#ikeda kazuma | Explore Tumblr Posts and Blogs

goalhofer · 8 days

Text

2024 olympics Japan roster

Archery

Nakanishi Junya (Okayama)

Saito Fumiya (Gifu Ichi)

Furukawa Takaharu (Aomari Ichi)

Noda Satsuki (Kitakyushu)

Athletics

Higashida Akihiro (Nara)

Ota Tomoki (Hamamatsu)

Kasai Jun (Aichi)

Ogawa Daiki (Shizuoka)

Koyama Naoki (Saitama Ichi)

Hamanishi Ryo (Osaka)

Koga Yuta (Fukuoka)

Yamamoto Shouma (Osaka)

Nishi Yudai (Tokyo)

Yoshizu Takuho (Tokyo)

Takahashi Kazuki (Iwate)

Abdul Sani-Brown (Sakado)

Sakai Ryūichirō (Toyonaka)

Uzawa Towa (Miyagi)

Iizuka Shōta (Omaezaki)

Ueyama Koki (Matsusaka)

Satō Fūga (Tokyo)

Satō Kentarō (Tokorazawa)

Nakajika Yuki (Tokyo)

Izumiya Shunsuke (Yokohama)

Rachid Muratake (Matsuda)

Takayama Shun'ya (Hiroshima)

Tsutsue Kaito (Kumamoto)

Toyoda Ken (Tokyo)

Miura Ryūji (Hamada)

Aoki Ryōma (Kuki)

Akasaki Akira (Ōzu)

Ōsako Suguru (Machida)

Ikeda Kōki (Hamamatsu)

Kiryū Yoshihide (Hikone)

Yanagita Hiroki (Tokyo)

Kawabata Kaitō (Matsusaka)

Kawano Masatora (Hyūga)

Akamatsu Ryōichi (Gifu Ichi)

Shinno Tomohiro (Hiroshima)

Hashioka Yūki (Saitama)

Roderick Dean (Kobe)

Goshima Rino (Kanazawa)

Kokai Haruka (Myoko)

Morimoto Mariko (Osaka)

Tanaka Nozomi (Ono)

Goto Yume (Kakogawa)

Yamamoto Yuma (Nagoya)

Kabasawa Wakana (Maebashi)

Takashima Yuka (Hōfu)

Fukube Mako (Hiroshima)

Tanaka Yumi (Osaka)

Ichiyama Mao (Izumi)

Suzuki Yuka (Daisen)

Fujii Nanako (Nakagawa)

Okada Kumiko (Ageo)

Yanai Ayane (Fukuoka)

Hata Sumire (Yao)

Kitaguchi Haruka (Asahikawa)

Saitō Marina (Mito)

Ueda Momone (Itoshima)

Badminton

Kōdai Naraoka (Aomori Ichi)

Nishimoto Kenta (Ise)

Hoki Takurō (Yamaguchi Ichi)

Kobayashi Yūgo (Sendai)

Watanabe Yūta (Suginami)

Yamaguchi Akane (Katsuyama)

Ōhori Aya (Aizuwakamatsu)

Matsuyama Nami (Kitakyushu)

Shida Chiharu (Hachirōgata)

Matsumoto Mayu (Sapporo)

Nagahara Wakana (Akita Ichi)

Higashino Arisa (Iwamizawa)

Basketball

Yoshii Hirotaka (Osaka)

Togashi Yūki (Shibita)

Tajon Jacobs (Los Angeles, California)

Kawamura Yuki (Yanai)

Hiejima Makoto (Fukuoka)

Kai Toews (Kobe)

Hachimura Rui (Sendai)

Watanabe Yūta (Miki)

Yūdai Baba (Toyama Ichi)

Josh Hawkinson (Shoreline, Washington)

Keisei Tominaga (Tokyo)

Hugh Hogland-Watanabe (Honolulu, Hawaii)

Stephanie Mawuli (Nagoya)

Evelyn Mawuli (Nagoya)

Takada Maki (Toyohashi)

Yoshida Asami (Tokyo)

Machida Rui (Asahikawa)

Motohashi Nako (Asaka)

Yamamoto Mai (Hiroshima)

Hayashi Saki (Itoshima)

Miyazaki Saori (Saitama)

Miyazaki Yuki (Yokohama)

Todo Nanaka (Sapporo)

Akaho Himawari (Kanazawa)

Boxing

Harada Shudai (Tokyo)

Sewon Mensah-Okazawa (Kanoya)

Breakdancing

Ono Hiroto (Tokyo)

Nakarai Shigeyuki (Sapporo)

Yuasa Ami (Kawaguchi)

Fukushima Ayumi (Kyoto)

Canoeing

Tanaka Yuuki (Tokyo)

Haneda Takuya (Toyota)

Okazaki Haruka (Tokyo)

Yazawa Aki (Iida)

Climbing

Narasaki Tomoa (Utsunomiya)

Anraku Sorato (Yachiyo)

Mori Ai (Mito)

Nonaka Mihō (Tokyo)

Cycling

Arashiro Yukiya (Ishigaki)

Ōta Kaiya (Okayama)

Obara Yuta (Hashikami)

Nakano Shinji (Hanamaki)

Nagasako Yoshitaku (Kasaoka)

Imamura Shunsuke (Ukiha)

Hashimoto Eiya (Gifu Ichi)

Kuboki Kazushige (Furudono)

Nakamura Rimu (Kyoto)

Kawaguchi Urara (Hyogo)

Yonamine Eri (Osaka)

Sato Mina (Chigasaki)

Ōhta Riyu (Ageo)

Kakita Maho (Kitakyushu)

Ikeda Mizuki (Ōnojō)

Uchino Tsuyaka (Fukuoka)

Kajihara Yūmi (Saitama Ichi)

Hatakeyama Sae (Yokohama)

Diving

Shō Sakai (Sagamihara)

Tamai Rikuto (Takarazuka)

Mikami Sayaka (Yonaga)

Enomoto Haruka (Utsunomiya)

Arai Matsuri (Itami)

Equestrian

Kawai Mike (Valkenswaard, The Netherlands)

Ōiwa Yoshiaki (Münsingen, Germany)

Tomoto Kazuma (Motosu)

Kitajima Ryūzō (Kobe)

Tanaka Toshiyuki (Fukuoka)

Shibayama Haase-Takashi (Kobe)

Satō Eiken (Ogawa)

Sugitani Taizō (Izumi)

Fencing

Kanō Kōki (Ama)

Minobe Kazuyasu (Echizen)

Yamada Masaru (Toba)

Iimura Kazuki (Kyoto)

Matsuyama Kyōsuke (Tokyo)

Shikine Takahiro (Ōita Ichi)

Nagano Yūdai (Ibaraki)

Yoshida Kento (Morioka)

Yoshimura Miho (Tokyo)

Azuma Sera (Wakayama Ichi)

Miyawaki Karin (Tokyo)

Ueno Yūka (Hita)

Emura Misaki (Ōita Ichi)

Fukushima Shihomi (Munakata)

Takashima Risa (Ōmuta)

Ozaki Seri (Sapporo)

Field hockey

Nakamura Eika (Tochigi)

Asai Yū (Hiroshima)

Suzuki Miyu (Gifu Ichi)

Nagai Yuri (Kakamigahara)

Nagai Hazuki (Kakamigahara)

Oikawa Shihori (Tokyo)

Kozuka Miki (Nikko)

Kobayakawa Shiho (Matsue)

Mori Kanon (Hiroshima)

Toriyama Mai (Tokyo)

Tanaka Saki (Morika)

Urata Kana (Osaka)

Shimada Amiru (Ōtsu)

Omoto Sakurako (Iwakuni)

Hasegawa Miyu (Matsue)

Ogawa Rika (Gifu Ichi)

Golf

Matsuyama Hideki (Sendai)

Nakajima Keita (Saitama Ichi)

Yamashita Miyū (Neyagawa)

Sasō Yūka (San Ildefonso, The Philippines)

Gymnastics

Hashimoto Daiki (Chiba Ichi)

Kazuma Kaya (Funabashi)

Oka Shinnosuke (Kamakura Ichi)

Sugino Takaaki (Kamakura Ichi)

Tanigawa Wataru (Funabashi)

Nishioka Ryusei (Higashiosaka)

Kishi Rina (Toda)

Nakamura Haruka (Osaka)

Okamura Mana (Yokkaichi)

Ushioku Kohane (Nagoya)

Mori Hikaru (Tokyo)

Handball

Nakamura Takumi (Fukuoka Ichi)

Yasuhira Kosuke (Takaoka)

Sakurai Tomoya (Mito)

Okomoto Daisuke (Yamaguchi)

Fujisaka Naoki (Fukui)

Takano Sota (Tokyo)

Sugioka Naoki (Kariya)

Yoshida Shūichi (Wakayama Ichi)

Adam Baig (Fukuoka Ichi)

Tokuda Shinnosuke (Iwakuni)

Watanabe Jin (Ōita)

Motoki Shida (Mito)

Tamakawa Hiroyasu (Tokyo)

Yoshino Tatsuki (Misato)

Judo

Nagayama Ryuju (Bibai)

Abe Hifumi (Kobe)

Hashimoto Soichi (Tokyo)

Nagase Takanori (Mito)

Murao Sanshirō (Tokyo)

Aaron Wolf (Tokyo)

Saito Tatsuru (Osaka)

Tsunoda Natsumi (Yachiyo)

Abe Uta (Kobe)

Funakobu Haruka (Fujiyoshida)

Tashiro Takaichi (Tokyo)

Niizoe Saki (Kashihara)

Takayama Rika (Tokyo)

Sone Akira (Kurume)

Pentathlon

Satō Taishū (Aomori Ichi)

Uchida Misaki (Kumagaya)

Rowing

Furutu Naoki (Tottori)

Miyaura Masayuki (Mito)

Arakawa Ryūta (Yokohama)

Hirouchi Emi (Kyoto)

Ōishi Ayama (Nagoya)

Rugby

Ishida Taiga (Kumamoto)

Ishida Kippei (Amagasaki)

Tsuoka Shotaro (Fukuoka Ichi)

Matsumoto Junya (Kagoshima)

Josua Kerevi (Viseisei, Fiji)

Fukushi Moeki (Hyogo)

Taninaka Kippei (Hyogo)

Noguchi Yoshihiro (Tokyo)

Ueda Kazuma (Hyogo)

Maruo Takamasa (Tokyo)

Okudaira Yu (Hyogo)

Koga Yoshiyuki (Tokyo)

Yoshizawa Taichi (Tokyo)

Utsumi Hanako (Yokohama)

Ōtani Mei (Kyoto)

Kajiki Marin (Fukuoka Ichi)

Saegusa Chiaki (Sapporo)

Tanaka Emii (Uozu Ichi)

Tsutsumi Honoka (Ureshino)

Nakamura Chiharu (Yokohama)

Nishi Arisa (Tokyo)

Hara Wakaba (Niigata Ichi)

Hirano Yume (Tokyo)

Matsuda Rinka (Fuchu)

Mizutani Sakura (Mie)

Sailing

Tomizawa Makoto (Kashiwazaki)

Okada Keiju (Kitakyushu)

Iitsuka Shibuki (Yokohama)

Tanaka Misaki (Higashiura)

Nagamatsu Sera (Ōita Ichi)

Oura Nishida-Capiglia (Mie)

Yoshioka Miho (Fujisawa)

Shooting

Okada Naoya (Tsuyama)

Yoshioka Dai (Kyoto)

Nobata Misaki (Ōita Ichi)

Skateboarding

Nagahara Yuro (Hakuba)

Onodero Gin'u (Yokohama)

Shirai Sora (Sagamihara)

Horigome Yūto (Tokyo)

Hiraki Kokona (Tomakomai)

Yosozumi Sakura (Iwade)

Kusaki Hinano (Tsukuba)

Yoshizawa Koko (Sagamihara)

Akama Rizu (Sendai)

Nakayama Fūna (Toyama Ichi)

Soccer

Leo Kokuba (Chiba Ichi)

Suzuki Kaito (Shizuoka Ichi)

Nishio Ryūya (Osaka)

Sekine Hiroki (Shizuoka Ichi)

Kimura Seiji (Chiba Ichi)

Kawasaki Sota (Kōfu)

Yamamoto Rihito (Yokohama)

Joel Chima-Fujita (Tokyo)

Fujio Shota (Osaka)

Saitō Kōki (Tokyo)

Hosoya Mao (Ushiku)

Nozawa Taishi (Naha)

Araki Ryotaro (Kumamoto Ichi)

Mito Shunsuke (Yamaguchi Ichi)

Takai Kota (Yokohama)

Ōhata Ayumu (Fukuoka Ichi)

Hirakawa Yu (Kashima)

Keiji Sato (Tokyo)

Uenaka Asahi (Fukuoka Ichi)

Yamada Fuki (Minakuchi)

Uchino Takashi (Chiba Ichi)

Yamashita Ayaka (Tokyo)

Hirao Chika (Matsudo)

Shimizu Risa (Kobe)

Minami Moeka (Yoshikawa)

Kumagai Saki (Sapporo)

Takahashi Hana (Kawaguchi)

Tōko Koga (Osaka)

Kitagawa Hikaru (Kanazawa)

Hasegawa Yui (Sendai)

Miyazawa Hinata (Minamiashigara)

Seike Kiko (Tokyo)

Nagano Fūka (Tokyo)

Momoko Tanikawa (Nagoya)

Fujino Aoba (Machida)

Hayashi Honoka (Uji)

Ueki Riko (Kawasaki)

Tanaka Mina (Kawasaki)

Hamano Maika (Takaishi)

Shū Ohba (Fujisawa)

Moriya Miyabi (Nara Ichi)

Ishikawa Rion (Akita Ichi)

Chiba Remina (Tsukuba)

Surfing

Inaba Reo (Ichinomiya)

Connor O'Leary (Cronulla, Australia)

Kanoa Igrashi (Huntington Beach, California)

Matsuda Shino (Yokohama)

Swimming

Matsuyama Riku (Saitama Ichi)

Takehara Hidekazu (Munekata)

Taniguchi Taku (Hyogo)

Terakado Genki (Mito)

Murasa Tatsuya (Nagoya)

Mano Hidenari (Yokohama)

Matsumoto Riku (Tokyo)

Minamide Taishin (Kainan)

Matsumoto Katsuhiro (Iwaki)

Watanabe Ippei (Tsukumi)

Hanaguruma Yu (Sakaide)

Mizunuma Naoki (Moka)

Honda Tomoru (Yokohama)

Seto Daiya (Moroyama)

Matsushita Tomoyuki (Utsonomiya)

Kanagimoto Kōnosuke (Imari)

Higa Moe (Hiroshima)

Kobayashi Uta (Nagano)

Shimada Ayano (Mie)

Wada Ami (Nagano)

Yasunaga Mashiro (Tochigi)

Sato Tomoka (Tsukuba)

Kijima Moeka (Hakusan)

Yoshida Megumu (Nagoya)

Ebina Airi (Sapporo)

Matsumoto Shiho (Shizuoka Ichi)

Hirai Mizuki (Kariya)

Ikee Rikako (Tokyo)

Suzuki Satomi (Onga)

Aoki Reona (Tokyo)

Tanigawa Ageha (Osaka)

Narita Mio (Tokyo)

Kobori Waka (Nara Ichi)

Mitsui Airi (Yokohama)

Makino Hiroko (Tokyo)

Ōhashi Yui (Hikone)

Igarashi Chihiro (Yokohama)

Shirai Rio (Takarazuka)

Ikemoto Nagisa (Nara Ichi)

Masuda Aoi (Kurashiki)

Table tennis

Shinozuka Hiroto (Nagoya)

Harimoto Tomokazu (Sendai)

Togami Shunsuke (Tsu)

Hayata Hina (Kitakyushu)

Hirano Miu (Numazu)

Harimoto Miwa (Sendai)

Tennis

Nishikori Kei (Bradenton, Florida)

Taro Daniel (Bradenton, Florida)

Naomi Osaka (Los Angeles, California)

Uchijima Moyuka (Kuala Lumpur, Malaysia)

Aoyama Shūko (Osaka)

Ena Shibahara (Rancho Palos Verdes, California)

Triathlon

Kenji Nener (Perth, Australia)

Odakura Makoto (Tokyo)

Takahashi Yūko (Mitaka)

Volleyball

Nishida Yūji (Inabe)

Ōnodera Taishi (Natori Ichi)

Fukatsu Akihiro (Hiroshima)

Miyaura Kento (Kumamoto Ichi)

Ōtsuka Tatsunori (Osaka)

Yamauchi Akihiro (Aichi Ichi)

Sekita Masahiro (Tokyo)

Takahashi Kentarō (Yamagata)

Takahashi Ran (Kyoto)

Yūki Ishikawa (Okazaki)

Kai Masato (Tokyo)

Yamamoto Tomohiro (Ebetsu)

Uchida Akiko (Tokyo)

Ishii Miki (Fujisawa)

Kojima Manami (Sendai)

Fukudome Satomi (Tokyo)

Araki Ayaka (Tokyo)

Wada Yukiko (Tokyo)

Tominaga Koyomi (Komae)

Hayashi Kotona (Osaka)

Sarina Koga (Saga Ichi)

Mayu Ishikawa (Okazaki)

Nanami Seki (Funabashi)

Inoue Arisa (Maizuru)

Nichika Yamada (Nagoya)

Miyabe Airi (Kobe)

Water polo

Watanabe Taiyo (Kyoto)

Ogihara Daichi (Kagoshima)

Kai Inoue (Los Angeles, California)

Date Kiyomu (Osaka)

Nitta Ikkei (Kanazawa)

Nishimura Towa (Kyoto)

Tanamura Katsuyuki (Ishigaki)

Adachi Seiya (Kakamigahara)

Suzuki Toi (Yamagata)

Takata Mitsuru (Hiroshima)

Inaba Yūsuke (Toyama)

Ōkawa Keigo (Tsuchiura)

Araki Kenta (Fukuoka Ichi)

Weightlifting

Miyamoto Masanori (Naha)

Murakami Eishiro (Toyama Ichi)

Suzuki Rira (Shiroi)

Wrestling

Sogabe Kyotaro (Matsuyama)

Higuchi Rei (Ibaraki Ichi)

Kiyooka Kotaro (Kōchi Ichi)

Takatani Daichi (Kyōtango)

Ishiguru Hayato (Tokyo)

Fumita Ken'ichirō (Kōfu)

Kusaka Nao (Takamatsu)

Susaki Yui (Matsudo)

Fujinami Akari (Yokkaichi)

Sakurai Tsugumi (Kōchi Ichi)

Motoki Sakura (Saitama Ichi)

Ozaki Nonoka (Tokyo)

Kagami Yuka (Yamagata Ichi)

1 note · View note

kosukehattoriworks · 6 months

Text

youtube

HIFANA & 鎮座DOPENESS

MUSIC CREATIVE DIRECTION & PRODUCE : HIFANA & ME

MANEGEMENT DIRECTION : ME (UAU)

VIDEO DIRECTION :　 KAZUMA IKEDA, DAIJIRO OHARA

#Youtube

0 notes

hunter934 · 6 years

Photo

BRODY February 2018 - Ikeda Kazuma x Shinguu Ryouhei "A Dialogue of Keyakizaka46’s Music Videos"

“First Dialogue of 2 Directors who are Accomplices of Keyaki’s Revolution” The initial impact of Keyakizaka46, as well as their shocking debut, was no doubt, thanks to their “Silent Majority” music video. Since then, each time they’ve released a music video, it becomes a hot topic in every single direction. The two directors, who directed their music videos, talked to us about the truths of the music videos, as well as the true quality of Keyakizaka46. Unusual approach to draw out their full potential - This time, through the dialogue between the two directors who directed Keyakizaka46’s music videos, we figured there would be many things that could be revealed, thus we gathered the both of you here. First of all, let’s start with Director Ikeda’s “Silent Majority”. Shinguu: I didn’t watch it right after it’s release. After a while, I heard information that it’s an amazing music video, I decided to watch it after that. - What did you think? Shinguu: The location left such a strong first impression. Normally people wouldn’t be shooting at a place like that (construction site near Shibuya Station). I thought “Ah, it turned out to be something awesome”. - So, its strong point is the timing of when the location was used Shinguu: That’s also correct, especially since idol music videos nowadays have become too boring. Though there still are styles like Director Takahashi Eiki’s works for AKB48. However, this music video turned out to be something really powerful. In all likelihood, we can’t shoot at that place for the second time. Shibuya is always reborn to be something new, so shooting at a place that existed in such a short time was the most amazing thing. Ikeda: Thank you very much (laugh). Shinguu: You’re being unfair, by using that place (laugh). Now the people from Tokyu Dentetsu already knew about Keyakizaka46, right? Ikeda: There was a building in development at that place, while on the other hand, there was a group that was going to make their debut, I compiled those things properly into a concept, I was given the chance to make something special. Shinguu: Did you choose Shibuya as a theme from the start? Ikeda: At first, when I discussed with Keyakizaka46’s staffs, they told me to create a group of girls with a strong will and little bit rebellious as their image. Something like “If they were a town, then they are Shibuya”. Because of that conversation, I thought maybe I could use Shibuya as the stage for them. So, it was decided before I even planned the concept for the music video. Shinguu: The CD jackets were also taken in Shibuya, right? I thought “Are they some sort of Shibuya idols?”, that question came to mind once, but this music video turned out to be really amazing. They’re very young, aren’t they? Also, Shibuya was in the middle of a dramatic transformation. It was really like showing people, those girls had been there once, at the town which reformed in a short amount of time. I felt quite emotional from that kind of view. Because it can’t be seen anymore, right? Ikeda: It was a totally different place a year after that. Shinguu: The dirt remaining on their knees when they knelt down were also quite emotional. Ikeda: It feels like a documentary, right? I didn’t put too much perspective into it. It’s their first music video after all. Shinguu: Director Ikeda, you once said that you purposely didn’t cut out the scene where they displayed poor dancing. Ikeda: Yep. Shinguu: “Ah, they were still poor at dancing at that time”, you wanted people to acknowledge such a thing when they look back at the past. Ikeda: I was thinking so hard how to organize things since it was their debut single. At first, I wanted to make the story deeper. But on the contrary, if I shoot their debut moment as it is, I thought it would have a more exceptional feeling. After all, it’s a moment which only happens once. Shinguu: If we look at it now, it was really worth the effort. Ikeda: I didn’t even cut everyone’s tense faces. - As a fellow director, did Director Shinguu ever think “Crap, he beat me!”? Shinguu: I did. Music video is all about concept. Thus, if we want to do a shoot in Tokyo, location selection is an important thing. There is nothing left in Tokyo after all, it’s too boring. Also, we have to match our camerawork to the choreography. Did you draw the storyboard? Ikeda: I didn’t draw anything. Shinguu: You matched to their choreography, didn’t you? Ikeda: Of course. If I’m not wrong, the choreography only got completed two days before the shoot. Thus, we decided to use about 50~60% of the choreography. - What was your most favorite scene? Shinguu: I like the opening scene. - The scene where their faces appeared one by one? Ikeda: It’s an introduction. It’s their first music video after all. Shinguu: The pictures just came one after another. Ikeda: Pretty orthodox, right? (laugh) Shinguu: What came to my mind was that you particularly shot Hirate-san in such a thorough way. There were a ton of camerawork that shot Hirate-san only. Ikeda: Because Hirate-san is the heroine. If I had given every member equal screentime, it would have ruined the balance. - Normally it would make the video more balance, but that’s not the case for this one. Ikeda: Like I said before, I decided who the heroine was, and she became the core of this story, I organized everything based on this person, I thought that it would make Keyakizaka be seen as a whole even more. Hirate-san’s amazing performance was one of the considerations though. However, that kind of camerawork was pretty different from Director Shinguu’s way of thinking. Shinguu: It’s totally different. If Kazuma-san stresses the whole picture of Keyakizaka46, then I want to show every single one of them at any cost. In this kind of group, there must be only a few members who can appear on the 4-minute-long-only music video. But, I didn’t want to do it that way (laugh). Everyone has their own charm, so I always took a shot of everyone. Even though in the end not every shot was used after editing process, it’s a relief to do it that way. - Since there’s a lot of people that were attracted by their charm on “Silent Majority”, this kind of presentation was indeed good. Ikeda: In the end, this music video is all about their performance. It feels like they’re going to make a breakthrough from now on, for me it’s really like a documentary. I’m glad that I didn’t make it weird by creating a drama-like music video. - Since it’s a good documentary, there’s no need to add a dramatic element into it. Shinguu: Kazuma-san is a documentary maker after all. Ikeda: Even though there are some bad parts, as long as their expression are good enough, I will use it. On the contrary, Shinguu-san is a perfectionist. Shinguu: I’m the type of person that shows anything above its original value. For example, if there is a member that doing a late turn, I will show it in slow motion. Ikeda: Or to make a messy jump looks better. Shinguu: I’m a visual person. It’s like I just aim for the good parts only. Ikeda: You also do a form of music-related editing. Shinguu: If it’s Kazuma-san, he will definitely strengthen the part he wants to show rather than taking care of the rhythm. Ikeda: That’s right. Shinguu: If there is situation where the contents are less than it’s supposed to be, and they’re going to do nothing about it, I will tell them “This should be this way, this too, this too”. - So, you show them how to deal with it, like “make this in slow motion”. I have an impression that “Director Shinguu = slow motion”. Shinguu: That’s right. On the contrary, Kazuma-san is type of creator that doesn’t like to use slow motion. Ikeda: If you say it that way, I won’t be able to use it from now on (laugh). Shinguu: Kazuma-san used slow motion in “Eccentric” though. When he used it, I became afraid of him (laugh). Running Keyaki, laughing Keyaki, some of the best works - Next, we will discuss about “Sekai ni wa Ai shikanai”. This is also Director Ikeda’s works. Shinguu: I watched “Sekai ni wa Ai shikanai” so many times. I love the chorus. It’s really unique. The first chorus didn’t start with a dance, they were just running. I thought “He did it~!”. He didn’t put a dramatic element into “Silent Majority”, but this time he injected some sort of girls’ youth attributes into it. Moreover, with Showa style (laugh). I highly appreciate his idea of putting a Showa vibe into it, something like a baseball match cut scene. Ikeda: Hahahaha! Shinguu: Also that shoe locker cut scene. It’s a music video that clearly made me understand Ikeda-san’s preference. Ikeda: Yes, I injected my own preferences (laugh). It’s little embarrassing, it feels like I’m an inexperienced director. Shinguu: Why did you use such a dim lighting in the classroom? Ikeda: By making the class darker, indoors and outdoors really started to contrast each other. Since I wasn’t told to create something bright and idol-ish, I decided to make it dark. Shinguu: Kazuma-san, do you like to change the drama aspect by utilizing the weather? It always changes depending on the weather, right? Ikeda: You’re right. Though I cleverly matched it to its lyric. Shinguu: I watched it thinking “It’s showing various kinds of weather”. - On the previous interview, Director Ikeda once commented “I gave it a sort of anime vibe”. Ikeda: That’s right. Shinguu: What do you mean by anime vibe? Ikeda: Different from “Silent Majority”, I aimed to create a painting-like thing for this music video. It feels like visualizing a vague feeling inside the memories. Shinguu: Ahh, I see. Kazuma-san, to what extent do you entrust your cameraman? Do you give a lot of direction? Like “Use telephoto lens on this!”. Ikeda: I only give the general concept when it comes to drawing storyboard. However, the cameraman who has worked for me on this second project is the kind of person that would take such interesting shots if I gave him freedom. For example, I only told him “I want to take a scene as if the camera followed the wind”. Then, he took a scene where members can be seen along with the windmills. - It’s a very wide landscape, right? Ikeda: Yes, it’s really wide. They couldn’t even see the ones next to them. Every member at the corner was 100 m apart. - This location also gave such a strong impression, why did you choose this location? Ikeda: We looked for a place with windmills, then we found it on Hokkaido. Shinguu: Did you plan to use windmills from the start? Ikeda: Yes. Since, the first project took place in Shibuya, so there was a thought to create something with a middle-of-town image for the next work as well. Shinguu: Hey, it’s totally different (laugh). Ikeda: There were white-and-man-constructed windmills standing in nature, I wanted members to do the performance there, in order to create a connection between them. That grassland scene in the chorus was an imaginary realm, so I wanted to create something that really contrasted the scene of daily school life. - On the previous interview, you said you wanted to show the connection to the “Silent Majority”, by using something big and man-constructed, similar to the construction site on the previous work. Ikeda: In the end, the center of this music video were the members themselves. I thought their image wouldn’t be ruined by whatever location we used, as long as we don’t ruin the presentation. Then, in contrast to the real school life realm, if the location for the imaginary realm in the first chorus had taken place in the middle of a town, there wouldn’t be much difference between them. I wanted to give a clear separation. Shinguu: I see. That’s why I had a feeling that I was entrusted with the next work “Futari Sezon”, in order for me to do a shoot in the middle of town. Ikeda: Hahaha. I think “Futari Sezon” is their best song. With such a nostalgic melody, this is the song that made them laugh. Shinguu: Since it’s a sparkling and elegant song with such a nice rhythm, I could come up with this concept for the music video. I matched their steps, their walk, I matched every single thing to the rhythm, I wanted to show the harmony of their wavelength, their beat. That’s why the number of members kept increasing one by one from the first verse. Ikeda: So, you wanted to shoot them in the most beautiful way. Shinguu: This was about the cameraman’s peculiar preference. If we do a shoot outdoors, the sunlight would steadily change, so the cameraman said that he wanted to shoot at a specific time (laugh). “We will be here ‘till 2 PM, I want to shoot with this amount of light”, he had that kind of preference. By the way, it took place in Chiba’s Makuhari. - How did you feel when you were entrusted with Keyakizaka46’s main track for the first time? Shinguu: Since Kazuma-san had directed their first two singles, honestly it felt like carrying a heavy load on my back. Ikeda: The vibe was different from “Katarunara mirai wo...”. Probably because this song was completely different from before, he shot such a fresh expression of them. I thought “Ah, he made them laugh!” Shinguu: Yes, I did! I thought they were girls who barely smiled, but they came to the location with such a smile. Ikeda: They are actually cheerful. Shinguu: I perceived them as girls with the “Silent Majority” image, so I was surprised, “Huh? They’re laughing naturally”. At that time, I decided the direction I would shoot them. - So that’s it. Shinguu: Although the only thing I had decided on was the last scene where they joined their hands with a feeling of “let’s be together”. Ikeda: Between those stylish dance scenes, you used a portrait-style cut into it, right? The stylishness and clumsiness that contrasted to each other left such an impression on me. What does it mean? Shinguu: Honestly, the thing I liked most was to shoot their cool dance, however, I thought that I had to remain the vibe of idol music video. Ikeda: That balance is superb. The “cool” vibe didn’t swung completely. It probably became an unique single, by putting those idol-ish elements into it. Shinguu: To some extent, this is a work that I created with a kind of safety measure. However, I didn’t use any close-up shots in this music video, I only used bust shots. Ikeda: Ah~, I see. Shinguu: I used a lot medium shots and full shots. Ikeda: There is a cut scene where Moriya-san made such a nice expression. Shinguu: While I was looking for the balance, the one thing that caught my eye was Moriya-san’s expression, despite there being a lot of funny ones among the many shots I took. I used it not because I particularly like her. In such a timing, it’s natural to have that sort of expression we like and we don’t, right? And the one I like was Moriya-san’s expression. Ikeda: It was the “Keyaki Tree” in the last scene, wasn’t it? The part where they joined hands. Did you plan to shoot that from the start? Shinguu: Yes, I did. Ikeda: You were using 2 different types of camera, right? The steadicam and one with a crane. Shinguu: That’s right. The opening didn’t start with the choreography, but their individual scenes. It’s a cut scene which I shot with precision after I had a discussion with TAKAHIRO-san. - Hirate-san’s expression in the last scene was magnificent as well. Shinguu: I wanted to make something scary in the last part. When they joined hands, I wanted to end it with a scene where Hirate realized something. She smiled in the original version, however, I also took a shot where she cried a bit. But, I figured it was too boring, so I didn’t use it. Someday her youth will end, and she realizes that, something along those lines. Then, after the moment she realizes it, I would end it with a scene where she was alone on the bridge. We are happy right now, yet people will be alone at some point, someday we will end up being alone, something like that. Also, it’s because Kazuma-san always ended his work with Hirate-san. You ended “Silent Majority” with a close-up shot. Ikeda: That’s right. Shinguu: That’s why I selfishly created such a weird “End-it-with-Hirate” rule (laugh). Ikeda: Seems like you had a struggle (laugh). Shinguu: It’s a struggle of “how to end it with her” (laugh). That’s why it took about 10 minutes to shoot her face when she was on the bridge. As a result, I decided to use that face. However, which face I decided to use depended on my mood during editing process. Ikeda: That’s right. It’s really huge. It’s not about lyric interpretation. Dynamic line that helps the directors - Next, let’s talk about “Fukyouwaon”. Ikeda: What came to my mind is you used too many seagulls (laugh). Shinguu: Ahahaha! Okay, jokes aside, did it bother you, Kazuma-san? Ikeda: Nah, I think it’s just cool. You really placed emphasis on their performance. A music video that showed Keyakizaka’s performance at its core is probably the most amazing thing. You also didn’t put any unnecessary element. Shinguu: This song was compared to “Silent Majority”, so I thought “Crap, this is difficult~” (laugh). This is about my equipment, I used 7 axes gyro stabilizing head called Maximus 7 for the first time. This equipment is probably not useful in an idol music video. However, I zoomed everything and took such close shots in the beginning of first chorus. Since I used crane shots, it became pretty fast. Ikeda: The movement was really fast. Shinguu: Korean music videos are really good at using the zoom shots. They used up to 4K resolution. After I watched it, I also wanted to implement it in Japan. Then, I used it for the first time to take close-up shots of members’ lipsync scene, maybe about the half of them. At first, I planned to only shoot the front row members, but I shot even more members in the end. Also, I shot their lipsync scene in a thorough way. Ikeda: It’s pretty simple compared to the previous works, so you carefully placed emphasis in the camerawork and editing. You used it only once, but I like the scene where you used high-angle shot. The camera was moving while shooting from the gaps in the fence. Shinguu: It’s the second chorus, right? The cameraman said he wanted to shoot from above. Also, when it comes to this 4th single, the accuracy of their dance was completely different. Ikeda: Yep. It’s cool. - Okay, let’s talk about “Kaze ni Fukaretemo”, Director Shinguu’s third consecutive work. Ikeda: It completely felt like the second chapter of Keyaki. Shinguu: That’s right. I talked about it with Kazuma-san when we went to see their Makuhari Live. When I saw them, I thought that Keyaki already arrived at the end of their first chapter. That’s why we wanted to shoot them with a style that wasn’t related to their styles so far. Ikeda: The first chapter closed with the “Getsuyoubi no Asa, Skirt wo Kirareta” music video in the most beautiful way. Shinguu: That’s right. “Getsuyoubi no Asa, Skirt wo Kirareta” beautifully brought them back to “Silent Majority”. Ikeda: That’s why the first song that is able to use any kind of formula was “Kaze ni Fukaretemo”. Shinguu: The whole team were thinking to bring something different to Keyakizaka that we knew so far. However, it’s a difficult task to retain the Keyaki-style somewhere (laugh). - Where did you retain it? Shinguu: The truth is I had a little bit of difficulty with this song at first. However, I turned it into a music video that showed the dance of the chorus. - So that’s it. Shinguu: That’s why I took shots in various places, from school, middle of town, till the conference room, however, I wanted to be apart from those things. There are so many places prepared for us in this life. And it happened in the exact moment when “La La Land” became popular. Ikeda: It’s more musical actually. Shinguu: That’s right. Actually, it should have been something like “musical drama of life”. But, I ended up only using the scene where Hirate-san was lifted with wires (laugh). Ikeda: It was a funeral, right? Shinguu: That’s right. It was a funeral actually. Ikeda: It’s an ascension. Shinguu: “What a good life it was”, it conveyed something like that. It’s something like “A dog of Flanders”. However, everyone was much better compared to “Silent Majority”. Their performance was really cool. Habu-san even came to me and asked for something. Ikeda: Ah. She is really good. Shinguu: I decided not to use her scene, but she came to me and asked, “Isn’t there another chance for me?”. - She must be really serious, if she came to ask directly. Shinguu: I said “I will consider it!” (laugh). She even created a kind of pose by herself, I think she has a high level of professionalism. Ikeda: In “Getsuyoubi no Asa, Skirt wo Kirareta”, there was moment that made me touched. One of my cameramen, he didn’t really know about Keyaki, so he selfishly shot members with good performance skills, in that case, he shot Ishimori-san and Habu-san. Shinguu: Ishimori-san and Habu-san! When we were working on editing, we always wanted to use their scene at any cost! I called those two “Dynamic Line”. Then, there is “Power Dynamic Line”, consisted of Saito-san, Habu-san, and Ishimori-san! - Is it a power-up version? (laugh) Shinguu: They have such supple movements after all. Ikeda: Saito-san is always included in the difficult dance parts. She is super cool. Shinguu: Their performances really help us in the editing process. If we also shoot Suzumoto-san, the rest would be much easier. She is awesome after all. I will shoot any member who dance perfectly and guarantee their places in the editing process. Expression that completely surpassed their expectation and gave them goosebumps - Now, I will ask about your impressions toward them. I want to hear about how you felt after doing your shoots with Keyakizaka46. Ikeda: I probably shot them without thinking they were idols. Shinguu: I see. You thought that from the start. Ikeda: I think members and staffs who were involved in the music video production were working together as a crew. Normally, when I direct a music video, I will discuss it with the artist before I draw the storyboard, I think it will be better if there is a good discussion, like I will say “I want to shoot this way”, and they will say “I want to make this kind of expression”. If I have the chance, I want to try it. Shinguu: I also see them as artists, but I probably see them more as idols than Kazuma-san. Like I said in the beginning, the world of idol music video is already complete, so I want to do some sort of experiment on how to escape from that thing. Ikeda: You’re looking for a method. Shinguu: Yeah. In that sense, I was given the chance to shoot the shape of this group. - Ah, I see, I see. Ikeda: I want to show people how I imagined the way of life and the concept of this group as a whole. It’s not about showing the real Keyakizaka46, I wanted to convey to the audience that the role they played in my work is the reality. When those things were established, I think it will be something completely original. - If you can depict their way of life, it won’t be an imitation. How do you think about Hirate-san? Ikeda: She is interesting, she has a consistency. In “Silent Majority”, I was thinking of creating something based on her. Shinguu: Basically, I entrusted everything to her. I explained to her what I aimed for, and what I needed is to see how she was going to answer it. It was up to her. Ikeda: She always does something unexpected. I always ended up grinning the moment she did that. Shinguu: Aahhh~! Me too!! Ikeda: On the second part of “Getsuyoubi no Asa, Skirt wo Kirareta”, she made an expression that completely surpassed my expectation (started at minutes 02:56). It gave me such goosebumps. Discovering these kind of moments is really fun. Shinguu: I really understand that feeling. It’s only a blink of an eye, but it left such an impression. Ikeda: About this scene, we didn’t have much time, so we only shot it 3 times, but suddenly an amazing thing came out of those 3 only chances. Shinguu: It’s like a gift from above. It’s close to contemporary dancing. She was throwing herself, and dancing like someone else. She also gave me goosebumps in “Fukyouwaon”, when she laughed with such a scary face. (They’re watching the music video, stopping at minutes 03:54) Look! It surprised me. Ikeda: It’s beyond logic. I couldn’t think of that. Shinguu: That’s why after we finished shooting, there was a moment where she just staring into space. It’s interesting to see what kind of style she’ll show us with the setting we prepared. Ikeda: She must be still nervous in “Silent Majority”. Shinguu: But, it feels like she begun showing herself little by little since “Sekai ni wa Ai shika nai”. I think it’s not something dark, but something more pure. Ikeda: Yeah. Not many idol can give off such goosebumps. - We’re looking forward to your next work for Keyakizaka46! Thank you very much for today! _____________________________________________________________ Ikeda Kazuma is director of Silent Majority, Sekai ni wa Ai shikanai, Otona wa Shinjite kurenai, W-KEYAKIZAKA no Uta, Eccentric, and Getsuyoubi no Asa, Skirt wo Kirareta. Shinguu Ryouhei is director of Katarunara Mirai wo..., Futari Sezon, Fukyouwaon, Kaze ni Fukaretemo, and Glass wo Ware!. _____________________________________________________________ *special thanks to: toomuchidea (Raw & QC) & Seri (QC)

#keyakizaka46 #ikeda kazuma #shinguu ryouhei

7 notes · View notes

karlydraws · 2 years

Text

More Ninjutsu Gakuen

Komatsuda-kun get back to work

Doi Sensei and His Stalker

27 notes · View notes

ryosukedaigakuya96 · 7 years

Photo

Ishida Akira's 29 years of career (1988-2017) https://twitter.com/oh_ya_ma/status/876090789285068802

111 notes · View notes

its-naruto-universe · 4 years

Text

So when are we getting a kare kano Another? We deserve a reboot

I need to see my Canon OTP animated

#kare kano #tsubasa #fruits basket #kareshi kanojo no jijou #kazuma ikeda

69 notes · View notes

shiyuru99 · 4 years

Text

Watch "Kazuma Ikeda from Kare kano timelapse" on YouTube

youtube

#kazuma ikeda #karekano #kareshi to kanoji #Youtube

2 notes · View notes

37kamiina · 2 years

Photo

DDT FREE 2022.05.11

#congrats on graduation!#kazuma sumi #yuya takagi #rukiya ikeda #shogo hamaguchi #takeshi masada #ddt #ddt pro

1 note · View note

symptom3000 · 3 years

Video

youtube

POLYSICS "コンピューターおばあちゃん" (2007)

director: 大原大次郎 (Daijiro Ohara), 池田一真 (Kazuma Ikeda)

#MV #MV2007 #MV2000s #POLYSICS #大原大次郎 #Daijiro Ohara #池田一真 #Kazuma Ikeda

1 note · View note

yyh4ever · 3 years

Text

Yu Yu Hakusho - 25th Anniversary Celebration Illustration Collection (2018)

Seven members of the Yu Yu Hakusho anime staff designed these seven illustrations to congratulate the anime on its 25th Anniversary and the release of the Blu-ray BOX in 2018.

1. Botan by Mari Kitayama (Character Designer)

Source: v-storage

Mari Kitayama: in charge of the "Yu Yu Hakusho" character design. She is also active as an illustrator, and has done copyright illustrations for "BLEACH" and "Tokyo Ghoul".

2. Kurama by Michinori Chiba (Animation Director)

Source: v-storage

Michinori Chiba: in charge of key animation and animation director of the "Yu Yu Hakusho" TV series. He has also worked as character designer and animation director for "Mobile Suit Gundam 00", "Mobile Suit Gundam AGE", "Mobile Suit Gundam: Iron-Blooded Orphans".

3. Kazuma Kuwabara by Tetsuya Nishio (Key Animator)

Source: v-storage

Tetsuya Nishio: in charge of key animation of the "Yu Yu Hakusho" TV series and animation director of the theatrical version of "The Poltergeist Report". He has also worked as character designer and animation director for numerous works such as "NINKU", "Ghost in the Shell S.A.C. 2nd GIG", and "NARUTO" series.

4. Youko Kurama by Hiroki Kanno (Animation Director)

Source: v-storage

Hiroki Kanno: animation director of the "Yu Yu Hakusho" TV series, and character designer and chief animation director of the theatrical version of "The Poltergeist Report". He has also worked as character designer for "RahXephon" and "Fullmetal Alchemist", and was the chief animation director of "Zetsuen no Tempest" and "Bungo Stray Dogs".

5. Spirit World by Yuuji Ikeda (Art Design)

Source: v-storage

Yuuji Ikeda: in charge of the art design and art director of "Yu Yu Hakusho". His representative works include "Dragon Ball Z", "Saiyuki" and "CLAMP School Detectives".

6. Yusuke Urameshi by Akiyuki Shinbou (Storyboard/Director)

Source: v-storage

Akiyuki Shinbou: in charge of the storyboard and directing in the "Yu Yu Hakusho" TV series. His main directorial works include "Bakemonogatari" series, "Puella Magi Madoka Magica", "March Comes In Like Lion".

7. Puu by Noriyuki Abe (Director)

Source: v-storage

Noriyuki Abe: his directorial debut was the "Yu Yu Hakusho" TV series. His representative works include "NINKU", "Midori no Makibao", "BLEACH", "Black Butler Book of Circus", "The Heroic Legend of Arslan".

Source: V-STORAGE (Bandai Namco)

The 25th Anniversary Blu-ray BOX also includes four special cards illustrated by Mari Kitayama.

#yu yu hakusho #25th anniversary #noriyuki abe #puu #mari kitayama #hiei x botan #Akiyuki Shinbou #yusuke urameshi #Yuuji Ikeda #Spirit World #Hiroki Kanno #youko kurama #Michinori Chiba #shuuichi minamino #bandai #vstorage

202 notes · View notes

kondou-shouri · 7 years

Photo

ANNOUNCEMENT!

Hyper Projection Engeki Haikyuu!! will be doing a LINE LIVE broadcast on Haikyuu!! Day (19 August 2017) at 18:00 JST! You can access and reserve the broadcast through this LINK.

The participating members will be Suga Kenta, Kageyama Tatsuya, Miura Kairi, Shiota Kouhei, Kawahara Kazuma, Fuchino Yuuto, Akisawa Kentarou, Ino Hiroki, Tomimori Justin, Nagata Takato, Kondou Shouri, Takeshi Naoki, Worry Kinoshita (Director), Wada Shunsuke (Music), Ikeda Ryouta (Shounen Jump).

46 notes · View notes

kez19h · 3 years

Photo

Sadako (2019) is one of the few horror movies I’ve watched just because I love Ikeda Elaiza haha. I think it’s not that scary, otherwise I felt that the story of Mayu and her brother, Kazuma, is so sad. Elaiza is so beautiful as always, I kinda missed her hair like this.

#sadako #sadako (2019)#jfilm #jmovie #jhorror #horror #ikeda elaiza #Tsukamoto Takashi #kiriyama renn #doctor #psychological #psychologist #investigation #mystery #family

8 notes · View notes

ichika27 · 2 years

Text

KareKano 13-14(?)

I can’t not use this photo cause it’s so cute!

Also, nothing about episode 14 here. It’s a whole recap episode so I’m skipping it. I’m only putting the number here cause it’s awkward to just skip a number.

Tsubasa was unable to sleep wondering why her dad wanted to remarry. She did all the chores herself all this time so she wonders if it meant she wasn't good enough to support him on her own.

Morning came and the family (+ Tsubasa and Maho) had breakfast. Yukin's dad is happy seeing so many girls around that he thinks he wants more daughters now. Yukino tells him he might gets sons next and the family wonders what they'd name them if it happens since the girls have themed names. After that, the two kids went to school, the dad goes to work, and so Yukino, Maho, Tsubasa, and Yukino's mom are the only ones left at home.

Yukino and Maho decided to study while Tsubasa sat in one corner looking outside. After a few moments, Tsubasa gets up and tells them that she plans to go home and apologizes for the trouble. Her dad isn't changing his mind no matter what she does so she's giving up.

Tsubasa comes home and tells her dad she's okay now.

They later went to a hotel restaurant to meet with Ms. Ikeda's son. Mr. Shibahime says he hadn't met him yet which surprised Tsubasa as she thought her dad took care of everything by now. Tsubasa's dad is nervous and hopes Ms. Ikeda's son likes him. Soon, Kazuma shows up which surprised the Shibahime's due to his look (bleached hair and skull necklace).

They soon talk about Kazuma's band thing and while that was happening, Tsubasa is disappointed to know her future brother is a punk rock guy she can't relate to. As she stares at Kazuma, Kazuma suddenly smiles at her and she worries this meant he fell in love with her or something lol. She proceeded to have some weird fantasy of a news report involving her in that kind of scandal. She calms down as soon as the desert arrived but then Kazuma happily gives his desert to her and she panics again.

Kazuma finally gives them his thoughts: he never cared if his mom remarried as long as she's happy but the guy she's marrying really is nice (Mr. Shibahime is really happy to hear this) plus, he'd get a cute little sister, too. Cause he thinks Tsubasa is a middle schooler lol. When Mr. Shibahime tried to correct him that Tsubasa isn't a middle schooler, Kazuma then thinks it meant that she's a grade schooler.

They finally explain to him that Tsubasa is months older than he is and that they're the same age which surprised him. Tsubasa explodes in anger (visualized using what could probably be described as the Third Impact) cause of this.

A few days later, Tsubasa is still pissed off and was kicking things as she walked the streets when suddenly, a pedo tried to hit on her. Kazuma oulls her away and punches the guy himself when the police are called. Not knowing the exact situation, they thought Kazuma was the creep because of his delinquent looks and the actual creep already escaping. Tsubasa stopped them and explained things of course.

The two ended up sitting some place to talk and thank each other for the help. Kazuma also apologized for the misunderstanding the other day. He's just always wanted a sibling and so he got excited when he thought he'd have one as it wasn't like he could ask his mom for one all this time after all. Tsubasa realized he was just lonely, too. He said his goodbyes and was going to leave when Tsubasa said she wanted to talk more. Kazuma invites her over to talk at his place which was close by.

When they get to the tiny apartment, Tsubasa sees how much of a mess it was and Kazuma panicked at the chores he forgot to do. Afterwards, the two ate the ice cream they bought on the way, even letting the other have a taste.

Kazuma wondered why he feels at ease with Tsubasa despite just having met her and Tsubasa says it's because they've been living similarly all this time. They've both been lonely and they both know how it feels like to come home with no one there waiting for you. Kazuma thinks that makes them like brother and sister already. It was at that moment that Tsubasa understood why her father wanted a family.

Kazuma's mom comes home and panics when she sees Tsubasa there. She's embarrassed at how much of a mess their home is and worries as Tsubasa isn't used to such places and hits her son for inviting the girl over when things are like that.

Tsubasa seeing this side of Ms. Ikeda made her ask if she's just acting all this time. Ms. Ikeda admits that while she's herself around Mr. Shibahime, she acts extra nice around Tsubasa as she really wanted a daughter and so she wants Tsubasa to like her. Plus, Tsubasa is so cute haha! Ms. Ikeda asks if this disappoints Tsubasa and Tsubasa says no and adds Ms. Ikeda reminds her of one of her friends.

Mr. Shibahime gets told of where Tsubasa was and so he goes to the apartment and is surprised to see them all getting along well. The Shibahime's soon need to leave and says their goodbye. Kazuma says he wants to see Tsubasa's home next time and she says she'd like that and that she'd introduce him to her friends, too. Tsubasa also tells Ms. Ikeda that she's good for her dad and she asks Ms. Ikeda to take care of her dad from now on.

The two adults look at her and realize it meant Tsubasa had finally given her approval.

The couple soon got married and they all moved together to live as a family. Kazuma's friends show up to help them with their move and they all see Tsubasa and thinks she's lovely. Kazuma had to pull Tsubasa away from them XD.

As Mr. Shibahime sees his two children, he wonders if their relationship is really just that of brother and sister and asks his wife if step-siblings can marry.

This episode was cute and heartwarming! All of the crayon drawings were cute and shows Tsubasa’s childishness but also how much of the issue started way back from childhood.

First, Maho seeing and hearing the Miyazawa’s talk over breakfast and realize the family really is odd lol.

The Miyazawa’s talking about naming their potential new child if they had any reminded me of my own family. I have a big one you see and as an older sister, I’ve been here long enough to be part of choosing a name for a baby sibling (they never chose the ones I picked lol).

And ah, all it took for Tsubasa to understand was meeting her future step-brother. Kazuma was nice despite the delinquent look. It’s too bad they got off the wrong foot at first cause he mistook Tsubasa for a kid. I can’t blame him: the looks and the voice made Tsubasa seem younger than she really is.

The explosion shown to visualize Tsubasa’s anger was so funny cause the first thing I thought of was Evangelion. It’s probably a reference to that as the director of this anime was Hideaki Anno.

The scene with the pedo was creepy as heck. I know he’d be stopped but it was several uncomfortable seconds of me hoping either Tsubasa kicks the guy’s butt or Kazuma finally steps in to save her. Too bad he got away and the police mistake Kazuma for the bad guy.

Then we get a nice bonding moment between Tsubasa and Kazuma with the latter able to properly apologize for the misunderstanding like he wanted. Kazuma wants his mom to be happy and marry the guy she likes but he isn’t here for that, he’s here for something he personally think is important. He wanted to apologize to Tsubasa and he didn’t do it to make his mom look good.

Kazuma also saying he’d wanted a sibling for a long time but can’t ask his mom for one was sad. His mom was always busy and he’s an only child so he’s always been by himself and Tsubasa recognized it.

They bough ice cream from the convenience store on the way and the cashier mistook them for siblings (specifically, she thought Tsubasa was Kazuma’s little sister). Tsubasa focused on the face that they seem like siblings to the cashier and didn’t comment on being mistaken as a child again.

The moment in the apartment was sweet in it’s entirety. Tsubasa seeing how much of a mess the apartment is but there’s no one else there until she and Kazuma came in. It reminded her of herself coming home to no one there to welcome her back. Them eating ice cream afterwards, . bonding more, and understanding each other.

And then Kazuma’s mom gets home and sees Tsubasa and Tsubasa happily looking at her. Then Ms. Ikeda showing her real personality when dealing with Kazuma and admitting she really just wanted Tsubasa to like her cause she wanted a daughter. It was so cute and Tsubasa accepting that and not reacting badly about it. I think it’s cause she’s seen it before and how it doesn’t always mean a person is bad. Tsubasa even says Ms. Ikeda reminds her of her friend (most likely Yukino which means she really does consider Yukino to be her friend now).

Tsubasa’s dad shows up later and sees his daughter happy with his future wife and step-son. He was so confused lol! And Tsubasa giving her blessings for Ms. Ikeda to be her dad’s wife. I noticed she said “Take care of dad.” but didn’t add herself. I guess it may mean that she doesn’t fully see Ms. Ikeda as her mom yet.

The ending was surprising. Mr. Shibahime seeing how his kids interact and notices it’s not as brother and sister-like. It can’t be helped when the two are teenagers who just met and got close. And then he asks if step-siblings can marry and wonders about it without malice like he’s already approving of it before it even happens. XD

I heard that Tsubasa and Kazuma do end up together though. I’m not sure if they added that to the anime but if not, I may just have to read the rest of the manga cause that sounds really interesting. And cute! XD

Episode 14, as mentioned earlier, is a recap episode so I’m not making a post for it. I checked it out a bit to see if there were any new stuff in it but there’s none. The next post will be about episode 15! :)

#kareshi kanojo no jijou #karekano #his and her circumstances #sana_post

2 notes · View notes