#furanki

[bookdragonlibrary]

Thanks to Wind Breaker (chapter 152) I learnt the name of the first canon used in Japan : Furanki (with the japanese pronunciation in katakana) so Franky with latin alphabet.

In One Piece Franky once specialised himself in boats with weapon and what's a better weapon in a pirate ship than a canon? Could it be Oda's inspiration for his name?

But it's not the only name of that canon: the other one is Kunikuzushi, the destroyer of nations (ennemies or Japan itself?) a name well known in Genshin community since it was one of the previous names of Scaramouche once he turns a Fatui.

If you have other interpretation with its third name is ishibyia be my guest :)

[eclecticpjf]

Now watching:

[misqnon]

I will say. I am enjoying wano A LOT. but not being japanese...I feel like there's probably SO many cool easter eggs and cultural references I'm missing so it's probably EVEN COOLER if you have that added layer?? Like damn this arc is just really good?? They just revealed orochi's full name + how it relates to his ability and I was like. oh. okay. okay NEKSBSJNZND

[101suouexpressions]

An in-depth of the Takiishi Chika tattoo

With chapter 152, we have a glimpse into the tattoo on Takiishi and Endo's shoulders.

Let's disect it!

Furanki

Breech-loading swivel gun – or Furanki (仏郎機砲, "Frankish gun") in Japanese (Turnbull, 2006) – was one of the first cannons used in Japan. Coming from the Portuguese, these early European models were either called ishibiya (石火矢) or furankihō (フランキ砲) (Gunsen History, 2019), the latter bears similarity with the gun's Chinese name "Folangji", which comes from the Turkish name "Prangi" or Turkic "Farangi" (Chase, 2003). This explains the "Frank" on the tattoo.

I was trying to see if the wheel in the tattoo has any other meanings, but as far as I know, it is simply the wheel of the cannon. The same structure can be observed from Nii Satoru's drawing of the cannon wheel with 4 main spokes and 4 additional, underlying spokes. (Most wheel symbols in Hinduism or Buddhism are eight-spoked wheels).

The right-most part of the tattoo appears to be the rings and the button at the base of the cannon. It is pretty similar to what we'd see with a top-down view of the plan below.

Note. From Oozutsu cannon Japan 16th century [image] by Unknown author. Wikimedia Commons, 2010. https://commons.wikimedia.org/wiki/File:Oozutsu_cannon_Japan_16th_century.jpg 

The wolf

The illustration of the wolf was cleverly combined into the cannon. Its hind legs turned into the cannon base while its fur blended into the fire surrounding the cannon.

Wolves have many symbolic meanings, but here I believe Endo was trying to highlight Takiishi's fierceness. Takiishi is an untamed, lone wolf. He doesn't obey the rules; and Takiishi's world, as per Endo's explanation, has no one other than Takiishi (of course until Umemiya makes an entrance).

Name references between Takiishi Chika and Ishibiya

Japanese Ishibiya (石火矢) hand cannons are also early firearms in Japan and have made an appearance in the movie Princess Mononoke.

If you find Endo's explanation confusing, here's a more visualised version for it.

Takiishi Chika (焚石 矢)

焚 (taki): to burn, or anger. This character is made up of two 木 (trees) and one 火 (fire)

石 (ishi): stone, or rock

矢 (chika): arrow

Ishibiya (石火矢)

石 (ishi): stone, or rock

火 (bi): fire

矢 (ya): arrow, projectile

Kunikuzushi (国崩し)

Occasionally, Furanki guns were also called Kuni-kuzushi by the Ōtomo clan, which means country destroyer (Gunsen History, 2019).

Kunikuzushi (国崩し)

国 (kuni): country, or nation

崩 (kuzu) し(shi): breakdown

References

Chase, K. W. (2003). Firearms : a global history to 1700. Cambridge University Press.

Gunsen History (2019). Taihō (大砲): Japanese Cannons and Artillery. Gunbai: Ancient Japanese Warfare. https://gunbai-militaryhistory.blogspot.com/

Turnbull, S. R. (2006). Samurai : the world of the warrior. Osprey

Unknown Author. (2010). Oozutsu cannon Japan 16th century [image]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Oozutsu_cannon_Japan_16th_century.jpg 

[ccinobu]

“Furankie”⭐️

[lailleursetici]

Affiche américaine de « Tel père, tel fils », d’Hirokazu Kore-Eda. DR

« Tel père, tel fils » : au-delà des liens du sang

L’histoire d’un échange de nouveau-nés donne lieu à un film subtil, signé Hirokazu Kore-Eda, sur les relations parents-enfants (vendredi 17 juin à 18 h 40 sur OCS City).

Par Yann Plougastel Publié le 15 juin 2016 à 16h51, modifié le 17 juin 2016 à 09h26

L’histoire d’un échange de nouveau-nés donne lieu à un film subtil, signé Hirokazu Kore-Eda, sur les relations parents-enfants.

Prix du jury à Cannes en 2013, Tel père, tel fils, du metteur en scène japonais Hirokazu Kore-Eda, doit se voir comme une attachante et subtile exploration des liens unissant un père et son fils. En se demandant à partir de quel moment on devient réellement le père de son enfant, le réalisateur décrit, avec intelligence et sensibilité, l’état de la famille, aussi bien dans la société japonaise de l’après-Fukushima que d’un point de vue plus universel… D’où l’incroyable intérêt que suscite ce film chez les spectateurs de 7 à 77 ans.

« Je voulais réfléchir à ce qui unit un père et son enfant. C’est en voyant ma petite fille de 6 ans grandir que je me suis demandé ce qui me liait à elle : le temps ou le sang ? Que pense-t-elle de moi comme père ? Qu’est-ce qui fait qu’elle est ma fille ? Les faits divers sur les échanges d’enfants ont été un prétexte pour raconter l’histoire », expliquait Hirokazu Kore-Eda lors de la sortie de son film en France.

Riri Furanki et Keita Ninomiya dans une scène de « Tel père, tel fils » (prix du jury au Festival de Cannes 2013). OCS

L’intrigue en est simple. Elle s’appuie sur une des angoisses récurrentes des parents lors de la naissance d’un bébé : l’échange à la maternité. En 1988, avec La vie est un long fleuve tranquille, Etienne Chatiliez en avait tiré une comédie insolente. Le propos de Kore-Eda se veut plus grave : dans le Tokyo d’aujourd’hui, deux ­familles apprennent que leurs fils, Keita et Ryusei, ont été échangés six ans auparavant. Que faire ? Faut-il rétablir les liens du sang et les échanger à nouveau ?

Réalités de la vie adulte

Les Nonomiya, parmi lesquels le père, Ryota, est un architecte ambitieux, obsédé par son travail, privilégient une ambiance très protégée, avec une éducation stricte où la compétition paraît être le maître mot. En revanche, les Saiki, plus modestes, où le père, Yudai, est heureux de son emploi de quincaillier, vivent d’une façon plus décontractée, prenant le temps de le perdre avec leurs ­enfants… Peu à peu, à travers des scènes d’une extraordinaire banalité (une photographie prise sur une balançoire, une façon de boire à la paille, une séance de pêche à la ligne sur un balcon, etc.), apparaît une profonde réalité. Ce qui compte, ce n’est pas tant la filiation biologique que la vie passée ensemble à tenter de construire un avenir le plus lumineux possible. Ryota, architecte doué mais imbuvable qu’irritait Keita, son « fils » lunaire et poétique, le comprend progressivement en découvrant par hasard l’admiration et l’amour que le bout de chou lui porte.

Le précédent film de Kore-Eda, I Wish (2011), résonnait comme une petite fugue ensorcelante sur le passage des illusions enfantines aux réalités de la vie. Tel père, tel fils, qu’il est recommandé de regarder avec ses propres rejetons, repose en quelque sorte sur le mouvement inverse : les tristes réalités de la vie adulte se fracassant – heureusement – sur la simple tendresse d’un enfant. A cet égard, la scène où un petit garçon demande simplement à un adulte pourquoi il doit l’appeler papa est plus que bouleversante.

Tel père, tel fils (Soshite chichi ni naru, titre original), d’Hirokazu Kore-Eda. Avec Masaharu Fukuyama, Machiko Ono, Yôko Maki, Rirî Furankî (Japon, 2013, 115 min). Le vendredi 17 juin à 18 h 40 sur OCS City. Rediffusion le mercredi 22 juin à 15 h 15.

[clemsfilmdiary]

Fusa / Sono kido o tootte (1993, Kon Ichikawa)

その木戸を通って　（市川崑）

10/9/19

[kaizokuou-ni-naru]

Idk if Oda did it on purpose of if you've mentioned it before, but I remember learning about how a lot of words for machines end with ki and wondering if that was why Oda used "Furanki" for Franky's name that he uses after becoming a cyborg.

Hm, never occurred to me, but I suppose it is possible? You’re thinking of 機/ki, which is indeed a kanji that means ‘machine/mechanism’ and is used in, among other words, a lot of mechanical ones. Although-

-to be fair, there are quite a few other kanji that can also be read as ki. It’s possible, but I’d call it perhaps a bit of a stretch. Or it could just be a cool coincidence!

[almasexya]

All Hail the Queen (Mothra 1961)

After Varan in 1958, Toho took a few years off the kaiju scene before releasing Mothra in 1961, a milestone film that pushed the genre in a completely new direction. An outright fantasy film where all its predecessors had dabbled in sci-fi, Mothra can at times seem a bit ridiculous, and if you read a synopsis of it, with its tiny fairies and giant telepathic moths you would be forgiven if you came to that conclusion.

Under Ishiro Honda’s direction, Shinichi Sekizawa’s rather zany plot is treated with enough gravity that it rarely ever feels as goofy as one would expect it to. Sekizawa, who previously had written Giant Monster Varan, is clearly more in his element here, putting out a fantastical plot much more in line with what he became famous (or perhaps infamous) for.

I’ve seen Mothra quite a few times, and luckily for western audiences, it’s one of the few non-Godzilla titles readily available for purchase, owing to the titular monster’s popularity. There’s an Icons of Sci Fi DVD set that packs in Mothra along with a pair of Toho’s other sci fi films, as well as a steelbook blu ray put out by Mill Creek Entertainment.

Mothra starts off with a bang, as a group of sailors who shipwrecked near the irradiated Infant Island are brought back to Tokyo miraculously unharmed. This story catches the eye of reporter Zenichiro Fukuda (Furanki Sakai) and photographer Michi Hanamura (Kyoko Kagawa) who sneak into the facility where the sailors are being evaluated, overhearing their story about mysterious natives who fed them fruit that kept them from being harmed by the radiation.

The news of this garners the attention of the government of Rolisica, a country that is Totally Not America and was responsible for testing atomic bombs on Infant Island. A scientific expedition to the island is quickly founded, led by a real bastard named Clark Nelson, (Jerry Ito) who captures a pair of tiny women found living there (identical twins Emi and Yumi Ito, no relation) to use as a paid attraction. This arouses the ire of the island’s guardian deity, Mothra, who beats feet to Japan to get the women back.

Mothra, in effect, has a lot going on. Fukuda, better known in the movie as Zen, is the first of his kind in a Toho kaiju film, though not certainly the last - a tough yet goofy reporter who always follows his gut instincts. The Ito sisters are wonderful as the tiny fairies, known in the film as the Shobijin, whose haunting song summons Mothra to come protect them. Jerry Ito’s Nelson steals nearly every scene he’s in - it’s rare to see a human villain in a kaiju story, but Nelson is the gold standard, chewing on whatever bits of scenery that aren’t nailed down as he tirelessly attempts to exploit the Shobijin for profit. He’s the kind of guy you love to hate, and it doesn’t hurt that he speaks both English and Japanese, and is one of the few English speaking actors in a Toho film that doesn’t sound like he’s reading his lines at gunpoint.

The humans are all fine and good, but what we’re here for is the giant moth, and in that respect the film excels. Mothra is portrayed both as a larva and an imago, though it’s the larva that does most of the city wrecking. The larva had two different props, a small, hand-operated puppet and a massive 7-meter suit that required multiple actors to operate, while the flying imago is only ever a puppet. Both look amazing, and the city sets are some of the best you’ll see in a Toho production. Mothra rampages through both Tokyo and the Rolisican New Kirk City (tagline: The City That Never Gets Tired) in its search for the Shobijin. The maser tanks often seen in later Godzilla movies (those contraptions with a radar dish on them) also make an appearance here, shooting “atomic heat rays” at Mothra’s cocoon in hopes of destroying it before it can emerge.

There is nothing sci-fi about Mothra and the fairies, who are pure fantasy like nothing that came before. It’s implied that Mothra has always been part of life on Infant Island, and the fairies get no explanation at all. The nuclear subtext in Mothra, rather than creating a monster, simply represents the very real devastation that happened to places like Bikini Atoll, which no doubt served as inspiration for the film.

Mothra is much more of a family film than its predecessors, with a sort of Disney-esque style surrounding its production, which apparently Honda was going for. The singing fairies would become a staple of later Mothra films, though the Ito twins would only play them twice more, unfortunately. The antics of Zen Fukuda and co., in their efforts to save the fairies, never seem too dangerous no matter what kind of stakes are arrayed against them, and only the villainous Nelson ends up dead (in a surprisingly non family-friendly fashion).

Mothra isn’t, of course, without its flaws. The extras in brownface playing the Infant Island natives are particularly galling, and the plot has a bit of an airiness to it that makes it hard to believe the cast is ever in any danger. There are some weird artifacts as well, such as the Shobijin’s strange, droning language and the fact that Mothra is referred to as male.

That said, this is still a great introduction to kaiju movies, and worth seeing today. Mothra as a creature is great fun to watch, and starring in a solo film means that a certain giant lizard isn’t hogging the spotlight (he’ll be back soon though, trust me). It also helps that this one is available cheaply and easily all over the internet; if you’re going to watch one kaiju movie without the king of the monsters in it, make it this one.

[tangaloor]

#HorrorMovieMarathon

Film #  94      (SciFi Creature Classics Collection) Mothra  (1961) 101 minutes   Color   Unrated Directed by: ��Ishiro Honda Starring:  Furanki Sakai, Hiroshi Koizumi, Kyoko Kagawa

After an atomic blast, members of a Japanese expedition explore the heavily radiated Infant Island. Much to their surprise, the scientists discover that life still exists there: two beautful twin girls called Ailenas. Standing only six inches high, they are the guardians of Mothra, a sacred giant egg. Later, Nelson, one of the explorers whose avarice has gotten the best of him, returns to the island to kidnap the Ailenas with plan to exhibit them around the world. Nelson gets more than he's bargained for, however. The giant egg hatches into a larva which grows to tremendous size and wreaks havoc on down-town Tokyo. Soon the caterpillar metamorphoses into a gigantic moth which the entire Japanese armed force can't stop. Will the earth survive? 

IMDb:  A giant, ancient moth begins to attack Japan when coming to the rescue of it's two, foot-tall worshippers who were taken by shipwreck survivors.

[independentfilme-blog]

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Yakuza Apocalypse Official Red Band Trailer (2015) - Yayan Ruhian, Rirî Furankî Movie HD

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[transmogwow]

Furanki - Temple noir (eu) head: Visor of the Chosen Dead neck: Pendant of Cold Flame shoulder: Shoulderplates of the Chosen Dead back: Greatcloak of the Chosen Dead chest: Chestplate of the Chosen Dead shirt: Hidden Shirt tabard: Tabard of Brute Force wrist: Wristclamps of the Chosen Dead hands: Handguards of the Chosen Dead waist: Waistplate of the Chosen Dead legs: Legplates of the Chosen Dead feet: Treads of the Chosen Dead finger1: Ring of Frozen Magic finger2: Seal of Necrofantasia trinket1: Memento of Angerboda trinket2: Nature's Call mainHand: Blades of the Fallen Prince offHand: Blades of the Fallen Prince