#fujii midori

[hotwaterandmilk]

So I received my final big package of proxy stuff I'd bought before I changed jobs and it's full of great stuff (and weird stuff -- now I know why there's no internal pics of Asamiya's Lebia doujin around, her nips are out the whole time lol). However, there's one thing I am just absolutely over the moon about.

Like... just... I was stunned.

I managed to win an auction a few months back of the first Shougaku Ninensei issue featuring Fujii Midori's Wedding Peach manga (one of the manga serials that was never published in collected volumes). That in itself is pretty exciting, the only other chapters I own are towards the end of the series' run and I've never had the opportunity to see how it all started. BUT IT GOT BETTER.

*deep breath*

The first chapter of Fujii Midori's Wedding Peach manga is IN FULL COLOUR.

A FULL COLOUR WEDDING PEACH MANGA CHAPTER.

Now admittedly this chapter is like all of Fujii Midori's Wedding Peach manga chapters and only 8 pages in length. But it also has a bonus page in colour so that's 9 full colour pages in one issue. OF FUJII'S GORGEOUS, FUNNY, AND WHIMSICAL SHOUJO ART. ;o; I've been following Wedding Peach for 25+ years and it amazes me that I can still be floored by finds from this series after decades of digging into it.

Story-wise we have Momoko, Yuri and Hinagiku seeing a wedding in passing which causes Momoko to think back to her mother and the ring she left her. Enter Pluie who is after the Saint Something Four. He attacks the girls, they smack him back a bit, Limone appears with a compact (Saint Miroir) through which Aphrodite appears. Momoko shouts "Wedding Beautiful Flower!" and ALL THREE transform into angels before powering up (per above) into their fighter forms as Angel Peach, Angel Lily, and Angel Daisy.

Pluie is dispatched with Peach's "Saint Miroir Bridal Flash" attack and the girls return to their civillian forms, each wanting to know more about their new circumstances and the angel Limone. End chapter.

So a super condensed intro chapter that has all the girls awaken and transform at once (which makes sense given the number of pages Fujii was working with here). It's fascinating seeing what things were kept and what was ditched for length here.

Unfortunately my scanner problems are not over so it might be a while before I can share this chapter (which BTW has the kana title of Super Angel Story Wedding Peach or Chou Tenshi Densetsu Wedding Peach, potentially a variation on the initial Ai no Chou Tenshi Densetsu subtitle Yazawa's Ciao manga had). I just wanted to let you all know that this has consumed my mind today despite all the other crap going on in my life and the world.

Oh and I got some other sweet stuff too, stay tuned for more.

[racequeenparadise]

Hara Kotoha, Shiori Maki, Midori Imai, Rei Kimura, Mary Fujii and Sumire Sawa, Arta Gals

[cyn-the-black-rabbit]

Revanche horrorcore group members

Nagisa Gamou (leader)

Midori Sano

Sumire Seto

Shun Shishido

Chiyo Yamane

Junpei Sekido

Yukino Asou

Aki Fujii

Taeko Arikawa

Sakurako Gomi

Noriko Sekihara

Teruhiko Himuro

Asuka Shibuya

Chizuru Hazuki

Mikito Yanase

Manager

Keiko Otori

[zukalations]

Dream Stars’ Salon - Fuji’s Bar w. Ranju Tomu (Flower Troupe)

This Kageki feature from the mid-2000s had directors Fujii Daisuke and Ueda Keiko trading off hosting a ‘bar’ where they would conduct talk features with young otokoyaku stars. The interview between Fujii and Ranju Tomu was published in the February 2006 issue.

Dream Stars’ Salon - Fuji’s Bar w. Ranju Tomu (Flower Troupe)

Fujii: Welcome to ‘Fujii’s Bar’.

Ranju: Thank you for inviting me.

Fujii, Ranju: (laugh)

Fujii: I think the first time I met Tomu (Ranju) was your debut in CAN-CAN, when I was attached to the production as an assistant… You’ve grown up a lot since then.

Ranju: No, I haven’t grown up a bit~ (laughs)

Fujii: Is that so. I think the really cute thing about Tomu is that you’re really bright and friendly, and while you’re mature you can still be a little bit spacey. You’re someone who’s very easy to talk to. You had the ‘otokoyaku’ atmosphere even as a ken-1, didn’t you. I think I remember in Nao-chan’s (Iori Naoka’s) dinner show, you were ken-5, but they introduced you as ken-15… (laughs).

Ranju: I was constantly being used for that punchline in dinner shows and such as a junior actress (laughs).

Fujii: And then recently it feels as if you’re getting younger by the year (laughs).

Ranju: Yes, people say that to me all the time! (laughs) It really makes me think about how hard I was working as a junior actress…

Fujii: Really… Yesterday, I went to see the Flower Troupe performance, and felt like the kindness and big-heartedness I felt from Tomu is something nobody else could express.

Ranju: That makes me so happy~. For my character of Nicola in Palermo in the Setting Sun, that ‘big-heartedness’ was what I most wanted to express, so I’m really happy to hear that.

Fujii: And then in the revue show you had a really natural sexiness. Recently, you’ve come to the point where you can do things without having to push yourself past your limit, right?

Ranju: I’ve had people telling me ‘You’re more relaxed’ or ‘you seem so natural onstage’, so I do feel like I’ve begun pushing myself less onstage, but in a good way…

Fujii: That might be why you’re really standing out recently. By the way, Tomu, did you like Takarazuka ever since you were little?

Tomu: I started watching Takarazuka when I was in middle school.

Fujii: And did you decide ‘I want to join!’ from the start?

Ranju: No, it was when I was thinking of my future path during high school that it started to get to me. I thought ‘I at least want to try out for it’. So then for a year, I took entrance exam prep lessons in secret from my school…

Fujii: But weren’t you taking dance since you were little?

Ranju: When I was in elementary school I took classical ballet for 3 years, and then in middle and high school I was put in the ‘Creative Dance’ department. We had ballet lessons and danced to our own choreography…

Fujii: So, you can do choreography too!

Ranju: That would be a huge challenge, but I would like to try it once, I think.

Fujii: Oh, that would be great! If you hadn’t passed the exam, what path do you think you would have taken?

Ranju: I like English, so I had the vague idea of studying English in college and doing some kind of work related to that.

Fujii: You’re a really flexible person, so I can definitely picture that. Your grades have been excellent ever since you entered Takarazuka, and then you kept getting roles in shinjin kouens and Bow Hall performances, and lots of appearances in dinner shows. Are there any shows for you that were turning points, Tomu?

Ranju: Maybe the 2001 Bow Hall, Manon. That’s when I really started to aim for being an ‘otokoyaku’.

Fujii: Slightly wicked roles, like your character of Lescaut in Manon, really suit you, don’t they. And then that same year you had your first shinjin kouen lead, Michelangelo. What do you think about that?

Ranju: I was so desperate. It was like I was pushing to the limits of my energy, so I don’t really remember the particulars.

Fujii: But I think it’s exactly that which helped you suit the role so well, perhaps. And then the next year was Drenched in the Amber Hued Rain and Cocktail!

Ranju: In the show Director Fujii created and directed, Cocktail, I was able to sing with Haruno-san, Sena-san, and Ayabuki-san in the opening sequence, and then in the basketball scene I was playing the part of Haruno’s opponent, so I was thinking “is it really okay for me to be doing all this…?” It was a revolutionary show for me, internally.

Fujii: Is that so; it seemed perfectly ordinary to me, though (laughs). When all the current Flower Troupe otokoyaku are gathered, they’re so interesting, no matter what you look at.

Ranju: There were so many stellar otokoyaku when I was a junior actress. Maya Miki-san, Kaikyou Hiroki-san, Aika Mire-san, Yabuki Shou-san, Takumi Hibiki-san, Hatsukaze Midori-san, Kizuki Ayumu-san, Ranka Rea-san...And then at the time, Sena-san, Mizu-zan, and Kiriya-san were in Flower Troupe too, and everyone was so cool… I was like ‘what even is this troupe!’ (laughs)

Fujii: (laughs) And was it good training?

Ranju: For example, they would give very clear advice about the best way to wear a tailcoat, and precisely how many centimeters and millimeters until it started to look ‘just a bit off’. Even now, when it comes to how we’re holding a tailcoat, the senior actresses will still suggest ‘so, let’s do it this way this time’ and keep an eye on that. I think they all have a great aesthetic sense of ‘how an otokoyaku should be’.

Fujii: It’s something that’s passed down from senior actresses to the junior actresses. You were ken-7 in Cocktail.

Ranju: Yes. I had a lot of different experiences that year, with Gone with the Wind, Shadow of the Moon, and Elisabeth.

Fujii: How do you feel about singing, Tomu?

Ranju: I’ve studied it for a much shorter time, compared to dance. When I entered the Takarazuka Music School, if I had to use my voice in singing or acting, I never knew what I ought to be doing… In Director Shibata’s acting class he would always call on me as ‘that girl over there, with the strained voice’. I had a complex for a while that made it hard for me to get my voice to come out. Right now it’s not as bad as it was before, but unlike dance, where I can just go with my feelings, I have to think about using my voice more and tell myself ‘I just need to do it how I did in the rehearsals.’ When I hear Osa-san singing, I think that it feels really good, and I want to be able to use my singing to express what’s inside myself that way too…

Fujii: In the shinjin kouen of Elisabeth, it definitely seemed that while your gestures and such were very striking, you were nervous about the singing.

Ranju: Especially in the Takarazuka shinjin kouen I never got over the nervousness… I was in a battle with myself every day until the Tokyo performance. I remember that even right before the performance, I had shut myself in the dressing room baths and was singing. Finally, at the very end, it felt like I had made it over a huge mountain during that performance.

Fujii: That was a good experience for you, wasn’t it. You seemed to be enjoying yourself singing in the recent production of Ernest in Love, so I thought ‘she seems like she’s grown a bit…’

Ranju: Thank you very much.

Fujii: You were playing all sorts of roles in 2005, weren’t you. Hachigorou in Kurawanka was such a skillfully done role that it almost made me think you were ken-30 (laughs).

Ranju: (laughs) Although it was a hard time with the switch roles and things, the junior actresses put so much energy into it, and I think that show really helped everyone in the cast grow.

Fujii: After that you played Gunther in Marakesh: The Crimson Tombstone, and the outside performance R-HATTER*. You were so cool!

Ranju: Although at first I couldn’t even picture how things might end up, but Hattori Yuukichi-san was very understanding of what a ‘Takarazuka otokoyaku’ is, and put together choreography that showed off how the otokoyaku looked.

Fujii: But it was the kind of choreography that you wouldn’t see very often in Takarazuka, right. It needed a very high technical level, didn’t it?

Ranju: Yes. At first I was struggling just to keep up. Performing with foreign male dancers was a very valuable experience for me that really made me rethink ‘the appeal of an otokoyaku.’

Fujii: Although you’ve developed quickly and have the image of a ‘star student’, have you ever had times where you’ve come up against a barrier or that you can’t relax?

Fujii: I’ve never relaxed… Since I haven’t been practicing since I was a child, I feel like if I don’t practice more than everyone else I won’t be able to do it. When I was in the music school,  I would dance at home until late at night, and I had my family buy a tap mat so I’d be tapping away at that...I was desperate (laughs).When I was a junior actress I hated being called ‘star student’ and I would break down sometimes. “Even though I’m always at my limit trying to deal with things, why do they still say those things about me…” I would think.

Fujii: I’ve never seen Tomu in a panic like that.

Ranju: I don’t let people see that (laughs). I hate failure, you see. Starting when I was around ken-3, I was able to act in the plays together with the senior actresses, and in the revues even though I was one of the youngest I would be able to join them, but I still couldn’t do things at the level the senior actresses were at… A lot of the time I would end up in the dark, deserted rehearsal room just crying, ‘Wah~’ (laughs)

Fujii: Oh… But you don’t do that any more now?

Ranju: No, if I can’t do things how I think I should be doing them, I’ll have a cry at home (laughs).

Fujii: You don’t want other people to see, yes. So, how are you going to progress from here? Can you tell me roles you want to play, or dances you want to do?

Ranju: In terms of plays, I want to do a really passionate grand romantic story. In terms of dancing, I’d like to do something in latin style, or some really vigorous dancing that they don’t do a lot in Takarazuka. Also, a really Takarazuka-style duet dance… When I was in the music school, in Shime-san’s (Shion Yuu’s) class, she told us “in your loudest voice, shout out your dream of what you want to do onstage”, you know. So, I said “I want to do a duet dance wearing pure white, surrounded by white smoke!” (laughs). I do want to do a charmingly romantic duet dance.

Fujii: So, finally, what do you think is the appeal of ‘Ranju Tomu’?

Ranju: Eh~, do I have to say it myself? I’m blushing… (laughs) Let’s see, first would be ‘Passion’. That’s been my theme ever since I was ken-1.

Fujii: Oh~ that’s great.

Ranju: From now on, I want to develop ‘big-heartedness’ and ‘sweetness’.

Fujii: Wonderful! I think Ranju has the ‘Takarazuka atmosphere’ in the best way, and you’re really irreplaceable. I’m looking forward to seeing how you flourish from now on.

Ranju: Yes. Thank you very much!

* This was a co-ed modern ballet production featuring Japanese and foreign ballet dancers as well as a few Takarazuka actresses.

[junxyas]

hello~ call me sumire 😍 im here to deliver your bsd needs

she/her please female, bi

reqs open

tags navigation:

junimp 💜 - important posts junreq 🍇 - requests junwqx 🌌 - works junths 🔮 - random thoughts

about me

favorite colour: sage green and pastel pink

favorite singer: yoasobi, taylor swift, kenshi yonezu, bo en, pinkpantheress, jack stauber, inaba kumori, lana del ray, doja cat, fujii kaze, steve lacy

favorite song: shinu noga ii wa by fujii kaze

favorite food/drink: midori yttd /j i love boba and taiyaki

favorite movie: the insidious series

favorite month: july

favorite games: genshin, dr, pjsek, enstars, tot

favorite animanga: bsd, vanitas no carte, chainsaw man

favorite genshin characters: ayato, tighnari, heizou, thoma

favorite bsd characters: sigma, atsushi, yukito

favorite chainsaw man characters: yoshida, angel devil

[people-of-iwate]

Merry Christmas, Happy Holidays, and a Happy New Year to you all. PEOPLE OF IWATE will be taking off for the holidays, but we'll be back on January 10th, bringing you more stories from the people of Iwate.

In the meantime, have you read about the dried persimmons that Ms. Saeko Fujii is developing in Kamaishi? Or the fantastic starry skies in Ofunato, guided by Mr. Shingo Yanagiya? Check out some of the interviews you might have missed over the past year: 

Kamaishi

・Ms. Yurie Endo and her rugby cafe (& part 2)

・Mr. Kazunori Ishii, working to revitalize and open up the city of Kamaishi (& part 2)

・Mr. Takuma Sasaki, member of the local rugby team and elementary school teacher

・Mr. Ryuta Kubo, developing tourism through airbnb (& part 2)

・Ms. Rie Sano and her work promoting Kamaishi and its people (& part 2)

・Mr. Satoru Fujii and his playground for local children

・Ms. Saeko Fujii and her restaurant serving farm-fresh food (& part 2)

・Ms. Kanako Ishikura, working to develop her adopted home of Kamaishi

・Ms. Ayumi Fukasawa and her work with the Cosmos playground

・Mr. Shusei Yamada and his journey around the globe in a biodiesel car (& part 2)

・Ms. Akiko Iwasaki, proprieter of the Horaikan inn by the coast (& part 2)

・Ms. Emily Hallams, helping to prepare Kamaishi for Rugby World Cup 2019

Kuji

・Mr. Susumu Ishiwatari, keeping alive the tradition of Kuji's sweet/savory mamebu soup (& part 2)

Ofunato

・Mr. Shingo Yanagiya, sommelier of the stars

・Ms. Midori Furukawa, a lover of both the stars and particle physics

Iwaizumi

・Ms. Aki Sugiyama, the “Cave Girl” of Ryusendo

・Mr. Daizo Kudo, rebuilding Iwaizumi after the 2016 typhoon

・Mr. Kazuto Motegi and his journey deep into Iwaizumi's agricultural heartland (& part 2)

・Ms. Sono Hashimoto, running her family's sweets shop

・Mr. Atsushi Hashimoto, a transplant to the area who's helping out his wife's shop

・Ms. Atsuko Kudo and the gorgeous natural-dyed yarns of Iwaizumi

Ninohe

・Mr. Takuma Nakamura and the NEW SPORTS of Ninohe City

Rikuzentakata

・Mr. Kotaro Kumagai and his work building up a new community in tsunami-torn Rikuzentakata

Sumita

・Mr. Mark Mino-Thompson and his journey to Japan and Sumita

[otakunews01]

La película Suki ni Naru Sono Shunkan wo.: Kokuhaku Jikkou Iinkai llegará a Blu-ray el 21 de junio.

La segunda película de Kokuhaku Jikkou Iinkai: Renai Series se estrenó el 17 de diciembre en cines de Japón.

Amazon Japan ha catalogado a Suki ni Naru Sono Shunkan wo.: Kokuhaku Jikkou Iinkai, la segunda película en la adaptación a Anime del proyecto de canciones de Vocaloid Kokuhaku Jikkou Iinkai Ren'ai por HoneyWorks, para ponerse a la venta en disco Blu-ray y DVD el 21 de junio del 2017 en Japón. La película se estrenó el 17 de diciembre del año pasado en cines de Japón.

La película gira entorno a las canciones de HoneyWorks: "Ima Suki ni Naru" y "Sankaku Jealousy". La película comparte el mismo titulo que el tercero y más reciente álbum del grupo musical, que fue lanzado en julio del 2015. La primera película fue basada en las canciones "Kokuhaku Yokou Renshuu", "Hatsukoi no Ehon", y "Yakimochi no Kotae".

Las miembros del grupo de ídolos Nogizaka46: Sayuri Matsumura, Manatsu Akimoto, Kotoko Sasaki, y Miria Watanabe dan voces a personajes en la película. Matsumura (a la izquierda en la imagen de abajo) será Kako, una amiga de la heroína en la película, mientras que Akimoto, Sasaki, y Watanabe (segunda, tercera y cuarta en la imagen, respectivamente) darn voces a personajes extras femeninos.

Además, HoneyWorks colaboró con Nogizaka46 para la canción de ending de la película titulada "Dai Kirai na Hazu datta", que esta acreditada como una canción donde "HoneyWorks conoce a Sayuringo Gundan (Sayuri Matsumura) + Manatsu-san Respect Gundan (Manatsu Akimoto)". Sayuri y Akimoto interpretaron la canción, que HoneyWorks escribió y compuso.

HoneyWorks colaboró también con la unidad de actrices de voz TrySail para interpretar el tema musical de opening de la película titulado "Senpai”. Además. la miembro líder de TrySail y actriz de voz Momo Asakura cantó una canción insertada para la película. La canción fue su debut como solista.

CAST para la segunda película:

Hiroshi Kamiya como Yuu Setoguchi, el presidente del club de película

Haruka Tomatsu como Natsuki Enomoto, una miembro del club de arte

Yuuki Kaji como Souta Mochizuki, el vicepresidente del club de película

Kana Asumi como Akari Hayasaka, la presidenta del club de arte

Kenichi Suzumura como Haruki Serizawa, un miembro del club de película

Aki Toyosaki como Miou Aida, la vicepresidenta del club de arte

Tsubasa Yonaga como Koyuki Ayase, un miembro del club de jardinería

Momo Asakura como Hina Setoguchi

Natsuki Hanae como Kotaro Enomoto

Hikaru Midorikawa como Saku Akechi

Sora Amamiya como Sena Narumi

Yoshimasa Hosoya como Ken Shibazaki (nuevo)

Yoshitsugu Matsuoka como Koudai Yamamoto (nuevo)

Gero como Hamanaka Midori (nuevo)

STAFF mismo que el de la primera película:

Tetsuya Yanagisawa (High School DxD, Seirei Tsukai no Blade Dance) esta dirigiendo la película en el estudio Qualia Animation bajo guiones por Yoshimi Narita (HappinessCharge PreCure!, Bouken Ou Beet). Maki Fujii (Seirei Tsukai no Blade Dance, Pupa) esta sirviendo como diseñador de personajes y director en jefe de Animación. Otros miembros del equipo incluyen:

Artista de fondos: Eiko Tsunadou

Director de arte: Yuki Umino

Diseño de accesorios: Yutaka Miya

Diseño de color: Makiko Kojima

Director de fotografía: Yoshihiro Sekiya

Gráficos por computadora: Yoshinori Tomo

Edición: Aya Hida

Director de sonido: Yukio Nagasaki

Efectos de sonido: Yasuyuki Konno

Producción de sonido: Milestone Music Publisher

Productor de animación: Keisuke Kawai

Productor: Shunsuke Saito

Distribución: Aniplex

La primera película de la serie, Zutto Mae Kara Suki Deshita.: Kokuhaku Jikkou Iinkai, se estrenó el pasado 23 de abril del 2016 en cines de Japón. La película se puso a la venta en Blu-ray y DVD el 26 de octubre del mismo año.

El proyecto de Kokuhaku Jikkou Iinkai ~Renai Series~ gira entorno a canciones populares como “Kokuhaku Yokou Renshuu”, “Hatsukoi no Ehon”, y “Yakimochi no Kotae”. HoneyWorks ha lanzado tres álbumes, Zutto Mae Kara Suki Deshita. en Enero del 2014, Boku Ja Dame Desu ka? en Noviembre del 2014, y Naru Sono Shunkan en julio del 2016.

[techscorn]

fascinating. via

TOKYO -- Inside Tokyo stationery stores, scissors are undergoing a quiet evolution. The familiar tool has become smaller, easier to cut with and multi-functional. Here is a rundown of the latest products.

Scissors go back millennia. An ancient mural in Egypt depicts a pair and, in Greece, some have been excavated from ruins dating back to around 1000 B.C. 

The first stationery-use scissors are believed to have been created around 1880 by Finnish manufacturer Fiskars. But these Scandinavian scissors would not take the form we know today until 1967. It was the same company that then came up with the iconic orange plastic-handled scissors that are light in weight and easy to use. They went on to become one of the company's best-known products.

By the 1960s, scissors had evolved into designs specific to dressmaking, gardening, surgery and other purposes as manufacturers sought durability and ways to make the tool better cut through various materials. In the meantime, general-use scissors, those typically found at stationery shops, did not evolve much.

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Raymay Fujii's Pencut

But in the early 2000s, Japanese companies started to produce scissors with distinct features, like compactness.

Because of their uneven shape, scissors tend to be bulky. Unlike pencils, they do not easily fit into cases, and their presence on desks can be awkward. If this is a design problem, it cannot be solved by making smaller scissors; this would merely compromise the tool's utilitarian nature.

Pencut is a pair of scissors that resembles a pen when not in use. The pair is made by Tokyo-based Raymay Fujii, which gave the Pencut retractable loops of a soft elastic on each gripping end. A tightly fitting cap covers the blades. When the tool needs to be tucked away, it can fit into a pencil case.

The Pencut has relatively long blades for its size and good cutting performance. This last trait made it an instant hit. Smaller products had come along before but took the typical scissors shape and never earned an "easy to use" reputation.

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Sun-Star Stationery's Stickyle Scissors

The Pencut changed all of this, touching off a wave of new compact products from other producers.

Tokyo's Sun-Star Stationery took the concept of pen-shaped scissors a step further and created the Stickyle Scissors.

Kokuyo took a different approach to pairing compactness with usability. The handle loops on the Osaka-based company's Hosomi scissors are staggered so that they align on one side along the length of the tool when closed, achieving a narrower profile compared to traditional scissors.

Raymay Fujii then responded to all the competition it kicked off by introducing the Pencut Mini.

The trend toward compactness remains apparent in stationery shops.

There is another trend in Japan's scissors world, one in which new ideas are being applied to cutting performance. Cutting ability is not determined by sharp edges alone. Blade shape, the angle at which the blades come together and how the blades move against each other also significantly impact performance.

This renewed pursuit of better-cutting scissors was touched off by the Fitcut Curve, hatched by Plus, a Tokyo stationery and office equipment maker. The scissors have blades that curve away from each other in a way that makes them always meet at a 30-degree angle along the entire length of the blades. The feature makes it easier for Fitcut Curve to cut through hard or thicker objects at the part near the tip of the blades.

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Nakabayashi's Hikigiri

The superior performance is apparent to anyone who picks up a pair and cuts with it. The Fitcut Curve made rival companies realize that scissor performance can be improved by means other than sharpening the edges and prompted them to come up with enhancements of their own.

Nakabayashi did this with the Hikigiri, whose design was guided by artists in Seki. The town, in the middle of Japan, has a long history of producing high-quality blades. The Hikigiri's flat lower blade and curved upper blade give the scissors a longer cutting edge.

In the process of closing the blades, the upper edge travels longer than the lower blade, causing more friction at the cutting point and thus enhancing cutting performance. Seki natives are now calling this the hikigiri, or pull-cut, effect. The scissors require as little as one-fourth the force to cut the same material compared to regular scissors, according to Nakabayashi.

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Raymay Fujii's Swingcut

The same principle -- each blade edge traveling a different distance -- is employed in Raymay Fujii's Swingcut, which, instead of having a curved blade, has a pivot deliberately located away from the axis so that one edge travels longer than the other.

Kokuyo's Airofit Saxa and Saxa, an upgraded version of the former, have blades that both curve away from each other so that the angle they form at the cutting point is wider than if they were straight. This strategy improves performance, especially near the tip. Multiple other features also enhance performance. The blades, for example, are shaped in a way that makes them less prone to attract sticky stuff when slicing through duct tape. The gripping ends, meanwhile, extend deep into the plastic handle, ensuring maximum clamping force.

These performance-focused products are all easy to operate, comfortable to hold and do their one job well.

Having long ago ushered in the compact and cutting-performance era, Japanese scissor makers recently embarked on a quest for multifunctionality.

Plus' Fitcut Curve Twiggy, with its blades closed and a cap on, is compact enough to fit in a pencil case. But the product also features the same curved blade design of its Fitcut Curve sibling for enhanced performance.

The Midori Portable Multi Scissors measure 10cm in length. Tokyo-based Designphil created the scissors to slice through credit cards, iron wiring and other rugged materials. And one of the scissors' blades has a serrated back so it can be used to cut open boxes being held closed by duct tape.

Similarly, Kokuyo's Hakoake is specifically designed to perform multiple functions associated with opening items that arrive inside cardboard boxes. The scissors can slide through duct tape, cut tough plastic bands or plastic ties attached to tags and open any envelopes that show up with the order.

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Carl Manufacturing's Xscissors

Perhaps the ultimate cutting product to come forth from the recent two-bladed boom is a product called Xscissors, made by Tokyo's Carl Manufacturing. Artisans were hired to sharpen the edges of these general-use scissors' 3mm thick blades. The more muscular blades add durability, and the rear ends of the blades extend right through to the ends of the handles to maximize gripping force.

Carl's new tool is so good and so straightforward that the model could be a harbinger of yet another round in the Japanese scissor industry's game of one-upmanship.

Yasukuni Notomi is a writer who has covered the world of stationery for many years. 

[ekatheshallowbird]

Million Yen Women ini adalah series coba-coba yang sengaja kupilih biar tontonanku beragam. Nggak melulu series Amrik, tapi diselingi juga series dari Asia. Sengaja juga kupilih series dari Jepang karena aku miskin series Jepang. Ada pun dulu waktu zaman aku masih kecil, yaitu series Oshin dan RinduRindu Aizawa. Kalau kartun sih kadang aku nonton. Tapi nggak ngikutin banget, juga.

Dari judulnya aja, series ini udah bikin penasaran banget. Million Yen Women? Apa, coba? Akhirnya jadilah aku download series ini. Bak dapat bonus, aku semakin antusias begitu tahu tokoh utamanya adalah seorang penulis. Rasanya kayak jodoh aja sama series ini. Udah gitu tampangnya mirip-mirip Haruki Murakami, lol. Mungkin aja Murakami pun wajahnya seperti itu waktu muda.

Meski aku nggak tahu banyak soal series Jepang, tapi ada beberapa film Jepang yang udah aku tonton. Nuansanya biasanya sunyi. Nah, episode satu series ini pun sama. Sepi banget. Untungnya misteri mengenai lima wanita yang tinggal di rumah Shin Michima, si tokoh utama, masih membuat aku tertarik nonton seriesnya. Lima wanita itu mengaku datang ke rumah Shin karena mendapat undangan. Padahal Shin nggak pernah mengirim undangan apa pun. Yang paling mengejutkan, masing-masing cewek tersebut selalu bayar uang sewa rumah ke Shin sebanyak 1 juta yen tiap bulannya. Shin yang hidupnya melarat, benar-benar terbantu oleh hal tersebut. Makanya dia nggak banyak protes, termasuk ketika salah satu dari mereka menyuruhnya untuk menyingkirkan altar almarhum ibunya.

Cerita mulai menarik waktu Shin tertidur dan bermimpi. Di mimpi tersebut dia melihat sesosok lelaki membawa pisau yang berlumur darah. Keadaan di sekitar Shin benar-benar gelap dan mencekam. Serius, deh. Jepang selalu pintar bikin adegan menakutkan macam gini. Rosemary’s Baby aja kalah.

Ternyata sosok tersebut adalah ayahnya yang membunuh ibunya. Bukan cuma ibunya, ayahnya juga membunuh dua orang lainnya di saat dan di tempat yang sama. Sekarang ayahnya ada di penjara, menanti hukuman mati. Ada sebuah dialog yang bilang kalau kelima wanita misterius itu datang untuk mengungkap rahasia di balik pembunuhan itu.

Aku coba nyari lagi dialog itu (Btw, aku nonton ini beberapa hari yang lalu tapi nggak langsung kubuat review-nya), tapi kok nggak ada ya? Padahal aku yakin ada dialog itu di episode satunya. Memang sih aku nyarinya random. Semoga aku nggak cuma mengkhayalkan atau menduga-duga dialog itu, lol.

Series ini sepertinya akan seru. Penuh misteri pula. Entah siapa yang suka kirimin fax ke Shin, yang isinya semacam kecaman. Musiknya juga bikin tegang, kecuali yang bagian akhir itu nggak begitu cocok, menurutku. Kenapa musiknya harus begitu? Seolah ayah Shin adalah seorang pahlawan.

Hal menarik lainnya dari series ini adalah kehadiran seekor kucing yang superlucu. Ngegemesin banget. Aktingnya pun bagus! XD

Btw, di IMDb judulnya bukan Million Yen Women, tapi masih pake judul aslinya, yaitu 1,000,000 yen no Onnatachi. Selain itu data-datanya juga masih belum begitu lengkap. Semoga ada yang mau melengkapi. Netflixnya langsung, mungkin?

***

    MY FINE LINE

    “The flavor is ambiguous, like you.”

(Minami Shirakawa)

  “There are several rules governing our life here. First of all, I can’t ask the women any questions. I also can’t enter their rooms. Everyone has to eat dinner together. I have to look after all the women. Also, there five women each pay me a huge rent of one million yen.”

(Shin Michima)

  “No, that’s not true. Like I just said, all you need is the right chance. I believe in your talent.”

(Seiji Sakurai)

  “I’ve been living with five women for six months. I’m used to it now. Minami Shirakawa, age 30. Hitomi Tsukamoto, age 26. Yuki Kobayashi, age 24. Nanaka Hiraki, age 20. Midori Suzumura, age 17. They’re all young women, but it doesn’t bother me. It doesn’t bother me… but… I‘m getting… horny.

(Shin Michima)

  “I wonder what it feels like to be a successful author. I follow one rule for my unsuccessful novels. The rule is… nobody dies in my novel.”

(Shin Michima)

  “A man may think he’s making love to a woman, but a woman is making love to him. Remember that.”

(Minami Shirakawa)

  “In the novels that I write, nobody dies. The reason for it is simple. It’s because… my father is a murderer.”

(Shin Michima)

***

    MY BEST SHOT

    #gallery-0-4 { margin: auto; } #gallery-0-4 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-0-4 img { border: 2px solid #cfcfcf; } #gallery-0-4 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

***

    Sutradara: Michihito Fujii

Penulis Skenario: Yoshitatsu Yamada, Yoshimiko Murooka, and Yuuya Nakazono

Berdasarkan Manga Karya Shunjû Aono: “100 Man Yen No Onna Tachi” 

Musik: Shinco & Yusuke Tsutsumi

Tayang Perdana: 14 April 2017

Durasi: 24 Menit

Nonton di: Netflix

Rating: 4 dari 5 Bintang

Million Yen Women S1 : E1 – The Mysterious Million Yen Women Million Yen Women ini adalah series coba-coba yang sengaja kupilih biar tontonanku beragam. Nggak melulu series Amrik, tapi diselingi juga series dari Asia.

[thebettybook]

🌸 Not TWST related but one of my fav magical girl animes is Wedding Peach!

🌸 This stationary letter sheet is so cuteee

🌸 I wish official Wedding Peach merch was still made and sold :’0

Series: Wedding Peach Artist: Fujii Midori Publication: Shougaku Ninensei (08/1995) Details: Back of series’ natsuyasumi letter set sheet Source: Scanned from personal collection

[recentanimenews]

Crunchyroll to Exclusively Stream "The Moment You Fall In Love" Anime Film

HARK! Breaking news is just coming of the Aniplex of America panel at Anime Central… the anime movie The Moment You Fall in Love, will begin streaming exclusively through Crunchyroll starting on June 6th.

  The first feature in the series I've Always Liked You is already available now for viewing on Crunchyroll. Regions for The Moment You Fall in Love will be the same as for the first movie: North America, Central America, South America, Australia, New Zealand, UK, and Ireland.

  According to the Aniplex of America press release:

  The Moment You Fall in Love is based on “Confess Your Love Committee -Romance Series-” songs by HoneyWorks, including “Ima suki ni naru” (lit. I’m falling in love now). The movie title is shared with an album by HoneyWorks released in July 2015 that has reached #4 on the Oricon Weekly Ranking.

  Following I’ve Always Liked You, this story focuses on Hina Setoguchi (voiced by Momo Asakura). Hina finally decides to confess her love to Koyuki Ayase (voiced by Tsubasa Yonaga), who she had been drawn to since middle school and into high school. This series is often praised for its pleasing visuals and character designs. Just as the first film, The Moment You Fall in Love is directed by Tetsuya Yanagisawa (Fate/stay night), with Maki Fujii (I’ve Always Liked You) as the character designer.

    Synopsis

Their initial encounter couldn't have been any more disastrous— Yet, even before she realizes, Hina finds her heart racing.

  Drawn to Koyuki, a former upperclassman at her middle school, Hina is determined to go to the same high school as him, and hits the books with a vengeance. Along with her childhood friend Kotaro, she enrolls at Sakuragaoka High School.

  Meanwhile, the unhip Koyuki gets a makeover for the sake of an unrequited love over summer break, and he suddenly finds himself becoming the "major catch" among the female students.

  That is when Hina decides to confess her love...

  See the second romantic coming-of-age story by online music creator unit HoneyWorks, which has garnered over 100 million views!

  STAFF:

Original Works/Music: HoneyWorks

Director: Tetsuya Yanagisawa

Screenplay: Yoshimi Narita

Character Design/Chief Animation Director: Maki Fujii　

Art Setting: Eiko Tsunado (KUSANAGI)

Art Director: Yuki Umino (KUSANAGI)

Prop Design: Yutaka Miya

Color Design: Makiko Kojima (studio.Road)

Director of Photography: Yoshihiro Sekiya (Graphinica)

CG: Yoshinori Ban

Editor: Aya Hida

Sound Director: Yukio Nagasaki

Sound Effects: Yasuyuki Konno (Swara Pro)

Sound Production: Milestone Music Publishing

Animation Producer: Keisuke Kawai

Producer: Shunsuke Saito

Animation Production            : Qualia Animation

Produced By: "Confess Your Love Committee" Production Committee

  CAST:

Hina Setoguchi: Momo Asakura

Kotaro Enomoto: Natsuki Hanae

Koyuki Ayase: Tsubasa Yonaga

Ken Shibasaki: Yoshimasa Hosoya

Kodai Yamamoto: Yoshitsugu Matsuoka

Arisa Takamizawa: Nao Higashiyama

Yu Setoguchi: Hiroshi Kamiya

Natsuki Enomoto: Haruka Tomatsu

Sota Mochizuki: Yuki Kaji

Akari Hayasaka: Kana Asumi

Haruki Serizawa: Kenichi Suzumura

Miou Aida: Aki Toyosaki

Sena Narumi: Sora Amamiya

Midori Hamanaka: Gero

  For more details on The Moment You Fall in Love, please visit the official homepage: http://ift.tt/2r42FhZ

  ---

  Patrick Macias is editor in chief of Crunchyroll News & Otaku USA magazine.

He is currently serializing his latest writing project, MONDO TOKYO, on Wattpad.

By: news+feed@crunchyroll.com

[yamashita-kobayashi]

1st NIFF2017 Program

Japanese Artists’ Film Program at  Asian Culture Station in Chiang Mai

Curated by Hitomi Hasegawa (MIACA) Kyun Chome, Yu Araki, Hikaru Suzuki, Hikaru Fujii, Nobuhiro Shimura, Midori Mitamura, Mai Yamashita + Naoto Kobayashi

http://www.asianculturestation.cac-art.info/niff2017_program_day1/

[fehyesvintagemanga]

Fujii Midori

[hotwaterandmilk]

Small Weddingpea.ch Update

I've revised the layout over at Weddingpea.ch to feature a new top banner (boasting manga art from Fujii Midori) and a matching colour scheme.

I have also shared the link to Nakajima Erina's new cover of "Wedding Wars ~Ai wa Honoo~" as part of the site update in addition to amending some dead links/busted images around the site.

It's not much of an update (although I loooove the illustration I incorporated into the banner, I've been meaning to use it for a while) BUTTTTTTTTTTT I do intend to slowly add more content to the website in time.

Thanks for your patience & enjoy!

[hotwaterandmilk]

Series: Wedding Peach Artist: Fujii Midori Publication: Shougaku Ninensei (08/1995) Details: Front of series’ natsuyasumi letter set sheet Source: Scanned from personal collection

[hotwaterandmilk]

Series: Ai no Senshi Head Rococo Artist: Fujii Midori Publication: Ciao Magazine (03/1993) Details: Ciao Allstars Message Source: Scanned from personal collection