#freezers: 0/1

[alltherelicsofalifelonglived]

what if i just lit the entire kitchen on fire

[mumintroll]

our fridge has like bad temperature regulation or something idk but you cant put things at the back or else they'll continously freeze and defrost and become inedible and its sooo annoying bc i only get one small shelf anyway and i can only use the front half of it.... i cant do a lot of meal prep or anything i have like 1 dinner and a couple of lunches worth of food in there and its full

[citrusici]

LU Star Wars AU: Part 4

This time we got Twilight and Wild!

PART 1 | PART 2 | PART 3

Wild

Wild doesn't look very old, but he was actually a Jedi Knight in service to the Republic Army back during the Clone Wars. He worked closely with the other Champions at the time; the five of them were on a mission to protect King Rhoam and the royal family of a Mid-rim planet when Order 66 was enacted and the Republic Army turned on them. The other champions were killed, and Wild was nearly fatally injured.

In a last-ditch attempt to save his life, Rhoam and Impa used an industrial carbon-freezer to put him in a state of suspended animation and keep him hidden from any Imperial scanners. He was found and unfrozen many years later by Purah and Robbie, and the hibernation sickness on top of his injuries gave him some degree of amnesia.

0/10 experience, he would not recommend it.

Nowadays, he works closely with Purah and Robbie. Flora, who wasn't even born yet at the time of the incident, met him properly for the first time after he woke up again. They didn't get along at first, but after finding out she was Rhoam's daughter he's determined to stick by her side.

His old lightsaber is broken beyond repair, so he picked up a habit of collecting various weapons. He's also wanted by a group of bounty hunters known as the Yiga.

Twilight

Twilight is from a backwater planet in the Ordonian system, working as a rancher in a farming village. He met Midna when Zant came to the planet and forcibly tried to take over.

Long story short, the kids of his village went missing, and he ran across some of Zant's forces in a bad way. He actually came in contact with a dark Twili artifact that granted the user the ability to change shape and got stuck. Midna, being a shapeshifting Twili, bailed Twilight out of trouble and taught taught him how to change back, but to do that he had to learn the basics of the Force. (It took a while. He's not very good at it, but he can do the basics.)

In exchange for her help, Twilight helped her with her own goals along the way; eventually, he learns that the reason Zant showed up is because he followed Midna's trail there. With the help of some local Resistance members, they eventually even managed to get rid of Zant.

Somewhere along the way, Twilight and Midna followed a rumor of an old weapon hidden deep in the woods on the planet. Eager for any advantage they could get, Midna insisted they find it; they followed the trail until it eventually led them to an old intact lightsaber that had been deliberately hidden away there.

Midna left very suddenly after everything with Zant was over. Twilight decided to look out for her through his new friends in the Resistance, and eventually came in contact with other members of the Chain that way.

[3liza]

the main thing the general public does not understand about cryogenics (beyond it being a scam when done commercially) is that you can't freeze a dead person and then somehow the freezing process makes them resurrectable later. you have to freeze someone while they're still alive. cryogenics "works" in the sense that we can freeze and revitalize living animals somewhat successfully, but when you freeze a dead one it will still be dead with you thaw it out. like many public superstitions i think people understand this if you remind them that "freezing Disney's head" doesn't make any sense, they'll be like "oh of course" but the level 1, casual awareness of cryogenics as a thing is firmly on the "if we freeze dead people they will be alive later" level. the people who get suckered into buying cryogenics storage have been sold a bunch of bullshit about how curing death itself will be part of the package deal though, usually when they're already experiencing cognitive decline

it's kind of like how the pop culture understanding of time travel also assumes the time machine is a teleporter

the current way cryogenics operates in practice is equivalent to saving your game on 0 health and soft locking yourself. in 100 years they will (hypothetically because no they won't) look at the tag on your pickled head and go "oh this one died of death, still no cure for that, oh well" and charge another year to your estate.

if you really want a chance of "being reborn in the future" you're going to have to voluntarily walk into the freezer the minute you're diagnosed with stage 1 cancer and even then it's probably going to be too late

[pixiecaps]

so a guard went into tinas room and placed an elevator for her.. directly assisting her in finding this secret room with a level 1 keycard.. she then opened a locked door in her room and it was like an elevator and now she

shes watching the island video but its glitchy like corrupted with bugs and i think….. i think shes the first to escape

then it said she was loading 0% to 100% loading player data? and then it showed this screen with locations all over the island and then said welcome to the island :)

and now shes staring out a freezer door calling out for help

[phanbeats]

having a normal one today

(thinking about Dan and Phil's refrigerator situation bc in the 2023 Halloween baking video, Phil showed us a mini-fridge under the counter at 0:44. This implies one solid fact and two potential options. Fact: the freezer is not attached to the mini fridge; it's too small for that. Option One: They don't have a full sized fridge, and the freezer is fully separate and located elsewhere in the phitchen. Very funny if this is the case, bc it means they effectively told their builders that they only eat takeout and that they're never going to stop only eating takeout. Also a side note, as someone only four inches shorter than Dan, i genuinely cannot imagine having to bend down that far to grab milk out of the fridge every morning. Bad kitchen design, 1/10. Option Two: they have a second fridge, likely full-sized with a freezer attached. This one's also wild tbh. Unless you're a family of 4+ you probably don't need an extra fridge, especially if you don't cook a lot, right??)

[badgalsasuke]

Kishimoto interview with Kobayashi for Mandō Kobayashi broadcasted on Fuji TV Dec. 13th 2014

LINK TO THE INTERVIEW

This is a transcription of (most of) the interview. Please watch the video of the interview that I already linked above the image while reading the transcription because there are times where Kishimoto and Kobayashi are discussing a manga panel or notes from Kishimoto's concept notebook and if you're not seeing it then the transcription won't make sense to you.

Also keep in mind this is a very long interview that lasts 54 minutes in video.

INTRO (0:00-6:32)

Kobayashi: Let's start the mission now. Kishimoto: Excuse me! Hello! Kobayashi: Nice to meet you, my name is Kento Kobayashi Kishimoto: Nice to meet you, I'm Kishimoto Kobayashi: Are you Kishimoto-sensei? Kishimoto: Yes.

Kobayashi: So, we came here from a show called Mandou Kobayashi, but first of all, congratulations on the end of your series. Today, rather than coming here on request, we actually came to surprise you. Is it okay if we ask you a bunch of questions?

Kishimoto: Please feel free to ask me anything. Kobayashi: Thank you for your permission, let's go in. So is this the workplace? Kishimoto: This is the workplace. Kobayashi: Until recently, fierce battles were taking place here too, right? Kishimoto: It's hell. (Kobayashi laughs)

(I don't know what they're saying from 0:53-1:02)

Kobayashi: Isn't this good? This freezer is amazing. Kishimoto: This is a freezer. Kobayashi: Yes. It's a second-hand one, isn't it? Kishimoto: That's right. I got this one that was used at Jump Festa. Kobayashi: Kishimoto-sensei? Kishimoto: Yes. Kobayashi: You really wanted this one? Kishimoto: Yes, well actually, I wanted Goku. (Kobayashi laughs) Kobayashi: I wonder where Goku is now?

Kishimoto: Goku is at Oda's house right now (Kobayashi laughs) Kobayashi: You'd have an assistant here? (Kobayashi points to desk) Kishimoto: Yes, that's right. The assistants here had already finished the manuscript, so they packed up and went home.

Kobayashi: I see. Kishimoto: There's nothing here anymore. It feels kind of lonely. Kobayashi: It feels kind of lonely, isn't it? Kishimoto: There's nothing to mess with. (Kobayashi laughs) Kobayashi: What's this? The adjustable desk? Kishimoto: Since it's the desk over there, it feels like I'm writing the manuscript here. Kobayashi: As I thought, when you write a color manuscript, you need vitamins, sensei. (Kobayashi grabs bottle of vitamins)

Kishimoto: So that's what it was, huh? I just ate it a moment ago. (Everyone chuckles)

Kobayashi: Hey, the staff didn't set something up like this. Kishimoto: This is different. Kobayashi: Are you trying to imitate us sneakily? Huh?

Kishimoto: I bought it out of my own pocket. I mean, I technically bought it under the company's expenses. (Everybody chuckles)

Kobayashi: You're kidding, right? If only you had told me that, sensei. Oh, but it would be really helpful for inventory control. That kind of thing, really.

Kishimoto: Well, this is… I found some old drama manuscripts, so I've left them here for a while. Kobayashi: Do these things ever get returned to the authors? Kishimoto: Yes, they do. Kobayashi: So, how much is it? 80 pages?

Kishimoto: I don't remember either... Oh Hinata, it's just Hinata. Not a movie script though. (laughs)

Kobayashi: Well, it turned out to be quite a coincidence sensei. (laughs)

Kishimoto: No, no, no. Kobayashi: As expected from a writer who has written such an epic masterpiece, how do you think he was able to digest all that foreshadowing?

Kobayashi: Surely this should be kept in a bank safe or something. Kishimoto: It's just sitting there with kids' clothes on top of it… Kobayashi: That is dangerous. Kishimoto: Some of it might disappear in a little while.

Kobayashi: is it like a movie concept notebook? For sensei's movies, you first sometimes come up with the original idea and the script, right? Kishimoto: Well, a little, but generally the screenwriters let me do this and that. I'm not the kind of guy who nitpicks or complains at all. There are things written there that have nothing to do with Naruto. Kobayashi: Things that have nothing to do with Naruto? For example, what do you mean? Kishimoto: Like stories I'd like to tell Mammone someday. (everybody laughs)

Kobayashi: Someday. Kishimoto: I'd like to do something like that. Kobayashi: It seems like this is the kind of design I thought of when we met. Kishimoto: That's right. Kobayashi: Ok, ok, ok. Kishimoto: It has nothing to do with Naruto at all. Kobayashi: You just write down everything that comes to mind. Kishimoto: Well, I guess I'll write it here, around here. Kobayashi: [The Day] The Earth Stood Still*. (action movie, 2008) Kishimoto: I watch movies around here and think, "If it were me, I would do it this way," and then I write various things down here... what is this, a read-through?

Kobayashi: It's a one-shot… Kishimoto: It's a one-shot… Have you read it? Kobayashi: But it's quite… Can I just say something? Like… Like panel illustrations… Kishimoto: Ah, that's right. Kobayashi: So the course is quickly drawn here, like a panel layout. Kishimoto: I think it's an image of Kaguya… Kobayashi: Kaguya! Kishimoto: being sealed away, and Gai's final special move was supposed to be something like that, but in the end it was just a kick. (Kobayashi laughs)

Kobayashi: Look at this course. At the end, Sasuke and Naruto make a sign of reconciliation. It was already written here. Kishimoto: That's right. I wrote it around here. This is the original draft for Naruto, and it was only the first chapter… Kobayashi: This is the most important part, so to speak, for a young manga artist, the draft. Kishimoto: Before it started serialization. Kobayashi: Do you really have to write this much for a draft? Kishimoto: That's right. When you're starting, rookies need to have a good image and there's a solidarity meeting for that, and in order to pass it they make a good impression by trying their best and doing as much as possible. Kobayashi: That's it. Kishimoto: That's right.

Kobayashi: Isn't that just like the first chapter? Kishimoto: If I don't write it in that much detail, the image won't be conveyed. And I'm not trying to pander to anyone but... Kobayashi: "I'm a guy who can work hard and I want to show that". Kishimoto: Yes, show that.

Kobayashi: But somehow, you can see what Kishimoto-sensei has created, you know? Kishimoto: I quite like hero stories. Kobayashi: There are a lot of hero stories. Kishimoto: I quite like them.

Kobayashi: Toriyama-sensei is definitely someone great from that generation. Kishimoto: That's right. Surprisingly, my generation and everyone else feel like he's a god. Kobayashi: That's true, isn't it? Kishimoto: This is called a "gela/geller" and it means that only the parts related to Naruto are taken from Jump and then checked with this to see which parts of the manuscript need to be corrected before it actually becomes a comic. Kobayashi: Sensei, you change the wording of the book quite a lot, don't you? Kishimoto: Yes, but I guess I change it since the deadline isn't met, just a little bit..

Kobayashi: Were you under a lot of pressure? After all, it was a weekly serialization. Kishimoto: Yes, there were. Like with the Shadow Clone Jutsu… Kobayashi: I was planning to ask about that later but I'll ask here. Kishimoto: Okay, okay. Kobayashi: Our investigation has shown that Sensei may have dugged his own grave. Kishimoto: That's right. I messed up. Kobayashi: Since you already did it in the first chapter, you can't afford to power down from there. Kishimoto: That's right. You're constantly growing so you're getting more powerful, and the number of clones increases. Kobayashi: They just keep increasing, don't they? Kishimoto: I messed up… (Everyone laughs)

END OF INTRO, BEGINNING OF INTERVIEW (6:32-50:07)

Kobayashi: First of all, thank you so much for your hard work on that series. Kishimoto: Thank you very much.

Kobayashi: First of all, I want to ask about this Naruto work. I've made a timeline here, so please take a look at the first part. It starts with the Ninja Academy, then the Team 7 decisive test, the Land of Waves arc where they fight Zabuza and Haku, the Chunin Exams, Konoha's destruction and Gaara, Itachi and Akatsuki appear, the battle of the Legendary Sannin, Sasuke's defection, and a bit of Naruto's past. So, I was curious about where you started when you first thought about creating the Naruto series?

Kishimoto: At first, it was just a normal story about a ramen shop… Kobayashi: That's something you hear a lot about, but is it a joke? Kishimoto: Seriously, I seriously wanted to draw a ramen manga. Kobayashi: You seriously wanted to draw a ramen manga.

Kishimoto: I drew a story about a ramen owner and a boy who comes to eat there, and the ramen soup and noodles would be bland on their own, but when they are combined they become many times more delicious, and I used this as an analogy to life, creating a really spectacular, super-sensational story, but then the first editor in charge at the time said, "You're way off the mark".

Kobayashi: It certainly doesn't feel like it'd fit in Weekly Shonen Jump. Kishimoto: First, it was like, "You don't understand manga", so after that I wrote a story about an elementary school kid picking up some money and going on a detour… Kobayashi: What are you talking about? (everyone laughs)

Kishimoto: I was told that it was off, so I looked into it a bit. Well, I liked Dragon Ball, so I realized halfway through that I should draw something like Dragon Ball. It took quite a while, but I got there (Kobayashi laughs). And the ramen thing, which I thought was kind of lame, turned out to be surprisingly perfect for me, so I couldn't let it go. That's how the name Naruto came about.

Kobayashi: First thing is the Naruto name and that he loves ramen, Ichiraku ramen. Did you originally want to draw something about ninjas? Kishimoto: When I was doing the one-shot it was about monsters, and in that monster story it was originally a fox that turns into a human, and it was a mixed story between human and monster, but that deviated from that. Kobayashi: From the target? Kishimoto: It deviated from the target, and I quickly made it a human, redrawn it, and when I released it, it was approved.

Kobayashi: Indeed, we really did a lot of research, or rather, verification, but it seems like it's completely the opposite of the usual ninja stuff. Kishimoto: That's right. Kobayashi: When you think about it, ninjas are depicted as being very extreme, right? This is the world of the shinobi, or rather, it's about not letting them do that, right? Kishimoto: Yes. Since there have been quite a few up until now, like Sanpei Shirata*... (Mangaka of Ninja Bugeicho, 1959; Sasuke, 1967; etc) Kobayashi: Yes.

Kishimoto: I thought that if I did the same thing, it probably wouldn't stand out, so I did the opposite.

Kobayashi: With blonde hair.

Kishimoto: Blonde hair. Not Japanese, but foreign looking. And rather than dying, how should I put it, they're more about saving than hiding. One time I got a fan letter asking "is this character a ninja?". Kobayashi: Was it a simple question from a child? Kishimoto: A simple question from a child, and then I was like, Ah! it got off track again. (Everyone laughs) Kobayashi: The serialization had already started.

Kishimoto: But there was nothing we could do about it so we just went ahead with the deviation, and my editor at the time said it was fine to go with it, that this little deviation was fine. Kobayashi: Actually, this isn't off. Kishimoto: This isn't off. Kobayashi: That's why manga is so difficult.

Kishimoto: It is difficult. (Kobayashi laughs) Kobayashi: Do you remember when the "dattebayo" line and things like that came about? Kishimoto: I was thinking about what a typical Jump manga protagonist would be like, and I thought that if a grandmother were to like a clumsy character, it might be well-received or liked. So, I thought of making him a bit awkward, like someone who can't speak properly or stumbles over his words, and adding a catchphrase like "Dattebayo" to make him endearing... Kobayashi: Slurring his words? Kishimoto: Slurring his words, I say. Kobayashi: You put in characters who were classmates, or people of the same generation, right? Did you think about that in detail? Kishimoto: No, I didn't actually intend for it to be like that, I just wanted the missions to be more detailed.

Kobayashi: I think I'll ask about that later. Kishimoto: Okay.

Kobayashi: There was a mission in Wave Country, right? Kishimoto: The Land of Waves exists, and this time the mission is in a different village where there’s a teacher and three subordinates. Then, some guys from a different team come out, and Kakashi's real identity is that he’s a rival to other teachers... Kobayashi: Kakashi had rivals outside (the village) too? Kishimoto: Yes, I talked with the editor about wanting to do it with that setting, but he said there’s no time to be messing around like that.

Kobayashi: Did he say something like, "There's no time to be dawdling around"? (Kishimoto laughs) Kishimoto: He said to release everything at once and to release characters all at once with others too. But he said, "Let's do it, let's have a tournament." I don't have that kind of strength right now. I'll die if I do that. But then I said I'll do it. I said I'll do it even if it means I die. Kobayashi: That's what the Chunin Selection Exam. Kishimoto: That's how the Chunin Selection Exam came to be. Kobayashi: The result of being rushed Kishimoto: So, I still kind of wish I could have done that (the missions).

Kobayashi: Actually, I wanted to see a few more missions too.

Kishimoto: Right? we decided on the characters on the spot. Even while writing the manuscript, if we didn't have any ideas, it was tough for a newcomer to create dozens of characters all at once...

Kobayashi: Here comes the newcomer.

Kishimoto: So, I asked the editor to design them for me. (Kobayashi laughs) The editor suggested something like an old Jackie Chan movie, and something really strange came up, and that was Gai.

Kobayashi: It was Gai and Lee. I see. But when I was listening to the earlier conversation, I heard that there was a system like this in the Land of the Waves too, of course with an academy, and when I thought about Kakashi's rival appearing, I heard that maybe this Gai version was planned for there.

Kishimoto: That's right. I thought it would be better to have a rival… Kobayashi: It actually wasn't from Konoha. Kishimoto: but I thought there wasn't enough of them, We set it up so that there would be a rival in our village. We thought it would be better to have that kind of setting, so we made it happen within a year. Kobayashi: Right. In other words, the Chunin Exam and the Hidden Leaf battle with Gaara are two different things, but they're all correlated, and yet they keep moving forward.

Kishimoto: During the Chunin Exam selection test, we gained popularity. But even though we were gaining popularity, the editor in charge at the time said that if we just let it end with a regular victory, it would be too ordinary. It wasn't the right time for a tournament. Kobayashi: This is not the time to be dragging your feet. Bang. Kishimoto: They told me, "Come on, this character named Orochimaru is going to come out and wreck everything. He's going to destroy the tournament". I had worked hard to introduce so many characters. (Kobayashi laughs) Kobayashi: That's true. Kishimoto: I was having fun wondering who would win and things like that.

Kobayashi: Even for you, were you subtly wondering who the winner would be on social media?

Kishimoto: I was planning on making it Shikamaru.

Kobayashi: Were you planning on making Shikamaru?

Kishimoto: Yes. That's right.

Kobayashi: Shikamaru's fighting style got really good in the Chunin Selection Exam.

Kishimoto: I had decided that only Shikamaru would become a chunin.

Kobayashi: Yes, yes, yes. And that's exactly what happened.

Kishimoto: I just wrote "IQ 200," but I don't have an IQ of 200. (Kobayashi laughs)

Kobayashi: You digged your grave again. Just like with the Shadow Clone Jutsu. It would require someone with an IQ of 200 to write in such a way that they would think about other people with IQ 200, so it's certainly difficult.

Kishimoto: It's not that it's difficult, it's that is just impossible, isn't it? So I struggled with this, I really struggled.

Kobayashi: Let's keep moving the story along. No, in The Land of the Waves arc, we suddenly have the formidable enemy Zabuza.

Kishimoto: I think it would be better to show a strong ninja out of the blue, and then Kakaishi-sensei would get serious about it. I thought it would be easier to show Naruto and the other ninjas from the older generation in a real ninja battle...

Kobayashi: Growing towards that point.

Kishimoto: I thought it would be easy to understand that we were going to continue to do this, so I decided to show that first.

Kobayashi: But if you think about it, the settings that are introduced in the Land of Waves arc and continue up to the final chapter, for example, the Kekkei Genkai and the Sharingan come out one after another here, right? How far did you plan this out? Kishimoto: No. I think it would have been better to just go ahead and bluff it out here. Kobayashi: Were you bluffing from the beginning? Kishimoto: It seems like a bluff, so I didn't think about what would come next at all. Kobayashi: First, you just went ahead and created the framework. Kishimoto: That's right.

Kobayashi: So you're rushing ahead with the serialization while also thinking about it? Kishimoto: Yes, that's right.

Kobayashi: So you suddenly mentioned Sasuke's past, right? Kishimoto: He wanted to kill someone. Kobayashi: That there was someone he wanted to kill. Kishimoto: I was thinking that he'd have an older brother, and that he had done something bad. I had thought about that, but not much else… Kobayashi: It was quite vague… Kishimoto: That part was vague. Kobayashi: So maybe you just said that Itachi was just a bad guy?

Kishimoto: No, by the time Itachi was brought out I had already decided he was a good guy.

Kobayashi: There's circumstances that make Sasuke feel this way.

Kishimoto: At first, the Sharingan was supposed to be able to closely observe and copy the opponent's movements, but it gradually went in a different direction. Kobayashi: It's the first chapter in the history of world entertainment to be themed around eyeballs, and it went up to volume 72. Kishimoto: I never thought that the idea of ​​the eye as a Dojutsu skill would be so useful. (Kobayashi laughs) The Sharingan is mentioned in a very old story called The Tale of the Hero Jiraiya, in which it is revealed that Jiraiya actually has the Sharingan.

Kobayashi: Jiraiya, that one. Kishimoto: The character has it, and it's often seen in kabuki and other performances. However, if Jiraiya were to use it, his character would become too prominent, so we decided to give it to the Uchiha clan instead. Kobayashi: And Kakashi's has them, so it's like he got the eyes because of some kind of grudge or connection. Kishimoto: That's right. Why does he have those eyes when he's not a part of the Uchiha clan? That's what we make into a mystery to keep the story going.

Kobayashi: So, Kakashi's Sharingan comes from the Uchiha clan. I see, so that's what it was, one of the major recoveries, a part of the mission. There are three main characters in this concept, right?

Kishimoto: Rin, Obito, and Kakashi

Kobayashi: The photo of Rin, Obito, and Kakashi came out pretty early, right? Like around the fourth chapter or so.

Kishimoto: I wonder if there are any photos of Kakashi. I'm thinking about this for now. When I get back, I'll have him be Naruto's dad.

Kobayashi: Ah, had it already been decided at this point that he would be Naruto's dad? Kishimoto: It had been decided. Kobayashi: Ah, this had been decided? Kishimoto: It had been decided, at that time. Kobayashi: Ah, is that so? Ah, had it also been decided that Obito would be the Uchiha? Kishimoto: Yes. Kobayashi: It had been firmly decided, really. Kishimoto: That's… Kobayashi: That was about 16 chapters in.

Kishimoto: Yes, that's right. We decided on that part too. Initially, it's not so much that we decided that the Fourth Hokage, Minato, was Naruto's dad, but rather that we thought we had to reveal that Naruto's dad was the Fourth Hokage. So we properly created the Hokage Rock with the Fourth Hokage's face, and originally, it was a dog's face, so the Fourth Hokage had a dog's face. Kobayashi: Dog? Dog as in dog? Kishimoto: Dog as in dog.Dog Dog. Well, there's that character with fangs, Kiba, right? So if there's a human with fangs, then why not have a dog become Hokage too, right? Kobayashi: It was a dog? Kishimoto: It was a dog. Kishimoto: Yahagi-san, editor Yahagi-san. Kobayashi: The person in charge?

Kishimoto: Yes, he told me I was off the mark again when I got there. (Kobayashi laughs) Kobayashi: You'd finally managed to fix the misalignment, and now it's off again? Kishimoto: So, I decided to make him the protagonist's father. So it was decided on the first playthrough, sort of speak. Kobayashi: I see. So you were excited about that part beforehand. But, you know, with Kakashi, did you have some kind of premonition that he'd become popular? Kishimoto: Not at all. Kobayashi: Eh, speaking of Kakashi, isn't he the most popular character? Kishimoto: That's right. I had no idea why a guy like that would become so popular.

Kobayashi: Kishimoto-sensei, that's off the mark. (Everyone laughs) Kakashi is so cool, he's gonna be popular. Kishimoto: Why can you only see with one eye? (Kobayashi laughs) Kobayashi: Jiraiya is popular too, isn't he? Kishimoto: Jiraiya was really popular too. Kobayashi: I guess it's just that somewhere, are there any characters who are perverts at heart that become popular? Kishimoto: That's true.

Kobayashi: There's a "make out paradise" between those two. Kishimoto: That's why the characters I thought were cool and would be popular didn't become popular at all. (Kobayashi laughs) Kobayashi: Is there anyone else? This guy? Kishimoto: I drew Sai thinking he'd be popular. Kobayashi: Did Sai not become that popular as a character? Kishimoto: No, I also drew a character called Kimimaro thinking he'd be popular, but he pulls out his bones and turns them into swords and he seemed to be a little popular at some point, but the minute he pulled out his backbone he lost popularity.

Kobayashi: Did they have an allergic reaction? Women and such were like, "Wow, this guy is like this." What about Sakura-chan? Kishimoto: I drew Sakura because I thought she was cute. It's not that she's a girl's true nature, but I drew her realistically. Kobayashi: Her inner thoughts came first. Kishimoto: Yes. Kobayashi: Like appearing in a TV show. (Like the confessionals of reality tv show) Kishimoto: I thought she'd be popular with girls, but it seems like they just didn't like her. Kobayashi: Don't like her? Was there a lot of people who disliked Sakura?

Kishimoto: Right. They said that little kids hate her, so we tried a lot of things, but they just backfired. (Kobayashi laughs) Kobayashi: They backfired. I'm sorry. It's a painful memory. Kishimoto: It's a painful memory. (Kobayashi laughs) Kobayashi: You didn't intend to make them fall in love with her like that, but that's how it is. But you know, we had a little meeting about why only Sakura is like that, and it turns out that the Haruno clan isn't depicted, or rather, it was in the movie, but not in the original work. However, not that far ahead; once the recognition system is established, the parents of each clan and their relatives are depicted, and they participate in battles. So, what's up with the Haruno clan? Why aren't they depicted? She's only one girl from an ordinary family, or rather, a girl without any struggles. Kishimoto: The truth is that Sakura wasn't popular, so even if we expanded on that... (Everyone laughs) Kobayashi: So the truth is because she isn't popular you wouldn't expand on it. Kishimoto: Right. (Everyone laughs harder)

Kobayashi: But once it's out you can't backtrack on it, right? The cover of volume 4, and the cover of chapter 4 already have the details of each summoning. Kishimoto: That's right, in chapter 4. Kobayashi: And wasn't it this? If it's already out here, we can't take it down now, right? Kishimoto: That's right. We have no choice but to keep going, so it was pretty much decided by this point that those three, Jiraiya, Orochimaru and Tsunade, would each become a mentor. Kobayashi: It's already being passed down.

Kishimoto: I drew this cover while looking at the faces of Hollywood actresses. Kobayashi: So you were trying to draw what is commonly called a beautiful person? Kishimoto: Yes. I was thinking of drawing a cute girl. I was sketching and so on. Naruto and Sasuke, I can just draw them quickly, but for this character [Sakura], I had to look at reference materials while drawing. Kobayashi: You were very careful about that, weren't you, sensei? Kishimoto: I was extremely careful. Kobayashi: If you could say it like that, you were pushing it. In other words.

Kishimoto: That's right. We were pushing her so hard that it didn't get through to her at all. Only Hinata kept getting more and more popular. I didn't draw Hinata much, and like Sakura, she wasn't doing much either, but her popularity was skyrocketing, so I thought maybe I should make her the heroine. I thought maybe I should make her closer to heroine status. That's why she has a bit of a standout moment at the end.

Kobayashi: I see, it feels like all the characters have been introduced, but the second part was amazing too. First, there was the mission to rescue the Kazekage from the Sand Village, the Tenchi Bridge reconnaissance mission, then the battle between Team 10 and Hidan and Kakuzu, Sasuke's formation of Hebi, Jiraiya vs. Pain, Sasuke vs. Itachi, Hebi becoming Taka, Pain's death, the Five Kage Summit, the Fourth Great Ninja War, Naruto vs. Sasuke, and then the epilogue. So, was there a specific reason for structuring it into two parts?

Kishimoto: That's right, in some parts, Naruto and the others are, well, let's say, weak, right? Kobayashi: That's right. Kishimoto: As expected because they're genins, the Akatsuki, which is like a collective of powerful yet disenfranchised enemies. Kobayashi: Akatsuki. Kishimoto: That's right, they're genin and the Akatsuki are a strong enemy that's like a collection of disenfranchised people but even the jonin can't do anything about them. Kobayashi: It's like even jonin can't catch them.

Kishimoto: So this is bad and for now I cut it and made them grow up all at once. I also wanted to change the clothes and so on, it's hard to draw this weird thing on the left shoulder, it's small, or rather the fluffy thing in around his neck, it hides his face when he lifts his shoulders or makes any movement.

Kobayashi: It was a bit wimpy when he was a kid. When he was a boy, it was wimpy and it got in the way when he was performing action. Even though it's neat like this, it still keeps you warm.

Kishimoto: I thought it doesn't look like a top garment if his neck isn't covered. I also added this headband here so that it flutters a bit and stands out when he performs action.

Kobayashi: Well, as we talked about Akatsuki earlier, Akatsuki was really exciting. As a reader, when all the silhouettes of the characters suddenly appeared, it was just too much. Itachi, Kisame, Pain, Konan, Sasori, Deidara, Hidan, Kakuzu, Tobi, Zetsu. My favorites were Hidan and Kakuzu. Kishimoto: Ah, that's the same for me. Kobayashi: Oh, really? Kishimoto: I like Hidan the best too. Kobayashi: I like Hidan the best too! It's like, this is what dangerous evil is, and I think it would be great if this kind of thing could be applied. I really, really like it. And the fact that two immortals are immortal for different reasons is also really interesting to me.

Kishimoto: That's right. At that time, I actually quite liked how the abilities were portrayed, so things like Hidan stabbing himself with the kunai and the feelings behind it. Kobayashi: This scene is great, he pierces himself and that causes damage to Asuma. Team 10 was great. Sensei previously said it was hard, but from here on it becomes a battle of IQ 200s, right? Kishimoto: With Shikamaru in it, it's a bit tough. Kobayashi: No, but this cigarette scene is really different from previous Naruto, it's a bit of a man's world, a grown man's worldview, you know? Kishimoto: It's surprisingly brutal, with heads chopped off and stuff.

Kobayashi: Yes, there was a scene where his head gets chopped off. Kishimoto: They said that couldn't be done in the anime. Kobayashi: I said that one line, but it made me a bit worried. Is this okay in today's world? Kishimoto: Well first, after being told that it couldn't be done, there was a discussion about changing it because Shikamaru smoking was also a no-go, but the editor said not to worry about it and just go ahead and do it. However, the higher-ups would always check with the editor each time, saying things like, "Isn't this a bit too much? It's a shonen magazine after all." Kobayashi: Would we be able to show this scene now?

Kishimoto: Add this here. Kobayashi: Add this and then cut the left and right sides. Kishimoto: It looks like it's peeking out. (Kobayahi laughs) Kobayashi: It's amazing, isn't it? This head rolls around and suddenly starts talking again. Kishimoto: I tried to hide the cross sections as much as possible. Kobayashi: I see, the cross-section is beautifully concealed. This lighter texture is also quite nice, isn't it? I think many people have asked you about this, but is Hidan still down below?

Kishimoto: Yes, so I think I could have dug him up and have him join the battle if I wanted to, but when it comes out, I still get carried away and have to hide all the cross-sections, so it would be tough. Kobayashi: I couldn't stand it if it became any more troublesome to draw, but Shikamaru's smoke stings my eyes. It was a clean story right up to the point where he just throws it away at the end, and yet the hard-boiled sense is quite rare even for Jump. Kishimoto: That's right. Kobayashi: Did Sensei was always into that kind of world? Kishimoto: Surprisingly, I actually like those kinds of movies and used to watch them a lot, so I ended up doing everything I wanted to do in a shonen magazine, even though it wasn't really appropriate.

Kobayashi: Well, Akatsuki isn't just an organization, it's got all sorts of intertwined intentions, some that even the other people don't know about. Did you give that a lot of thought? Kishimoto: There's places like that. Kobayashi: Around here? Kishimoto: In the real world, companies have started hiring mercenaries to engage in private wars, so I wanted to explore that. Kobayashi: Like a professional group. Kishimoto: I thought that if we introduced a leader who could bring everyone together, it would bring out a sense of charisma. So, I considered developing the character's profile with that in mind. Pain. Kobayashi: That's Pain. When he first appeared, he said he was conquering the world on his back. That scene was difficult, wasn't it?

Kishimoto: It was hard. Kobayashi: It's a scene looking down on the world. Kishimoto: That was hard to draw. Kobayashi: It really seemed like sensei was pushing himself too hard, he drew a lot of scenery seen from above the city. Kishimoto: I draw the rough draft to a certain extent, but my assistants do the inking and stuff, so I leave that to them. Kobayashi: This is another scene looking down at a different city, but did the assistant only do the inking, and the basic drawing is done by you, right? Kishimoto: I did the rough draft.

Kobayashi: Wow, this is amazing. Kishimoto: If it's not like that, the layout and feel of that time can't really be conveyed just by talking about it. Kobayashi: Indeed, the world view of this village is thoroughly filled with such elements. Kishimoto: It was the same with Pain. Kobayashi: This is it, right? The sensei wrote it, what was it called, the handkerchief? Kishimoto: This is that Bobobobobobobobobo manga. (Manga serialized from 2001-2005) Kobayashi: Oh, that's right, now that I think about it, the deadline is a week, right? Kishimoto: Yes, that's right. You only have about three days to draw.

Kobayashi: Three days. You can spare about three days. Since we're talking about illustrations, I would like to ask you a bit about that kind of artwork. You have a unique composition style, don't you? This is a fisheye perspective, right? It's a view of Deidara from above. And again, a fisheye perspective from above. Kishimoto: I quite like fisheye views from above. Kobayashi: "I like fisheye views from above" is like a tongue twister. Kishimoto: I really liked the feeling that the characters were standing on the ground, and Akira was also very precise about that.

Kobayashi: By Otomo-sensei. Kishimoto: I look at various pictures and draw them by changing the depth of the fisheye lens, like Otomo-sensei's fisheye. Kobayashi: Look at this cover of Chouji, the photographer left during the shoot. He said, "Please wait a moment." This is the kind of composition you see in Chihuahua photo books, right? This camera is really only used for skateboarding PVs and Funkiller AVs. Kishimoto: There's no way I would study while watching AV down here. That's not happening. Kobayashi: It's more like a sunview. Kishimoto: That's the image I had in mind…

Kobayashi: Haku, right? Kishimoto: Yes. The "bang" when someone is punched is a common cinematic technique known as double action. For example, when Jackie Chan punches an enemy, the camera slightly pulls back and then zooms in again, making the punch stand out. I wanted to create an image like that in this manga. Kobayashi: We were looking for something like this, showing the same scene from three different angles, and I had a question, in Naruto, even when he uses his signature move, there isn't a name for it at that moment, but his face isn't shown when he lands the move. Is this intentional? Kishimoto: I thought it would be cooler if his face was not shown.

Kobayashi: How is that cool? Kishimoto: If the face isn't in the picture, the attention goes to the body, right? To the back and the body. That way it feels like the body is speaking or expressing itself, but if you show face, the power of the face is so strong that it takes over, or rather, becomes the focal point of the scene. Kobayashi: Rather than talking about the expressions in this scene, you want people to just look at the dynamism and things like that. Kishimoto: That's why I actually have to draw faces in decisive scenes. Kobayashi: Yeah, yeah, yeah. I noticed that a lot, like when the decisive scene doesn't show the face, it's like a deliberate act, right? There were also scenes where the battle progresses from both sides, like in Sasuke vs. Naruto. Kishimoto: This is unique to manga, so it's not shown like a movie on a timeline, and you can look at either side from above and if you just look from above, you can see both at once. This is a manga-like presentation that I came up with, so I thought I'd go with that. It's more about matching or being the same... Kobayashi: Normally you have to read it like this, so now you can read it like this. Kishimoto: That kind of feeling. I tried to keep the details as simple as possible so that it's easy to read. I wanted it to be simple, so I didn't focus too much on the details.

Kobayashi: This is an incredibly complicated panel. Are you even listening? (Kishimoto laughs) Kishimoto: Yes, this area is… Kobayashi: To begin with, we abandoned the interrogation, and now it's a huge mess. So, what is this supposed to be? Kishimoto: I deliberately made it look this cluttered, so that you don't know where to look… Kobayashi: It was a chaotic battle. It was happening at an incredible speed. Kishimoto: I wanted to create something like in movies where the action is so fast that you can't tell what's happening.

Kobayashi: Like directing a production? Kishimoto: That's exactly it. Kobayashi: You were saying you'd put it out this next time but it was difficult to put out. You were trying to make it as simple as possible, so I think it's fine to put out this one. Well, the time is almost up, so I'll have to rush through this. Was the Great Ninja War really difficult? Kishimoto: It was difficult. They said "you will be experiencing wars from now on". By that point, it had been decided to go to war. I was trying to get him to experience war once and then face it, so he couldn't escape, or rather... Kobayashi: Well, I guess it's inevitable. Kishimoto: I thought so.

Kobayashi: It's like everything that has happened so far has come to light in these three wars, right? Kishimoto: There were a lot of things I hadn't been able to do before, but I wanted to tie everything together there, so I did that. So I did a lot of battles between old men, which is unimportant, like Hanzo and Mifune. And I did something that shouldn't be done in a boys' magazine, which was to have those old men clash in the first chapter of the volume. Kobayashi: A boys' magazine that violates morals. Kishimoto: The old man was getting a lot of heat in a boys' magazine.. Kobayashi: An old man's duel. Kishimoto: That's something you'd expect from Torishima-san (Editor in chief of Shonen Jump and editor of Akira Toriyama, author of Dragon Ball) Kobayashi: From Mashirito-san (Anagram of Torishima) Kishimoto: From Mashirito-san. Torishima-san asked me what I was doing and told me to bring out Naruto right away and that I didn't need the old men and I got scolded.

Kobayashi: But, sensei, please listen, is this the fight that the director in charge thought was the best about? Kishimoto: That's right. Kobayashi: Hanzo vs. Mifune. Kishimoto: That's nice to hear. Kobayashi: I think this is great. It's something that people who don't give up on things can achieve. As they fight, they remember things from the past.

Kishimoto: There's a seppuku scene, and I wanted to depict that. I'm gradually becoming an old man, so I feel like I want to depict that kind of seriousness. Kobayashi: How was it? How popular was Mifune in the boy's fantasy genre? Kishimoto: Not at all. (Kobayashi laughs) Kobayashi: No, it's cool, but you know, there was a setting where they branched out from samurai and grew up to become ninjas, and then they started fighting like ninjas. Kishimoto: It's not that. Kobayashi: It's not that because it's that samurai are samurai because they persevere. Kishimoto: They don't run away. Kobayashi: It's a well-portrayed scene, but it's a bit too much for shonen. Kishimoto: It was like "old men are fighting, I wish it would end quickly, I wish the main character would appear soon". (Kobayashi laughs)

Kobayashi: My favorite character in that match was the second Mizukage, I think? He kept saying his own weaknesses while fighting, like "Hurry up and defeat me" or "Am I strong?" I really liked this character. Kishimoto: Ah, that's right. Kobayashi: This one is still a bit old-fashioned for me, though. Kishimoto: This character was surprisingly popular. Kobayashi: It was great, wasn't it? He kept talking and revealing his weak points, defeating his opponents one after another, while telling them to defeat him quickly. Kishimoto: I thought it was kind of interesting.

Kobayashi: Edo Tensei was really difficult, wasn't it? Kishimoto: Yes, well, ever since the Pain arc, Naruto has been unable to just defeat, beat, and kill people to settle things. Instead, they end with discussions. It's something you shouldn't really do in a shonen manga, so from then on, when he fights, he considers who he is up against and what kind of person they are. Kobayashi: Like cultivated clones. Kishimoto: Because it was something that fundamentally doesn't exist as a living being, it couldn't be defeated.

Kobayashi: Did you have the fighting puppets decided on exactly what they would be? So that's why Edo Tensei meant that Jiraiya, Hidan who was buried and Konan who was scattered didn't appear, right? Kishimoto: I mean, I didn't want to bring back Jiraiya. Kobayashi: Well, he was a good character and had a good way of dying. Kishimoto: That's right. I couldn't write a better death than that one and in a sense, with Jiraiya dying, Naruto understood Sasuke's feelings about how it feels when someone important to you dies. If he were to come back, it would be a bit difficult to handle that. Also, I wanted to use Madara as a hook, so that's pretty much everything.

Kobayashi: I see, isn't that a bit of a complicated Rinne Tensei no Jutsu? Madara himself is quite complicated as well. Kishimoto: He is resurrected through Rinne Tensei and Edo Tensei, so it's a bit complicated how it works. Kobayashi: The forbidden technique of Edo Tensei, you see, with the element of Orochimaru, this brings out the connection with Kabuto in the battle. Throughout this, there has been a persistent push from Mr. Kishimoto and the main cast, and then there was the incident where Sakura received a love letter. Kishimoto: This is... a mislead story, but why did I put it here? It's because if the anime continues with the war, it will soon catch up with the manga. So, I created a gap here and then moved on to the next part.

Kobayashi: There was some outrageous fortune-telling involved in this love letter incident, wasn't there? Kishimoto: Did you also wonder what I was writing? (Kobayashi laughs) Kobayashi: So, it's called a love letter, huh? I was wondering what I was writing. Wow, I got to hear some good behind-the-scenes stories. When you think about it, there were a lot of casualties, but why did Neji have to die in the war among the well-known characters? Kishimoto: Well, I had decided on Hinata as the heroine, so it was quite some time ago… Kobayashi: Ultimately Kishimoto: So, I wanted elements that would bring Naruto and Hinata closer together. There was a scene during the Pain fight where Hinata came out and said something, but this time, Naruto consciously says he's happy to have Hinata by his side. So, there was that aspect, and that's why Neji, well, let's just say...

Kobayashi: Well, it was the trigger. Kishimoto: Yes, well, it was like he was playing the role of Cupid, so I was a bit nervous about that. And then we basically decided on the name Boruto for their son. Kobayashi: Is that so? Kishimoto: Once we decided on it, Boruto was also known as Neji (they both mean screw), so the idea was to have him take on the name of the uncle who assisted Cupid… Kobayashi: Well, when I saw it, I cried a little. Kishimoto: We decided on Neji. Kobayashi: Is that how it turned out? Kishimoto: So from now on, for example, this might be a bit harsh, but if I were to write a manga about Boruto, then the scenes with Neji would be important.

Kobayashi: Is it okay if I play this now? Is it alright if I go ahead with this?

Kishimoto: it's alright.

Kobayashi: Thank you. Well, this match is really amazing, so let's move on to the final battle, Naruto vs. Sasuke. I haven't been able to hear much about Sasuke until now, though.

Kishimoto: They start off as rivals and then fight at the end as rivals to close it out. Kobayashi: What's that place called? Kishimoto: Valley of the End.

Kobayashi: Valley of the End. It took quite a while to draw out this ending, didn't it? It's been a long time since Sasuke left, hasn't it?

Kishimoto: Yes, it has been quite a long time since Sasuke flew away.

Kobayashi: That one is definitely longer.

Kishimoto: Sasuke was sulking the whole time.

Kobayashi: He's been sulking the whole time, hasn't he?

Kishimoto: While writing, I was like, "Who is this guy?" (Kobayashi laughs)

Kobayashi: Eh, did you hate Sasuke? Kishimoto: No, there were a few parts where I was a bit more annoyed. But I think I understand what Sasuke does… Kobayashi: Well, I understand why Sasuke does what he does. Kishimoto: I wanted people to understand that, so I wrote it with quite a bit of emphasis, but surprisingly, I wasn't capturing Sasuke's character expressions well. I often had to tell my editor, "This isn't right; this doesn't look like Sasuke"... Kobayashi: Isn't this part of the face a little different? Kishimoto: It took a lot of fixing.

Kobayashi: Wow, so you were quite tormented throughout the serialization. Kishimoto: That's right, I was pretty much tormented by Sakura and Sasuke. (Kobayashi laughs) Kobayashi: So the journey up to volume 72 was one in which you were tormented by two out of the three main characters. Kishimoto: Yes, it was long and painful. Kobayashi: It was difficult. Kishimoto: And Kakashi is Kakashi, but surprisingly, since he only has one eye, it's difficult to convey expressions, ah. Kobayashi: I see, so his expressions are halved? Kishimoto: That's right, and that's why it was so difficult.

Kobayashi: Isn't this a cycle of hatred? We're talking about breaking the cycle of hatred, but we're actually creating more hatred, aren't we? (Kishimoto laughs)

Kishimoto: Yeah, that's right. So I was thinking about how to do it, and in the end, it really turned into a battle between men. I didn't want to resolve it with ninjutsu or anything like that. I wanted a straightforward fistfight. Gradually running out of strength and continuing to fight is, after all, the spirit of Jump. I thought, "Come on, just pull through," but somehow, it worked out.

Kobayashi: They say both of their right arms are blown off.

Kishimoto: Naruto being right-handed and Sasuke being left-handed, so he loses his left hand. In Ninjutsu, there is a tradition called Ninja Kumite where when two friends fight, they put one hand forward as a sign of reconciliation...

Kobayashi: It was a memorable scene.

Kishimoto: In the end, it seems like reconciliation is impossible or rather they're unable to due to the loss of their hands. I felt that these two didn't want to simply reconcile, nor could they, so it didn't seem like the right fit. The concept of reconciliation was similar to the conflict between Indra and Ashura, who were reincarnated. The hands of Madara and Hashirama overlapping are the representation of the symbolized reconciliation.

Kobayashi: I see. Kishimoto: So, I expressed it this way, with the two of them above, even though they don't have hands but still. Kobayashi: Well, sensei's character continued to suffer, but it's a great final scene. You know, these two really brought it about. Kishimoto: We've finally made it this far. That scene has been something I've wanted to draw for a long time, and it was a scene I hinted at at the end of part one, so I'm really glad to finally be able to draw it. Kobayashi: Yes, it's a relief, the daimyo are safe. This daimyo, when you look at him like this, he looks a bit like me. Kishimoto: The cat, that's the cat I have.

Kobayashi: Did it make an appearance? Is it okay to touch on this bit? I was quite moved by this cheer battle. It was kind of… Kishimoto: More like comrades… Kobayashi: More like comrades… I suppose the two of them are comrades, but I feel like I'm a comrade too. In the video, the three of us were standing. Me, Oda-sensei, and Kishimoto-sensei, the three of us were standing together. (Kishimoto laughs) Kishimoto: Well, let's do that. Kobayashi: So you have some thoughts about it? Kishimoto: I think everyone has their own things going on, you know, it's just like…

Kobayashi: It's clearly written here, isn't it? Friends and rivals. A serialization that we did together for 15 years. Kishimoto: I'm grateful. I feel the same way and I want to convey those feelings to Oda-san. Kobayashi: It's not the first time I've seen something like this, but everyone has a valuable message for sensei. Kishimoto: That surprised me. Kobayashi: You didn't hear about it in the volume? Kishimoto: I wasn't informed about it. Kobayashi: That shows that he was an incredible sensei who left behind some amazing works, and therefore a very precious teacher. Kishimoto: Thank you.

Kobayashi: Well, there have been some announcements, like a new generation project. Kishimoto: Yes. Kobayashi: Do you have any plans like that for your next work? Kishimoto: Yes, you're thinking about what you want your next work to be Kobayashi: Their silhouettes are shown, but there is also a new generation project. Kishimoto: The fact that the children have appeared up to this point means that that's what it means, and that I want to depict them. Kobayashi: Seriously? Kishimoto: Naruto also makes a few appearances, but I think that Orochimaru, who didn't appear in the final episode, and Kabuto and Karin are connected, and once it becomes clear that there's a change of generation, then it'll be over.

Kobayashi: Well, there are things that have been announced, like the new generation project and so on.

Kishimoto: That's right.

Kobayashi: Do you have any plans like that for your next work? Kishimoto: Yes, I'm thinking about what I want to do with my next work. Kobayashi: The silhouette is reflected but it's also a new generation project. Kishimoto: The fact that we've included children up to this point means that that's what I want to depict.

Kobayashi: Seriously?

Kishimoto: Naruto will also make a brief appearance, but I think it will be complete once the connections with characters like Orochimaru, Kabuto, and Karin, who didn't appear in the final episode, clearly show a generational shift.

Kobayashi: Yeah, that's good. I was just thinking about Karin earlier. When I saw Karin's abilities, I honestly thought, "Wow, the teacher must be really stressed," but was that the hardest time for you? (Kishimoto laughs) Kishimoto: It was difficult. (Kobayashi laughs) Kobayashi: I think you had a lot of free time. Kishimoto: That's right. I was really lucky, but that was a really bad thing. Kobayashi: It's work that requires you to sit down, after all. It's a job that you can't do without sitting down. Kishimoto: That was painful. I think it was both the mental and physical aspects that built up a lot of stress.

Kobayashi: It's a sitting job, after all. It's a job that can't be done unless you sit.

Kishimoto: It was painful. Probably both the mental and physical aspects were affecting me, and I was quite stressed.

Kobayashi: Sir, it seems you've acquired some special abilities. In this world, I have high hopes that we might be able to see such things. Do you have any thoughts about getting something entirely new from Kishimoto-sensei in the next world?

Kishimoto: Well, of course, I thought about taking a break, but I just can't seem to settle down. So I called in an assistant and we talked together, and I guess I'll ask him to help me with some work and we talked about it.

Kobayashi: Is that so? So it's like it's actually moving around a bit. Kishimoto: That's right, so I want it to be like this, and like this, and with this setting and the main character is like this. Kobayashi: What's the story about? Kishimoto: That's a total secret.

Kobayashi: Well, right.

Kishimoto: It's a bit of a secret.

Kobayashi: It's a bit of a secret, isn't it? Is it wrong to ask about this sort of thing? For example, will it be in Jump?

Kishimoto: Weekly Jump.

Kobayashi: Weekly Shōnen Jump, etc.?

Kishimoto: Well, I want to, but only if I have the stamina.

Kobayashi: There's also G, you know.

Kishimoto: First, the surgery. (Kobayashi laughs)

Kobayashi: Ah, yes. That's the best. You should definitely be able to find more time than before. First, please take it easy, really. I know there are many things that make it hard to relax. So, let's talk about the highlights of the movie at the end. Please make sure to mention them here.

Kishimoto: I thought it was something I'd never done before, and if I was going to do it anyway, I should try a theme that hadn't been done in the main story or the original work, or something like that, so I thought it would seem new and interesting, and so I embarked on the adventure of trying my hand at a romance.

Kobayashi: It was more like a straightforward romance than an adventure. I got to see it, and actually, there's a work here that was written after the serialization ended. It's a gorgeous two-page one-shot.

Kishimoto: It took a while, so please check out those two pages. Kobayashi: Everyone please watch the movie too.

Kishimoto: I want you to watch this. Looking at this, well, I don't know if I should say it, but there are parts that were lacking in the manga that might still be completed, so I wanted to do it with Hinata.

Kobayashi: Please take a look, everyone. So, is this Naruto 10, which means it's cloe to the new year? Haven't they? Is this coming out next year?

Kishimoto: Yes, I think this will be quite moving next year.

Kobayashi: Will we also be able to see the colored illustrations by sensei?

Kishimoto: Yes, you can see it there. I haven't shown you my old setting materials and such.

Kobayashi: You were hiding it a bit today, huh? Well, I guess that's over there, over there, right?

Kishimoto: No, no, no, that's not the case. I just had a few notes lying around.

Kobayashi: Earlier, during the notebook time, it didn't come out easily.

Kishimoto: No, no, no, it's not good at all.

For some reason, Kishimoto's demonstration and whatever comment he and Kobayashi were making were muted in the video linked, sorry about that.

[the-sea-anemone]

also i started packing up my kitchen and then realized i should probably get back to work so really all that's happened is the contents of my drawer in the kitchen is now in my bedroom

"i'm not moving for another five days but i'll pack up my dishes today so i have time to figure out how to keep them from breaking," i said, forgetting that i still need to. eat food

[chrome-barkz-aac]

forgot update on speech therapy!!!!!!

i go on monday, got a treat (monster and sour gummy worms) on the way !!!

SLP say that probably self not talk because in low state of fight or flight for long long time. she also say something about my brain stem but not really sure that means.

we try a thing (forgot name of thing) where i try and say word while she say it we say "yes" 10 times. i could only make coughing noise and clicking noise.

then we try say "ee" sound 10 times. only clicking noise.

she want to set up a low tech AAC that have lab specific words that i can use in lab because not bring spirit due to cross contamination. it will have words like "centrifuge" "freezer" "streak" "conical vial" stuff like that.

she ask me how do i feel about not be able to talk , and i say frustrated (because not talk is frustrating, yall know how it feels) but also relieved because even when can talk mouth words, that hurts and if not talk mouth words hurt less.

she also refer to me as nonspeaking, which, never considered before but yeah kinda getting close to it i guess? it have been over a month now since i talked with mouth words besides making sounds like k c k or a ba ah meow wruff. stuff like that. used be able talk 50% of the time but now talk 0% of the time so yeah i guess? am full time AAC use right now. but over course of life, only part time. don't know anymore. whatever tbh. (stop talking on 12/23/24 today is 1/24/25)

she also say that if not talking is more regulating than talking, and if cannot talk, then not try force self to talk. need to wait until regulated again.

one thing for certain, whoever tell me impossible to complete lose speech from late/adult autism regression. WRONG. brother i am the untalker.

self not know if talk again ever. i have dreams where i can suddenly talk again, but also have dreams where about to say something important and then lose speech and cant say it.

not know. not care either. kinda feel like yeah i would not care if never talk again. other part of me miss my voice that i worked so hard to like (used to hate voice because dysphoria but went on T and LOVE voice now)

like can still hear voice when make sounds like wruff wruff meow grrr but really miss yelling FUCK and FAGGOT super loud.

[dinner-and-a-show]

Does anyone have a solid number on how many people Hannibal actually killed? I know the ripper only had 9-10 official victims in season 1, and more as the monstro, but also-

The average human has, I think, about 70-75 pounds of edible meat, and the healthy amount of red meat per week is apparently 500g (~1.1 pounds) of red meat. But Hannibal isn’t eating all the person. Lungs are around 1000g, the average adult male has a leg weighing about 15 kg, so depending on his storage method, Hannibal could probably stretch his victims to a few monthes on average, and close to a year for the larger parts, but that’s with 0 waste, and without any dinner parties or other social events. So either-

Hannibal is killing people outside of being the ripper, but because they’re never found/displayed, it’s assumed they were killed by animals or freak accidents, or just went missing, and Hannibal uses them to supplement his diet when he isn’t being the ripper.

Or, much funnier, Hannibal supplements his diet with regular meat from stores, and will sometimes treat himself to the human meat if it’s about to go off or if he feels he deserves it. There have been several times when he reached into the freezer for certain cuts, and only realise halfway through that what he’s cooking isn’t actually pork.

(Also, if he killed, let’s say four people a year from ages 18 to 43, his age at the beginning of the show, that’s 100 people, roughly 10 more than the most prolific real life us serial killer. Although, he’d only need to do that if he wasted a lot of the body, or it went off before he ate it. Again, without any additional meat for guest or parties).

This entire thing was researched incredibly lazily, so feel free to comment correcting any inaccuracies.

[unicornpopcorn14]

Writing patterns ✨

rules: share the first line of your last ten published works or as many as you are able and see if there are any patterns!

Thank you so much for the tag @calmlb!! <33 Check out their post for immaculate skk fics!

Exposure Therapy [skk, 5+1, Chuuya learning to overcome his touch-aversion]

Chuuya was never a tactile person…

Hell is Wherever I'm With you [skk, angst, Dazai almost dies during a mission]

Silence...

The body beneath him is emitting nothing but silence...

Up a Blind Alley [skk, Chuuya dissociating and Dazai trying to help even tho it's his fault]

Gunshots, shouts, curses, wooshing, static, laughter.

Kindled Souls [sskk helping each other in their own ways]

Atsushi never liked the smell of Akutagawa’s coat.

Saccharine [qpr skk, Chuuya celebrating Dazai's birthday and Dazai hating it]

“You’re aware which day of the year it is, right?”

Rings a Bell [skk trapped together in a freezer lmao 😭]

You’d think being stuck with your former partner/enemy in a confined space is the worst thing that can happen to a person…

Qualms Unprompted [RanpoSano helping one another out when they're low]

Papers fall, medical utensils clank and disarray in a heap on the floor. She’s stock still.

Vagabond (In Name & In Practice) [Dazai gets shipped overseas 💀]

9 Days. 9 Days without proper sleep, that have resulted in 6 days that felt like hell on earth.

Gruesome, Gorgeous [skk, Dazai doing all he can to save Chuuya from corruption]

Dazai could tell this was a bad idea from the very beginning…

One Uneventful Night [skk, Chuuya keeping Dazai from dying at ungodly hours]

Chuuya gets a call from his boss at the middle of the night, which isn’t unusual.

So the only pattern I pick is that I rarely start with dialogue? And I don't describe the backdrop first thing, I prefer to start with a hook establishing which pov I'm writing from. Huh :0

Non-pressurized tagging hehe: @kauenelikha @cffeine @anticidic @bnesszai

[gingergofastboatsmojito]

TOP 3 - My favest scenes of my least favest season

Ironically, this is not my favest episode BUT...

3 - The one above, and not the Sydcarmy part, where for a moment he was back! But precisely what comes after. THE DISCONNECTION that starts at 0:13, right after she accepts his invitation. He was gone. Just like that. And she just gave up. That instant alone made me re-watch this scene about 50 times in a week. Carmy is mesmerizing and scary. I love him. (Fuck you, Storer! But I forgive you).

Then he went back to his polka dots sauce, that we all know is code for Sydney. Cool, that was just interesting but IDGAF about that.

But then, what he did with that dish is what got me:

He didn't want it. Which symbolically means that he didn't choose Syd.

Of course, this didn't end there because this was Carmy we were talking about, right? So what I then noticed and LOVED was that he didn't choose the alternative EITHER:

And then, after days of despair, because I knew he hadn't chosen Syd, even though I understand why he did it and I also think he needs some ALONE time, meaning: No C, no S, and just a good team of therapists, psychiatrists and maybe even yoga instructors and personal trainers, I figured this out:

2 - Being stuck in Claire's mud and being stuck in the freezer, are the same thing and he not only wasn't stuck but also he got out of there willingly after NOT CHOOSING C once again and then went into Syd's territory, the BOH. Syd represents what he went back to when got out of the freezer, Syd is the kitchen and C is the freezer. So he actually did choose her. Not consciously, of course. What he did choose consciously was NO MORE C, after remembering her saying ILY. But the one who would be his was the woman on the other side of the door he had recently invited to a dinner party. All of this happened at a very subconscious level, clearly. Carmy was not in the best place to make any solid conscious decision as I have been saying since June 27. He was operating at a very basic level of not the best self-awareness. He was blocked. He hit a wall the entire season.

Either way, that scene stayed with me for days, once I cracked that code a few days ago after exchanging some ideas with someone here on Tumblr, can't recall whom. Loved it. It was somewhat of a relief.

1 - And now MY VERY FAVEST (the subs are a bit off tho)

Here's what I could decode from the lyrics, as I cried at a coffee shop while listening to the song in an infinite loop.

After watching it over and over for days and crying to the song every time, all I get from it is that they are apart yet soooo close. It's perfection in blue and here's why:

Syd contemplates her life away from him by the water, and how she might lose herself if she makes the “wrong” choice, and Carmy thinks about the one time in his life when he was truly happy in Copenhagen when he found himself for the first time. Each one going through their own personal journey, separately to eventually be reunited at some point along the way ❤️

I know they will. They have to.

Storer, you are fucking killing me!

Remember to follow my tag #Gingerpovs 💋

[urlocalbone]

(っ◔◡◔)っ ♥ ʕ•ᴥ•ʔ Rꫀׁׅܻɑׁׅ֮ժׁׅ݊ ꩇׁׅ݊ꫀׁׅܻ ♥

low sugar watermelon sorbet (0 added sugar)

Ingredients: 1/8th of a big watermelon (cubed and frozen), 500 ml skimmed milk, tapioca starch, water

Bring milk to boil.

Mix 3 tbsps of tapioca starch with a tiny bit of cold water. Dunk the mixture into the boiling milk.

Remove from heat immediately after milk starts to thicken. Traditional recipes use sweetened condensed milk for the thickness, I found this to be a helpful way to keep the sugar low.

Allow to cool.

Blend the milk with the watermelon cubes. Preferably in a blender, I didn’t have one. So I hand crushed the fruit and stirred with a spatula.

Keep in the freezer for a few hours.

Enjoy!

[cooking-thru-shortstack]

Cardamom & Coconut Milk Sweet Potato Pie - 5 Stars

Vegetarian (depending on fat selected for the crust)

This is a heavenly pie. Cooking through these books has made me very familiar with the process of baking a pie from scratch, and while this one is not the easiest to make, it is worth so much more than the effort it takes to make it.

The cardamom and coconut milk bring out the natural sweetness of the potato while giving it a creamy, light decadence and a touch of sophistication. This pie made people light up at work, and having tried it still warm from the oven and then again when chilled, it's fantastic both ways -- but best when cold, which is the mark of a good pie in my book.

The crust is also one of the less fussy and neat crust recipes I've made, possibly ever? It's buttery and flakey, and you can apply this crust easily to something savory as well as the crust itself is not sweet. According to Scott's notes on the subject, he got the dough recipe from Cook's Illustrated, and the fat needs to be extremely cold. I used lard for the first time and put it in the freezer about 30 minutes before beginning the crust, and the results were fantastic. Shortening works too.

I had to take this pie out and bring it over to a party (we were running late), so the picture below you can see the surface that the pie hasn't fully settled just yet. Didn't stop anyone from enjoying it.

Ingredients for the crust:

1 1/4 cups all-purpose flour, plus more for dusting

1/2 tsp kosher salt

1 1/2 tsp sugar

6 tbsp cold unsalted butter, cut into 1/4 inch pieces

4 tbsp cold lard or vegetable shortening

1/4 cup ice-cold water

Ingredients for the filling:

1 1/4 pounds sweet potatoes (about 1 extra large potato or 2 medium potatoes)

2 cloves

3 cardamom pods, smashed

2 large eggs, lightly beaten

1/2 cup granulated sugar

1/2 cup tightly packed light-brown sugar

2 tbsp all-purpose flour

3/4 tsp kosher salt

1/2 (14 oz) can unsweetened coconut milk(shake the can well before opening and measuring)

Make the crust: In a food processor, pulse together the flour, salt, and sugar. Add the butter, using your hands to coat the pieces with the flour. [Actually, don't do this. This is a bad idea because if you do and you want to do it safely, you have to remove the blade and therefore flour will get into the space where the blade normally rests and it's annoying. Scott, not sure if you were thinking this one through, bud.] Pulse for five 1-second bursts. Add the lard (or shortening) and pulse about four more times, until there are no dough pieces larger than a pea. Don't overprocess. Turn the mixture out into a large bowl.

Add 2 tbsp of the ice-cold water to the dough. Using your hands, fold the water into the dough, pressing it into a ball. The dough is ready when it barely comes together; add another tbs of water if needed. Use your hands to shape the dough into a flat disk about 4 inches wide. Wrap the disk with plastic wrap and put it int he refrigerator for at least 30 minutes. (You can leave it there for up to 2 days.)

Lightly flour a work surface. Unwrap the chilled dough and, using a rolling pin, roll it into a circle about 10 inches wide, dusting it with additional flour as necessary so that it does not stick to the work surface. Transfer the crust to an 8 or 0 inch pie tin.

Make the filling: Preheat the oven to 325˚. Peel the sweet potatoes and cut them into 1 1/2 to 2-inch pieces. Add the sweet potato pieces to a baking dish small enough to fit them rather snugly (an 8 by 8 dish will work well). Add 1 cup of water: the water level should be about 1/2 inch deep. If it isn't, add more water until the depth reaches about 1/2 inch. Add the cloves and the smashed cardamom pods. Cover with aluminum foil. Bake until the sweet potatoes offer absolutely no resistance when their centers are pierced with a knife, about 45 minutes.

Pass the sweet potatoes through a food mill, potato ricer or sieve into a large bowl. Let cool. Strain the cooking liquid (you should have between 1/4 and 1/2 cup).

Increase the oven temperature to 350˚. Add the beaten eggs to the sweet potato puree, mixing well. Add 1/4 cup of the spiced cooked liquid and mix well. IN a medium bowl, stir together the granulated sugar and brown sugar until no clumps remain. Sift the flour and salt into the bowl of sugar and stir. Add the sugar-flour mixture to the sweet potatoes and stir well, until the sweet potatoes and sugar are uniformly combined. Stir in the coconut milk.

Add the filling to the pie tin. Trim the dough hanging over the edges of the pie and crimp the edges with a fork. Bake until a cake tester or knife placed in the center of the pie comes out clean and the top of the filling is cracked in places, about 1 hour. [Note: I did not have any cracks, but it was indeed cooked all the way through. Go by what your tester says, but if you want to bake longer than an hour, cover the crust with tinfoil.] If the edges of the crust start to darken before the filling is cooked, cover the rim of the crust with foil.

Let the pie cool before serving it by itself or with sweetened whip cream or ice cream.

[frogdadskeleton]

3.2. 

Kcal: 632

Fast: 23h

Steps: 12 400

Exercise: 18 min treadmill, 51 min gym (delt & tricep)

Lemon water (1)

Black coffee (2)

New multivitamin drink (0)

Banana (76)

5 rice-corn cakes (135)

Peanut butter (292)

3 raw choc pb banana bites (126)

I forgot to take my weekly measurements yesterday bc i was so out of it, so i did it today. I've lost 2 cm from both my waist and hips, and 1 cm off my thigh. That's crazy.

In total for January that's

W: -7 cm

H: -5 cm

T: -4 cm

This is rly motivating. I rly want my fat% to get lower...

How is my arm tiny and fat at the same time 🥲

I did a shorter workout today bc i wanted to go to bed early but that... didn't exactly work out..

Those bites were not fully frozen yet but it was getting late so i had some and put them back in the freezer. Great day food-wise lol /s

[jimmylovemail]

How to make meth

Making Methamphetamine at home:

List of chemicals and materials:

Diluted HCl - also called Muriatic acid - can be obtained from hardware stores, in the pool section

NaOH - also called lye

Ethyl Ether - aka Diethyl Ether - Et-0-Et - can be obtained from engine starting fluid, usually from a large supermarket. Look for one that says "high ethyl ether content", such as Prestone

Ephedrine The cottons in todays vicks nasle inhalers dont contain efed or pfed (ephedrin or psuedoephedrin) but there are still lots of easy ways to get good ephed or pfed, pure ephedrin can be extracted out of it's plant matter, from a plant that can be bought at most garden stores. Or you can get pfed from decongestive pills like sudafed. Most people perfer to work with pfed from pills rather then ephed from the plant. The important thing is that you must have pure pfed/ephed as any contaminants will fuck up the molar ratio leaving you with over-reduced shit or under-reduced shit. Or contaminats will jell durring baseifying and gak up your product which will then be very hard to clean. So you want to find a pill that is nearly pure pfed hcl, or as close to pure as you can get. Also check the lable on your pills and see what inactive ingredients they contain. Inactive ingredients are things like binders and flavors. These you dont want and will remove when cleaning your pills. but certain inactive ingredients are harder to remove then others. You dont want pills with a red coating, you dont want pills with alot of cellose in them and you dont want pills with much wax. you also dont want pills that contain povidone. As a rule, if you have a two pills that contain the same amount of pfed hcl then take the smaller sized pill because it obviously has less binders and inactive ingredients, time released pills are usualy harder to work with because they have more binders and tend to gel up durring the a/b stage. Also only buy pills that have pfed hcl as the only active ingredient. You first have to make ephedrine (which is sometimes sold as meth by itself):If you are selling it...I would just make ephedrine and say it's meth.

Distilled water - it's really cheap, so you have no reason to use the nasty stuff from the tap. Do things right.

List of equipment :

A glass eyedropper

Three small glass bottles with lids (approx. 3 oz., but not important)one should be marked at 1.5oz, use tape on the outside to mark it (you might want to label it as ether). One should be clear (and it can't be the marked one).

A Pyrex dish (the meatloaf one is suggested)

A glass quart jar

Sharp scissors

Clean rubber gloves

Coffee filters

A measuring cup

Measuring spoons

Preparing your Lab:

Preparing Ethyl Ether:

WARNING: Ethyl Ether is very flammable and is heavier than air. Do not use ethyl ether near flame or non-sparkless motors. It is also an anaesthetic and can cause respiratory collapse if you inhale too much.

Take the unmarked small bottle and spray starter fluid in it until it looks half-full. Then fill the rest of the way with water, cap the bottle and shake for 5 minutes. Let it sit for a minute or two, and tap the side to try and separate the clear upper layer. Then, draw off the top (ether) layer with the eyedropper, and throw away the lower (water) and cloudy layer. Place the ether in the marked container. Repeat this until you have about 1.5 oz. of ether. Put the cap on it, and put it in the freezer if you can. Rinse the other bottle and let it stand.

Ethyl ether is very pungent. Even a small evaporated amount is quite noticeable.

Ephedrine & or P-Ephedrine: Please discuss this on the neonjoint forum

5. Pour 1/8 teaspoon of the lye crystals into the bottle of ephedrine and agitate. Do this carefully, as the mixture will become hot, and give off hydrogen gas and/or steam. H2 gas is explosive and lighter than air, avoid any flames as usual. Repeat this step until the mixture remains cloudy. This step neutralizes the HCl in the salt, leaving the insoluble free base (l-desoxyephedrine) again. Why do we do this? So that we can get rid of any water-soluble impurities. For 3 oz. bottles, this should take only 3 repetitions or so.

6. Fill the bottle from step 5 up the rest of the way with ethyl ether. Cap the bottle, and agitate for about 8 minutes. It is very important to expose every molecule of the free-base to the ether for as long as possible. This will cause the free base to dissolve into the ether (it -is- soluble in ether).

7. Let the mixture settle. There will be a middle layer that is very thick. Tap the side of the bottle to get this layer as thin as possible. This is why this bottle should be clear.

8. Remove the top (ether) layer with the eyedropper, being careful not to get any of the middle layer in it. Place the removed ether layer into a third bottle.

9. Add to the third bottle enough water to fill it half-way and about 5 drops of muriatic acid. Cap it. Shake the bottle for 2 minutes. When it settles, remove the top layer and throw it away. The free base has now been bonded to the HCl again, forming a water soluble salt. This time, we're getting rid of ether-soluble impurities. Make sure to get rid of all the ether before going to step 11!

10. If there is anything left from step 3, repeat the procedure with it.

11. Evaporate the solution in the Pyrex dish on low heat. You can do this on the stove or nuke it in the microwave (be careful of splashing), but I have found that if you leave it on top of a hot-water heater (like the one that supplies hot water to your house) for about 2-3 days, the remaining crystals will be ephedrine HCl.

If you microwave it, I suggest no more than 5-10s at one time. If it starts "popping", that means you have too little liquid left to microwave. You can put it under a bright (100W) lamp instead. Microwaving can result in uneven heating, anyway.

First Batch: 120mg ephedrine HClEstimated: 300mg (100% of theoretical, disregarding HCl)

Now, Making Methamphetamine out of ephedrine by reducing it with Hydroiodic Acid and Red Phosphorus.

Items needed:

Alot of matchbooks (the kind with the striking pad)

Coffee filters (or filter paper)

Something that measures ml and grams

A flask (a small pot with a lid can be used)

iodine

Hydroiodic Acid (I will tell you how to make this)

Red Phosphorus (I will tell you how to make this)

Lye

*Optional (toluene and HCI gas)

Making Red Phosphorus:

The striking pad on books of matches is about 50% red phosphorus. The determined experimenter could obtain a pile of red phosphorus by scraping off the striking pads of matchbooks with a sharp knife. A typical composition of the striking pad is about 50% red phosphorus, along with about 30% antimony sulfide, and lesser amounts of glue, iron oxide, MnO2, and glass powder. I don't think these contaminants will seriously interfere with the reaction. Naturally, it is a tedious process to get large amounts of red phosphorus by scraping the striking pads off matchbooks, but who cares?

Making Hydroiodic Acid:

This is made by mixing iodine and red phosphorus. When making hydroiodic acid from iodine and red phosphorus, the acid is prepared first, and allowed to come to complete reaction for 20 minutes before adding the ephedrine to it. The way around the roadblock here is to just boil off some more of the water from the ephedrine extract, and make the acid mixture in fresh pure water. Since the production of HI from iodine and red phosphorus gives off a good deal of heat, it is wise to chill the mixture in ice, and slowly add the iodine crystals to the red phosphorus-water mixture.

Now, Making Methamphetamine:

To do the reaction, a 1000 ml round bottom flask is filled with 150 grams of ephedrine. Also added to the flask are 40 grams of red phosphorus and 340 ml of 47% hydroiodic acid. This same acid and red phosphorus mixture can be prepared from adding 150 grams of iodine crystals to 150 grams of red phosphorus in 300 ml of water. This should produce the strong hydroiodic acid solution needed. Exactly how strong the acid needs to be, I can't say . With the ingredients mixed together in the flask, a condenser is attached to the flask, and the mixture is boiled for one day. This length of time is needed for best yields and highest octane numbers on the product. While it is cooking, the mixture is quite red and messy looking from the red phosphorus floating around in it.When one day of boiling under reflux is up, the flask is allowed to cool, then it is diluted with an equal volume of water. Next, the red phosphorus is filtered out. A series of doubled up coffee filters will work to get out all the red phosphorus, but real filter paper is better. The filtered solution should look a golden color. A red color may indicate that all the red phosphorus is not yet out. If so, it is filtered again. The filtered-out phosphorus can be saved for use in the next batch. If filtering does not remove the red color, there may be iodine floating around the solution. It can be removed by adding a few dashes of sodium bisulfate or sodium thiosulfate.The next step in processing the batch is to neutralize the acid. A strong lye solution is mixed up and added to the batch while shaking until the batch is strongly basic. This brings the meth out as liquid free base floating on top of the water. The strongly basic solution is shaken vigorously to ensure that all the meth has been converted to the free base. You now can sell or use the free base for injection use or with free base meth now obtained, the next step you can do is to form the crystalline hydrochloride salt of meth. To do this, a few hundred mls of toluene is added to the batch, and the meth free base extracted out as usual. If the chemist's cooking has been careful, the color of the toluene extract will be clear to pale yellow. If this is the case, the product is sufficiently pure to make nice white crystals just by bubbling dry HCl gas through the toluene extract. If the toluene extract is darker colored, a distillation is called for to get pure meth free base. The yield of pure methamphetamine hydrochloride should be from 100 to 110 grams.