#casual 2012 daisuke

[koushirouizumi]

Digimon Adventure 02: The Beginning {New very first seen "The Beginning' stills were being added to the official DM_Partners account + site!} (Sept. 21 2023, around 6:21 P.M. J.S.T) ~ Daisuke Motomiya

#Digimon Spoilers #Digimon 02: The Beginning Spoilers #Digimon Adventure 02: The Beginning Spoilers #The Beginning Spoilers #TheBeginningSpoilers

(Mini-analysis under the 'read more'!)

This was the very first time we had seen this particular shot of Daisuke.

In this shot, Daisuke clearly and proudly holds one of the new styled "Digivice"-equipped phones made & produced by Izumi Corporation, the company canonically owned and managed and run by Koushirou Izumi, who acts as President, sometime post 2005 within the Adventures timeline. As of the Kizuna tie-in novels, Koushiro had seemingly "just" gotten the company up and running, and within Kizuna, the Chosen Children group, including Taichi's team and Koushirou's own self, began actively using the phone models. "Digivice" appears to work on these phones, which the Chosen use to open Digital Gates and portals within the Real World, even without the aid of a computer or Koushirou's laptop nearby. (The actual Digivice, meanwhile, seemed unuseable. Taichi hid "Digivice" deep within Taichi's desk drawer, until the plot forced Taichi to acknowledge and pull it out again; Daisuke seemed to do similar with own blue "D3", which can be seen during the opening scenes and later moment.

When the phone device shuts off, "Izumi Corporation"'s logo can be seen in Kizuna on Taichi's phone. Though we do not see it within "The Beginning", it can be assumed Daisuke's phone shuts off in the same style.

At the end of the film, though it is implied "something" is happening to "Digivice" and "D3", the actual phone models they also have now, which were produced by Koushirou, and; which are separate devices, do not appear to change or vanish.

In promotional material released after the film's release, the Chosen still appear to hold the phone models.

[citrus-cactus]

I know you're a major Daisuke/Wallace shipper, but may I ask which other ships with Daisuke you like too, if any? (^・ω・^ )

(in my case i multiship him with a ton of characters... Lately more into TakeDai thanks to Shiha lol)

Ahhh, sorry it took so long for me to answer this!!

Oh, Ni. NI. Do you really want to open up the floodgates of shipping with me?? (bless you)

So, I developed the habit of just not talking about Digimon ships on the Internet many years ago, despite it being the primary thing that was fueling my creative output for a significant period of time (like… 2007-2014, probably??). But yeah, for most of my time on Tumblr, there was no way I was gonna talk directly about Digimon ships, because I’m always scared about the potential backlash such posts may receive (trying to get over that, though!). A few ships have breached brain-containment: Wallsuke and Taijyou, obviously, Taishiro and Nishihime maybe less-obviously (these days). But I feel more comfortable talking about those since they’re (mostly) rarepairs, the haters are minimal/nonexistent, fans of those pairs are chill and awesome, and I guess they just feel “safer” than some of the rest of the Adventure/02/tri/Kizuna shipping minefield XD

I would LOVE to make a chart like the one @reliablejoukido did showing my OTP thru NOTP feelings though! Back in 2012 I know I made a numerical matrix-type thingy for my preferences, but I never published it anywhere and I’m guessing they’ve changed a bit ^^; If I ever found time to make my own template in this day and age, I’d do it, but alas, time makes fools of us all! 🥲

All that is to say, I’m also a multishipper, and I absolutely have other Daisuke ships!! I have ended up on kind of a personal crusade to put more Wallsuke out in the world these past few years, which is why it kind of accidentally ended up being my primary Daisuke ship (oops). It doesn’t mean all those other ships are gone and forgotten, though!

I’m generally using REALLY OLD American English Fandom ship names in this post, only because that’s how I refer to them in my own head. Please don’t think too hard about the spelling/order/capitalization/punctuation of them, because I’m not! I assure you these designations don’t mean anything in this context other than “the relationship between these characters in some platonic or romantic way, explanation to follow.” TL;DR for everyone reading this: don’t be rude about shipping on this post, and don’t nitpick my terminology, please! I’m old, and so, so tired of fandom drama.

And now, without further ado, and in no particular order… DAISUKE SHIPS! ᕕ(ᐛ) ᕗ

Daiyako (Miyako/Daisuke)

I love them as friends hanging out or casually dating. They’re so!!! Well, they’re pretty similar in how strong their convictions are and how open they are about their feelings, which means they agree on a lot of things but also have the potential to clash a lot, which is a dynamic I REALLY enjoy for them. In a romantic scenario, I can definitely see them as going from arguing about something inconsequential to making out in about 3 seconds flat (maybe with a side of “how did we end up here??” ehehehe). IDK, they both give off disaster bisexual vibes to me, and I’m 100% here for that!

Daiken (Ken/Daisuke)

Really great, obviously, either romantic or platonic. They were Jogress partners (cue chorus of “oh my god, they were Jogress partners…”). I actually um. Don’t have a lot to say about this ship, but I do enjoy seeing it on my dash! Daisuke and Ken’s Christmas Carol and the entirety of Revenge of Diaboromon are all-time classics in my mind and I do secretly like one-sided Kaiser/Daisuke or mutual Kaiser/Daisuke Kaiser… shhhh

Daikari (Hikari/Daisuke)

Like, honestly yes. Daisuke, I am rooting for you! I mostly enjoy them as a friendship or in a “falling in love once they grow up and mellow out a bit” context. This is also how I feel about Junpei/Izumi from Frontier, by-the-by. Both pairs give off similar vibes (to me), but I’m more likely to gravitate to thinking about Junzumi because I just. Junpei does NOT get enough love, respect, or attention in general, and I would LOVE to see more portrayals of fat-positive romance for him, specifically.

Daikeru (Takeru/Daisuke)

So, I’ll admit I have a really hard time writing Takeru, which means I don’t do a very good job of imagining him in Situations(tm), but I have read/seen a fair bit of this pair romantically and I like it, I just also don’t have a lot to say about it (I’m sensing a theme!). Once again though, I will happily read what others put out there. Please, fic writers, help me understand how Takeru thinks! He’s such a mystery to me.

Daichi (Taichi/Daisuke)

The admiration Daisuke shows his senpai in canon is very endearing, even if it can seem a bit lopsided (though maybe, by the time Revenge of Dioboromon concludes, the admiration IS quite mutual??). I do like thinking about them as a mentor/mentee pair though, or equals/brothers-in-arms, learning from each other as they compare notes on leadership and decisionmaking.

Daimi (Mimi/Daisuke)

I loooooove their friendship!! IDK, between the NY segment of the World Tour Arc and the Door Into Summer audio drama, it’s there, right? Anyway, I still say these two are the Treat Yo’ Self squad for the Adventure kids, and I love picturing that dynamic for them.

I think me answering this ask is a bit of a stealth request for (short) fic recs that feature these relationships, lmao. I used to casually browse fanfiction a lot more than I do now, I guess I’m too picky or something (plus I have a HUGE backlog of mutuals’ fanfics to read, augh sorry!). And I didn’t mention it, but romantic thruples are good too! I would be interested in reading… oh, I don’t know, pretty much any combination of the older 02 characters in a polyamory situation (Dai/Ken/Miyako, Hikari/Takeru/Dai, Ken/Dai/Takeru, Dai/Miya/Wallace, etc).

So yeah. Shipping!! I love it. Does this mean the floodgates are finally open? IDK, but you could try sending me another Digimon character to see if I’d talk about the ship(s) I have for them!

[elen-000]

Hori-san to Miyamura-kun: A Manga Journey from Webcomic to Anime

Hori-san to Miyamura-kun

Hori-san to Miyamura-kun (堀さんと宮村くん) is a beloved Japanese manga series created by Hiroki Adachi, who writes under the pseudonym Hero. Originally a webcomic published on Hero’s site, Dokkai Ahen, the series ran from February 2007 to December 2011 in a four-panel format. It was later collected into ten tankōbon volumes by Square Enix under their Gangan Comics imprint, with additional side stories compiled into fifteen volumes as Hori-san to Miyamura-kun Omake from July 2012 to July 2021.

The manga was adapted into a more extensive series titled Horimiya (ホリミヤ) by Daisuke Hagiwara, with Hero’s supervision. This version ran in Monthly G Fantasy from October 2011 to March 2021, and was compiled into sixteen volumes. A seventeenth volume with new chapters was released in July 2023. Horimiya is available in English from Yen Press.

The story centers around high school students Kyouko Hori and Izumi Miyamura. Hori, a popular and vibrant student, contrasts sharply with her home life, where she appears much more casual and is responsible for taking care of her younger brother, Souta. Miyamura, initially seen as a gloomy otaku at school, reveals a much cooler and laid-back persona outside of school with a punk look and multiple piercings. The two meet when Miyamura helps Souta and decide to keep their true selves hidden from their peers. As they spend time together, their bond deepens, leading to a romantic relationship.

Characters

Kyouko Hori: A bright, popular girl at school who becomes close to Miyamura. At home, she adopts a more casual look and is responsible for her younger brother. She struggles with separation anxiety and later develops a masochistic side. Eventually, she and Miyamura marry and have a son named Kyouhei in the webcomic.

Izumi Miyamura: A seemingly gloomy otaku at school, Miyamura hides his attractive, punk-styled appearance. His transformation begins with Hori’s acceptance, leading to increased confidence and popularity. He marries Hori, and they have a son named Kyouhei.

Souta Hori: Hori’s younger brother who introduces Miyamura to his sister.

Tooru Ishikawa: Hori’s lifelong friend with feelings for her, later becoming close with Miyamura.

Yuki Yoshikawa: Hori’s best friend, who has her own insecurities and feelings for Ishikawa.

Kakeru Sengoku & Remi Ayasaki: Childhood friends and student council members who later marry and have a daughter.

Adaptations

Original Video Animation (OVA): Adapted from 2012 to 2021.

Anime Series: Produced by CloverWorks, aired from January to April 2021.

Live-Action Film & TV Drama: Premiered in February 2021.

Anime Sequel: Horimiya: The Missing Pieces aired from July to September 2023.

Explore the charm of Hori-san to Miyamura-kun and its adaptations across various media. Whether through the manga, anime, or live-action, the story of Hori and Miyamura continues to resonate with fans around the world.

[jogressshinka]

Just finished watching the portion of the Digimon Con animation discussion that focused on 02 and we learned some new information about the upcoming movie!

I managed to record it, which is about 36 minutes of video, so I’ll find a way to upload it somewhere if I can. (If it's not up on YouTube later, that is.)

In the meantime, I can tell you a few things we learned:

- It looks like the movie will be set in 2012, two years after the events of Kizuna! That makes Miyako 22, Daisuke, Ken, Hikari and Takeru 21; and Iori 19!

- Two versions of Daisuke’s character concept art were revealed: one of him in his casual, winter streetwear and one of him in his ramen chef uniform. They also stated that these designs are not final and are subject to change, but it looks like Daisuke’s sunglasses from Kizuna may still be a part of his design.

- Other than the teaser image that was already released, not much else was revealed about the movie, though a few fan questions were answered about the production of Digimon Adventure 02 back in the day.

[fuckyeahsorato]

Hey you get anything this summer on Digimon with Davis and other this year or next year ?

I apologize if I don’t completely understand your message, but if you’re asking about the upcoming 02 movie, unfortunately we don’t have very much information on it as it is still very early in production.

What we do know is:

- it takes place in 2012, after the events of Kizuna

- the 02 team will be the main characters

- an announcement video was released on YouTube along with a key image:

According to the video, we may get to meet someone who claims to be the first person ever partnered with a digimon!

- two character designs for Daisuke/Davis as a young adult have been released: one in his casual street wear and the other in his restaurant uniform.

Other than that, no other details have been revealed, but I’m crossing my fingers that we’re told the release date at the next DigiFes this July! 🤞

[digitalgate02]

And we’re here in this same day of the year again.

If you know me from my previous blogs, you might notice I have a huge admiration and fondness for Kiuchi Reiko’s works. The very first roles in anime that I met were PPGZ Shinya and Brick. Years later I started to follow Positron Cannon’s 02 subs and fell in love with Daisuke.

Then, some mutual in the 2010s told me about Kiriya and this is how I got into Precure (I skipped Max Heart because I learned Kiriya didn’t appear) and very later in the 2011-2012 I guess... I casually learned about Dark Aqua.

I also learned about Bonney Jewelry from One Piece thanks to my OP friends, but didn’t include her due to the fact she got a replacement.

Anyway, I still thank for an old friend who had discovered that she voiced the Botamon who evolves to Koromon on Takeru’s lap. I didn’t watch Adventure in Japanese until 2015 (the second rewatch I had was last year, 2020) so all I had in hand was a clip of this exact scene said friend sent to me.

I appreciate and love her works. And I will forever be in love with those. Thank you so much, Kiuchi-san!! I hope you’re happy and healthy.

[m0e-ru]

eight months in somebody actually asked me abt visualive instead of me immediately annoying ppl about it without former notice. I might actually write properly for once 😳😳😳

OK OK!!!!! In this essay I will.... I will.... Visualive Adachi.... Visu/BURSTS INTO TEARS/

OKAY OKAY for real I just care Visualive so much (as someone who can’t fully understand Japanese AHAHA)

First I’ll add some foundation about what Visualive really is, then I talk abt Adachi in the latter parts of it because this is technically the first time I’m properly talking about this hehe 🐿

T....table of contents???

Visualive

Visualive the Evolution

Masami Itou

Visualive Adachi

Visualive the Evolution Adachi

Terms and Legend

VL - Visualive

VLE - Visualive the Evolution

stage - shortened for “stageplay”

面白い - omoshiroi (it’s just that specific)

Yuuya - VL Hero name

Hayato - VLE Hero name

Baba - Hero

Masami - Adachi

Taniguchi - Dojima

Saotome - Daisuke

Mamiya - Izanami

I add honorifics but sometimes I forget the hyphen intentionally or unintentionally I’m sorry if it makes it hard to read lol

all links have automatic timestamps for easy viewing. i mean. i hope the timestamps work

VISUALIVE “Persona 4.” A stage adaptation of SMT: Persona 4 by Atlus. It adapts the first part of the story, from the hero’s arrival to after recovering Mitsuo Kubo from the TV world. It also ends on a cliff hanger, showing a teaser of Shadow Naoto being projected on the screen.

It takes up a speedy recapitulation of the hero’s spring life, before slowing down and showing in depth his school life in summer. A day before Morooka-sensei’s death, there is a little skit with Kou, Daisuke and Adachi. The hero walks into the conversation before the two other boys leaving, and Morooka-sensei walking in on the student and detective. The next day follow’s the teacher’s death and the Investigation Team (IT) begin investigating their new lead.

From the words “visual” and “alive,” the niche of this stage was meant to be the fusion of live acting and visual digital projections. All seen from the stageplay with the colorful cast of actors and CG animations being projected on the screen. This offers an opportunity for characters to summon their personas, perform cool visual effects, change the backdrop, or even confront their own Shadows.

Performed in Sunshine Theater from the 15th to the 20th of March 2012. The screenplay was written and directed by Shintaro Asanuma from the theatrical group “bpm.” The video production produced by Shutaro Oku, a film director and visual planner. He later takes over as director for VISUALIVE THE EVOLUTION, the sequel stage. The stage music was produced by Shunsuke Wada, with a special show exclusive vocal track sung by Shihoko Hirata.

On this note, I haven’t seen any sort of original soundtrack released for any of the stages and I’m SO SAD. The last song in Mitsuo’s boss fight was such a BANGER and literally EVERYTHING ELSE Marvelous, Wadasan please take my MONEY

Regarding the cast, there were some special accommodations for Teddie, Rise, and Nanako, all of which did not have live actors at the time. During the casting, actors for the three characters could not be found or simply left the directors unsatisfied they couldn’t cast anybody. An exception for Rise, who was able to have a live actor in the sequel stage. It has been stated that there weren’t any “pretty boy” actors that fit the “Teddie Criteria.” While there weren’t any child actors that were believed to portray Nanako well.

Teddie was only ever seen in his bear costume while Rise was busy talking through a call, all voiced by their video game cast. Nanako has never appeared on stage, only being scarcely mentioned in the script. Again, this is different in the sequel stage where her role was extremely important and was shown as a screen projection.

VISUALIVE “Persona 4” THE EVOLUTION. A sequel stage. Beginning abruptly in the middle of Shadow Naoto’s boss fight, the story continues from there until the “true end” of the game’s original story. *Certain characters are introduced while others have been reintroduced. And on a personal note, when it’s all comedic in the beginning, it’s all for what’s coming right after.

I don’t know if I’m salty or just find it really funny AHAHA I might go talk abt it some other day with more context ehehe

Performed in The Galaxy Theater from the 3rd to the 9th of October 2012, only a few months after the PSVITA Persona 4 Golden release, which is July 2012. The screenplay was now written by Jun Kumagi while directed by Shutaro Oku. And music production finally taken over by Shoji Meguro himself.

---

HAHAHA this is starting to look like a wiki page. moving on. I might start rambling rn

(warning LONG !!!! aaa,,)

My thoughts on the stage adaptations. For the first Visualive (VL) I believe it’s pretty close to canon! I enjoy the characterization and how much love and care was present when handling the entire production.

Actors were busy playing the game itself, wherein a PS2 was present in the practice room. Along with magazines and game guides explaining the game’s story and the characters itself. Actors performing together and even improv acting together to get a grasp of their characters. All of them knowing well of Persona 4 as a well loved game, delicately handling their characters and hopefully performing them right while making the audience happy.

The staff taking care of each other while the director and video producer, Asanuma-san and Oku-san, working together well to make their vision into a reality.

The same thing happened with VL the Evolution (VLE) and literally every other good stage. Except... I feel the script kinda got out of hand with too much liberty where it feels a bit more disconnected from canon. But! It makes up for it in its content, whether comedic or (INCREDIBLY) dramatic! It’s great as its own story at that point. So in this case, I like to take the first VL and get to connect it canon, while I don’t know what the hell happened in VLE to the point I’ll just enjoy it as its own content.

These opinions deserve its own essay, post whatever bc I have SO much to say abt this. ANYWAY. VL ADACHI

---

Tohru Adachi is portrayed by Masami Itou (伊藤マサミ), a screenplay writer, director and an stage actor himself. He does have a single character voice role along with a fellow troupe member in the same franchise, but mostly works as the former three. He is part of Asanuma-san’s entertainment group “bpm.” On a similar note, Masashi Taniguchi, Dojima’s actor, was also part of their group from 2011 to 2016, which may explain their good synergy as the boss and the bumbling fool dynamic. I mean, somebody’s gotta get hit in the head every few skits.

With Masami-san being an important part of the cast, he doesn’t appear as often as Taniguchi-san in backstage content like the VL bonus disk or the official blog. Mentioned in his own personal blog, he had been busy with his roles as assistant director (I am assuming also for VL).

Also fun to note, because his role is mainly comic relief, he has been using his liberty to change up the material almost everyday making each performance exciting. This also leaves some other actors jealous of his freedom in his role, such as Saotome-san, Daisuke’s actor.

---

VL Adachi really has a... how do I say this? an adorable speech pattern (THE SAME SPEECH PATTERN THAT DROVE ME MAD TRYING TO DECIPHER I THOUGHT YOU WERE A CITY BOY OSSU OSSU MY ASS /shakes you violently/). Overall, he really fits the loose lipped bumbling fool, and his accent really makes him seem more casual and invested. What I’m saying is... VL Adachi either actually has genuine empathy or he actually has more energy to fake it (compared to some other edgelord. i mean you saw my p4ga analysis. I’m sick of him lol ahaha).

One of my favorite ways to explain this (OTHER THAN CHAIR CAR ADVENTURE MY BELOVED WE’LL GET TO THAT LATER) is the rice field scene with him and Dojima. It’s overanalyzation time 🎉

(43:04)

While investigating, Adachi whines about being tired while Dojima smacks him in the head. In this case, it’s established that Adachi doesn’t want to be there, yes? It’s the country, it’s hot and it smells like green.

"Ah... Dojima-san..! Why don't we take a break? (...) There really is nothing out here... Is the criminal still even here at all? (...) I wonder if I've passed being a rookie yet. Haha, but this city doesn't even have convenient transportation. I can't go to leisure lands (recreation, amusement parks, arcades, ect.) and head home at all."

Adachi then tries to tell Dojima a story. “when I got to this city after being newly assigned, I met an interesting guy (...) Yeah, I remember that the cherry blossoms haven't bloomed yet. So, I was driving my car and got near the station and--” Dojima gets a phone call.

Adachi politely puts his hands down waiting for his boss to finish so he can finish the story. Again and again, Adachi attempts to talk to Dojima about a story he’s so persistent trying to tell someone about. It was so 面白い that he would find someone to talk to about it. Even being polite and patient enough to wait for a chance to speak. He even gets fed up with it and blows up in front of his boss, clearly irritated he’s not given a chance to talk.

Sure, it could be Adachi feeling fed up like a normal person where someone agreed he to listen to him, before being constantly ignored. Or Adachi trying to be a more annoying whiny brat, depending on where you look at it.

If the story wasn’t too “interesting” to Adachi, he would’ve just brushed it off and stopped talking to Dojima entirely, or start up new small talk, or even complain some more. But no, he had a story he wanted to voice out so bad that he got irritated that the one person in the vicinity couldn’t listen to him.

Only after Dojima told him to continue their investigation elsewhere did Adachi finally stop and focus on something else. Maybe that story was for another day, or maybe it was never meant to be told.

What if it was just original (game) Adachi? He’d find a way to squirrel out of the investigation as usual, or push Dojima to “investigate” elsewhere. “Hey boss, don’t you think it’s hot? Why don’t we go elsewhere? We’ve seen this place too many times to count and I doubt anything new’ll turn up. How about we take a break at Junes, y’know? Where it’s cool? C’mon boss,” something like that.

og Adachi is just really annoying and silly to me. Some grown man thinking he can freeload because he never gets anything out of putting in more energy and effort? I don’t care how tall he is, I will smack him in the head.

Yeah VL Adachi whines, too, but at least it doesn’t look like he’s going to escape and waste his time somewhere else. He just sucks it up stops trying to leave the situation.

Or maybe I’m getting this all wrong and VL is exactly the same and my rage just gets dampened because of Masamisan’s execution of character hmm...

SO. What was his story about anyway? The one he really wanted to share to Dojima?

I mean... it’s obvious enough

First day in town? Spring? Actually mentioned driving a car when literally out of every single persona 4 media at the time was there not a SINGLE mention of Adachi having a car OTHER THAN the same stageplay it’s being mentioned in?

A story, from somewhere around uhh four? five months ago? was something that he remembered so dearly and was willing to share despite it obviously embarrassing him even if he puts the blame on a certain somebody in the same story?

Or maybe it’s because he really had nothing to talk about ever since he realized all his stories from the city weren’t actually that funny or interesting in the first place.

BUT then that would mean out of all the things he could talk about—more whining, complaining, complimenting, small talk—he insisted about talking about this story in particular.

Okay, look. I’m just. Just. As someone who talks too much, of course I have things I actually want people to hear out of all the bullshit that comes out of my mouth. And if the thing I actually want people to listen to doesn’t even get heard, I’d go mad.

Sure, Adachi’d be fine when his complaints or intentionally unfunny jokes get brushed off. But a story of a guy that he thought was so funny, interesting, 面白い gets ignored, he really blew up, even just for a split second, maybe.

And ALL the things that happened in that story—on his first day in Inaba! His car got dented, he had to deal with a weirdo dumbass employee that knew zero personal space, yelled in his ear, who didn’t know how to do their job, got his station reputation messed up on the first day, got his ass grabbed, got (unintentionally?) mocked for his lame stories, and got his car dented for the SECOND time. Probably MORE

And he STILL wanted to talk about it /punches through concrete wall/

yes I’m overthinking about this of course i am

This little tidbit of VL Adachi kinda makes me go insane sometimes—his entire characterization in VL in particular. It was really refreshing to see and how they included both of his characters in it, his facade and how irritated he is of a lot of things underneath. And how flexible his character is immediately working with other characters when there’s sudden improv to balance the situation. Like him and Dojima, Morooka, the attendant, or even Yuuya (hero) himself.

I’ll take Taniguchi-san’s messing around in the VL bonus backstage disc in place of Masami-san being so busy he couldn’t appear in it as often as other characters.

For stagetime that lasted for fifteen minutes or less, my appreciation for VL Adachi, even if he was just comic relief, really rocketed. I say VL, bc Adachi the edgelord he’s supposed to be in literally every other media is something I analyze separately.

I haven’t even gotten to VLE oh my GODDDDD

Like I said, I don’t really regard VLE close to canon but as something to be appreciated for what it is by itself. But the way Adachi was characterized there, in or out of character, still struck me.

---

Yes, there was his strange fan-agreed-canon which is,,, now canon obsession with cabbages (not that that’s a bad thing lmao). There was also him being a lot more jumpy and intimate in a clowny way, patting people on the shoulder or even downright hugging them just to mess around. Even FORGETTING who the same goddam loser who grabbed his ass almost a year ago is. But like, can’t blame him they literally changed their actor (and screenplay writer) AHAHAHA

ha... no more comedy, only dorky sword fights now

(speaking of sword fights I think it’s a fun thought how Mamiya-san [Izanami, also one of the youngest in the cast] admitted it was his first time doing sword fight choreography and even thanked Masami-san and other staff members for guiding him)

One thing unintentionally in character was Adachi accidentally nabbing the sushi overdosed in wasabi. Masami-san didn’t actually account for a joke sushi and didn’t immediately eat it—until Taniguchi-san (who also made Dojima go off his shits compared to VL) jokingly yelled at him and even riled up the audience for him to eat it. He even went off stage to get water just for him to eat the goddam sushi.

And Masami-san did! (kinda choked, but he’s fine).

Continuing from the same scene, while being overly giddy about sushi dinner (and I mean overly--he was singing about it while hopping to the Dojima residence), he tried to remind the two, Dojima and Hayato (hero), that Nanako was sleeping. Probably where she was sick if the scene was translated from the game.

(30:07)

And... the dramatic parts of VLE

Adachi was the one who reported to the IT that Dojima was chasing Namatame in the rain. While Naoto was discussing Namatame’s journal entries, Adachi, as giddy as he is, took it from Naoto’s hands and reveled in the discovery of evidence so childishly(?). He even ran to Dojima when he began regaining consciousness and immediately called the nurses to help him wheel Dojima to the ER.

Then, The Hospital Scene™️, right after Nanako flatlines.

(1:02:02)

Adachi, who recently walked into the scene, immediately worries about Dojima and IT who were ALL crying. He looks down, devastated—before yelling how Dojima’s heading to Namatame’s room.

He yells in terror and the same grief at his injured boss, all while running past and even jumping over children, who fell to the ground sobbing, to get to him. He continues yelling in a pained fashion while immediately reprimanding Dojima to stop. He gets carried by the collar before being tossed to the ground at Hayato’s feet, all while being pat by the same boy.

Dojima makes his speech about how unfair it is for the ‘killer’ to be alive when his daughter isn’t. When he finally falls to his knees, Adachi rises from the ground, humbly saying he’ll do his best to take care of Dojima (or something like that I’m in tears I literally can’t do VLE’s hospital scene i h8 this). He finally starts crying along with everyone else, being pushed away again but still tries again, trying to usher his boss away from the door.

With the help of the guard in front of the door, they all disappear off stage

please... I know this scene doesn’t need that much translation because of how important this scene is in the entire story. and I know my narratives aren’t enough so just,,,, just watch it please it’s so much more than this. everyone’s acting was just spectacular

(1:08:47)

So, after the IT (YOSUKE. JUST YOSUKE. good job Mae-chan) stop themselves from k wording Namatame, it was ADACHI who reported Nanako’s miracle recovery. He ran to the same corridor where they all cried in, even panting and falling to the ground in relief trying to report the good news. Then he pats Hayato on the shoulder and says he’s going to Dojima.

With this... /slaps roof of half of VLE/ ALL of this....adachi.... adachisan.... he Cares™️..... holy shit.....

now. comparing to the game. do you even remember what og Adachi did? did he.. even do anything?????

(56:39)

NO!!! he just stood there!!!! being a bumbling fool but.... inappropriately!!! man. he didn’t act concerned enough.

adachi: /walks into a bunch of kids crying outside a hospital room/ “lmao why tf are y’all crying? did uhhh what’s her face uhhh nanako. did she d word or something? rip, I guess lol” LIKE????? CAN YOU IMPLY FASTER

and then he’s like “wgat hmm Where’s Dojima-san Heading Because That’s Not The Way To His Room 🤔” and only when he’s asked he actually mentions he’s heading to Namatame’s room and still needs to get choked by a first year for the room number like..... zero consideration

and his boss??? where his daughter he loves so much just??? di*s???? and he’s so devastated he’s doing what he can that very moment while he’s so numbed of thinking of the consequences???? And adachi goes “uhh boss that’s illegal” LIKE. BITCH. /punches through a concrete wall but harder/

---

And??? His confrontation scene??? Like, I know they mashed it up w his tv confession scene to save stagetime for other scenes BUT IT WAS SO MMBMBMBMMGN /gestures in a good way/

(1:15:56)

UM?? guy behind everything??? in a vulnerable area where he could easily get physically assaulted bc hes not in the tv world w his persona?? Trash talks women like he absolute misogynist he is??? getting yelled at by a bunch of kids and YELLING BACK IN THE SAME AGITATED MANNER even TAUNTING THEM then and there to GET HIS ASS?????

og Adachi was such a pussy he got caught and just scurried off into the TV world where he ended up having powers like...ok....scared of getting beat down by a bunch of highschoolers unless you have powers...ok....

he only taunted them to get him when he was in the tv world too.....he rlly couldn’t say shit in the real world huh... lol

(yeah yeah this shows how VLE Adachi knew abt his TV world powers which would make you think if he ever went into the tv world and came back out alive. Or he’s really just a badass who doesnt give a shit abt anyone’s opinions and CAN beat anyone’s ass. i have a separate thing abt this but bc i like to laught at vle rather than overthink its own lore i might. not. idk lol)

and ??? VLE Adachi can??? He can swordfight??? he doesn’t even NEED a gun—he even reflects bullets w his blade (but apparently he can still get slapped by a flying fan more often than any other attack). His fight choreo was just...so poggers. He’s like short villains done good—like??? he’s short compared to everyone else!!! but he makes up for it for stuffing all the energy inside him while is bursts out making him him the over energetic gremlin he is!!! go VL adachi!!!!

(am I low key making fun of Madono-san in the TUUSH stageplay I’ve seen four minutes of? maybe)

OK!!! Yes I was gushing abt Masami-san again back to Adachi.

It’s portrayed that while not being afraid to admit his crimes, he also goes out of his way to be a bastard and have the gall to get a bunch of kids to fight him, one on eight. He can use a katana, probably a narrative dark reflection of the hero, Hayato which I thought was nice—and he can fight!!! It also shows his persona, yes, but...it doesn’t make it clear if he’s overwhelmed by his Shadow like in the game, where his eyes were yellow and he was emitting a dark aura.

But it gets interesting how he sees he’s getting overwhelmed and starting to lose his edge towards a bunch of kids. He falls to the ground even banging the floor like a whiny brat while literally the IT tries to tell him to turn himself in. Again, like a brat he tells everyone to shut up—before getting incapacitated. While some of the IT rejoice, he bolts up unaccepting of his defeat—before getting hit in the stomach.

(1:23:54)

And his words from when he drops his katana, “Why..?” He grabs the foldable chair against his stomach, and with a remorseful look in his eyes, he says “I’m sorry..!”

THEN HE BACKFLIPS—then Hayato slashes him.

In a tone of disbelief, he goes “no way...” and collapses to the ground, being possessed by Ame-no-Sagiri.

Blah blah blah then Teddie rockets himself into the eyeball spy cam and then they both explode aaaaa

Teddie survives but I really don’t know where Adachi went. Not even a mention by Dojima if he turned himself in or was ever found—or I need to review VLE for the 48274827482nd time hehe

WHOO then the whole cast appears for the dance number at the end of show YAHOO

[jippy-kandi]

Digimon Adventure: 2020 – Yamato “Matt” Ishida & Sora Takenouchi

Thoughts on the new Digimon reboot series, Yamato, Sora, and the potential for Sorato . . . before it airs on 5 April 2020.

Which . . . is actually today in Japan. Yeah, I’m cutting it really close! But I wanted to write a post about it before it airs. The new Digimon Adventure: series will broadcast several hours from now in Japan -- and then be released online via Crunchyroll “worldwide” (select countries) a few hours after that. Which is great!

I’m going to refer to the series as Digimon Adventure: 2020 just to make it more obvious I’m talking about the reboot. Toei, please fire the person who suggested simply adding a colon to the original title was OK. Thanks.

So, when I first heard about the reboot, I did sigh and think, CAN DIGIMON PLEASE JUST DIE ALREADY?

I was thinking primarily of my wallet, because I have this irresistible urge to purchase almost every single Digimon merchandise with Yamato’s face on it (and usually Sora’s face, too -- as well as Taichi’s, to a lesser extent). So the fact that Digimon was still going? Well . . . yes, my wallet has continued to bleed.

I also thought Toei Animation were being really tired and greedy to reboot Adventure. No new ideas? Really?

But that was when the last Digimon series I watched was Digimon Adventure tri. in 2018 -- which I wasn’t particularly impressed with (save for Chapter 3: Confession).

Now?

I’m actually pretty excited about the reboot -- thanks largely due to having seen Digimon Adventure: Last Evolution Kizuna a month ago. It even fuelled me to rewatch tri.! Which is quite a feat, because it was such a slog for me to get through the first time (. . . and still a slog on a rewatch). But Kizuna made me hungry for more Digimon!

So Digimon Adventure: 2020 has turned out to be a godsend (so far . . . that could change after it airs). I haven’t thought so much about Digimon in well over a year -- and Kizuna has made me think about it quite a bit this month.

My first thought about the first Digimon Adventure: 2020 key image was that, from the little we can see of it, Yamato’s purple top looked awful (I focus on Yamato a lot, if you couldn’t tell). Thankfully, it does look a lot better now that we can see it properly! In fact, I quite like Yamato’s reboot outfit.

But it really feels like this conversation happened in the Toei Animation offices:

Staff A: “Let’s modernise Digimon Adventure for a 2020 audience.” Staff B: “How about, instead of Yamato wearing a green turtleneck . . . he wears a purple turtleneck?” Staff A: “BRILLIANT!”

I’m sure they came up with the title for the series in the same meeting. *cough*

So I guess “modernising” the kids means tweaking their outfits a bit. I think Taichi, Jou, Koushirou and Mimi look fine, because their new outfits most resemble their old outfits. I also like Yamato’s, as I said. Sora’s took me back a little at first, because there’s just too much pink, but I’ve since gotten used to it and thinks she looks cute. Takeru and Hikari’s outfits are the worst, I think.

But I like that Yamato’s purple turtleneck “matches” quite nicely with Sora’s pink everything. And that they’re both wearing wristbands on opposite wrists! Sora’s appears to be a normal red sports wristband, and Yamato’s is a green handkerchief (obviously a throwback to his green turtleneck). Cute!

I also like that Sora is being “motherly” over Takeru in the first key image . . . because that was part of the Sorato foreshadowing in the original continuity. ;)

We can assume that the reboot is targeting two different audiences: the primary audience being adolescent boys (and girls, to a lesser extent) in 2020, and the secondary audience being the generation of children who grew up with the first series -- and are now adults.

Us.

So they want to sell more Digimon toys to a new generation of kids, because kids buy (or force their parents to buy) the most merchandise and generate the most money. Simple.

But they’re also betting on the old generation to be interested in it as well, and generate even more money on merchandise sales (as has been the case for tri. and Kizuna). That’s why they’re using the original Adventure characters, instead of just creating an entirely new Digimon series from scratch.

So while they’re going to aim to introduce a new generation to Digimon with an updated world, I think they’ll be aiming to “please” us old fans, too -- so I don’t think they’ll stray too far with the characterisations.

From what little information we have so far, it looks like it’s pretty much the same characters, placed into a modern 2020 world. It’s an entirely new story (canon), and there are modern updates to their clothes and accessories (tablets, smartphones).

But Yamato and Takeru still live apart due to their parents being divorced, and Taichi and Sora are still childhood friends . . . so it looks like their character backgrounds are still the same in the reboot.

Even so, a different staff can reinterpret their characters completely differently to the original staff. So even if the aim is to keep the characters the same, I think they’re going to end up being at least a little bit different, just because different people are involved in their creation this time around.

Is it possible Yamato won’t even be my favourite character in the reboot?

Yes.

It’s highly unlikely, because of my sheer 20-year attachment to him (HOLY FUCK I’M OLD T_T), but the possibility exists.

This has actually happened to me once before. Yamato has been my favourite fictional character of all time since I was introduced to him in, I think, 2000? It might have been late 1999.

But before Digimon aired on Western shores, my favourite fictional character was Raphael from the Teenage Mutant Ninja Turtles ‘90s movies (and the cartoon series, to a lesser extent). As a kid, I was completely obsessed with the very first TMNT ‘90s movie.

However, in Nickelodeon’s 2012 reboot of the TMNT series, my favourite character was Leonardo (best fictional leader of all time, people). He’s my favourite in the most recent reboot movies, too. But Raphael is still my favourite in the ‘90s movies -- I wish they hadn’t changed his character to that of a super typical brute in the reboots (which is what tri. almost did with Yamato, too. SIGH. MY EMO BOYS ARE NOT BRUTES).

It’s such a fine line between someone who pretends to be brutish to hide their emotions, and someone who is an actual brute -- because just having deep emotions doesn’t cancel out a character being a brute, if they’re just being a complete brute with their actions . . . it’s a really fine line! The TMNT ‘90s movie and original Digimon Adventure series got it right, but the TMNT reboots this past decade and tri. got it wrong.

But I don’t “force” myself to like things. If Toei screws with Yamato’s characterisation too much, he might not be my favourite character in the reboot. Tri. Yamato came close to making me dislike him in a few scenes in the first two tri. movies -- but thank god he got a lot better as the series went on, otherwise I might’ve dropped him, lol.

Just going off the official Toei Animation profiles, the 2020 characters appear to be pretty much the same with the same backgrounds. But there is an entirely new cast of voice actors for all of the kids (the digimon cast are the same from the original series, except Tailmon’s VA).

I think the reason the original voice cast for the kids didn’t return is because Taichi and Sora’s original VAs, Toshiko Fujita and Yuuko Mizutani, have unfortunately passed away (RIP), so it was an “all or nothing” thing. It would’ve been nice to have Yuuto Kazama back as Yamato, though.

Reboot Yamato will be voiced by Daisuke Namikawa (Daigo in Digimon Adventure tri.), and reboot Sora will be voiced by Ryoko Shiraishi (Akari in Digimon Xros Wars). I haven’t seen Xros Wars, so I have no thoughts on Sora’s new voice, but . . . Daigo as Yamato? Really?

I rewatched a scene where Daigo and Yamato converse in tri., and Yamato definitely has a lower voice than Daigo (who has a low voice himself), so I guess it makes sense for Daigo to be younger 11-year-old Yamato. (Although . . . Yamato has always had a too-low voice for a kid, lol.) But I’m really looking forward to hearing the entire new cast!

But if it’s possible that I might not like reboot Yamato, is it also possible I won’t even ship Sorato in the reboot?

Yes.

I don’t think I’ve ever said this before, but the very first time I watched tri. (Chapter 1: Reunion), I thought to myself: If Yamato is going to act this way, Sora should just ditch him for Taichi.

Yep.

And this was because Yamato and Taichi switched roles in tri. (especially in the first two movies). I just don’t see Sora being attracted to guys like Yamato in Reunion (who was acting like Taichi in Adventure), but I do see her being attracted to guys like Taichi in Reunion (. . . who was acting like Yamato in Adventure). Thankfully, Yamato and Taichi go back to their usual roles/characterisations by the end of tri., so I still shipped Sorato in tri. and all is well in the world. ^_^

But if the reboot characterises Yamato and/or Sora a bit too differently that I just don’t like them together . . . I’m out. Again, I’m not going to “force” myself to like Sorato if I don’t think their personalities are compatible, or if there is zero connection shown between them in the reboot. There’s no point to me, personally, to ship what’s not there. For example, I actually like Mimato -- but I don’t “ship” it simply because it’s completely non-existent in Adventure.

But I guess, if there really are zero connections shown between Yamato and Sora in the reboot, I might still “like” them together anyway (casually) just from the fact that I have an attachment to them from the original continuity. But I hope there’s an actual connection shown in the reboot so I can ship Sorato harder, lol.

Hiroyuki Kakudou, the original series director of Digimon Adventure, told Misato Mitsuka, the new series director of Digimon Adventure: 2020, to do whatever he likes because it’s an entirely different canon. So Kakudou doesn’t feel “protective” of his old series from the new series, because he knows it’s not touching his canon.

(FACT: Yamato and Sora got married and had two adorable babies together in Digimon Adventure. The reboot can’t change that.)

At the moment, I think it’s likely that Digimon Adventure: 2020 will just be one season -- but who knows how greedy Toei will get? Maybe there could actually be a 02 where the original cast are the main characters!? (I personally would have wanted that, instead of the 02 we got with the 02 cast. :P)

Can you imagine if this reboot got a new season 15 years later a la tri.? Poor reboot Yamato will be forced into purple tops for the next 20 years, lol.

The reboot isn’t being narrated by a man this time (at least, a woman was hired to do the narration . . .), so Takeru is definitely not telling the story this time. I also don’t think they’ll do an epilogue, simply because it was done last time -- and they wouldn’t want to “restrict” themselves to staying true to it, like the original continuity did. But . . . what if the reboot wants to follow and frame the series with a similar narrative, and there is a reboot epilogue?

If that’s the case, I think it’s highly unlikely they would go with “another” canon couple/s, because it would be odd and disrespectful to the old continuity.

Can you imagine if Sailor Moon and Tuxedo Mask never hooked up? But Tuxedo Mask and Sailor Mercury were canon instead?

Yeah, insane.

Let me be blunt: I don’t think Taiora has a chance in hell of becoming canon in the reboot.

Will Taichi and Sora be portrayed as close childhood friends? Yes.

Will they have shippable moments? Probably.

But will they date and end up together? Nope.

As I said, I think it would be really weird (and even disrespectful) for there to be an original canon where Sorato is official, and a reboot canon where Taiora is official instead of Sorato. I just really don’t see it happening.

But, having said that . . . I could end up shipping Taiora in the reboot, and hoping like all Taiora fans that it does become canon, lol. The irony would be amazing. XD;

I think the reboot was/is being worked on as a one season idea. So even if they choose to do a second season for it later, that shouldn’t affect their plans for this first season (until towards the end, anyway, when the possibility of a second season can come to fruition). So let’s accept that the staff have worked on it as a one season concept for now.

It won’t have “romance” because it’s a shounen anime aimed primarily at prepubescent boys and the characters are 8 to 12. I think we’re going to get exactly the same treatment as the first Adventure -- and people worldwide will just naturally ship all the friendships between the kids.

Since the reboot is not the brainchild of Kakudou, I doubt they’ll be foreshadowing anything. But they could?

But if they don’t foreshadow Sorato, it does open up the possibility that they might make Sorato more overt instead? Even with no romance, they could make them better friends . . . because, remember, they do have knowledge of the original continuity. And I just don’t see them swaying from it (or against it) -- but that doesn’t mean they need to make it “official”. Especially as they’re just 11-year-old kids and there’s probably no epilogue. (But it would still be really amazing if the reboot made this a reality.)

But Sorato or no Sorato: I hope Digimon Adventure: 2020 is a good children’s anime, even if I’m way too old to be watching it. I hope they don’t just rehash all the old growth of the kids shown in the original continuity . . . I can’t handle another tri..

I guess I’ll make another post with my first impressions of the first Digimon Adventure: 2020 episode a day later. Maybe. It’s only 20 minutes, right!? But I don’t think I’ll be writing about it every week . . . that’s too much Tumblr for me (especially after I ignored Tumblr for a year). ^^;

Or maybe I will write a weekly post . . . because the world has gone crazy with the coronavirus pandemic. Stay safe, everyone!

[recentanimenews]

My Favorite Art Books of 2019

This year I reviewed 62 art books, a dip again from the 74 I did last year, and 82 back in 2017. I attribute the reasons for the falling numbers to a combination of reduced readership for my blog ( less readers = less conversion, which unfortunately gives me less resources to procure books ) as well as the comparatively smaller number of interesting Japanese art books that I felt was worth picking up.

Despite the reduced quantity, there’s still plenty of great art books that were published in 2019, and these particular 10 are my favorites. I hope you’ll find something of interest in the list, and here’s to a happy 2020 ! –

1) Spider-Man : Into The Spiderverse – The Art Of The Movie

Published in late December 2018, this book narrowly missed my fav art books list of 2018, so I’m including it here for posterity.

Winner of the 2018 Academy Award for Best Animated Film, and a movie I’m super proud to have worked on, this book explores the stunning concept art created for the film, with a surplus of sketches, storyboards, character/environment designs as well as color scripts. The beautiful images that you see in the film were greatly informed by the amazing visuals the concept artists created, so if you like the movie, you’ll the art work in this book too.

Read the full book review | Buy From Amazon.com | Buy From Amazon UK | Buy From Amazon Japan

2) Tokyo At Night – The Artworks of Mateusz Urbanowicz II

Tokyo based Polish illustrator Mateusz Urbanowicz‘s first art book Tokyo Storefronts was one of my favorites in 2018, and he’s back again this year strong with Tokyo At Night, a collection of delightful watercolor illustrations that explores the the moody nocturnal sights of the sprawling, skyscraper topped metropolis saturated with neon lights, mysterious back alleys, wet cityscapes lit by reflections and more. It’s a stunning art book from start to end, and I love it.

Read the full book review | Buy From Amazon Japan | Buy From Amazon.com | Buy From Amazon UK

3) Real Size – Katsuya Terada Art Book

Renowned Japanese illustrator Katsuya Terada’s Real Size is a superb collection of his black marker art works, many of which were created during his live drawing events. The title refers to the print size of the reproductions which are at 100% scale of the original art works, large mural pieces which are cropped and presented across several pages in the book. The complete drawings are also included, scaled down to 16% of the original size.

Read the full book review | Buy From Amazon Japan | Buy From Amazon.com | Buy From Amazon UK

4) Making Solo: A Star Wars Story

Industrial Light & Magic Presents : Making Solo: A Star Wars Story is a handsomely photographed making of book by Rob Bredow, the SVP, executive creative director, and head of Industrial Light & Magic.

As a child, the production photographs of the AT-ATs from The Empire Strikes Back inspired Rob to become a filmmaker, and in meticulously documenting the progress of the production on Solo he hopes to do the same – to inspire the next generation of artists, engineers and storytellers.

The beautiful set photographs gives readers an intimate glimpse into the journey that Solo took from pre-production, production, and post-production, fully documenting how this film came to the big screen.

This book is a great companion for the equally fantastic Art Of Solo – A Star Wars Story, which focuses on the concept art behind the film ( and incidentally one of my fav art books of 2018 ).

Read the full book review | Buy From Amazon.com | Buy From Amazon UK | Buy From Amazon Japan

5) The Idol – Sushio

Sushio is a Japanese animator/illustrator who started his career as an animator at studio Gainax for the TV animation series Neon Genesis Evangelion. After working on many renowned anime series and movies such as One Piece, he took on the character design work for the anime hit series Kill La Kill, catapulting his status in the animation world.

This book is his long-awaited first commercial collection that looks back over his career to date. It features notable works from Kill La Kill, Gurren Lagann, Momoiro Clover Z, along with a panel illustration of Anime Matsuri 2015, his work overseas for an annual anime convention held in Texas, and much more. This book also features Sushio’s illustrations of AKIRA: two original illustrations depicting the imaginary post-AKIRA world, which was officially approved by Katsuhiro Otomo himself, and two illustrations taken from the Tribute to Otomo art book.

Read the full book review | Buy From Amazon.com | Buy From Amazon UK | Buy From Amazon Japan

6) The Making Of Alien

The Making Of Alien is an in-depth and comprehensive book charting the complete story of how Alien was made, featuring new interviews with Ridley Scott and other production crew, and including many rarely-seen photos and illustrations from the Fox archives.

I already own several excellent books on the making of the Alien films, Alien The Archive and Aliens – The Set Photography just to name a few, but this huge hard cover volume explores plenty of material that I’m only seen for the first time, most notably the huge collection of “Ridleygrams”; detail storyboards draw by the director himself, as well as on set production photographs and a giant depository of concept art pieces by several artists like Eliot Scott, Chris Foss and Ron Cobb.

But the book isn’t simply your regular coffee-table book glossed over with just pictures and images. The small print text accompanying the visuals are cramped with detailed production stories and are more scholarly than just a casual read.

As a big fan of the franchise I’m absolutely delighted with this book, and I really look forward to the upcoming Making Of Aliens book, also by J.W. Rinzler.

Read the full book review | Buy From Amazon.com | Buy From Amazon UK | Buy From Amazon Japan

7) Children Of The Sea Background Art Book

Children Of The Sea ( Kaiju No Kodomo ) is a Japanese animated film directed by Watanabe Ayumu and produced by Studio 4°C, based on the highly acclaimed manga by Daisuke Igarashi. The art direction and background art is supervised by Kimura Shinji, who previously bought us the amazing background art in Tekkon Kinkreet and Steamboy.

Published in the same format at the fantastic Shiro ( White ) background art book for Tekkon Kinkreet, this hardcover volume is bursting at the seams with stunning background art painted by Kimura Shinji, with some 250 pages of art work.

Read the full book review | Buy From Amazon.com | Buy From Amazon UK | Buy From Amazon Japan

8) Hellboy – 25 Years Of Covers

I enjoy every page and panel of Mike Mignola’s Hellboy comics, but the art covers he has illustrated for the comic are something special; often drawn with just that extra, delicate detail. Over the years as the volumes of Hellboy and the shared universe BPRD grew it became harder and harder to keep track of all the covers that he has illustrated, and I started hoping for an art book that is dedicated to just the covers. Hellboy – 25 Years Of Covers is exactly that.

This hardcover volume features more than 150 full-page cover pieces from Mike Mignola, Richard Corben, Duncan Fegredo and more, all neatly collected for easy viewing and enjoyment.

Read the full book review | Buy From Amazon.com | Buy From Amazon Japan | Buy From Amazon UK

9) Ikegami Ryoichi Art Works

An art book that is long overdue, Ikegami Ryoichi Art Works is a superb collection of illustrations from the famed manga artist of Crying Freeman, Sanctuary and Mai The Psychic Girl.

Running at a sumptuous 288 pages, the art book is split into 2 separate volumes, with one book dedicated to male characters, and the other female. While a good portion of both volumes feature illustrations from Crying Freeman, likely the artist’s most famous work; there’s still a good spread of content from Ikegami’s other mangas, and this is the biggest collection of his art work published yet.

Read the full book review | Buy From Amazon.com | Buy From Amazon UK | Buy From Amazon Japan

10) Akira Art Of Wall Art Book

This book arrived just in time to be included in this year’s list, and also made for a very splendid Christmas present.

Four sets of giant Akira murals ( see the pictures I took here, here and here ) used to decorate the construction walls of the Parco Shibuya shopping mall in Tokyo from the period of 2017-2019 are fully reproduced in this stunning boxset. The panoramic art work looks spectacular when fully extended, and would immediately class up any wall lucky enough to be adorned with it. I think this might very well be my favorite art book of the year, among all my favorites.

Read the full book review | Buy From Amazon.com | Buy From Amazon UK | Buy From Amazon Japan

Besides the 10 books that I’ve listed above, some other noteworthy mentions include Marvel Monograph: The Art Of Esad Ribic, Perfect Blue Storyboard Book ( New Edition ), The Art Of Kazuchika Kise and Bram Stoker’s Dracula – Mike Mignola Graphic Novel ( B&W edition ).

You can take a look at the full list of 2019’s art book reviews here, and I also recommend my favorite art books of 2018/2017/2016/2015/2014/2013/2012.

If you need help with ordering on Amazon Japan, the FAQs below will guide you through, step by step.

One small request – Due to the falling readership of my blog, I’ve been finding it harder and harder to purchase more books for review. I kindly ask that you use any of the Amazon purchase links in this post or anywhere on my blog to buy books; it won’t cost you anything, but the affiliate fee I earn as a result will allow me to continue reviewing more books. Thank you !

And lastly, I’ll love you hear about your favorite art books this year too, if you have any to share. Happy New Year !

The post My Favorite Art Books of 2019 appeared first on Halcyon Realms - Art Book Reviews - Anime, Manga, Film, Photography.

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Related Posts:

My Favorite Art Books of 2018

My Favorite Art Books of 2015

My Favorite Art Books of 2017

My Favorite Art Books of 2016

My Favorite Art Books of 2014

By: yonghow

[tkmedia]

Ring Ratings Update: JoJo Diaz and Tank Davis climb the divisional rankings

Ring Ratings Update: JoJo Diaz and Tank Davis climb the divisional rankings

Davis swung for the fences with almost every shot he launched at Barrios. Photo by Amanda Wescott-SHOWTIME 17 Jul by Doug Fischer Two Ring-rated junior lightweights recently invaded the weight classes north of the 130-pound division with impressive success. Joseph Diaz Jr., the No. 4-rated junior lightweight, established himself in the 135-pound division by outpointing Javier Fortuna, The Ring’s No. 6-rated lightweight, over 12 competitive rounds on July 9. Diaz (32-1-1, 15 KOs), a former featherweight contender/title challenger, shot up the junior lightweight rankings by outpointing Tevin Farmer for the IBF title last January. However, in February, the 2012 U.S. Olympian lost his title on the scales prior to his first defense against Shavkatdzhon Rakhimov, who held him to a majority draw.

Joseph Diaz Jr. did not allow a cut or the Javier Fortuna’s difficult style to keep him from making a successful lightweight debut. Photo by Sye Williams / Golden Boy Promotions Diaz was in limbo for a few months but when Ryan Garcia withdrew from a scheduled bout vs. Fortuna, the 28-year-old Southern Californian seized the opportunity to add the scalp of a legit 135-pound contender to his already impressive ledger (and to perhaps make up for his disappointing performance vs. Rakhimov). He did that via scores of 117-110, 116-111 and 115-112. Two weeks prior to Diaz’s lightweight debut, the No. 1-rated junior lightweight Gervonta Davis wore down Mario Barrios, The Ring’s No. 7-rated junior welterweight, to an 11th-round stoppage. Davis’ 140-pound debut was his third consecutive fight contested at a different weight class. In December 2019, Davis (25-0, 24 KOs) fought at lightweight, stopping faded veteran Yuriorkis Gamboa in the 12th round to mixed reviews. However, the 26-year-old Baltimore native’s next bout, a chilling one-punch stoppage of Leo Santa Cruz in the sixth round of a junior lightweight title bout, produced The Ring’s 2020 KO of the Year. He followed up the Santa Cruz victory by jumping 10 pounds north to take on the previously unbeaten Barrios, a gutsy young gun who had considerable height and reach advantages but was still overwhelmed by the stalking southpaw boxer-puncher.

Davis was just as formidable at 140 pounds as he was at 130. Photo by Amanda Westcott/ Showtime Boxing The Ring Ratings Panel had much to discuss and deliberate following Diaz’ and Davis’ victories. Where does Diaz rank among Ring’s top 10 lightweights? Should he remain ranked at junior lightweight? Was Davis’ successful 10-pound jump, from junior lightweight to junior welterweight, worthy of cracking the pound-for-pound rankings? Should Davis, who has struggled to make 130 pounds in the past and appears to have big-fight options at 135 and 140 pounds, continue to be ranked at junior lightweight? Where should he be ranked in the loaded junior welterweight division? After a lengthy back-and-forth between panelist Anson Wainwright and Managing Editor Tom Gray, it was determined that Davis would remain outside the pound-for-pound top 10, but the Panel agreed that he could be ranked at both junior lightweight and junior welterweight (No. 6). Diaz would exit the 130-pound rankings and make his place among the top 10 lightweights (at No. 6). Read on for details on Davis and the pound-for-pound top 10, and see the Ring Ratings Update section for the changes that have taken place in almost every weight class over the past 40 days as well as the Panel’s comments on significant movement. *** As usual, Wainwright got the conversation started by offering his opinion on Davis’ pound-for-pound merit (as well as the placement of Vasiliy Lomachenko, who also fought on June 26); Gray was eager to make it a debate. “Lomachenko showed he’s still plenty good enough by stopping Masayoshi Nakatani. I’d move him up one place (in the pound-for-pound rankings),” said Wainwright. “I hear talk of Davis entering the pound-for-pound lists growing but not yet for me.” Seeing that both beat the same level of opponent (solid contenders) in a similar manner (late stoppage), Gray didn’t feel right about advancing Lomachenko without at least considering Davis. “This is an awkward one,” said Gray. “We all expected Loma and Tank to prevail – I’d picked both guys to win on points – but while there’s no shocks, I was still impressed that they secured stoppages. Both Nakatani and Barrios were Ring ranked in their respective divisions, but there are differences. Stylistically, I thought Nakatani was tailor-made for Loma who was always going to be multiple steps ahead and have his way. Davis, for me, faced the tougher challenge because the size differential was even bigger, and Barrios proved a tough nut to crack. If I’d to pick one guy to move forward it would be Tank to No. 10. I hate the idea of moving (Kazuto) Ioka out – as in REAL hate – but those are the breaks. If Davis doesn’t come in, then I’d be against Loma moving up.” Wainwright stated that he was in favor of keeping Ioka at No. 10 (“over Davis”). “(I know it’s) not a popular move to our American fans, but Ioka is a real four-weight world champion,” said Wainwright. “His win over Kosei Tanaka is better than anything Tank has done so far. “I always enjoy watching Tank, however, his resume isn’t as impressive (as Ioka’s). He’s not a (real) two-weight world champion, let alone three-weight champion. His WBA title wins are bogus. The real lightweight champ is Teofimo and the real champ at junior welterweight is Josh Taylor. I’m not a hater, just keeping it real. “Tank is probably next in, though if Jermell Charlo looks impressive (vs. Brian Castano) he’ll enter that conversation.” Gray replied: “I’m ignoring governing body belts. The whole situation is a farce and I’m as vocal about that as anyone out there. We’ve just had a WBA junior welterweight title fight when there’s an undisputed champion at that weight. I don’t do crazy – never did! That aside, Davis KO’d the No. 7-rated fighter at 140. That’s impressive. “Anyway, I rate Ioka strongly, but we need to keep some balance here. A lot of people pissed on Tank’s win over Santa Cruz because Leo had come up in weight. Newsflash: Tanaka was DEBUTING at 115 against Ioka. What’s different? Santa Cruz was also a more decorated fighter than Tanaka. Add in Pedraza and Barrios, and I don’t think there’s much in it. I’m not all-in on Tank hitting the list, but if he isn’t, then I can’t promote Loma with a straight face. Nakatani was made to order.” Wainwright defended Tanaka’s rank and resume.

Kazuto Ioka, No. 10 in The Ring’s P4P rankings, finishes Kosei Tanaka in dramatic fashion. Photo by Naoki Fukuda “Yes, Tanaka was debuting at 115 but he was a three-weight world champion seeking to join his countryman as a four-weight world champion. Many favored Tanaka coming in. Tanaka, in some people’s eyes, was pound-for-pound worthy in his own right. Ioka was absolutely brilliant against him, in my eyes that was a pound-for-pound worthy knockout. Nobody expected that spectacular and definitive a win. “Tank beat a guy he was widely favored to beat. Wasn’t Tank a 5/1 betting favorite? I appreciate he still had to go in there and do it. He had some issues before getting the KO. I think the move up in weight was calculated and they picked Barrios because he had a belt. We all know Tank isn’t fighting Taylor anytime this decade. “To me, I’d have Loma above (Juan) Estrada because many believed Estrada was fortunate to get the decision over Chocolatito. Lomachenko is a generational talent. The most sublimely talented fighter in the world. He still dominated a fighter who gave Teofimo (Lopez) a difficult night’s work. I’d have it: No. 8 Lomachenko, No. 9. Estrada, and No. 10. Ioka.” Panelist Michael Montero weighed in: “Casual fans will get caught up in the moment, but let’s keep it 100 here. The reality is that Tank has not fought an elite opponent in their prime since Jose Pedraza in 2017. He’s got pound-for-pound explosiveness, excitement and star potential, but a rather pedestrian resume thus far. Fighters like Jermall Charlo are far more worthy of P4P consideration. Lomachenko dominated a more proven fighter than Barrios last night, hardly losing a round, while Davis was behind heading into the second half of his bout. Sure, both opponents were tailor-made for them, but one fight was competitive, the other wasn’t. I vote for our P4P list to remain the same. Teddy Atlas may not like it, but oh well.” Panelists Adam Abramowitz, Daisuke Sugiura and Diego Morilla (and Yours Truly) agreed with Montero’s suggestion to leave the pound-for-pound rankings unchanged. RING RATINGS UPDATE (as of July 9): Pound for pound – Naoya Inoue remained at No. 2 following his body shot clinic and third-round KO of unrated Michael Dasmarinas. Lomachenko remains at No. 9. “Inoue did what top guys do against less than stellar opponents,” remarked Wainwright. Heavyweight – Alexander Povetkin exited the rankings after announcing his retirement. Joe Joyce (12-0, 11 KOs) entered at No. 10. Light heavyweight – Lyndon Arthur advanced to No. 9 following a ninth-round stoppage of unrated Davide Faraci. Gilberto Ramirez (42-0, 28 KOs) entered at No. 10 following a four-round stoppage of former contender Sullivan Barrera. Umar Salamov, previously No. 8, exited the rankings. “Really good win for Zurdo, who I’d like to see enter the top 10,” said Wainwright. “Lyndon Arthur seemed to be going through the motions until the stoppage. I toyed with a move up but think Arthur should stay put at No. 10, and Ramirez to enter at No. 8 with Umar Salamov, who struggled last time (vs. Sergei Ekimov), to exit.” Retorted Gray: “I’ve not seen Zurdo-Barrera yet, BUT Sullivan, 39, was having his first fight in two years and hadn’t won a fight in almost three years. It’s great to have Zurdo back, but based on consistency, that is not the type of victory that earns you a Ring rating.” Replied Abramowitz: “I like Arthur at No. 9 and Ramirez at No. 10.” Montero and Mulcahey (as well as Yours Truly) agreed with Abramowitz’s suggestion. Super middleweight – David Lemieux remained at No. 7 following a two-round TKO of unrated David Zegarra. Feder Chudinov remained at No. 8 following a 12-round unanimous decision over former contender Ryno Leibenberg. Middleweight – Jermall Charlo remained at No. 2 following a dominant but tougher-than-expected unanimous decision over unrated Juan Macias Montiel. Jaime Munguia advanced to No. 6 following a six-round stoppage of former contender Kamil Szeremeta. Zhanibek Alimkhanuly moved to No. 7 by stopping Rob Brant after eight rounds. Brant exited the rankings following the loss. Felix Cash (14-0, 10 KOs), the British/Commonwealth champ, entered at No. 10. The majority of the Panel agreed with Cash entering the rankings, except for Mulcahey and Morilla, who preferred Esquiva Falcao. Junior middleweight – Jarrett Hurd remained at No. 1 despite dropping a 10-round split decision to unrated Luis Arias in a middleweight bout. Tim Tszyu remained at No. 7 following a third-round TKO of unrated Steve Spark. Erickson Lubin advanced to No. 4 following an impressive sixth-round KO of former unified titleholder Jeison Rosario, who exited the rankings. Magomed Kurbanov (22-0, 13 KOs) entered at No. 10. Wainwright: “Hurd was fighting up at 160. He (is) our No. 1 (but after this) damaging loss, I would take him (out) as he lost up in weight and we don’t know if he’ll be back at 154 and it certainly won’t be for a fair while.” Abramowitz: “I don’t think we can punish Hurd for losing a fight at the next weight class limit.” Wainwright: “I went back and forth on this. It’s difficult to keep (him) at No. 1. He lost to a guy who isn’t close to the top 10 at middleweight.” Abramowitz: “At middleweight.” Gray: “Yeah, I guess Hurd should stay put, but it’s an extra couple of pounds that’s keeping him there. He didn’t look top level and after a listless showing at 160, I doubt he’s going to look any better at 154. I also doubt he’ll ever be that low again. Let’s keep an eye on it and keep him where he is for now.”

Some Panel members believed Jarrett Hurd should have dropped in the 154-pound rankings after being upset by middleweight Luis Arias. Photo by Amanda Westcott/SHOWTIME Mulcahey: “It feels odd that if a boxer fights a keep busy bout and losses we simply ignore it just because he fought it at a slightly higher weight. I can understand not lowering King Tug (who jumped from featherweight to face Chris Colbert in a junior lightweight bout) since he moved up a class and did it on very short notice against a top 10 opponent. However, with Hurd, he just did not want to fight at his ranked weight (not that he could not make the weight), had plenty of time to prepare and still lost to Luis Arias who came off a two-year layoff and a defeat and not even rated in the top 20, all of which is harder to ignore. We are basically rewarding Hurd just for not making weight. It is not like they announced a trial run at middleweight (like a Munguia last year) with plans to return to 154, they just did not want to struggle to make 154 for a non-title fight.” Abramowitz: “Hurd-Arias was never supposed to be a junior middleweight fight, (it was) always at middleweight. To suggest he didn’t want to make weight is unfair in my opinion. Fighters can fight wherever they choose. He wanted to fight at middleweight and he did, so be it. Lesson learned. (It) has no bearing on what he did at Junior middleweight.” Gray: “I get both sides, BUT it’s no biggie. If Hurd was to schedule another fight at 160, then we know where his future lies. I personally think the weight drop to 154 was killing him, and the fact that he lost at middleweight isn’t great news for his career going forward. He might just be on the decline.” Wainwright: “In a battle of former Jermell Charlo victims Erickson Lubin recovered from a shaky moment to stop Jeison Rosario for a career best win. Lubin up to No. 4. Rosario had his Buster Douglas moment against Julian Williams to win the IBF/WBA titles. He’s 0-2 since and though he’s been in big fights hasn’t looked close to the level he was when he beat Williams. I’d take him out. Carlos Adames impressively took out Alexis Salazar in three-rounds. Adames seems to have rebounded from the Patrick Teixeira loss well. Sometimes you’re in the right place at the right time and I’d bring him back in at No. 10.” Mulcahey: “I second Lubin going up to No. 4, and also am for Rosario dropping out since he seems more of a gatekeepter type than contender who has moments but nothing sustained. Adames’ foe had a pretty built up record, Alexis Salazar had not beaten anyone of note for five years but credit to Adames for taking him out in fine fashion. I would vote for Magomed Kurbanov to enter before Adames. “By the way, I am liking Tszyu’s mini-me kid more and more. It seems he inherited that assassin mentality as well as his looks. No movement of this particular win, but I see many more in his future.” Junior welterweight – Davis entered at No. 6 with an 11th-round stoppage of Barrios, who dropped to No. 9. Subriel Matias re-entered at No. 8 by stopping Batyrzhan Jukembayev after entertaining round. Jukembayev exited the rankings. Wainwright: “Barrios had his moments but Davis came alive in the eighth and finally got the job done in the 11th. I don’t think he’s as good at 140, (but it’s) still going to take a really good fighter to beat him. There are several of them at 140, notwithstanding the real champion in the division Josh Taylor. I’d have Davis at No. 8 and Barrios to drop to No. 10.” Mulcahey: “Tough call on Tank. These one-good-win-at-a-weight-and-nothing-more are hard to judge but he has also beaten Pedraza (at lower weight) whom we have had rated in the top 10 at 140. I would say he takes the place of Barrios at No. 7 and can see him as high as No. 6 since (Ivan) Baranchyk is pretty limited. I see Barrios dropping to No. 10, he showed he belonged but could not deal with physicality of Tank.” Montero: “So what do we do with Tank here? do we rate him at 140? I believe (Mayweather Promotions’ Leonard) Ellerbe himself said this was a ‘one and done.’ They’ll be going back to 135, but who knows? As for Barrios, he showed tremendous heart last night, but I’m not sure I’d favor him to beat Matais, Ergashev or Pedraza. Could see him dropping to No. 9, or should we take him out entirely and bring in Davis at No. 10?” Morilla: “I can see Davis as high as No. 6 here. He has more than enough to be the favorite against anybody in the 6-10 range in our rankings right now. I am not sure he’ll stay in this weight, though. As for Barrios, I’d bring him down to No. 9. He won more than enough rounds (at least three, in my card) against Davis to earn that spot.” Lightweight – Lomachenko remained at No. 1 following his ninth-round stoppage of Nakatani, who dropped to No. 10. Devin Haney remained at No. 3 following a unanimous decision over Jorge Linares, who remained at No. 7. Diaz entered at No. 6 following his UD over Fortuna, who Fortuna dropped one spot to No. 8. Wainwright: “I could see Diaz behind veterans Campbell and Linares on work at the weight but am also looking a little to the future with both those guys coming off loses and appearing to be high-level gatekeepers. I propose the following 135-pound ratings order: C. Lopez, 1. Loma, 2. Garcia, 3. Haney, 4. Commey, 5. Diaz, 6. Campbell, 7. Linares, 8. Fortuna, 9. Kambosos and 10. Cruz.” Gray: “I like Anson’s ratings here. I toyed with moving JoJo above Commey, but Commey has a few notable wins at the weight.” Daisuke: “I’d like Diaz behind Campbell and Linares, so at No. 7 at 135. A good win for JoJo for sure, but for now I like the two veterans experience at this weight more. I still think Linares can beat Diaz.” Mulcahey and Abramowitz suggested a No. 7 and No. 8 rating for Diaz, respectively, but Montero agreed with Wainwright’s “lightweight realignment” (as did I). Junior lightweight – Davis remained at No. 1. Diaz exited the rankings. Chris Colbert advanced to No. 7 following a unanimous decision over featherweight contender (and late sub for Yuriorkis Gamboa) Tugstogt Nyambayar. Shakur Stevenson remained at No. Read the full article

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Dynit, tutti gli anime in simulcast del palinsesto estivo

Ad affiancare No Guns Life e Sword Art Online arrivano Deca-Dence e Peter Grill!

Svelate da Dynit le nuove serie animate acquistate per l’Italia che a breve potremo vedere in streaming su VVVVID e su Amazon Prime Video, sottotitolate in italiano e in contemporanea con la trasmissione giapponese.

NOVITÀ

DECA-DENCE

Originale serie sci-fi prodotta dallo studio Nut (Saga of Tanya the Evil), diretta da Yuzuru Tachikawa (Death Parade, Mob Psycho 100) e sceneggiata da Hiroshi Seko (Vinland Saga, Inuyashiki). Il character design è stato concepito da pomodorosa, illustratore coinvolto di recente anche in “Listeners”, adattato poi per l’animazione da Shinichi Kurita (Bokura wa Minna Kawai-sou, Death Parade). La colonna sonora è composta da Masahiro Tokuda (Last Hope).

Sono passati molti anni da quando l'umanità è stata spinta sull'orlo dell'estinzione dall'improvvisa comparsa da forme di vita sconosciute chiamate Gadoll. Gli umani che sono sopravvissuti ora vivono all’interno della mastodontica fortezza mobile Deca-dence, i cui abitanti si dividono in due categorie. I Gears sono guerrieri che combattono quotidianamente contro Gadoll, mentre i Tankers sono coloro che non hanno abilità utili al combattimento e si occupano di tutte le altre mansioni. Un giorno, Natsume, una Tanker che sogna di diventare Gear incontra il burbero Kaburagi, un riparatore di armature.

Questo casuale incontro fra due persone così diverse, la ragazza ottimista che non rinuncia mai ai suoi sogni e il realista che ha invece ormai rinunciato ai suoi, finirà per scuotere il corso futuro di questo mondo.

Per il momento, non è stato comunicato quando il primo dei 12 episodi sarà disponibile su VVVVID.

PETER GRILL TO KENJA NO JIKAN 

Serie di corti (le puntate durano circa 12 minuti) basata sull’omonimo fantasy-harem manga scritto e disegnato da Daisuke Hiyama. 

L’adattamento prodotto presso lo studio Wolfsbane è diretto da Tatsumi e sceneggiato da Nora Mouri, mentre il character design è ad opera di Rui Ishige.

Peter ama Luvelia, ma a due anni dal loro fidanzamento la cosa più intima che hanno fatto è stata tenersi per mano. Come se non bastasse, da quando Peter viene considerato il più forte guerriero al mondo c’è uno stuolo di belle donne pronte a concedersi a lui, desiderose di una prole dalle abilità portentose! 

Per il momento, non è stato comunicato quando il primo dei 12 episodi sarà disponibile su VVVVID.

SWORD ART ONLINE: ALICIZATION WAR OF UNDERWORLD (Parte 2)

Seconda parte dell'arco narrativo War Of Underworld della terza stagione della serie tratta dal popolare romanzo di Reiki Kawahara, edito in Italia da J-POP, che con i suoi 11 episodi andrà a concludere la saga di Alicization raccontata dal 9° al 18° volume dell’opera.  

L'anime è diretto da Manabu Ono (Kyoukaisenjou no Horizon, Mahouka Koukou no Rettousei), con l’aiuto di Takashi Sakuma, presso lo studio A-1 Pictures  (Fate/Apocrypha, Wotakoi: L'amore è complicato per gli otaku). Le musiche sono ad opera di Yuki Kajiura (Fate/stay night: Heaven’s Feel, Erased).

Sono trascorsi sei mesi da quando Kirito, Eugeo e il Cavaliere Integratore hanno abbattuto l’alto prelato, Administrator.  Ora, le forze del mondo umano si preparano per una guerra di dimensioni inimmaginabili contro l'esercito del Dark Territory. Si alza così il sipario sull'ultimo capitolo della battaglia più lunga e gloriosa di Sword Art Online!

Online ogni sabato partire dall’11 luglio alle 21:00 su VVVVID e su Amazon Prime Video, anche in simuldub. Sulle due piattaforme è già disponibile una puntata riassuntiva che ripercorre gli eventi della parte precedente.

NO GUNS LIFE (Parte 2)

Seconda parte della serie tratta dal manga “No Guns Life” di Tasuku Karasuma, edito in Italia da Star Comics.

L’action sci-fi è prodotto dallo studio Madhouse (One Punch Man, ACCA: L’ispettorato delle 13 province) e vede alla regia Naoyuki Itou (Overlord, Kimi no Koe wo Todoketai), alla sceneggiatura Yukie Sugawara (Hina Logi: From Luck & Logic, Overlord) e al character design Masanori Shino (Black Lagoon, Shigurui). La colonna sonora è composta da Kenji Kawai (Ghost in the Shell, Mob Psycho 100).

Senza alcun ricordo della sua vita precedente o di chi ha sostituito la sua testa con una pistola gigante, Juzo Inui ora si guadagna da vivere nelle strade buie della città come Resolver…

Il primo dei 12 episodi sarà disponibile su VVVVID dal 9 luglio alle ore 20:00.

IN CORSO

EXTRA OLYMPIA KYKLOS 

Serie di corti basata sul manga “Olympia Kyklos” di Mari Yamazaki, l’autrice di “Thermae Romae”, opera edita in Italia da Star Comics e che ha anch’essa ispirato una serie animata nel 2012. La commedia è diretta da Ryo Fuji è animata unendo tecniche tradizionali, computer grafica e clay animation.

Demetrio è un pittore di anfore dall’indole riservata e gentile. Raffigura i miti greci, la vita quotidiana dei suoi concittadini e naturalmente le grandi competizioni sportive. Non che lui abbia mai voluto prendervi parte: l’attività fisica non fa proprio per lui! Colpito da un fulmine durante disputa, finisce nella Tokyo del 1964. Trovandosi nel bel mezzo dei giochi olimpici, non solo Demetrio dovrà portare alta la fiaccola greca ma capire come adattarsi alla stranissima realtà in cui è capitato.

Le puntate, che in tutto saranno 24, hanno una durata di 5 minuti circa e escono su VVVVID tutti i lunedì alle ore 20:00.

Autore: SilenziO))) (@s1lenzi0)

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