred, Yoshizawa-kun’s facial expressions when showing his distorted emotions felt very realistic.

Yoshizawa: It sounds as if I’m kinda like that person (laughs). It’s certainly a pretty twisted role, but there were some places I could sympathize with since I feel like there are also parts in myself that’s disgusting, so I had fun playing him.

There are more times when it’s painful

Sugisaki: This is just my impression, but Yoshizawa-kun has this image of solemnly facing the work by yourself.

Yoshizawa: But I’m not that stoic though, right.

Sugisaki: Like the timing of which you enter your state of concentration, I was carefully watching on-site and thought it was amazing.

Yoshizawa: I see (laughs). Do you have fun while you’re performing, Hana-chan?

Sugisaki: There are more times when I feel acting is painful rather than fun.

Yoshizawa: Heee.

Sugisaki: I’m always anxious about something, like it’s scary when there’s no one to say that this is the correct interpretation, but being on-site is even more fun than that. Creating a single work together with everyone gives me joy, and it becomes a good memory and experience for me later on when it gets painful. Either way, I will enjoy the time I have while I’m on-site. How about Yoshizawa-kun?

Yoshizawa: I think it depends. Even though I aim to do my best, there would be times when I felt “I did good” but also times when I feel “It’s not going very well,” so then I become a little less confident (laughs).

Sugisaki: Is that so! But being confident is difficult.

Yoshizawa: It’s difficult. As Hana-chan said before, there is no correct interpretation when it comes to a play, so you don’t have to worry about it when you’re feeling anxious. It’s never a waste of time of course, though I wonder if it’s important work.

Sugisaki: I would say yes. It’s scarier to always be confident. That’s why, although this might sound strange, I’m a little relieved that I’m not confident (laughs). I may get worried like why can’t I do it well, but it’s because I don’t have confidence that it makes me try even harder I think, and that feeling carries over. So even though I’m feeling anxious inside, I’ll be standing while pretending to be confident at the filming site.

Yoshizawa: I see. I learned a lot (laughs).

[sugihana-trans]

“Aokute, Itakute, Moroi” online premiere cuts: Nicknames Hanabo & Yosshi

Original source video:

[sugihana-trans]

MORE September 2020 issue: Yoshizawa Ryo x Sugisaki Hana

“Aokute, Itakute, Moroi” is the live-action adaptation of Sumino Yoru’s best-selling novel, a suspense story about a college student taking revenge while brandishing justice after being robbed of his companion and place. Yoshizawa Ryo and Sugisaki Hana will be co-starring since “BLEACH,” as double leads.

Yoshizawa: I played Kaede who is miserable, creepy, and while he doesn’t look bad from the outside, he is a boy with a narrow vision who thinks he is doing the right thing. I’ve had a lot of quirky roles before, but I’ve never challenged a role that people might hate until now, so I was looking forward to it (laughs).

Sugisaki: I’ve also had many opportunities to perform roles with a heavy burden up until now, and there were times when I’d wonder if those roles influenced my own personality to become dark. When I was in highschool, I was always acting alone, sullen and afraid to get involved with people. But as I get older, the roles I’m encountering are getting brighter little by little. I have a feeling that I’m also gradually changing. Because of my current self, I thought I wanted to play the role of Akiyoshi, who is bright enough to be dazzling.

Akiyoshi who can actively communicate with people, and Kaede who keeps his distance. Which type are you two now?

Yoshizawa: I’m completely Kaede.

Sugisaki: (laughs) I kinda understand. As for me, I keep some distance with strangers, but I also really want to talk with people who like to talk. Shooting this film with Yoshizawa-san, just like Akiyoshi and Kaede in the story, it felt like our distance had gradually decreased.

Yoshizawa: Well, that’s thanks to Hana-chan’s personality. You exude the aura of a really nice person so there was a sense of security. I’m shy, but I’m also the type to want to get along with other people, so I wanted to become like Hana-chan.

Hana: I’m happy (blush). 

You acted out a college student’s springtime of youth, but what kind of youth did you two want to experience?

Yoshizawa: I wanted to form a loose band. Practice adequately then show off in front of all the students only during the school festival, something like that (laughs).

Sugisaki: Someone who excites the crowd!

Yoshizawa: I’ll be in charge of vocals. I want to stand out the most after all.

Sugisaki: If we team up together, I’m in charge of percussion ok.

Yoshizawa: No, you have to sing there! Let’s go with double vocals!

Sugisaki: No no, it’s better if I’m in the back~ (laughs).

Yoshizawa: What should the band name be?

Sugisaki: Then...... “Oryo and Ohana”?

Yoshizawa: That’s good (laughs). Let’s do it!

[sugihana-trans]

Yoshizawa Ryo & Sugisaki Hana watching and reacting to the main trailer of "Aokute, Itakute, Moroi" for the first time (Part 1 of 2)

Hana: How nostalgic, that time we were filming together~

Ryo: It's nostalgic~

Hana (as Akiyoshi): "If anything ever happens to me, I want Kaede to take over Moai's will."

Ryo: *answering the screen* Yes! 

Hana: Hahaha!

Ryo: It really seems like a youthful story-- Oh it changed.

Hana: *laughing at Ryo's crazy eyes* Kaede is scary!

Ryo: Hidden behind the glittering facade of these two, you can see the muddy parts slowly but surely showing itself. I think it's..... nice~

Hana: Pfft--!

Part 2

TRAILER

Screencaps taken are a compilation from the July 1st episodes of ZIP, Sukkiri, Mezamashi, and Hayadoki who covered the same news/interview.

[sugihana-trans]

Sugisaki Hana’s Flower TOKYO (2020.08.23) Radio Guest: Yoshizawa Ryo Part 1

- Introductions - Recording with just two people - Hana’s weak point