#fukusaku

[multisakumonth2k]

Heyo there!

This post contains the guidelines for this year's "MultisakuMonth" event; go for it!

Ok then, right now we see the couples that were chosen at random in a stream we had on Facebook:

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Here there are many new pairings and others already known, they will be quite a challenge but I'll give my best! (In addition to humbly requesting your support c:)

Finally, here are the latest details and guidelines that I have deemed appropriate:

Thank you very much for reading all this and good luck if you want to participate, good luck and see you in August!

[phant0m-ch3rry]

day 3 'fairytale' w/ sakufuku/fukusaku as snow white (and the 7 cats)

a chance encounter with a strange boy in the forest, a lost prince, and some magical cats...prince kiyoomi is lead to the missing prince shouhei, who lies asleep after being bitten by a snake, saved by seven cats to not perish to the poison, just a little nap.

good thing a prince is here, will it be true love's kiss that breaks the curse?

[naruto-mangacaps]

Naruto Shippuden Chapter 430

Naruto Returns

[hqrarepairtournament]

ROUND 1, BRACKET A

[screencappleby]

Black Lizard (1968), dir. Kinji Fukusaku

[reivarg]

« Avez-vous déjà tué votre meilleur ami ? » (Battle Royale)

Note au lecteur : Avant d'entrer dans la présentation de ce film, je tenais à préciser qu'il a été à sa sortie interdit au moins de seize ans lors de sa sortie dans l'Hexagone, en effet Battle est un film d'horreur japonais, mais il ne s'agit pas d'un film d'horreur typique, car non ! Ce n'est pas de ce type de film où les pulsions interdites sont censurées. Non, ici les pulsions des personnages se développent à cause de leur égoïsme. Dans ce film, nous sommes confrontés à un monde cruel, révélant dans la noirceur des âmes.

« Japon, début du 21ᵉ siècle, le chômage et la délinquance explosent. Pour rétablir l'ordre, le gouvernement désigne au hasard une classe de trente lycéens chaque année et les soumet à une loi : Battle Royale. »

Battle Royale est donc un film sorti au début du nouveau millénaire, en 2000 pour être précise. Produit par Kinji Fukasaku (1930-2003) aux studios Toei Animation, il est issu du roman éponyme de Kōshun Takami paru en 1999. Ce film est avant d'être un film d'horreur, une dystopie — communément nommé un film d'anticipation — si cela est plus clair pour vous, mais aussi d'action. Ce film est à mes yeux un film d'horreur du cinéma japonais plutôt bon, même si certaines scènes sont grotesques.

Venons-en désormais au scénario de film : dans un Japon ayant subi sans aucun doute une crise économique sans précédent entraînant une augmentation du chômage de 15% -soit un million de personnes sans emploi – accompagné d'une rébellion de quatre-vingt mille élèves qui ne se rendirent pas à l'école en raison de la perte de confiance en soi des adultes entraînant la peur des jeunes. Pour rétablir l'ordre chez les jeunes, le gouvernement vota la « loi B • R » — abréviation du terme Battle Royale – donnant son nom au « jeu » auquel les élèves sélectionnés une fois par an participeront. La classe est par ailleurs choisie parmi toutes les classes de Terminale du Japon — dans le film, il s'agit des élèves de la Terminale du lycée de Shiroiwa, il s'agit d'un lycée bien évidemment inventé —.

Jusque-là, rien ne semble encore trop étrange, mais passons maintenant aux règles énoncées dans les articles de la « loi B • R ».

Le but du jeu qu'est Battle Royale est de former une nation saine de corps et d'esprit et s'applique à toute la population sans aucune distinction.

Durant le temps de jeu étalé sur trois jours, les participants devront se battre dans la joie et la bonne humeur, s'amusant avec combattivité et appréciant leur chance immense de pouvoir participer à un tel jeu. Le refus de participation est interdit et toute tentative d'entraver le jeu sera puni.

Il est également à noter que les participants sont exempts de toute punition judiciaire et se voient donc autorisés à tuer, provoquer des incendies, se servir d'armes de toute nature — poisons et matières médicamenteuses comprises —.

La seule chose intéressante est que le gagnant aura sa vie future entièrement financée par l'État japonais et, sera considéré comme un citoyen modèle, exemple à suivre pour former la nation saine de corps et d'esprit.

Battle Royale est donc un survival où quarante-deux jeunes vont devoir s'entretuer dans la joie et la bonne humeur comme le dit la présentatrice des règles du jeu.

Dans les quarante-deux personnages, certains prennent plus d'importance que d'autres.

Prenons par exemple les deux personnages les plus âgés, Kawada Shōgo et Kiriyama Kazuo qui créent un manichéisme trop important dans le film.

Kawada Shōgo, gagnant d'une édition précédente de Battle Royale et engagé volontaire, porte des vêtements assez clairs, à gauche sur l'image ci-dessus, est contre le jeu. Il est de ce fait le symbole du bien. Il se révèlera d'ailleurs être plutôt sympathique alors que Kiriyama Kazuo, à droite sur l'image, possède des habits noirs et a toute l'allure du méchant. Ce dernier est par ailleurs une vraie machine à tuer et s'est inscrit à Battle Royale pour le plaisir de tuer des gens.

Nous avons par ailleurs le personnage de Souma Mitsuko qui se révèlera être la fille la plus sanguinaire, mais aussi l'une des plus machiavéliques de l'intrigue, prête à tout pour survivre au jeu.

Viennent ensuite Nanahara Shūya et Nakagawa Noriko – image ci-dessus – deux amis qui resteront ensemble durant le film et seront rejoints par Kawada.

Pour conclure cet article, passons à la partie de la critique réalisée selon mon point de vue sur le film, donc des plus subjectives.

J'ai été, la première fois que j'ai visionné ce long métrage, agréablement surprise. J'avais en effet déjà regardé des films d'horreurs japonais et coréens du même genre et je les avais trouvés complètement tirés par les cheveux, ce qui est moins le cas pour Battle Royale : le film a un scénario qui tient la route.

Le film aborde comme thème principal le passage de l'adolescence à l'âge adulte et reste assez réaliste dans la société actuelle. Lorsque nous sommes enfants, nous sommes tous (à quelques exceptions près) amis pour la vie, puis lorsque nous grandissons, nous cherchons à devenir les meilleurs, élimant les plus faibles qui ne tiendront pas selon le système élitiste demandant toujours plus de sacrifices dans lequel nous nous trouvons. J'espère toutefois que personne ici n'a jamais tué un de ses amis pour rester supérieur à lui.

De plus, le thème du passage à l'âge adulte est également montré par la relation entre les adultes et les enfants. Les adultes cherchent à museler leurs enfants afin qu'ils pensent de la même manière qu'eux.

J'ai personnellement vécu cette situation, ayant été élevée par mes grands-parents, ma grand-mère en particulier qui, jusqu'à sa mort, trouva toujours quelque chose à me reprocher et ne fut jamais satisfaite de moi pour toute une liste de raisons que je n'énoncerai pas ici.

Passons maintenant au jeu d'acteur qui n'est pas mauvais, mais n'est pas parfait non plus, surtout dans les scènes de morts où tout est un petit peu surjoué — remercions tout particulièrement le côté épique demandé par le kabuki – et où il y a un peu too much de sang, certainement dû au petit budget du film.

Certains acteurs comme Tarō Yamamoto – acteur de Kawada – et Masanobu Andō – acteur de Kazuo Kiriyama – jouent particulièrement bien et ont des personnages intéressants, bien que très clichés, mais cela est malheureusement loin d'être le cas pour tous qui ont pour la plupart des personnages plats dont on ne sait pas grand-chose. Nous n'avons donc que quelques informations sur le personnage de Kawada, Kazuo et Nanahara Shūya mais cela ne leur donne malheureusement pas plus de profondeur.

Il est toutefois à noter que le film ne disposait que d'un petit budget et que par conséquence, il ne pouvait pas faire des miracles.

Attaquons-nous aux dialogues qui sont parfois étranges, cela en particulier dans la version française du film, entraînant des moments grotesques et grandiloquents, provoquant des fous-rire pour certains.

Pour conclure cette critique... Disons que le film peut être sympathique lorsqu'on le regarde quand nous sommes des adolescents, mais aujourd'hui, à vingt-cinq ans, j'ai beaucoup plus de mal à le trouver intéressant.

C'est donc un film pour les adolescents en rébellion. Je ne comprends par ailleurs pas sa classification comme film d'horreur et l'interdiction au moins de seize ans à sa sortie dans les salles.

[akab0mb]

I put together a small handful of obscure facts from the Naruto & Naruto Shippuden anime (Japanese) that I noticed during my watch through:

Naruto:

The 3rd Hokage's crystal fucking ball - did we all just forget about this? Dude is a dang witch

Ep 17: When Kakashi releases his ninja dogs on Zabuza, Pakkun is just biting his headband ribbon

Ep 24-25: I want to know what happened to the middle aged man with the mustache taking the chunin exams. He passed the first test

Ep 33: Near end there is a bgm song that I don't think you ever hear again in the whole series

Ep 83: Sasuke, Sakura, and Kakashi all just walk into each other's homes and rooms without any prior notice. They just help themselves inside

Ep 89: Kabuto says, in full seriousness, "She's strong. And so scary... she definitely must be single," about Tsunade.

Ep 95: At around the 17:30 mark, Orochimaru gets up from the ground in the stupidest fucking way (affectionate)

Forehead pokes are apparently not just for Itachi and Sasuke- Tsunade pokes Konohamaru's forehead (ep 89/99) and Gai pokes Lee's forehead (ep 100) (but this is the anime so we can just ignore this and keep it an Itachi/Sasuke thing ok)

Ep 106: Some absolute random dude is holding Sasuke upright while Naruto and Sakura cheer for Idate

Ep 110: Tsunade says the following about Orochimaru: "So what that pervert wants is the Uchiha's power, huh."

Naruto Shippuden:

Ep 154: Naruto and Fukusaku want to avenge Jiraiya's death and everyone (Tsunade, Kakashi) is in full support of this. Which is strange because none of them were in support of Sasuke's revenge. Tsunade was even against Team 10's revenge for Asuma.

Ep 195: Chouji and Sasuke standing beside each other (cute comparison for Sarada and Cho Cho)

[manupapita]

- MultiSaku Month 2024 -

Día 16: FukuSaku

✨ Fukuzawa Yukichi × Sakura Haruno 🌸

[the-monkey-ruler]

Shinzo (2000) 爆裂战士マシュランボー

Director: Tetsuo Imasa / Kenji Nakamura / Haruo Kosaka / Toshiaki Komura / Miyo Sasaki / Mitsuo Hashimoto / Tomoharu Arata Edited by: Izumi Higashido / Makoto Kanjima / Kenichi Kaneka / Hiroyuki Kawasaki / Yukito Nonaka / Kenichi Yamada / Yōmichi Shirai Starring: Minami Takayama / Yuko Minakuchi / Yasuhiko Kawazu / Naosuke Tatsuta / Atsushi Kashiwagi / Kyoko Yamada / Ai Maeda / Tsuyoshi Hisakawa / Atsushi Kashiichi / Tomoe Sato / Junko Shimakata / Michitaka Kobayashi / Hideyuki Hori / Kenji Utsumi / Takashi Nakao / Mami Koyama / Toshio Furukawa / Keiko Han / Hiroo Egawa / Takeshi Aono / Banjo Ginga / Takashi Koda / Koji Fukusaku / Kazuko Sugiyama / Takumi Yamazaki / Horinoku / Nobutake Tatsuya / Tomohisa Aso / Norio Tsukui / Ienaka Hiroshi / Chie Seguchi / Hitoshi Domon / Akira Tahara / Kazuya Ichijo / Masaya Takatsuki / Masaharu Sato / Mitsuo Iwata / Keiko Yamamoto / Kunihiko Yasui / Hikaru Midorikawa / Mami Kanazuki / Hisaya Suganuma / Chigusa Ikeda / Hiromi Konno / Daisuke Nari / Yuko Nagashima / Nobuo Satouchi / Daifumi Tanaka / Naosuki Imamura / Takayuki Inoue / Akiki Chatan / Munehiro Ehoku / Rie Aoki / Yo Murakami / Tsuyoshi Nishi / Tsuyoshi Toshita / Higashi Genre: Animation Official website: www.toei-anim.co.jp/tv/mashura/ Country/Region of Production: Japan Language: Japanese Date: 2000-02-05 (Japan) Number of epsiode: 32 Also known as: Mushrambo IMDb: tt0293741 Type: Reimanging

Summary:

In the distant past, the Guardian of the Milky Way galaxy named Lanancuras began to harbor a desire for more power. Because of his connection to the galaxy, he was able to absorb parts of planets and add them to his strength. As a result, he began invading the worlds he was assigned to protect. In the wake of his destruction, a following of creatures from across the galaxy pledged allegiance to Lanancuras and became known as the Kadrians. Taking notice of his ever-growing power and followers, the other Celestial Guardians confronted him; however, he had become too powerful, and they were defeated. Unable to subdue Lanancuras, the Celestial Guardians each gave up a part of their power and combined it into a single new Guardian, Mushra. In a final desperate attempt, they used Mushra's core by transforming it into a powerful card with which to seal Lanancuras in a prison. The prison was created from the remains of planets that had suffered under Lanancuras' tyranny. Because planets are themselves large beings, their combined strength (along with the power of the card) was able to restrain him. Thus Lanancuras was successfully sealed in a large meteorite.

The meteorite was sent off into the galaxy to be sealed forever. Meanwhile, the way Lanancuras had increased his strength had consequences on the planets of the Milky Way On Earth, around the 22nd century, it was in the shape of a virus that merged with human DNA and destroyed the humans that way. In order to eliminate the virus, scientists worked on combining human DNA with the DNA of animals and other creatures immune to the effects. They succeeded and created a sentient race known as Enterrans (a race of engineered Earthlings) which are based on humans, insects, reptiles, birds, sea creatures, wild beasts, and phantom beasts. Eventually, a cure was found and the human race survived.

However, due to Lanancuras' influence, the Enterrans fought their human creators as well as the robots that worked with the humans, driving the human race to a near extinction state. Luckily, a scientist named Dr. Daigo Tatsuro placed his 4-year-old daughter Yakumo in a sleep chamber in hopes that she would save the human race and find the human sanctuary Shinzo and bring peace back to Earth which was then renamed to Enterra. When the meteor that Lanancuras was imprisoned in struck Earth during the earlier parts of the Human-Enterran War, its fragment had struck an infant Yakumo giving her abilities that she would later discover.

Source: https://en.wikipedia.org/wiki/Shinzo

Link: https://kissanime.com.ru/Anime/Shinzo-Sub/

[haropro-confessions]

I remember at the time the Mirai Shoujo audition was announced Tsunku did multiple interviews describing his dream 12th gen member. He mentioned in interviews with BARKS Japan and Natalie that a 12-14 year old who was like Namie Amuro when she just debuted was his dream 12th gen member. In his Natalie interview he says an edgy girl with starpower would be perfect and mentioned Amuro again. He came out recently and said he also wanted Ruru for 12th gen. I think ideally he wanted multiple heavy hitters for the new era of Morning Musume of Riho, Sakura, Ruru, an Amuro type of girl kind of like the Ai-Miki-Reina era but Upfront didn't want to rock the wota boat and wanted stability with Riho and Sakura. I do agree that every gen should have someone who could be undoubtedly be a potential ace or front member but Upfront dropped the ball on that for a while. Because I sometimes wonder if 12-13th gen were just handpicked to be backup for RihoSaku and later FukuSaku. Tsunku's ideas aren't always the best but it would've been nice to see a Morning Musume with each gen stacked with charisma and/or talent instead of simply visuals to keep the already popular members' wota content.

[shoujomangathoughts]

Chihayafuru Thoughts - Chihaya and Taichi in Ch. 140-247

This is the next part of this series. I ended up writing mostly from the perspective of Chihaya and how Taichi affects her character arc so I might eventually write another that's more from Taichi's side. There's also spoilers for the entire rest of the series like the title indicates.

After Taichi leaves the club, both he and Chihaya start on new parts of their character arcs. Both have to be independent in their own way; Taichi in finding (or at least identifying) his own reasons to play and enjoyment of karuta, and Chihaya in taking care of the club (after her temporary absence) without Taichi.

Chihaya ends up being afraid of karuta after Taichi leaves, as she tells Mr. Fukusaku after emotionally requesting time off from the club. Her being afraid of karuta is a physical manifestation of her recognizing how her near hyperfixation and passion may have negative consequences, even if that was never the intention. The guilt she feels over never realizing Taichi's feelings and hurting him is intense enough that she starts to see the cards as being completely blacked out, just as he described his own view of them. Ultimately I think this is for Chihaya's benefit because in many ways her goals have changed. She doesn't only want to become queen, she wants the club to continue and thrive after she graduates and has plans to become a teacher. Finding a fine line between passion and being able to effectively communicate with others is a necessary step for Chihaya and her goals, it just so happens the catalyst was a messy situation.

While she's on her break, she eventually goes to the Shiranami Society and after playing Dr. Harada, she vows to remember how "cold and heavy" the cards were and "how painful it all was". I think at this point it's apparent that Chihaya wants to grow in her ability to reach people. There's a couple instances toward the beginning of the series when the Mizusawa members tell her they're fine with her somewhat overbearing nature and airheadedness because those are just parts of her personality. However, now this seems to be something Chihaya herself wants to change, which again makes sense because her goals have expanded and changed. She wants to make sure that she is trying to learn and grow from the situation with Taichi. The placement of a conversation about her future with a teacher (a few chapters earlier) that includes Chihaya being questioned on if she understands how hard it can be to deal with others seems to foreshadow where her character arc will go after Taichi leaves (and also seems to rub salt in her wounds because it's right after he leaves).

At first, when Chihaya tries to lead and encourage the team, it doesn't go well because she doesn't really have the tools to effectively do it. She just wins quickly as per usual, and instead of improving the team's morale, it instead puts some pressure on them to live up to her skill level and makes her feel distant and isolated. After realizing this, she starts to mimic the way Taichi led them, using the very same words that once supported her and playing alongside them, "like Taichi would". I also believe part of the reason she does this is to make it feel like he's still being included; even though he quit, she and the rest of the members (the ones who knew him at least) believe he will always be a part of the team. I think this is why she essentially says that she'll wait as long as it takes for him to come back. She's accepted that he most likely won't play another match with them as a team, but they'll always be connected and she hopes that he'll return.

Retro plays Chihaya in the Mizusawa vs Hokuo match and tells her that she's cold because she "doesn't notice players below her". Despite him taking it back and saying her aiming for people who are 'strong but alone' isn't wrong, between his words and the words of the announcer talking about what makes a strong leader, it's clear that Chihaya agrees with the fact that she's "cold". She thinks of Taichi upon hearing the announcer's words and realizes that she didn't notice (or acknowledge enough) the qualities that he brought and how essential he was to the team's emotional strength. She thinks of him often in this part of the manga and seems to be noticing more and more the things that made Taichi, Taichi and how she often may have taken him for granted because he had simply always been there.

She continues to incorporate things that Taichi used to do when leading the team at nationals, telling Arata she "can feel his presence". When playing against Arata's team, she's so focused on her team that for most of the match she doesn't realize she's playing against Arata, the first time they've played since they were kids. She continues wearing Taichi's headband even after attributing her bad luck in the previous match to it, seeming to indicate she's emotionally supported by his presence and wants to include him. It's only when the dead 'Chiha' is read and she notices Taichi that her unbelievable concentration is broken and she realizes it's Arata she's playing. Taichi more or less lit up the room for her (sorry to be cheesy). After the match, Mizusawa members point out that it's the first time Chihaya immediately falls asleep after playing, as if Taichi simply there is enough for her to relax a bit.

Beyond the fact that she was able to support the team, another moment where I feel like is proof of Chihaya's growth is when she goes after Porky after he loses to Arata in the Class A matches. It's a small interaction, but nice to see. She doesn't say much at first and seems to wait to see if he even wants to talk, and after he starts getting down on himself, she makes sure he hears exactly what her thoughts on his contributions are. She no longer gets mesmerized by players like Arata and Shinobu to the point that she forgets about her teammates until someone gets or updates her. She is now able to be there for her team and uplift them, making sure she actually tells them about how she values them and the work they've put in together. I'd also argue that her going to "answer" Arata is also proof of her realizing that hearing anything in regards to how she feels is better than nothing, something she probably learned from her inability to properly communicate with Taichi.

After the high school tournament, Chihaya does an extensive cleaning of the club room before she retires and is joined by Taichi, his first time back to that room since resigning. This chapter in general is one of my favorites (Desktomu's lines about their time being a treasure he never expected to have always gets me) but this is the first chapter where Taichi and Chihaya's relationship is seen after everything went down. In the club room, there's some awkwardness and it's clear Chihaya isn't quite sure what to say, and Taichi seems to have been trying to say something before being interrupted by the band students. Whether it was an apology or a "don't worry about me" in regards to her being cautious because of his feelings toward her, or something else entirely we don't know, but it seems obvious their relationship may be different moving forward.

When they're at karaoke in the same chapter, Chihaya seems more conscious of Taichi. Her reaction to him genuinely having fun is sweet because I feel as though Chihaya may have been worried that she may never see that side of Taichi again (and another instance of him seeming to light up the room to her). Him helping clean and hanging out with the club members also seems to prove to Chihaya that he valued the time he spent with all of them, even if at one point they were a source of pain. The panels of Chihaya and Taichi back to back signify a couple things to me. They're facing opposite directions, a visual to show how their lives have taken them in different directions; they are no longer on the team together, practicing together, spending as much time together, etc. and yet they still support each other. Sudo even points out later that even though they're not how they once were, they were still inevitably connected to each other.

Chihaya also makes sure to thank Taichi after they watch the tv special and Taichi is able to articulate to Chihaya's mom why now is a good time for Chihaya to attempt becoming queen even though it causes friction with college entrance exams. Based on all the times she thought of Taichi after he left and her realizations of how much he did for her and the team, I feel as though her reiterating "Really, Taichi. Thank you." is more all-encompassing than just her gratitude for helping her mom understand.

After this, we finally get to the part where Taichi comes back to playing karuta outside of his practice with Suou. This excites Chihaya and she is conscious of him many times in both the qualifiers and his matches with Arata to become the challenger ("Chiha helped Taichi? I'm so glad.", "It's fine as long as Taichi can take cards.", "Taichi's eyes told me to not let anyone take the s-sound cards."). It reminds her of the time they played on a team and supported each other and how hard they worked together (she cries when she sees that Taichi wore his Mizusawa shirt when he became the eastern rep). When Taichi loses to Arata, Kana looks at Chihaya and notes she was crying "bitter tears". Some people interpret this as Chihaya hoping Taichi would defeat Arata, even if only subconsciously. While possible, I've always though of it as being specifically because Taichi lost. They've worked hard together over the years, she recently thought that she'd lost her connection to him, and now while she continues on the path to accomplish her dream, she has to leave him behind (at least for this year). It also connects to Harada's line that "the three will become one and two by the end of the day" and now that Chihaya sees that, she can't help but cry. Again, I'm not sure I see it as her secretly hoping Arata would lose, but realizing that Taichi won't be going further with them this year and that breaking her heart.

Once the challenger matches are decided, Taichi and Chihaya don't see each much face to face. The last time we're shown that they do before the queen matches is when they give Taichi a futon for a night. Kana asks Taichi about his feelings for Chihaya and his response is that they may gradually fade. Initially, it's not known whether or not she heard this, but we'll circle back to that. When Chihaya visits a shrine for New Year's, she thinks about what she should ask her friends in regard to preparation for the queen match. When she gets to Taichi, she's at a loss for words and/or we as the audience don't see what answer she comes to. I've seen people say she may have just wanted to ask him to come and support, which based on other events doesn't sound all that unlikely in my opinion. The biggest reason I say this is the scene when she sees Taichi under the Omi Jingu shrine, smiling and praying. He's not actually there, but it does seem like she really wants him to be there. Right after this she thinks of the club praying there in their first year, but it's worth noting she specifically saw only Taichi, smiling in a very similar way as when she told her to become the strongest in the world when she became the challenger (also remember how badly she wanted him to smile previously?).

At the queen match itself, there are many times when she feels Taichi's support, directly and indirectly. Unbeknownst to her, he helped Chitose get her bag to her and his conversation with her seems to be a factor in her watching the matches at the end. Arata also resorts to essentially acting as Taichi to help motivate Chihaya, which to me is an acknowledgement on Arata's part that while he saw her take her first card and played her at her highest concentration, he hasn't been the one directly supporting her all this time (but some may not like that interpretation lol). She also gets flustered upon hearing Taichi texted Arata only to rush back for her phone and feel disappointed she didn’t get one.

I also find it symbolic that Taichi is somehow attached to all three of her victories over Shinobu. Chihaya wins her first game with the 'Tare' card, one that she attaches to him because it was the poem being read in her headphones when Taichi found her in high school. The second win was taken after she realizes "Taichi has always been here", and fully acknowledges all the support she's felt from him, both in the time he directly supported her and the team as well as the indirect support in the lessons and pieces of advice he'd given her. The first time he walks in (during the fourth match), we see Chihaya remember Taichi's line to Kana about the possibility of his feelings eventually fading. This has always intrigued me (at first I didn't even know she'd heard that) because it seems to bother her or make her anxious, meaning she may subconsciously not want them to fade; she seems to be figuring out her own feelings. Afterward, she recalls the vision of him at the shrine, as if him now being there in person answered her own prayer.

The third win is taken when the 'Tachi' card, Taichi's namesake card, is read. She specifically kept this card and once again very noticeably acknowledges his presence when he comes to watch (like I said, he seems to light up the room). After she wins and wakes up, she immediately notices his absence and celebrates after hearing that he's going to continue playing, with his eyes set on becoming Meijin.

Finally, on their graduation day, she once again becomes a bit anxious after hearing that Taichi's plans for college are different that she assumed. When Desktomu uses the phrase "you're just his friend", she seems bothered and has a moment of realization that reminds me of the moment she truly realized Taichi loved her (the panel is from the extra pages in the final volume I believe, placed with flashbacks from throughout the series). Several moments come to her mind, as if asking herself why she wanted him to smile so desperately, why she felt so comforted and supported by his presence, and why she wanted him to be there so bad that she had a vision of him under such a symbolic place. It's then that she seems to fully comprehend that she would in fact interpret her feelings toward him as being romantic (the distorted effect over her in the panel is what reminds me of the moment from Taichi’s confession), and realizes she wants to tell him that. When she talks to him and is assured that they'll see each other again as long as they keep playing, Chihaya's reaction seems to say "that isn't enough anymore". Chihaya's confession is really well done in my opinion, and it uses parts of her character growth well; she's making sure her thoughts and feelings are conveyed properly (in this case even more so considering she heard Taichi say that his feelings may gradually fade).

Another long one and I feel like I didn't even say all I planned to, but thanks for reading if you got to the end!

[phant0m-ch3rry]

a fem fukusaku doodle from yesterday <3

[demento-mori]

(inspired by @goryhorroor's watchlist challenge)

My October horror movie watchlist!!🎃👻

day 1: silent horror movie: Häxan (1922 dir. Benjamin Christensen)

day 2: a 30s horror movie: Dracula's Daughter (1936 dir. Lambert Hillyer)

day 3: a 40s horror movie: Cat People (1942 dir. Jacques Tourneur)

day 4: a 50s horror movie: The Thing from Another World (1951 dir. Christian Nyby)

day 5: a 60s horror movie: Eyes Without a Face (1960 dir. Georges Franju)

day 6: a 70s horror movie: Martin (1977 dir. George A. Romero)

day 7: a 80s horror movie: The Lost Boys (1986 dir. Joel Schumacher)

day 8: a 90s horror movie: Event Horizon (1997 dir. Paul W. S. Anderson)

day 9: a 2000s horror movie: Battle Royale (2000 dir. Kinji Fukusaku)

day 10: a 2010s horror movie: It Follows (2014 dir. David Robert Mitchell)

day 11: a 2020s horror movie: Late Night with the Devil (2023 dir. Colin Cairnes, Cameron Cairnes)

day 12: pick a horror movie from your watchlist: Lake of Dracula (1971 dir. Michio Yamamoto)

day 13: pick a movie from my essential underrated horror: Let's Scare Jessica to Death (1971 dir. John Hancock)

day 14: pick a hammer productions horror movie: Dracula A.D 1972 (1972 dir. Alan Gibson)

day 15: pick a remake of a horror movie: Psycho (1998 dir. Gus Van Sant)

day 16: pick a horror movie released this year: Cuckoo (2024 dir. Tilman Singer)

day 17: pick a horror short film: La Sirena (2017 dir. Rosita Lama Muvdi)

day 18: pick a horror movie with a female villain: Misery (1990 dir. Rob Reiner)

day 19: pick a blumhouse horror movie: The Black Phone (2021 dir. Scott Derrickson)

day 20: pick a horror movie with a cult: Rosemary's Baby (1978 dir. Roman Polanski)

day 21: pick a giallo horror movie: Blood and Black Lace (1964 dir. Mario Bava)

day 22: pick an a-24 horror movie: Bodies Bodies Bodies (2022 dir. Halina Reijn)

day 23: pick an animated horror movie: The Wolf House (2018 dir. Cristóbal León, Joaquín Cociña)

day 24: pick an analog horror movie: Noroi: The Curse (2005 dir. Koji Shiraishi)

day 25: pick a criterion horror movie: Godzilla (1954 dir. Ishiro Honda)

day 26: pick a shudder horror movie: Host (2020 dir. Rob Savage)

day 27: pick a technicolor horror movie: The Birds (1963 dir. Alfred Hitchcock)

day 28: pick a slavic horror movie: Solaris (1972 dir. Andrei Tarkovsky)

day 29: pick a female directed horror movie: Ravenous (1999 dir. Antonia Bird)

day 30: pick a horror movie from directors’ faves: The Devil's Backbone (2001 dir. Guillermo del Toro)

day 31: freestyle; pick a horror movie of your choice: Trick 'r Treat (2007 dir. Michael Dougherty)

gonna try and squeeze a couple more in as well, but these are my main picks for my watchlist!! i tried to go for ones i havent seen yet, but there are a few familiar favourites in there too

[hqrarepairtournament]

After much deliberation, I have decided on the final ships for the bracket. I'm sorry to anyone whose ship didn't get in, it was really hard to decide! I considered doing a bigger bracket but for the sake of my own sanity, I'm leaving it at 32.

I did a poll on how to long to run the polls for the other and majority said a week. However, I've given it some more thought and for the first few rounds, I'm only going to run them for 1 day. Semifinals and finals will run for a week.

I'm going to repeat what I said in the intro post: Campaigning is absolutely fine and encouraged, just please be respectful and kind to each other. Cool? Cool.

If anyone ends up making any propaganda, I would love it if you tagged me! I'll reblog it. The inbox is also open for propaganda! I won't answer or reblog anything putting other ships down though.

I'm unfortunately busy this weekend so the tournament isn't going to start until Monday, April 10th.

ROUND 1, BRACKET A (Voting ended):

LevTsukki (Haiba Lev/Tsukishima Kei) vs. AoHina (Aone Takanobu/Hinata Shouyou

KuroMikaShou (Kuroo Tetsurou/Yamaka Mika/Daishou Suguru) vs. TanaNoya (Tanaka Ryuunosuke/Nishinoya Yuu) [POLL DECIDING WHAT I SHOULD DO ABOUT THE TIE]

AkiSae (Tsukishima Akiteru/Tanaka Saeko) vs. UsuKiryuu (Usuri Michiru/Kiryuu Wakatsu)

FukuKen (Fukunaga Shouhei/Kozume Kenma) vs. HiruHoshi (Hirugami Sachirou/Hoshiumi Kourai)

UshiIwa (Ushijima Wakatoshi/Iwaizumi Hajime) vs. OsaKuro (Miya Osamu/Kuroo Tetsurou)

FukuSaku (Fukunaga Shouhei/Sakusa Kiyoomi) vs. SemiTen (Semi Eita/Tendou Satori)

ShibaLev (Shibayama Yuuki/Haiba Lev) vs. KawaShira (Kawanishi Taichi/Shirabu Kenjirou)

SugaYaku (Sugawara Koushi/Yaku Morisuke) vs. TeruDai (Terushima Yuuji/Sawamura Daichi)

ROUND 1, BRACKET B (Voting ended):

InuShiba (Inuoka Sou/Shibayama Yuuki) vs. LevKen (Haiba Lev/Kozume Kenma)

KogaSaku (Kogangegawa Kanji/Sakunami Kousuke) vs. OsaSunaKomo (Miya Osamu/Suna Rintarou/Komori Motoya)

EnnoNoya (Ennoshita Chikara/Nishinoya Yuu) vs. YahaShira (Yahaba Shigeru/Shirabu Kenjirou)

KaoYukie (Suzumeda Kaori/Shirofuku Yukie) vs. SugaTen (Sugawara Koushi/Tendou Satori)

KamaFuta (Kamasaki Yasuhi/Futakuchi Kenji) vs. BokuDai (Bokuto Koutarou/Sawamura Daichi)

GoshiHina (Goshiki Tsutomu/Hinata Shouyou) vs. MiwaLisa (Kageyama Miwa/Haiba Alisa)

EnnoAka (Ennoshita Chikara/Akaashi Keiji) vs. BokuOsa (Bokuto Koutarou/Miya Osamu)

IwaKyou (Iwaizumi Hajime/Kyoutani Kentarou) vs. KanoYachi (Amanai Kanoka/Yachi Hitoka)

[stenka-razin]

Every Film I Watched in 2022

The Matrix (1999, dir. Lana Wachowski & Lilly Wachowski) Bidoof’s Big Stand (2022, dir. Shaofu Zhang) Samurai Cop (1991, for. Amir Shervan) The Matrix Resurrections (2021, dir. Lana Wachowski) Citizen Kane (1941, dir. Orson Welles) Tetsuo II: Body Hammer (“鉄男II BODY HAMMER” 1992, dir. Shinya Tsukamoto) The Elephant Man (1980, dir. David Lynch) Grandma’s Boy (2006, dir. Nicholaus Goossen) Always Be My Maybe (2019, dir. Nahnatchka Khan) Game Night (2018, dir. John Francis Daley & Jonathan Goldstein) When We First Met (2018, dir. Ari Sandel) The Kid (1921, dir. Charlie Chaplin, 1972 rerelease) Menace II Society (1993, dir. Albert Hughes & Allen Hughes) Duck Soup (1933, dir. Leo McCarey) 30 Minutes or Less (2011, dir. Ruben Fleischer) Chimes at Midnight (1965, dir. Orson Welles) Money Plane (2020, dir. Andrew Lawrence) Man with a Movie Camera (“Человек с киноаппаратом” 1929, dir. Dziga Vertov, Cinematic Orchestra soundtrack) Godzilla (1998, dir. Roland Emmerich) City Lights (1931, dir. Charlie Chaplin) Krull (1983, dir. Peter Yates) Klute (1971, dir. Alan J. Paluka) The Lawnmower Man (1992, dir. Brett Leonard) Area 51: The Alien Interview (1997, dir. Jeff Broadstreet) Ratty (2020, dir. John Angus Stewart) Heavy Metal (1981, dir. Gerald Potterton) The Northman (2022, dir. Robert Eggers) Autumn Sonata (“Höstsonaten” 1978, dir. Ingmar Bergman) Battles Without Honor and Humanity (“仁義なき戦い” 1973, dir. Kinji Fukasuka) Battles Without Honor and Humanity: Deadly Fight in Hiroshima (“仁義なき戦い 広島死闘篇” 1973, dir. Kinji Fukasuka) Battles Without Honor and Humanity: Proxy War (“仁義なき戦い 代理戦争” 1973, dir. Kinji Fukusaku) Battles Without Honor and Humanity: Police Tactics (“仁義なき戦い 頂上作戦” 1974, dir. Kinji Fukusaku) Battles Without Honor and Humanity: Final Episode (“仁義なき戦い 完結篇” 1974, dir. Kinji Fukusaku) Logan’s Run (1976, dir. Michael Anderson) The Vietnam War (2017, dir. Ken Burns & Lynn Novick) The Devil Wears Prada (2006, dir. David Frankel) Best in Show (2000, dir. Christopher Guest) Shaolin and Wu Tang (“少林與武當” 1983, dir. Gordon Liu, dub) Shin Godzilla (“シン・ゴジラ” 2016, dir. Hideaki Anno & Shinji Higuchi) The Legend of the Suram Fortress (“ამბავი სურამის ციხისა” 1985, dir. Sergei Parajanov) The Six Directions of Boxing (“六合八法” 1980, dir. Hsu Tien-Yung, dub) Shaolin vs Lama (“少林鬥喇嘛” 1983, dir. Lee Tso-Nam, dub) Inside the Mind of a Cat (2022, dir. Andy Mitchell) Prey (2022, dir. Dan Trachtenberg) Marathon Man (1976, dir. John Schlesinger) Final Destination (2000, dir. James Wong) Final Destination 2 (2003, dir. David R. Ellis) Final Destination 3 (2005, dir. James Wong) The Final Destination (2009, dir. David R. Ellis) Final Destination 5 (2011, dir. Steven Quayle) Mulan (1998, dir. Tony Bancroft & Barry Cook) No Time to Die (2021, dir. Cory Joji Fukunaga) The Munsters (2022, dir. Rob Zombie) House of 1000 Corpses (2003, dir. Rob Zombie) One Night in Miami… (2020, dir. Regina King) Magnificent Obsession (1954, dir. Douglas Sirk) The Knight Before Christmas (2019, dir. Monika Mitchell) Halloween (1978, dir. John Carpenter) Noel Next Door (2022, dir. Max McGuire) Ice Sculpture Christmas (2015, dir. David Mackay) Alexander Nevsky (1938, dir. Sergei Eisenstein) Love Hard (2021, dir. Hernán Jiménez) Falling for Christmas (2022, dir. Janeen Damien) A Christmas Prince (2017, dir. Alex Zamm) Holidate (2020, dir. John Whitesell) Cyborg (1989, dir. Albert Pyun) Full Metal Jacket (1987, dir. Stanley Kubrick) Star Trek Generations (1994, dir. David Carson) Christmas Vacation (1989, dir. Jeremiah S. Chechik) Star Trek: First Contact (1996, dir. Jonathan Frakes) Bridget Jones’s Diary (2001, dir. Sharon Maguire) Teenage Mutant Ninja Turtles (1990, dir. Steve Barron) Waterworld (1995, dir. Kevin Reynolds) Elf (2003, dir. Jon Favreau) Feliz NaviDAD (2020, dir. Melissa Joan Hart) Emmet Otter's Jug-Band Christmas (1977, dir. Jim Henson)

[sentientdessert]

The film Battle Royale was directed by Fukusaku Kinji, a man who had seen the horrors of war first hand...  literally having to clear up friends body parts after bombings in WWII. Movies tend to glorify violence, even senseless violence as somehow justified...  the deaths in Battle Royale may have been overacted at times, but none of them felt...   glorified...  even when certain characters died it still felt...  empty...  and pointless...  much like the “contest” the kids are forced to take part in...   Just where my mind went when reading this...

"depiction is not automatically glorification" can and should coexist with "some depiction is glorification and you need to be able to tell the difference"