#chigusa tsukikage

[hakonohanayome]

Sukeban Deka x Glass Mask collaboration comic - Shinji Wada & Suzue Miuchi

[boymagicalgirl]

No matter her age, Ms. Tsukikage is so pretty

[animecaps]

glass mask (1984) - ep 21

[artemis-maia]

I always liked that Persona 2 also talked about the Christmas cake label and the theme when exactly a woman should marry, have children or why not never marry at all and live childless. I have always thought that it was annoying when people ask about ‚when will you marry, have children etc.‘

The three example that mention the Christmas cake trope are Junko, Ulala and Mizuno.

Kurosu Junko/Queen Aquarius in Tsumi wishes to be young again since not only is Kashihara dead in Tsumi making her far more nervous about her actress career (she likely fears that she will only get aunty roles and no interesting roles anymore) and obsessed with youth. Since Jun grew up as a latch-key child he on the one hand disliked this but also wanted Junko’s attention (he plays piano to please Junko, he likes omletts since she often made them, he hates cup noodles since he associates it with being neglected). Junko then ends up redeeming herself by sacrificing herself for Jun at Caracol when she realizes that Joker is Jun.

While Junko is still pretty young as a mother (37, thus she was 20 when Jun was born) there is of course always the subject with her job as an actress if she is still able to get good roles etc. 

In Japan when actresses have children and/or marry there are almost always immediately speculations whether the actress retires (it‘s always encouraging when you see that actresses don‘t give up and return). It‘s actually quiet good for Junko that she has ended up in business for so long already.

In Batsu Kashihara Akinari is alive and Junko merely uses Kurosu Junko as a stage name this time. The family are all close on This Side.

Junko is more relaxed and it is only implied that had she some sugery this time.

I also think she she greatly resembles Tsukikage Chigusa from Glass Mask in Batsu like mentioned in an interview.

In Ulala‘s case she was born on November 30, 1974. She is 24 close to her 25th birthday since Batsu takes place in autumn 1999.

This is precisely why she is so nervous about her love life, went to Omiai, constantly mentions that she is a Christmas cake soon.

Ulala has an inferiority complex regarding Maya since Maya has a better job, Ulala cooks, cleans, applies make up and chooses outfits for Maya (in mythology Callisto is Artemis‘ servant) and since Maya who is 23 doesn‘t worry about marriage etc. at all.

Maya‘s boss Mizuno is introduced as 30-something and still not married.

Even with her who is depicted as grumpy in the beginning she later on becomes milder and talks more about her former dreams etc.

[jewlwpet]

The school in Revue Starlight seems less and less harsh the more I read of of this acting-school manga from the ‘70′s (Glass Mask).

Telling your hungry students that it’s time to sit down and eat a meal, whatever they want, neglecting to mention that the food is all imaginary.

[hotwaterandmilk]

Series: Glass no Kamen Artist: No Artist Credited Publication: Animedia Magazine (11/1998) Source: Scanned from personal collection

[candycandyru]

Garasu No Kamen

[tempenensis]

Could you translate this Gojo's Yahoo news .I use Google translate and they creat artical abot why is Gojo famous? Or something like that .Wanna know too why is Gojo super popular

https:

//t.co/kKVFlGqCDY?amp=1

A rough outline because translating the whole article would take too much time: 

The article talks about the popularity of Gojo as versatile master/teacher’s character which surpasses the main character and compared it to the popularity of the same archetype characters in the past, like Dragonball’s Master Roshi and Glass Mask’s Tsukikage Chigusa. 

His main attractive point is the “gap”; we know Gojo has elusive personality to the point that everyone around him said that they don’t respect him, but when Itadori died, he is shown to deeply care for him, to the point of threatening to kill the upper management.

This “gap” is “an iron plate material” that makes the master an attractive character and can be seen in pattern of master characters in the past; in which the usually useless master demonstrate extraordinary strength to protect his disciples, like Master Roshi who protect Goku during Tenkaichi Budokai, Naruto’s Kakashi who always reading Icha Icha Paradise but can always be relied during emergency.

Especially if they are usually a gentle person. Like Doi-sensei of Nintama Rantaro, he gets angry when the student does something wrong, but in the public face, they will always in their student’s side. Student is the first priority.

There’s also the gap where the master is strict with the student but that strictness is because they love their student. And the master’s wall is the final role that the master have, for the protagonist to overcome and be able to develop further. These gaps are what gives depth to the master character, and also to show that the protagonist is also respected. 

The reason of why master character is popular is probably we’re consuming the media with “reader or viewer” point of view, and it’s easier for us to project into the protagonist’s role. We have school and respectable teachers in real life, the environment in where we grows up, so we relate to the protagonist by having the same kind of teacher characters in life.

Sometimes the “master-student” connection is perceived to go deeper than family connection, so in a sense it’s a “good position” that support the growth of the main character.

Gojo at a glance is a bit crazy but actually he’s strong and handsome, so he creates a new “Moe Master” image.    

[goldenkamuyhunting]

Weird question maybe, but do you think Noda is trying to set up Sugimoto and Asirpa as a couple? I’m RLLY hoping he isn’t, but with Asirpa having a hinted crush, and this last chapter talking about “joined hearts” or something, I’m worried Sugimoto and Asirpa might become a couple :(

Well...

I genuinely don’t know and since I’m STRONGLY AGAINST THIS I fear I’m not really the best person at whom to ask hoping in an objective answer.

As who read my ramblings probably already knows, I’m in the camp of those who hope Sugimoto will go back to Umeko (and I hope for him she’ll take him back, although she’s not obliged to do so) and that believes his bond with Asirpa, due to the respective problems had turned into a toxic relation so it wouldn’t be okay for them to become a couple, not even if Asirpa were of the same age as Sugimoto... and the idea of them getting together is even worse considering Asirpa is actually so young... so that it kind of makes me furious when instead the anime seems to ‘romanticize’ it, or underline it, often at the expenses of Asirpa’s other relations (with her father, Shiraishi, Ogata...) or even her lack of belief in prophecies and dreams.

Still, I can try my best to give my two cents about it in the most objective and respectful of other cultures I can manage. Forgive me if I might fail but this is something I’m really passionate against so it’s not really easy for me to keep distance.

Also warning for adult topics which might make people uncomfortable.

Read at your own risk.

Something I’m confident enough and that I feel is based on an objective enough belief is that, if Noda were to consider planning to make them a couple, it wouldn’t happen right now but the story would just have a timeskip and then we would be told that years has gone by, Asirpa has grown up and they’re a couple now.

Why am I confident it can’t happen right now?

I know there are debates in the net about which is Asirpa’s age (just so you know she’s hinted to be 12/13 but my personal bet is she’s 12 at the start of the story) and if the culture of the time would allow her to get a man and how important is to be historically accurate or how historical accuracy should be tossed away when it involves something we find morally repulsive, or, and this is more important but few mention it, physically and psychologically harmful for the child involved.

Said this, my personal belief is that Noda wanted to be as historically accurate as possible and yet tell us, without any shade of doubt, that Asirpa was currently off limits and Sugimoto (or anyone else) wouldn’t look at her like that through the gold hunt.

How?

Asirpa is drawn as a prepubescent girl, which means when Noda draws her he avoid drawing her with developed secondary sex characteristics (in the specific case breasts and hips).

The majority of heterosexual men from all around the world and from all around the times are drawn to females who have developed secondary sex characteristics.

Currently the number of men who are instead drawn to prepubescent real life females is estimated to be lower than 5% among adult men and those men are the ones who, according to the Diagnostic and Statistical Manual of Mental Disorders, are considered suffering of the pedophilic disorder.

In the far past, even when it was allowed marrying prepubescent girls because selling off a daughter, no matter her age, was an easy way to make allegiance, in many cultures the marriage wouldn’t be expected to be consumed until the girl was pubescent.

That’s because not only the husbands weren’t turned on by their child brides, but also because, even if in the past they couldn’t work out how psychologically harmful it would be for a child to be forced in a sexual situation, they had, at least, managed to work out it would be physically harmful... so not only you would considered abnormal if you were to do it, but there were cultures in which it was actually forbidden to touch a girl who hadn’t hit puberty even if you were legally married to her.

So really, there’s no way whatsoever Noda drew Asirpa that way, only to have the main character, who’s supposed to be a good guy who cares about her, be attracted to her.

Even a drunk Ushiyama, who normally tries to hit on every female in sight Inkarmat included and can be rather forceful tells Asirpa she has to grow up before picking a man.

Long story short, there’s no point in searching if in Japan, in that time period, a girl of Asirpa’s age was allowed to get married or not, as long as Asirpa looks prepubescent we know Sugimoto, who’s AGAIN supposed to be what we would call a good guy, is SURELY not meant to do so much as consider to touch her.

That’s why Huci can tell Sugimoto to marry Asirpa without meaning any harm to her, because she expects him not to touch her until she’s physically ready because, as said before, in the past girls got sadly married at way too young ages, often withou people bothering to ask for their consent (or the one of the husband as he too often was ‘married off’ by his family) but husbands weren’t expected nor interested in having their ways with them immediately.

And that’s also why, since Sugimoto just can’t see Asirpa as that kind of partner and they’re not in a situation in which they need to marry for some reasons (marriage was also used as a tool back then, we saw how Svetlana was told to marry so that this would allow her to get out of prison and how Wilk married Riratte and, due to this, got Japanese citizenship, while others would use it to get economical protection or other things), I’m confident there will be no marriage between the two of them in 1908, the year in which we currently are in GK or becoming a couple or whatever.

They’re just partners in the gold hunt, he’s just not meant to be interested in her physically nor in need to tie her to himself legally through marriage so for now I like to think nothing will happen between them.

So, long story short, many of us who’re against Asirpa and Sugimoto becoming a couple, can have a collective breath of relief at least as far as the story remains in this year, as I’m pretty confident Sugimoto isn’t meant to like her like that right now.

Said all this... nothing stops Noda, as I said before, to have a flash forward to when Asirpa will reach puberty and, likely, also adult age and AT THIS POINT have Sugimoto fall for her at that point.

We see how Umeko’s mom is all happy at the prospect of a man of more than 40 marrying her likely around 24 daughter (I assume she’s around Sugimoto’s age) so no one in the story will question if a 24 Asirpa were to marry a 36 Sugimoto and there are various stories in which the story starts with the man in the couple just viewing the female as a mere child to then develop genuine feelings of love for her when she grows up (one of the most famous manga in the genre is “Glass no Kamen” in which Maya is 13 when the story starts and Masumi is 11 years older than her... and an even bigger age gap there was probably between her teacher Tsukikage Chigusa and her lover and mentor Ozaki Ichiren).

So to sum it up... I’m confident that Asirpa and Sugimoto won’t become a couple right now... but I can’t say if Noda is setting them up to become a couple in the far future.

For that we can only wait and see.

Sorry if I’m not really trying to make a prediction on what could happen in a flash forward but I fear I wouldn’t be capable to be objective since I’m currently so against it.

Also sorry if I had to touch pretty uncomfortable topics when answering, or I explained them poorly but I thought they were relevant and I didn’t really know how to put them better.

Thanks for your ask and sorry if my reply came late.

[hakonohanayome]

Glass Mask - Suzue Miuchi

[jadeazora]

Chigusa Tsukikage from Glass no Kamen.

Oscar and Marie Antoinette from Rose of Versailles

Maybe themselves? I remember them doing kabuki a while back during Koga’s episode, I think...

I recognize Ranma Saotome from Ranma 1/2, Catgirl Nuu Nuku, and isn’t that Rei Ayanami?

Hello Kitty, Faye Valentine, Ai Haibara, Minky Momo, and Paprika!

....Flat-chested. (Lina Inverse.)

[zerochanges]

Valentine’s Chocolates and Glass Masks

The romance genre in anime is a little weird, and honestly on the whole the majority of the genre in anime is probably a bit too slow for its own good. ��Will they or won’t they” is something most romantic fiction is guilty of, but I think you’d be hard press to come across 150 episode TV series dedicated solely to that premise anywhere else. And this has nothing on the pure silliness that can come with the genre; hand holding, indirect kisses, masked secret admirers, all that good stuff. Really, I’m not here to trash talk romantic anime though, but as I sat down and tried to think about writing a Valentine's Day blog post I just couldn't help but think to myself how romance anime might be the hardest to explain to anyone not in the fandom. I mean, I think I’d have an easier time explaining the plot of any given saga in DBZ than I would explaining “Notice me, senpai” to somebody.

You know what though, I kind of ironically enjoy all of this. Yeah, pure romance anime can be cheesy, but it’s just the right amount cheese that it’s like, c’mon, how can you not enjoy this? Perhaps the worst (or best!) offender of this are older shoujo titles where they can seem almost downright like a soap opera at times. Shows like these are just so full of bizarre, off-the-walls, and over-the-top melodrama that they manage to suck me completely in. They’re heartbreaking, they’re engaging, and the times when they fail at being those things they are hilarious. 

My most recent experience with an older shoujo title like this would have to be studio Eiken’s 1984 adaptation of Glass Mask. Now Glass Mask (or Glass no Kamen as it is known by some) is a manga that started life in 1976 and to this day has yet to be finished, with the manga creator Suzue Miuchi stating she would like to finish it soon, but hasn't quite figured out when that will be (move over Hunter x Hunter fans). Having been one of the earlier shoujo titles starting back in the mid-70’s the series is full to the brim with pretty much every cliche and trope you can think of for shoujo anime, and to a modern audience it can often be almost hilarious at times to sit through. It is important to remember that for its time Glass Mask was a trend-setter and arguably if not the creator than certainly the reason why a lot of these cliches became cliches in the first place. Over the years Glass Mask has received its fair share of adaptations and even parodies, and currently has 3 different animes as well as a live action drama series and real life stage plays based on it. I heard the most recent anime, the 2005 TMS adaptation of Glass Mask, does a pretty great job at modernizing several aspects of the series, but unfortunately I have yet to watch that to weigh in so all I can say is that I was inundated with more cliches than I could count and laughed a ton while watching the 1984 series and I loved every minute of it. 

Glass Mask is the story of a young 13 year old girl Maya Kitajima, who has a dream to be a great theatre actress. Unfortunately for Maya she’s from a very poor family, and even more unfortunately for her, she is incredibly average looking with no flair--and don’t worry, the anime will remind you of that fact countless times every episode. Despite her damnable curse of “just looking kind of average” Maya will stop at nothing to pursue her dream and eventually runs away from home after getting a scholarship for an acting school. There, the enigmatic Chigusa Tsukikage notices Maya’s talents and takes her on as her protege. Soon, Maya learns that her mentor Tsukikage was once a legendary actress thought to be truly one of the all time greats who due to a tragic Phantom of the Opera style accident had her face hideously scarred and retreated out of the spotlight. 

Tsukikage is looking to pass on her talents to the future generation and eventually pass on her greatest possession, the rights to the elusive Crimson Goddess play--a supposed legendary masterpiece that has not been seen by anyone in decades; not since Tsukikage’s career ruining accident. For some reason the director and creator of the the Crimson Goddess play saw it fit to beseech all the rights to his masterpiece to Tsukikage and thus nobody else has been able to produce this elusive phantom play since. It won’t be easy for Maya and the Tsukikage acting school, as media conglomerate and mega corporation Daito Entertainment will stop at nothing to get the rights to the Crimson Goddess, and isn't afraid to sabotage them at every step of the way. Perhaps Maya’s greatest rival however is the young Ayumi Himekawa, the daughter of an already famous actress who is said to be the favorite to inherit the Crimson Goddess role, and is everything Maya isn't; beautiful, rich, famous and well loved by all, and while not a student of Tsukikage she is more than willing to pass on the rights to Himekawa if Maya fails to prove herself.

It’s easy to already see the cheesiness just from me trying my best to summarize the basic plot, and we haven’t even gotten into the romances yet. Maya’s relationship with the young Yu Sakurakoji is fairly simple at first, as he helped rescue her from a feral dog and despite being in rival acting schools--one affiliated under Daito no less, he’s a pretty chill guy that enjoys spending time with her and doesn't care about all that stuff. It’s only after Maya starts to take off in her career that Sakurakoji starts to spiral into this insane inferiority complex centered around her, where he thinks she has become too good an actress for him to be around anymore and starts to give her the cold shoulder all because of his own make-believe shortcomings. It’s very odd and sudden, and the entire thing is blown out of proportions as Maya clearly does not think that and Sakurakoji eventually has to be lectured by bad boy Masumi of all people to come around and start spending time with Maya again. Even after this however it isn't like the old days anymore and the gap that was created from his own complex still lingers.

And oh boy, don’t get me started on Masumi, he’s quite the character. Masumi Hayami is the 24 year old son of the president of Daito Entertainment and is currently running the corporation in his father’s stead. Masumi serves as both an antagonist and love interest (because of course he can be both) in the early parts of the story and is often behind some (but not all) the sabotage done to Tsukikage’s acting school. Masumi will eventually take a more reasonable approach when it comes to trying to yank the rights of the Crimson Goddess away from Tsukikage’s hands as the anime progresses, often just by having his acting school beating Tsukikage’s students in contest and the like, and it’s here where we usually see Masumi’s employees that work under him being the more underhanded characters instead of Masumi directly engaging in the conflict.

Despite being on different sides, so to speak, Masumi catches one of Maya’s earliest performances, her role as Beth in Little Women, and falls in love with the young girl, impressed by both her potential as an actress and her fortitude for going on with the show despite suffering from a dangerously high fever and immediately being rushed to the doctors after the curtains fall. From this point on her takes the role of “Mr Purple Rose” named for the bouquet of purple roses he sends to her at every show. As her secret admirer and the first fan Maya has ever had he means a lot to her yet as his true identity of Masumi he’s an enemy that Maya cannot stand to breathe the same air as. So in short, Masumi is just your average 24 year old CEO of a mega corporation crushing on a 13 year old girl from a small acting school he is trying to ruin and also her secret admirer. Somehow Masumi is one of the best characters in the series, and is my best boy. Only in shoujo!

So far I've been having some cheap laughs at the expense of the 1984 Glass Mask anime but it’s not all like this. The over-the-top bombardment of old school shoujo cliches and the laughs I got from them may be one of the most memorable component of my viewing but there’s actually a lot more to this anime than that. When you get beyond the silly age gap romances and the flowery melodrama of young teenage love, Glass Mask is a story of artists trying to pursue their passions and dedicating their everything to them. Maya may be cursed to forever be “only average looking” but I really respect her drive to dedicate her entire life to theatre. 

Well, that is to say, the times when she isn't acting like punching bag to the rest of the cast (Glass Mask has a tendency to make Maya into a Cinderella surrounded by tons of wicked stepsisters). When Maya is written not as a Cinderella she’s fiercely determined, and never backs down despite some straight-up abusive behavior she is put through. At times her mentor Tsukikage is absolutely savage, regularly beating Maya and putting her through some training that is definitely highly illegal, at least for today’s standards. For instance she once threw Maya in a shed and locked the door refusing to let her out until she finally understood her character she was assigned. Did I mention it was in the middle of the freezing cold winter and snowing out and Maya only had the clothes on her back for warmth? She was out there for days with no food, water, or even warmth. But don’t worry, she had her script to read and that made it all okay. Like goddamn, somebody call child protective services on this lady.

Speaking about “the art” and everyone’s passions, the more you watch the series the more it becomes obvious that the creator, Suzue Miuchi, really cares for theatre and isn't just using it as a vehicle to propel her own story. There are countless renditions of classic plays shown in Glass Mask, such as the mentioned already Little Women, The Miracle Worker, and Wuthering Heights, just to name a few. Some of these plays are presented without any changes while others may have reinterpretations made to them by the characters who are trying to give their roles a life of their own away from the original source material. Miuchi very much understands theatre and does a great job converting many famous plays into a more compressed and easily digestible form of entertainment that can be viewed on a week by week bases. The analysis characters give about the plays and other characters’ performances, the ways characters interpret their parts, and how the plays that we are privy to see in the series end up all show a deeper understanding of the medium. Watching Glass Mask is almost like taking a beginning course in theatre that covers all the classics, only with way more melodrama and over-the-top romance than you will find in your local theatre group. I hope.

What’s the most impressive however goes beyond just Miuchi’s renditions of other classic works and instead are her own plays that she creates herself. As not only does Glass Mask use pre-existing plays it also has its own original productions that will spring up in-between the real world plays. A lot of these self created plays are very enjoyable too, and some feel way more fleshed out than they have any right to be and you often find yourself regretting that you are only privy to a small part of the performance and not able to just sit there and watch the entire play like the characters in the anime do. Maybe that’s why it shouldn't be too much of a surprise that some of the plays Miuchi has created for her manga have later been adapted into real life plays in Japanese theatres. This is probably the greatest testament to the series’ popularity right there, where its own fictional works are turned real. I can’t think of many examples of something like that happening before.

I’d be remiss not to mention the visual aspect of this series before wrapping up my thoughts on it too. While certainly no powerhouse in animation, Glass Mask 1984 goes for a more picturesque route, and does a great job with tons of beautiful still shots and intricately detailed background images. It’s a humble production but with the right use of lighting a lot of scenes can really shine (pardon the terrible pun it was an accident), especially the night shots which can be pure art. Hang it in a museum, I say. I’m almost surprised we don’t see more “aesthetic” anime blogs mining images from this series. Veteran director Gisaburo Sugii (Dororo, Touch, Osamu Tezuka’s Phoenix) leads the production with skilled marksmanship you would expect from his previous (and future) pedigree, and along with legendary animator the late Shingo Araki (Ashita no Joe, Galaxy Express 999, Saint Seiya) the series has a wonderful 80’s flair to it that just fills any retro anime fan full of nostalgia whether or not they have seen the show before.

Studio Eiken’s 1984 Glass Mask adaptation is a short, briskly paced 22 episode series that is easy on the eyes and not hard at all to still sit through for modern audiences. It’s full of tons of laughs (both ironic and sincere) as well as tons of melodrama and over-the-top romance. Most importantly though, it’s a full of passion; lots and lots of passion. During its short episode count the series watches Maya progress as an actress and grow older, with her finishing middle school and beginning high school while also balancing full time acting jobs on the side. The ending is left open--and let’s face it the manga hasn't even ended some 35 years later still--but there’s enough forward momentum in the series to really feel like your time with the characters wasn't wasted and that they were able to accomplish something--not to mention the ending spot is a pretty decent one leaving the viewer wanting more but enjoying a satisfying conclusion to one of the more interesting story arcs adapted. Overall I think anyone who enjoys cheesy anime romance can sit down with this series and have a fun Valentine’s.

[umihoshi]

shameless commercial for this dumb Shoujo anime I’m currently obsessing over

don’t even lie to me, you know this! you know this overly sparkly 90′s style! You just never actually heard what it’s about!

Though I personally enjoyed the 1986 version a lot, I can imagine that for most it will just cause a lot of shit and giggles. (it’s still great, shush!)

So I’m just going to focus on the 2005 version right now, cuz it’s beautiful and I watched the entire 51 episodes 3 times in a row and still can’t get enough! so please come join in my agony!

Many years ago, there was a stage play that pulled full halls, day in day out. it was a performance like nothing people had ever seen. gracefully, intensely. out-worldly.

The illusive Crimson Goddess is, up until this day, the dream of every actress. If you’d get to play that role only once, it would be the greatest honor possible.

But all rights for the role have been given to one actress. An actress who will never return to the stage again after an accident that mutilated her face: Tsukikage Chigusa.

(mother Gothel’s got nothing on this woman) Tsukikage keeps a tight hold on the rights of the play, demanding that only an actress she personally approves of will earn the right to play this legendary role.

decades pass, but the memory of the Crimson Goddess is still whispered about when the story follows Kitajima Maya

Maya is a clumsy mediocre girl who doesn’t really have anything going for her in looks or brains. Whenever she’s out to help the delivery store where her mom works, she’s distracted by seeing a tv-drama somewhere or playing pretend with children. when the daughter of the delivery store tells her she’ll give her a ticket to a famous stage play if she does all 99 deliveries on new years eve alone, nothing can stop Maya to get this chance. She always, always had wanted to see a live performance. With her love for theater, Maya is even willing to jump into the ice cold bay when the ticket flies off into the water.

Tsukikage has been watching Maya’s interest in theater and decides to invite her over, disguised as a delivery job. (imagine this woman eating ramen, lol) When Tsukikage asks if Maya could tell her about the play, she can repeat every word, every pose, every intonation of a 3 hour long play. After having seen it only once.

Touched by Maya’s passion, Tsukikage takes her as an apprentice, even if it means Maya has to run away from home. (tsukikage: I’m your mother now)

But things don’t go as rose-colored as Maya imagined acting would go. Aside from her own struggles in a world she’s only just entered, there are 2 people who cross her thorny path:

1) the perfect wife Himekawa Ayumi. Daughter of a famous actress and a renounced playwright, she seems to have absolutely everything Maya doesn’t: she’s beautiful, smart, talented, wealthy, has supportive parents. Even though they’re the same age, there’s no way Maya could ever be a perfect actress like this acting prodigy. But Ayumi recognizes Maya’s talent before long and becomes a bitter-sweet rival.

2) Atobe Keigo Hayami Masumi. the workaholic vice-precident of a well known entertainment company. his sole goal is to get the rights on producing ‘the Crimson Goddess‘ by any means necessary, going as far as jeopardizing Tsukikage’s theater into closure, causing Tsukikage’s health to decline rapidly. But when this cruel heartless man sees Maya perform for the first time, he is amazed by her passion for acting. as her secret fan, he starts a habit of sending her purple roses after a performance and supports her career from the shadows,

What amazing performances will Maya show? Will it be Maya or Ayumi who will win the role of Crimson Goddess? And how will Maya respond to finding out that the secret admirer she loves more then anyone is actually the man she hates the most?

[jewlwpet]

Art from volume 18 of Suzue Miuchi’s manga Glass Mask.

[hotwaterandmilk]

Series: Glass no Kamen Artist: No Artist Credited Publication: AX Magazine (01/1999) Source: Scanned from personal collection

[candycandyru]

Suzue Miuchi Glass Mask