#futoshi harada

[nancelilspace]

Yu-Gi-Oh! Arc V 「Dashing Pendulum」 FanAnimatic

I made this animatic as a way to celebrate the 10th anniversary of Arc V! Unfortunately, I couldn't finish it on time TwT, but I want to share this little project with all of you 💖

I used the last ending of the series "Dashing Pendulum" as a way to represent a closure to this series that I loved since the first pv was announced.

And I may sound cheesey, but I'm grateful for this series, and everyone who has left nice comments and has supported me these past years, I'll continue to work hard to bring even better things!

[fyeahygocardart]

Doodlebook - Uh uh uh!

[arcvmonth]

ARC-V Month is 3 days away!

[oddeyesarcpendulumdragon]

Wow, this picture is really filling out now! We're over halfway through now that the You Show kids have joined us!

[kiyubaru]

Zashikiro (Trailer)　2024

Production, drawn, photography, editing, music and sound by Hiroshi Harada Voice Cast: Natsuyo Kanahama, Koshu, Chiyo Hayakawa, Futoshi Tanifuji, Toshihiko Hino, others

Insert song: Karuki Tamatsukuri

[osharenippon]

'70s Harajuku (Part 2)

The Harajuku district in Shibuya has gained international acclaim as a hub of Tokyo's youth culture and fashion scene. Its streets are lined with cafes, boutiques, and well-known fast fashion stores, drawing a constant stream of tourists, fashionistas, and teenagers. However, before the arrival of billionaire retailers, foreigners, and media attention, this area's early inhabitants were the ones who truly shaped its unique character.

'70s Harajuku (Part 1)

There's been a few books written about Harajuku and its culture in the '70s. Famed photographer Shinpei Asai wrote "Central Apartments Monogatari" (Central Apartments Tale), published in 2002. Futoshi Kimizuka interviewed some creative professionals who had offices in the building for 2004's "Central Apartments no asobi" (Walking through Central Apartments). Yasuko Takahashi, Japan's first stylist, wrote extensively about her experience working and playing in the neighborhood during that era in "Omotesando no Yakko-san" (Yakko-san from Omotesando, 2012) and "Toki no kakeru Yakko-san" (Yakko-san Who Leapt Through Time, 2015). In 2019, Non Nakamura, who started out as Yakko-san's assistant, compiled photographs and essays from influential figures of the time in "70s Harajuku Genfuukei."

This same Non Nakamura contributed what I consider to be some of the most insightful and readily available essays on this period through her "20th Century Girl" serialization in Mononcle. These essays are accessible for free on their website (in Japanese, though Google Translate provides a decent translation). Nakamura's series chronicles the culture of the 1970s in Harajuku and the broader oshare influences of that decade.

The first essay discusses how she owes her fateful meeting with Yakko-san to rock 'n' roll. Nakamura was a teen during the folk music era when rockstars had long hair, worn-out T-shirts, and bell-bottom denim. She wasn't particularly attracted to this type of fashion, so when she first saw glamorous-looking David Bowie in a magazine, she instantly fell in love with him. Her other passion was the band Carols. She passed by a poster of them, with their regent hairstyles, motorcycles, and leather jackets, on her way to her part-time job in Shinjuku and was remarkably attracted to them. After work, she ran to the record store and bought their then-just-released first single, "Louisiana." When she got home and dropped the needle on the record, the sound of rock 'n' roll took over her body, and she was utterly fascinated with the band. Soon after, she got a boyfriend who followed the regent hairstyle/leather jacket/motorcycle trend of the time.

Nakamura hated studying and wasn't interested in school clubs and activities. She'd fulfill her curiosity about the world by reading the dressmaking magazine Fukusou and admiring the avant-garde professionals that worked in it, such as the photographers (Saku Sawatari, Daitomo Yoshida, Osamu Nagahama), the illustrators (Ayumu Ohashi, Teruhiko Yumura, Yosuke Kawamura, Osamu Harada, Tamie Okumura), the models (Risa Akigawa, Brenda, Ichizo Koizumi), and the writers (Takeshi Matsuyama and Ken Sunayama).

One day, Yasuko Takahashi, aka Yakko-san, started a serialization in Fukusou. In her inaugural essay, she wrote that if she were a teen, she'd probably be chasing her rock 'n' roll dreams and dating a rocker dude her mom disapproved of. These words resonated deeply with Nakamura, who found school tiresome, yearned for an artsy and glamorous world, adored Carol and Bowie, and was dating a delinquent high school dropout who didn't earn her mother's favor. She felt seen and understood.

In her column, Yakko-san published plenty of photos of her daily life. To Nakamura's surprise, she was friends with the guys from Carol and also worked as a stylist for David Bowie. In the 17-year-old girl's eyes, she was the most incredible woman alive.

As she recounts in her second essay, her deep relationship with the Fukuso magazine team started a few months before Yakko-san's inaugural column in the October '73 issue. One day during the spring of her senior year, she felt compelled to write a letter to the magazine professing her love for it. She dreamed of being an illustrator, so she included a bunch of her doodles. To her surprise, the editorial team called her home a few months later and invited her to their office.

After school, she changed from her uniform to her favorite clothes (which included a shirt she bought from a London import shop in the basement of Central Apartments and a gingham skirt she made inspired by MiLK) and eagerly made her way to the meeting. The editors inquired about her clothing and life, and their comment, "I sensed something in you that was not Yojohan-ish," stuck with her.

To understand the context of this comment, we must go back in time to the folk music fever of the '70s, when yojohan (4 tatamis and a mat) folk was at its peak. Yojohan referred to small rooms where impoverished university students lived, often idealized in songs about young love and melancholy that dominated the charts. Nakamura was happy with the comment because, indeed, she didn't like the poor and humid vibe of said songs. She was drawn instead to dreamy pop and rock. 

The teen girl left the magazine's office that day with an invite to publish a double-spread page in the June issue, full of her illustrations and thoughts. It was quite an achievement for her.

Encouraged by this experience, she didn't hesitate to write Yakklp-san a letter. And to her astonishment, Yakko-san replied! Before she knew it, they had become penpals and engaged in lengthy phone conversations. Thus began a profound friendship between a 17-year-old high school student and a 34-year-old stylist at the pinnacle of her career.

Funnily enough, Yakko-san feared meeting Nakamura and disappointing her. To the 17-year-old, it was amusing that a grown woman who organized Japan's top designer Kansai Yamamoto's show in London Fashion Week and had the initiative to collaborate with world-famous figures such as T-Rex and David Bowie would be intimidated by her.

But, as she recounts in her third essay, they finally met. First, a quick 10-minute meeting in a Shibuya coffee shop. And then a proper encounter at the renowned Leon, where she also met other cool people she used to see in the magazines. Soon after, she became a frequent visitor to Yakko-san's small apartment in Harajuku.

Initially, she was taken aback by the apartment's minimalist and compact layout, as well as Yakko's sparse possessions. Yet, within the broader context, it made sense that a trend-savvy individual in 1973 lived this way. It was the year of the Oil Shock, the first post-war recession and frugality was in vogue. Books like "Jonathan Livingston Seagull," an anti-materialism allegory, and Alicia Bay Laurel's "Back to the Earth" became bestsellers, reflecting the shift towards a more modest lifestyle.

Amid the growing popularity of the back-to-the-land movement in the United States, minimalism and healthy living gained global momentum. It was Yakko-san who first introduced Nakamura to these ideas.

Through Yakko, Nakamura also learned about "natural food," a relatively unfamiliar concept in Japan at the time. While a foreign concept to most, natural food was all the rage in the vibrant neighborhood of Harajuku, and locals bought it from the market in the basement of the luxury Co-Op Olympia condo. Additionally, a delivery service offered pesticide-free vegetables, spearheaded by a former Leon patron who had forsaken a successful creative career to explore his passion for sustainable farming. Through these encounters, young Nakamura began to comprehend that life presented various paths, and fashion encompassed not only clothing but also a holistic lifestyle, including food and living habits.

The fourth installment focuses on Sayoko Yamaguchi, one of Japan's top models of the '70s, who had worldwide success and shared a close relationship with Yakko-san. Nakamura observed that during that era, the most prominent models were of mixed heritage (haafus), characterized by big eyes, long eyelashes, and wavy hair. Notably, Lisa Akigawa was one of the most renowned among them. In contrast, Yamaguchi stood apart with her almond-shaped eyes and black bob haircut. Her unique style served as an inspiration for many Japanese girls, fostering their self-confidence. Her signature eyeliner makeup and haircut were emulated by numerous admirers. While Yamaguchi enjoyed global fame at international fashion weeks, she became a familiar face to the Japanese public through her Shiseido commercials. She was among the numerous icons in fashion and culture closely connected to Yakko-san.

During the 1970s, Sayoko Yamaguchi was one of the faces of Shiseido cosmetics.

Another notable figure in this circle was the director Juzo Itami, whose tight relationship with Yakko-san was evident in his introduction to her first book, "Aisatsu no Nai no Nagadenwa" (Long Phone Conversation with no Greeting), published in 1976. This title offered one of the first comprehensive examinations of the "stylist" profession, which was relatively obscure in Japan then.

In the fifth essay, Nakamura writes how she found out about the profession through an article at AnAn, which briefly described a stylist as "people who lease clothes for fashion shoots, run around Harajuku with large bags, line the soles of model's shoes with duct tape, coordinate clothes, and attend shoots."

As she discovered through her work with Yakko-san, stylists do way more than that. And that was also what Itami tried to convey in the introduction to Yakko's book:

"I want to introduce my friend, Yasuko Takahashi. She is a first-class stylist. When making fashion editorials or commercials, a stylist can materialize a suitable house, the right interior design, or a place just like the one you're looking for out of thin air. At the same time, they also find props that are suitable for the location and source costumes. Depending on the situation, they will interact with the models and even advise on hair and make-up, so they must be genuinely knowledgeable. Collaborating with Yakko is, without exaggeration, a heavenly experience for me. She is a consummate professional. Once upon a time, when she couldn't find a suitable location, she wandered through town all night, shedding tears of frustration until she eventually discovered one. I mean, she's persistent. Her tenacity isn't limited to her professional life; in her case, she's unwavering in allowing her creativity to roam freely."

Yakko and Itami first met after being introduced by famed photographer Shinpei Asai, who had his office at Harajuku Central Apartments. The three of them worked together on a serialization Itami had at Shūkan Bunshun magazine in the sixties, which had Asai in charge of the photography and Takahashi doing the styling.

Takahashi was impressed by Itami's sensitivity to trends on a global scale. When she went to New York, he told her to buy a Yellow Pages-sized book, "Whole Earth Catalog," which inspired his weekly column. As covered here, "Whole Earth Catalog" was highly influential among Japanese media and creative types in the late 60s and early 70s, molding much of Japan's fashion culture.

But back to Non Nakamura's column, stylist was a novel occupation. She notes that stylists became highly sought after in the 80s, with the effects of the D.C. brand boom and the bubble economy. A diverse range of stylist roles emerged, including magazine stylists, advertising stylists, men's fashion stylists, and even specialists in props and food styling, each requiring unique skills and expertise. But back then, when Yakko-san was one of the few professionals doing this job, a stylist was in charge of everything, from the models and shooting locations to the costumes, dishes, houseplants, furniture, or anything else the shoot may need.

One day, Yakko asked Non to work as her assistant on a Noriyaki Yokosuka shoot. She promptly accepted, even though she had no idea who the photographer was. However, when she mentioned him to the boys in her design school, they were impressed and told her that he was the one who photographed Sayoko Yamaguchi's Shiseido posters, as well as doing the Parco ads. Parco, the Shibuya fashion building, had the buzziest campaigns in the country under Eiko Ishioka's art direction.

When she got to the shoot, the photographer asked her to get some poppy flowers. Faced with challenges in finding these specific flowers, Non embarked on a frantic quest, purchasing as many as she could to meet the photographer's expectations. However, to her astonishment, the photographer didn't even glance at the flowers. That's when she realized that being a stylist was a tough job.

David Bowie was the theme of two installments of the column. Yakko-san introduced him to legendary Japanese designer Kansai Yamamoto, who was behind some of his most legendary costumes, and they established a close working relationship in the 1970s. During her tenure as Yakko's assistant, Non had the opportunity to meet Bowie in a 1977 photoshoot in Harajuku. One of the photographs from that session, captured by Masayoshi Sukita, ultimately was used as the cover of Bowie's 12th studio album, "Heroes."

The cover of Bowie's 12th studio album, "Heroes," was shot in Harajuku. Yakko-san was the stylist.

She also dedicated a chapter to another one of her idols, Eikichi Yazawa, whom she met just a few weeks after Carol's farewell concert as he prepared to make his solo debut. She recounts that his charm so enchanted her that she realized she didn't actually love her boyfriend at the time, breaking up with him shortly after.

Nakamura watched Carol's final concert twice. Along with the rest of the country, she followed the telecast, aired a few days later. As she recounts, she and Yakko-san were working in Harajuku on a Saturday afternoon when the stylist took a look at her watch, said, "oh, it's starting soon," and rushed to a design office at Central Apartment that had a TV (minimalist Yakko-san didn't have one at her place).

But she also was one of the lucky few who actually were at the proper concert in Hibya Open Air, which she attended all dressed up in clothes from the trendy Creamy Soda boutique in Harajuku (the owner was notoriously close to Carol's members). Infected by the feral atmosphere, she ended up in the front row and even tried to invade the stage. She succeeded in getting her right foot in before being kicked out by the security guard. But here's a twist: the security was also a regular at Harajuku's Leon coffee shop.

In the 1970s, the hippiest motorcycling gang in Tokyo was The Cools. They were known for their cool styles, hung out with models and celebrities, and were always at Leon. Of course, like all of Japan's young bad boys, they were also big Carol fans. And they actually became close to the members. For their final show, the band wanted to mimic the Rolling Stones -- which had the Hell's Angels as security -- and they invited The Cools to escort them and guard the stage. 

After Carols disbanded, the Cools were actually hired by a major record label and became a proper rock band.

In the 1970s, Harajuku remained a hidden gem, undiscovered by the masses. Yet, this small district nestled within bustling Shibuya played an integral role in the histories of the most extraordinary individuals. As the rest of the country caught on, they sought a taste of Harajuku's uniqueness, propelling it into the phenomenon it has become today.

[elemental-daddy-neos]

So this Darling in the Franxx character named Futoshi popped up in my server, and since he's a big guy, I was like "Damn is Futoshi just a fat kid name?" Because this guy and Arc-V Futoshi are fat. Turns out yes, that is exactly what it means.

So then I got curious about the other two kids in Arc-V and looked them up, and the favoritism

Ayu gets to be beautiful, Tatsuya is a dragon or destined for greatness, then Futoshi is just "lmao fatass, let's call him fat" and so they did

[daxieoclock]

The light didn’t fade. It coalesced. And the form within screeched out a single, harmonious chime, a roar that echoed in Tatsuya’s bones. A dragon. That dragon, that hollow echo of another Duelist’s soul. Pearlescent armor, empty yellow eyes, with six wings like green glass, reflecting the spotlights in every direction. It was beautiful, and awful, and terrifying.

 “Yugo’s–” Gongenzaka exclaimed, but cut himself off. A character break, clearly, but Tatsuya didn’t spare a single further thought to the young man’s error. Every ounce of attention was fixated on Dalet, on that mask. On whatever face must lie behind it.

 Who in any dimension would they trust with those cards?

Scene 1: An Absent Prodigy! The Throne Reclaimed!?

I had the idea for this fic, or the idea that would become it, roughly four years ago. It’s been gathering dust for a while, but I finally feel like I have the experience and inspiration to be able to do it justice. I’m so happy to share it all with you all, and I hope you enjoy this first installment!

[frightfur]

[baddyzarc]

Spectators of the moon duel space duel

[entermates]

[nancelilspace]

Day 3: Ice Cream. What do you prefer, cup or wafer?

What was your first impression of Arc V? Of your now favorite character or ship?

My first impression was that it was a series more focused on the comedy and it was just to be something more like a cartoon without a super development trama  And about my favorite ship, I can’t choose within Fallengelsipping or Counterpartshipipping, both are cute in their own ways!

[daddyzarc]

[just-a-ygo-fan]

[oddeyesarcpendulumdragon]

Arc V Anniversary Day 22: Games

They’re playing Pokemon and Ayu’s gonna play the winner

Futoshi’s gonna have a hard time because Tatsuya knows the meta

[pendulumprince]

It’s episode 141, and it’s time for another rousing game of: WHO’S THAT BABY?!

Review of last time:

Yuzu getting through to Yuya

Reiji throwing that Pendulum at Yuya

Yuya remembering Yusho’s words

Four boys take that draw together

Yuya plays Smile Universe

Zarc tries to take over again

Yuya’s not having it; tells Ray/Reira to take him out

Yuya’s down to 0!

REIRA EXCORSIZES ZARC FROM YUYA

GETS ATTACKED BY ZARC

And now Yuya’s standing naked in the vast brightness of his psyche

Opening time!

T-THE ACTION DUEL OPENING IS BACK?!

Okay but the rest of the opening is the same…?

I’m sobbing what is this.

After the opening

WE’RE 100% BACK IN STANDARD

AND NOT POST-WAR STANDARD

THIS IS PRE-WAR STANDARD

LISTEN TO THAT GOOFY BACKGROUND MUSIC...!

YUYA’S SITTING DOWN TO BREAKFAST

YOKO’S THERE

SO ARE THEIR MILLIONS OF PETS

YUYA RUNS OUT

He still has his Heartland skates?!

Literally everything is back to normal.

Ahahahaha there’s even a poster of Strong Ishijima

Yuya walks into YSDS—

GETS HIT IN THE HEAD WITH A PAPER FAN

Omg Shuzou’s using the paper fan

HE’S KEEPING UP HIS DAUGHTER’S LEGACY

Shuzou looks at the paper fan curiously…

But everyone quickly moves on??

The Three Precious Darlings look mighty impressed with Yuya’s roller blade boots

SHUZOU IS YELLING

Idk if he got more fire and brimstone, or if it’s been so long that his angry shouting is of concern to me

He shoos all the kids out

Takes another hard look at that paper fan…

So Yuya’s and the Three Precious Darlings are about to square off!

Shuzou’s preaching about the values of entertainment duels

He plays the action magic field!

Plain Plane!

*sobs deeply* THIS IS WHERE YUYA AND YUZU HAD THEIR FIRST ON SCREEN DUEL

WHAT THE FUUUUUUCK

T-THEYR DOING THE ACTION CHANT

OMG

IT’S BEEN SO. FUCKING. LONG.

“ACTIOOOOON. DUEL.!”

And Yuya

He still has his pendulum monsters!

He sets the scales with Astro and Chrono, 1 to 8!

He summons Swordfish, Whip Viper, and Odd Eyes!

Omg Odd Eyes is still around?! Extraordinary.

Tatsuya takes his turn!

Draws!

SETS. THE SCALES.

BOY WHEN DID YOU GET PENDULUM CARDS

HIS SCALES ARE 1 TO 10

HE SUMMONS TWO 500 ATK MONSTERS!

… who’s voice is that

(Scene change!)

AHHHH IT’S REIJI AND HIMIKA!

A-AND

UM

HE MEANTIONED THE STANDARD DIMENSION...

“PENDULUM DIMENSION”

WHAT

IS THAT WHAT HE SAID

GUYS I’M IGNORANT WHEN IT COMES TO THE LANGUAGE BUT

I THINK THAT’S WHAT HE JUST SAID

AND

THE BABY

THE BABY IS HERE

BACK TO THE DUEL!

THE THREE PRECIOUS DARLINGS HAVE THEIR SIDE OF THE FIELD STACKED WITH WHAT I ASSUME ARE PENDULUM MONSTERS

FUTOSHI HAS TWO MONSTERS, 1200 ATK AND 2400 ATK

AYU HAS TWO MONSTERS, 2000 ATK AND 600 ATK

TATSUYA HAS HIS TWO MONSTERS FROM BEFORE

YUYA, UNDETERRED, TAKES HIS TURN

BACK WITH SHUZOU

THERE’S A BEEPING NOISE

HE CHECKS HIS DUEL DISK

“WHHHHHAT”

OKAY SOMETHING JUST. WENT DOWN.

“LAAAAAADIES AND GEEEEENTLEMEN~!”

Shuzou turns off the action field

Yuya falls flat on his face

Tragic.

Shuzou shows Yuya what he just saw

“LDS”

Okay so they’re def talking about the Championship

Omg

Yuya looks so precious

IGNORANCE IS BLISS, ISN’T IT YUYA

WELL GET READY CAUSE THAT SHIT IS LASTING ONE MORE EPISODE, TOPS

So Yuya’s in the LDS lobby

THE MAN GONGENZAKA ROLLS UP

SO DOES SHINGO

“AKABA REIJI”

Okay so they all still know each other

Yuya and Gon chan are cool with Shingo and Reiji

So what’s going on??

In any case, Reiji brings up Battle Royale

THIS LEAVES MY THREE BOYS DEAD SHOCKED

SO

OMG

THE LDS TRIO IS BACK

THEY’RE IN THE STANDS

SO ARE TEPPEI, MICHIO, AND MEIRU

NICO SMILEY IS ANNOUNCING

*CRIES DEEPLY*

SO HE ANNOUNCES YUYA (“ENTER TAINMENT”)

GON CHAN (“FUDOU”)

AND SHINGO (“SUPER ULTRA HYPER STRONG DUELIST”)

THAT’S THE ONLY APPROPRIATE TITLE FOR SHINGO TBH

THE THREE PRECIOUS DARLINGS WATCH ON

AND NEXT TO THEM

YOKO IS SHOUTING??

YOKO. WHAT’S WRONG. TELL ME.

ARE YOU STILL MAD THAT YUYA RAN OUT DURING BREAKFAST??

THE THREE PRECIOUS DARLINGS ARE GREATLY CONCERNED

BUT THEN THEY CATCH SIGHT OF YUYA, GON CHAN AND SHINGO

NICO SMILEY SETS THE ACTION MAGIC SPELL

IT’S THE FOUR ELEMENT FIELD FROM THE ORIGINAL BATTLE ROYALE

OMGGGGG WHAT IS THIS

AND YUYA

LOOKS DOWN AT HIS PENDULUM

ARE YOU REMEMBERING, MY SON?!

AND FROM OUT IN THE DISTANCE, A VOICE?!

IT’S EVERYBODY’S FAVORITE NINJA

TSUKIKAGEEEEE

AND THE THREE OF THEM

STILL KNOW TSUKIKAGE

WHO THEY SPECIFICALLY MET ON THE ONSET OF THE WAR??

YUYA AND GON CHAN EXCHANGE SOME WORDS

MY MAN NICO SMILEY GOES SOME ACTION CHANT

THE ACTION CARDS DISPURSE

SO IT’S YUYA VS SHINGO VS GON CHAN VS TSUKIKAGE

A FOUR WAY.

NICE.

YUYA TAKES FIRST TURN!

PLAYS DISCOVER HIPPO AT 800 ATK

PLAYS TWO FACE DOWNS, ENDS HIS TURN

STARTS RIDING DISCOVER HIPPO AROUND

AND BACK AT THE HOUSE

SHUZOU’S STILL LOOKING AT THAT PAPER FAN

AND IT’S HANDLE

WHICH HAS A CITRIS FRUIT ON IT

SHUZOU PLEAAAASE. REMEMBER YOUR DAUGHTER.

YOU’RE THE MOST STABLE YGO DAD TO DATE. YOU HAVE TO REMEMBER YOUR BABY GIRL.

BACK TO THE DUEL, SHINGO TAKES HUS TURN

HE PLAYS SOME 1100 ATK MONSTER

ANNNNND HE’S STILL USING THE ABYSS ACTORS

GOES IN FOR THE ATTACK AGAINST DISCOVER HIPPO

AND HIS MONSTER GOES UP TO 2200 ATK VIA SPECIAL EFFECT

YUYA SPOTS AN ACTION CARD

PLAYS IT

DODGES THE ATTACK

SHINGO IS ANNOYED

SETS A FACEDOWN, ENDS HIS TURN

GON CHAN TAKES HIS TURN

PLAYS A 500 ATK MONSTER

RELEASES IT

SUMMONS A 3500 DEF MONSTER

GOES IN FOR THE ATTACK AGAINST YUYA

YUYA PLAYS HIS FACEDOWN

IT GIVES HIM THREE STRIPPER HIPPO COUNTERS

SO HE DODGES THE ATTACK

GON CHAN ENDS HIS TURN

TSUKIKAGE SHOUTS AT THE THREE OF THEM??

YUYA HAS ANOTHER MOMENT WHERE HE… KIND OF REMEMBERS? MAYBE??

“Maiami… Champion… ship…?”

OKAY LITERALLY EVERYONE IN THE AUDIENCE IS CONFUSED

EXCEPT YOKO, WHO IS MORE CONCERNED WITH THE POSSIBILITY OF SEEING MICHIO AGAIN

LOL ALL RIGHT

NICO SMILEY IS CRYING?!

OH CLOWN HITLER.

OMG

SHINGO HAS A FLASHBACK OF HIS DUEL WITH YUYA

OKAY, OKAY

SO

DID EVERYONE EXCEPT REIJI AND TSUKIKAGE FORGET ABOUT EVERYTHING??

WHY WERE THE TWO OF THEM ABLE TO REMEMBER

YUYA… LOOKS INTO THE LAVA

REMEMBERS WHEN HE AND GON CHAN WALKED IN ON SORA’S DUEL AGAINST HIKAGE

… WHO’S BACK BTW

GON CHAN REMEMBERS SOMETHING TOO

YES

HIS DUEL WITH SHINGO VS THE OBELISK FORCE

THAT TRAGIC ASS DUEL

YUYA REMEMBERS SHUN

HOW HE ALMOST GOT TO PUNCH REIJI IN THE FACE

HOW THEY ALL BECAME LANCERS

OH FUCK

AND HERE’S REIJI, WATCHING EVERYTHING FROM AFAR

THIS IS SO SEASON 1 OF YOU, REIJI

(*ALREADY MISSES REIJI BEING A HANDS-ON LEADER*)

TSUKIKAGE TAKES HUS TURN!

REIJI AND HIMIKA CONTINUE TO WATCH

HIMIKA SOUNDS SUPER DISTRESSED

DID SHE JUST CALL THE BABY "REIRA"

AHHHHH IT IS REIRA

AND LOOK WHO THE FUCK IT IS

YUSHO COMES ROLLING UP ON THE TWO OF THEM

BACK TO THE DUEL, TSUKIKAGE SETS THE SCALES 1 TO 10

SUMMONS A 1500 ATK AND A 2000 ATK MONSTER

HE PLAYS A MAGIC CARD

GOES IN FOR THE ATTACK

YUYA SPOTS AN ACTION CARD

BUT

TSUKIKAGE SNATCHES IT AWAY FROM HIM

DISCARDS IT

DEALS 300 LP DAMAGE TO YUYA

THE ATTACK CONNECTS

AND VIA PENDULUM EFFECT

IS ABLE TO BRING YUYA DOWN TO 2200 LP

BACK ITH REIJI AND HIMIKA

YUSHO SAYS SOME SHIT THAT SHOCKS HIMIKA AND REIJI

HIMIKA FAR MORE SO

OMG WHAT DID REIJI JUST TELL HIMIKA

SHE LOOKS HORRIFIED

OH NO

BACK TO THE DUEL, TSUKIKAGE TAKES HIS TURN

TSUKAGE GOES IN FOR ANOTHER ATTACK

HIS MONSTER GOES UP TO 2500 ATK

OH SHIT

YUYA’S ABOUT TO GO DOWN

*CRIES OUT INTO THE HEAVENS*

Preview time!

YUYA

REMEMBERS RIDING DUELS

D WHEELS

EDO PHOENIX

THE DIFERENT DIMENSIONS

AND SHUZOU

WALKS INTO YUZU’S ROOM

IT’S STILL THERE OMG

YUYA’S HAVING ANOTHER EXISTENTIAL CRISIS

MY TOMATO IS SUFFERING AGAIN WHHHHHY