#jin katagiri

[crazyasianlove]

Shin Kuukou Senkyo Ep. 2 (Sub. Esp)

DESCARGAR O VER ONLINE AQUÍ

[pbjelly90art]

Spaceverse Drakul and Apex Prime sketch dump!

All older sketches here that predate the RP, some by a lot, some by a little. Most of these characters have only been referenced or haven't even appeared yet so far, but I have ideas for many of them for possible stories moving forward. Many of these will likely need a new portrait to fit their Spaceverse versions better someday.

In order, we have: Shakti (reimagined from an Amber Court vampire to instead the Prime Chieftain of Apex Prime and a lioness shifter), younger Landulf, Hettienne, current Landulf, Grenier, Gerard, his sister Rosamund, Carlos, Eligio, Kyung, Mariya, Ulrika, Aldric, Adasi, Kwabena, Tsubame, Elizabeth, some sketches of Yuuki including one where she's a bit older, Adasi, Gerard, Darius (who I'll admit is pretty much Klavier Gavin from Ace Attorney's design but as a British-inspired vampire x3), Jae, Milly (who may not appear here but I do like her design, maybe she can be adapted), Marco, Bonnie, some sketches of my snake-shifter Katsuo, Chiyo, Seo Yun, and another sketch of Kyung.

Credit to Cookie who I used to write a lot of these characters with and who helped brainstorm a lot of ideas for my vampires. These characters belong to me.

[sashi-ya]

𝑥𝑚𝑎𝑠𝑒𝑣𝑒𝑛𝑡; 𝑠𝑖𝑙𝑒𝑛𝑡 𝑛𝑖𝑔ℎ𝑡, ℎ𝑜𝑙𝑦 𝑛𝑖𝑔ℎ𝑡. 𝐒𝐭𝐚𝐫𝐜𝐫𝐨𝐬𝐬 ⋆˙⊹ Young! Ishida Ryuuken x f! reader. nsfw

request: @zella07 asked: Hello!! How are you? I hope you are doing well :D I want to request Ryūken Ishida x Female reader NsFw.(Prompt: Snow and Sky) please. Thank you soo much. | tw: nsfw. placed back when Ryu-chan was younger and Uryu wasn't even born. You could say reader became what Katagiri was. (or not, it's up to you). penetration. spanking and slapping. choking. dominant! ryuken | wc: 1.8k | masterlist | taglist: @zella07 @jin-supremacy01 @stygianoir @alexkanroji |

Because every winter you would look at the streets, and then, to the skies. Everything tints in white, like the strands of the slightly wavy hair that covers half of his face.

Ryuuken has left the city to become a doctor, but maybe also to scape from his family. From his family, and her. She, who would represent the sun for him, fell in love with another man, leaving in Ryuuken a hole in his chest, a dark void in his heart. You wonder if, perhaps, he has also left her behind like he did with his old life…

Another new years eve approaches, showing all how cruel and unstoppable the pass of the time is.

You open a pristine white envelope, breaking the Quincy star wax stamp with great pleasure. Once again, the Ishida family is hosting a New Years Eve gathering for you all… the Echt Quincy. However, it was weird enough for you to see that the letter of invitation had a special request added right at the end…

“Dear, (Name). The Ishida family begs for your presence, my son Ryuuken is coming back this year”

You jolt from your seat;  “Ryuu is coming back?!” you scream walking towards the foggy window of your room. You take a look at the sky becoming darker outside with frosted stars all above, and smile pleased… yes, Ryuuken is finally coming back…

The next day had been hectic. Searching for the best dress would have been easier if the Quincy rules weren’t so strict, however you ended up getting the sexiest choice allowed; a white, tight, long dress. Almost as long as the hours passing until you are finally set to meet him again.

“I wonder if his hair is still wavy and white… is he still wearing glasses?” you think, while a car sent by the Ishida family takes you to their manor.

As you take the first step outside, and thank the chauffeur, you breathe the cold air of the year’s last day. “Here we go… I hope you still remember me…”

Inside, everything -as always- looks so perfect and sterile. No fancy decorations, but refined and sad elements that reminds you of how strict that family had been all their life.

A beautiful woman, with black hair and dark attire receives your white coat, a coat only pure Quincies wear. “Welcome, Miss (Name). Please, follow me” she says, smiling with sad eyes.

“Thank you so much, Katagiri…” you mumble, knowing too well who she is; the woman that has taken care of Ryuuken since her childhood.

Music plays in the background, wrapping the notes with the soft bustle of the invitees. A soft mumble that turns into silence when you appear in front of them. Many have an amazed expression on their faces, others, lustful looks bathing your body.

Izumi Ishida, Ryuuken’s mother, older than what you could remember, comes to your rescue. She salutes you, so formal as always.

She doesn’t speak about her son immediately, in fact, many of her questions have to do with you and your life.

“(Name)!” the sudden, and well known, sad voice of Ryuuken pulls you away from his mother. His hair is still as snowlike as always. His blue eyes shine like a winter moon and his expression is still the same… Ryuuken never smiles, Ryuuken still has his heart broken.

“Ryuu-chan!! You are back!!!” you, euphorically, react. Running towards him, remembering those days were you two were kids. A tight hug surrounds his cold embrace, melting for perhaps two or three seconds, his icy stare.

Everybody gasps at your reaction. That isn’t proper of Quincies, much lest Eicht ones. But who cares, who cares about their stupid rules?

Ryuuken does. He really cares. And, just as he pushes you away in a subtle way he also grabs you by your wrist. “(Name), stop. Follow me” he commands under his breathe. Though, you think there is no point in trying not to be loud.

You walk fast, trying to follow his steps into the long hall of the manor. You still smile, he is blushed, and his palm becomes sweaty around your hand.

“Ryuu-chan, what is going on?” you ask, giggling. But soon your smile fades as he pushes you against the wall. “(Name), why are you here?” he asks, rather aggressively with shaky voice.

You widen your eyes, why is he treating you this way? You try to let go off his strong grip, but truth is that you wouldn’t like him to ever let you go.  “Ryuken, why are you hurting me?” you ask, calmly with a deadly smirk.

He swallows and sighs. His stare softens as well as his grip, but he never lets you fully go. “Why are you here? Did my mother call you?” he asks, troubled.

“I- I’ve been invited as always. She told me you were coming back, yes. But it was my decision to come. I missed you… but don’t worry, I’m leaving if it’s a problem to you” you mumble, sad to see how much discomfort your presence seems to be bringing him.

Ryuuken realizes you aren’t the one to blame. “I’m really sorry” he murmurs, letting you go, but keeping his hand on the wall right next to your face. With his head hanging down, he takes his time to sketch a simple answer.

“I’m sorry. I didn’t mean to hurt you. It’s just that my family is desperate for me to marry… and… why must be me?” he says, knowing that the future of the Quincies -again- depends on him.

You bite your lips, and softly approach for his cheek. Carressing with utmost care his chin you pull him up to look at you. His eyes seem a little glossy as if a million of tears were trying to fall at the same time. You smile kindly, taking his glasses off and spreading your arms to receive him in them.

He doubts, but ultimately succumbs to your hug. Ryuken’s forehead rests on your shoulder, and your palm traces circles over his back. You are worried about ruining his white coat with just your touch, but it isn’t important now.

“It’s ok… you can marry me” you suddenly say, surprising him -and frankly yourself-. “What?” he asks, completely dumbfounded.

You laugh lovingly. “I’m an Eicht Quincy… I’m all you need. Let’s get married, let’s give them what they want. I will let you be completely free, you don’t really need to act like a husb-“

He shuts you up with an unexpected, needy kiss. With eyes big as the moon, you let him kiss you and soon your lids fall over them. You enjoy the interaction, the wet tongue of many years of lust…

He doesn’t stop kissing you, and blindly opens the door behind you. None of you know exactly if that was his room or not, but both get inside.

“I- Let’s do it” Ryuken says, resting his forehead on yours. You still have his glasses on your hands, trying not to crush them. You wonder what is he saying… let’s do what?

“Getting married or you fucking me?” you ask, shamelessly. It makes him subtly laugh, you have always been that way with him, since those academy years where he used to “die” for his cousin Masaki.

A smirk on his lips means both, and you let his skilful doctor hands to peel your dress off your body.

“Both?” you ask, once you fall back into a big bed that you assume is for the guests.

“Is it too bad if we have our wedding night before the wedding?” Ryuuken whispers, letting you undress him.

His pale lips travel from the commissure of your lips to your neck; the scent of his skin, as pure as always, invades you. It strikes you with the sweet chocolatey notes of his perfume, and the darkness of his stare now tinted in pure desire. Your legs surrounding his waist, pressing him down harder, joining your sex in wet and hard mixture.

He touches your face when his lips finally unlock from yours. The starcross of his heritage hangs in silver shine from his wrist, metallic reminder of how power can be freeing but also oppressive. A power you delightfully taste by trapping one of the points of the stars with your tongue and into your mouth.

He shivers, and perhaps an out-of-control grunt escapes his throat. “You have always been so tempting, (Name)” he barely murmurs.

“It’s because I’ve always wanted you… but you were too blind to look at me” you recriminate, as he goes down your breasts and bites you hard. It makes you squirm and swear, owning for the second a soft slap on your cheek.

“Don’t talk that way to your future husband” he orders you, turning you around violently. You bury your head on the mattress as Ryuuken pulls you from your hips up. Leaving you on all fours, but with your chest pressed against the bed, he prepares to work you from behind.

You gasp twice. Once for the audacity of turning you around so violently, and two, for the way he acts as you never thought he would.

The white-haired Quincy bends over your curled back, his warm skin against your extra sensitive one. His hand grabbing a full fist of your hair and pulling your head back. “I’ve always wanted you too, let’s keep our bloodline running”.

You smirk looking at him from the side, matching the darkness in which he is immersed in. “Fuck me then, Ryuuken”

No need to tell him to do so, as his white pants go down and his erection nests in between your warm, wet folds. He shivers, his fingers bury in your hips. Ryuuken takes his time to enjoy the embrace of your anatomy without penetrating you right away. He plays with the need of you body, with the way you move in search of his sex invading your insides, stretching you out, filling you…

And only when he is ready to end your suffering is when the tip of his dick dives deep inside your entrance. “Ryuu ~” you mewl, making him spank you hard.

“Shh… it’s almost new year and they will search for us. I don’t want to present my future wife while I fuck her” he grunts, moving in and out of you faster and harder, kissing your back with wet kisses that compete with the sound of his hips slapping yours.  

The words “future wife” sound so good as he fucks you, that you wouldn’t mind if someone else saw you being possessed by Ishida Ryuuken right now.

The cross hanging from his wrists hits yours, giving the doctor a good idea… you don’t carry your Quincy power on your hand, but around your neck. And this man will use the silver chain for a better grip. Pulling from it, you feel every link carving marks on your neck, stopping the air from flowing, choking you like probably the “blue” blood does with him… what a beautiful and dark depiction of his suffering.

Fuck the suffering away, Ryuuken…  

[redsamuraiii]

Tokyo Vice Season 2 (Feb 2024)

Shogun, Avatar : The Last Airbender & Tokyo Vice in Feb 2024! 🤩

Season 1 ended with a cliffhanger. Spoilers ahead.

Jin Miyamoto (Hideaki Ito) supposedly died after attempting to infiltrate the Yakuza, headed by Shinzo Tozawa (Ayumi Tanida) who later threatened Hiroto Katagiri (Ken Watanabe) and his family.

Sato (Show Kasamatsu) was stabbed multiple times after bidding farewell to Samantha (Rachel Keller). Jake Adelstein (Ansel Elgort) found a tape with disturbing content which he brought to Katagiri.

I hope they do not kill off Sato and Miyamoto. I love their characters. As if to make up for the the two said characters, two new characters will be entering the game:

Shoko Nagata (Miki Maya), a new detective with a more aggressive approach towards the Yakuza than Katagiri's balanced philosophy. She reminds me of Amami Yuki, known for her badassery in Japanese crime dramas. Looking forward to see this character!

With a more aggressive detective, comes a more ruthless Yakuza, Naoki Hayama (Yosuke Kubozuka). No details about his character have been revealed but I look forward to seeing this one too.

Pic Source : Entertainment Weekly News Source: Reels Mag

[tnbscans]

Comments from Jin Katagiri, KAMIYASAKI, Kiichiro Aoki, Rina Ikomaa, Ruriko Kojima, Saya Ichikawa, and Toshio Kuba from the Smart Special Book.

If this is translated somewhere please let me know and I’ll link to it.

[chanoyu-to-wa]

The Chanoyu Hyaku-shu [茶湯百首], Part II:  Poem 48.

〽 Furo no toki sumi ha na-kago ni kane-hibashi          nuri-kōgō ni byakudan wo take

    [風爐の時炭は菜籠にカネ火箸          塗香合に白檀を焚け].

    “During the time when the furo [is being used], the charcoal [should be placed] in a vegetable-basket, in which are [a pair of] metal chopsticks [that will be used to handle the charcoal]; and from [within] a lacquered kōgō¹, byakudan is burned.”

    This poem sets down the precedent for the way things are done during the “season of the furo” -- just as poem 40 did for the “season of the ro.”

    The word na-kago [菜籠] refers to a specific type of shallow basket, featuring a square base and round rim, in which vegetables were displayed in the market².  A typical example of an Edo period na-kago (that was modified for use as a sumi-tori) is shown below.

    Kane-hibashi [カネ火箸 = 金火箸] means chopsticks made of metal³.

    Nuri-kōgō [塗香合] means a kōgō made of lacquerware⁴.

    Byakudan [白檀] is sandalwood.  Traditionally byakudan (which was the least expensive of the imported incense woods) was cut into small pieces, roughly 6- or 7-bu square.  One of these was kept under the tongue (especially when going out in public), to perfume the breath while speaking.  Even today, many older teachers say that pieces of byakudan should be put in the mouth for a little while before being put into the kōgō, so the saliva will moisten them, which will help prevent them from bursting into flames as soon as the piece of charcoal on which they are placed begins to kindle (though the origin of this practice appears to have been forgotten).

    Nevertheless, byakudan came to be used in chanoyu only later⁵, which is the reason why this word only appears in versions of this poem that date from the early Edo period.

    The older versions of this poem, quoted below (from Jōō’s Matsu-ya collection, and Rikyū’s 1580 manuscript), differ from the more modern versions in two points:

〽 natsu nado ha sumi mo sairō kana-hibashi          kyara-kōgō ha nuri-mono to shire

    [夏などは炭もさいろうかな火箸          伽羅香合はぬりものとしれ].

    “During the summer (and other such [times]), the charcoal is also [carried] in a sairō, [the host uses] metal hibashi [to handle the charcoal], and the incense container for the kyara is a lacquered piece -- [you should] know [these things].”

    Sai-rō [さいろう = 菜籠] is simply another way of reading the kanji that were pronounced na-kago [菜籠] in the other version of this poem.  The two have the same meaning.

    Kyara-kōgō [伽羅香合] means an incense container for kyara⁶.  Here it would be referring to the container in which crushed jin-kō [沈香] was kept on the Buddhist altar (a Chinese example of which is shown below).  This container was traditionally made of lacquerware because metals (such as bronze or brass) would tend to give the fragrance of the incense wood that was stored in them a metallic scent.

    In the context of chanoyu, crushed jin-kō (such as that used when offering incense to the Buddha) was originally drizzled along the length of the dō-zumi [胴炭], so that the fragrance would be released over the course of the gathering -- as the piece of charcoal slowly caught fire and burned⁷.

    The two forms of this poem traditionally associated with Katagiri Sadamasa and the Sekishū school, however, are more problematic.  The version that Nakayama Sōhaku sensei refers to an old Rikyū manuscript (that was in the possession of Katagiri Sadamasa) --

〽 natsu nado ha sumi mo sairō kane-hibashi          nuri-kōgō ni byakudan wo take

    [夏などハ炭もさいろうかね火ばし          ぬり香合に白檀を焚け]

-- is an amalgam of the old Jōō/Rikyū version and the (later) Hosokawa Sansai version (i.e., the version found in the Kyūshū manuscript), combining the kami-no-ku of the former with the shimo-no-ku of the latter.

    But the other version, which Sadamasa seems to have discovered during his researches into Jōō’s teachings⁸ --

    〽 natsu nado ha sumi mo sairō kane-hibashi          kyara ni kōbako ni yakimono to shire

    [夏などハ炭もさいろうかね火ばし          伽羅に香箱に燒物としれ]

-- appears to look back to a time even before the Matsu-ya manuscript, when Jōō was occupied with the teachings of yin-yang that he had learned at the Shino family’s kō-kai [香會]⁹.  At that early period, Jōō (following the traditional teachings of the Shino family) held that kōgō made of metal or pottery, being yang, were most appropriate during the spring and summer (the yang seasons); while kōgō made of wood or lacquerware (which are dead substances, and so yin) are appropriately used during the yin seasons (autumn and winter)¹⁰.

_________________________

¹Some school-affiliated scholars take this to mean that the kōgō should be placed inside the sumi-tori, but that was not Jōō’s intended meaning.  Rather, the poem is constructed as a pair of parallel cases:  the hibashi in the na-kago, and the byakudan in the lacquered kōgō.

²Even today, not only in Japan, but also in places like Hong Kong and China more generally, this kind of basket is still found in the wet markets (albeit more often than not made from molded plastic).

    The price indicated would be for the entire contents of the basket -- thus the baskets varied in diameter.

    When used as a sumi-tori, this basket is usually lined with lacquered paper*, to prevent charcoal dust from sifting out onto the floor when the sumi-tori is moved. ___________ *Paper strips are cut, lacquer (usually black, but sometimes red) is painted lightly onto the inside of the basket, and when it becomes tacky, the paper strips are pushed into place one by one (after which each is brushed over with lacquer.  When it dries, this forms an impervious liner for the basket.

³Originally these were bronze, imported from Korea (where they were made as eating utensils); though from the sixteenth century they were also being made (in Japan) of iron*.

    The most commonly seen shape today features an opening on the handle end.  These imitate the metal hibashi used by Rikyū that were originally made as giant needles for sewing the omote [表] (the woven straw coverings) and heri [緣] (fabric borders) onto tatami mats,  While Rikyū used a pair of actual needles (which were around 6-sun long), the modern pieces imitate the shape, while increasing the length to that of the Korean bronze chopsticks (the increased length helps protect the host’s hand from the danger of being burned). ___________ *The original Japanese-made hibashi simply reproduced the Korean originals, albeit in cast iron (since bronze was not made in Japan until the end of the sixteenth century, when the bronze craftsmen were brought back to Japan at the conclusion of the first of Hideyoshi’s two failed adventures on the Korean peninsula).

⁴These were mostly made, in China, as containers for the red seal ink; though in Japan -- on account of their rarity -- they were used as containers in which cut fragments of precious kyara [伽羅] incense were stored.  Their use was adopted directly from the practices associated with kōdō [香道]*. ___________ *Crushed jin-kō [沈香] was also stored in such containers on the oshi-ita [押板] (in this case, the word should be translated offerings table) that was placed in front of the image of the Buddha in the temple setting (prior to intoning his prayers, the worshiper approached the oshi-ita and placed a pinch of crushed incense wood into the censer -- an ancient practice in which it was believed that the smoke of the incense would carry the supplicant’s words up to the Buddha).

    Either of these usages (or, probably, both) could have formed the precedent for the use of such things as incense containers during the sumi-temae.

⁵As chanoyu spread throughout society, many people began to practice who did not have the means to purchase kyara or jin-kō, thus byakudan (which was theretofore used primarily for oral hygiene more broadly in society, as explained above) came to be the smell associated with the furo season.

⁶The word kyara is being used generically, in this poem, as a way to refer to both kyara and jin-kō.

    Jin-kō and kyara are wood from the same tree (traditionally Aquilaria malaccensis and A. agallocha, among other southeast Asian species of the genus; the Chinese species A. sinensis has also come to be used in recent years to produce “cultured” or “synthetic” jin-kō -- that is, trees that are artificially infected in the greenhouse).  Both jin-kō and kyara come from a tree that has become infected with the mold Phaeoacremonium parasitica:  jin-kō represents the infected wood, and kyara is the resinous wall that the tree forms around the diseased tissue to encapsulate the infection, thereby preventing it from spreading to the rest of the plant.

    Since kyara is considerably rarer, it would be very unlikely that it would be used as described here.  The word is probably being used as an umbrella term for the more readily available jin-kō.

    The word kyara is said to have been derived from the Sanskrit aguruḥ [अगुरुः], which is the regional name for the aloeswood or agar tree (Aquilaria malaccensis), and, by extension, its fragrant wood.

⁷At the end of a chakai, virtually all that will remain of the charcoal fire are the two ends of the dō-zumi, and a collection of embers.  When crushed incense wood is drizzled along the length of the dō-zumi, the fragrance continues to perfume the room gently until the end of the gathering.  But when chips of byakudan or jin-kō are placed on two of the charcoal pieces, the incense generally burns up quickly, not infrequently emitting a cloud of unpleasant-smelling smoke, and then nothing more.

    Using chips of byakudan seems to have become the usual way to do things during the early Edo period -- probably because, when only three chips of incense wood were placed in the kōgō (with two then put into the furo), this made it easier for the guests to turn the kōgō over, to inspect the bottom (where there was often an indication of the name of the maker etched into the lacquer); but a kōgō filled with crushed incense wood could not be turned over in this way.  This was a manifestation of the Edo period’s focus on the utensils (and their value).

    When turning the lacquered kōgō over to inspect the bottom, the original way was to press the remaining piece of incense wood against the bottom of the kōgō with the index finger of the right hand, and then flip the kōgō over.  Later -- since this could possibly scratch the lacquer -- the guests were advised to remove the piece of incense and place it on a piece of kaishi, before turning the kōgō over.  This often resulted in the guest forgetting to put the piece of incense back, or its getting lost when the guest’s sleeve pushed it out-of-sight (and, on those occasions when a wealthy host was actually burning pieces of precious kyara in this way, sometimes resulted in the guest surreptitiously pilfering the piece of kyara, while claiming that it had gotten lost)....

⁸Over the course of his tea life, Katagiri Sadamasa seems to have come to the conclusion that Rikyū’s teachings (at least as they were represented by the Sen family) were unreliable and inauthentic (since they appeared to be highly conflicted and wholly inconsistent*).  Thus he spent the last decade of his life -- using his considerable power of coercion as a major daimyō, to pressure others (particularly those of a lower social standing to himself) into opening their archives to him -- researching the teachings of Jōō (who, as Rikyū’s teacher, he believed must have been the better repository of the ancient teachings).  He was, therefore, able to uncover documents that (because, like Rikyū’s densho, they had been written for a single disciple) were otherwise unknown to the tea world at large.  

    Sekishū spent this period cataloging his findings -- and, not infrequently, using them as a cudgel to push back against the authority of the Sen family. ___________ *The result of their practices being based on the teachings of the machi-shū (meaning the teachings traced their roots back to Imai Sōkyū, and the chanoyu of Jōō’s early middle period), over which the Sen family had laid a thin patina of what of Rikyū’s teachings they could glean, second and third hand, from those of their contemporaries who were willing to pull back the curtain, at least a little.

⁹Korean culture has, since ancient times, been heavily influenced by the ideas of yin and yang as interpreted through what are known as the bāguà [八卦] (hakkei in Japanese)* -- which ties this line of speculation to the Shino family.

    But with respect to Jōō, this is connected to the fact that, rather than possessing a firm, classical education in chanoyu (or one of the other arts), Jōō† picked up his early knowledge piecemeal from his contemporaries‡.  Thus, his opinions (and so his teachings) changed as he moved through society and came to associate with people from different backgrounds. ___________ *So much so that the four cardinal points from this system feature prominently on the modern Korean flag.  (These come from the system commonly referred to as the Xiān-tiān [先天], the natural arrangement of the bāguà, or Fúxī-bāguà [伏羲八卦], the system ascribed to the mythical emperor Fúxī, who reigned sometime between 2900 BC and 2000 BC, and is credited with the invention of music, hunting, fishing, animal husbandry, and cooking; another system, called the Hòu-tiān [後天], or derived arrangement, or Wén wáng-bāguà [文王八卦], refers to the system ascribed to King Wen of Zhou, who ruled from 1150 BC ~ 1050 BC.)

†Jōō was an antique dealer, and his thinking was, at least in the beginning, focused on the financial question -- relative to the price for which he was going to buy it, how much profit could he expect to get for any given utensil.  

    It is said that the mannerisms of present-day Kyōto antique dealers -- particularly those involved in the sale of tea utensils -- imitates Jōō‘s professional behavior.

‡Primarily, it seems, so that he could better interact and communicate with them -- so he appeared to be a cultured individual who knew what he was talking about.  He dove into poetry and incense as ways to cultivate acquaintanceships with people who, directly (as potential sources or customers) or indirectly (as ways to meet other people with whom he might develop future business relationships), would further his ends.

¹⁰Jōō iu, kōgō no koto, haru-natsu ha tsuchi no mono, aki-fuyu ha kiji-no-mono, nuri-mono yoshi, kō no tame ni yoki-yue no koto nari [紹鷗云、香合ノコト、春夏ハ土ノ物、秋冬ハ木地ノ物、ヌリ物ヨシ、香ノ爲ニヨキ故ノコト也].

    This means “Jōō said, with respect to the kōgō, in spring and summer [it should be] something made of metal or pottery; in autumn and winter, an unpainted [wooden] piece, or a lacquered piece, is appropriate.  This is in deference to [the conventions of] the [practice of] incense.”

    Dōan recorded that this account of Jōō’s words (which are found in his commentary on the Chanoyu san-byak’ka jō [茶湯三百箇條]) was passed on to him by Rikyū.

    In the early period when this poem was composed, jin-kō (or the host’s personal blend of perfumes that was almost always based on jin-kō) was used to perfume the air of the tea room all year round.  Therefore, the selection of the most appropriate container for the incense was connected only with the yin-yang aspect of the season.

==============================================

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[anamon-book]

クイック・ジャパン VOL.39 2001年10月 太田出版 cover model＝ラーメンズ（片桐仁・小林賢太郎） 表紙・本文デザイン＝木庭貴信（OCTAVE） クレイジーケンバンドは日本のグレイトフル・デッドか!?：横山剣インタビュー／ピース & フェティッシュ

[jdramasource]

We're going to start living together here from today. And yet we can't trust each other like this. This is so sad…

KICHIJOJI LOSERS (2022)

[mostlyfate]

DR. WHITE ドクターホワイト (2022)

[cleaetpauline60]

🤍 Otome Heroines - Wedding Dress 💒 - 12

[favoritou]

ERASED / Boku Dake Ga Inai Machi  “A cidade onde só eu não existo”

Adaptação do mangá homônimo de Kei Sanbe, Erased estreou na Netflix em dezembro de 2017 e foi uma agradável surpresa!

A série japonesa tem 11 episódios de aproximadamente 30 min cada, perfeito pra maratonar, já que é bem curtinha!

SINOPSE:

Satoru Fujinuma ( Yuki Furukawa) tem a habilidade especial de viajar de volta no tempo sempre que uma tragédia acontece, o fenômeno é conhecido como "revival". Depois de encontrar a mãe morta, Satoru usa seu dom de viajar no tempo para tentar evitar, 18 anos antes, a morte dela e de três colegas de classe.

A série de suspense é bastante sensível e impactante, abordando temas pesadíssimos.

O roteiro é maravilhosamente conduzido e os personagens são bem desenvolvidos, inserindo o telespectador em histórias de vida bastante delicadas.

O elenco infantil merece todo destaque com atuações excelentes, principalmente de Reo Uchikawa que interpreta Fujinuma criança.

Ele é incrível e convence no papel de um adulto de 29 anos no corpo de uma criança, principalmente pelo olhar expressivo. Trocinho!

A atriz Kinka Kakihara encanta como a personagem Kayo Hinazuki. Solitária e com uma vida misteriosa, ela tem uma personalidade bem introspectiva.

A fotografia da série é linda. A trama bem ambientada no Japão, com cenas com paisagens belíssimas.

O figurino e caracterização também chama.atenção, principalmente as roupas da Kayo, que sempre destoam dos outros personagens.

Pode esperar uma trama inovadora, cheia de reviravoltas e desdobramentos. São cenas em que o coração vai na mão!

A série acerta com uma história fechadinha, cheia de mistérios e personagens cativantes.

A relação de Fujinuma Satoru (criança) e Kayo é delicadamente construída e passada de forma muito sensível, já que tem um pano de fundo bastante pesado.

O ator Yuki Furukawa, mundialmente conhecido, interpreta Fujinuma na fase adulta, um jovem de 29 anos que trabalha como entregador e aspirante de mangaká (cartunista). Seu personagem é tímido e tem uma vida comum, sem muitas interações.

Ele tem uma boa atuação, com um jeito mais exagerado, já comum nas atuações japonesas, mas possui toda carga dramática necessária para compor o personagem.

A atriz Mio Yuki (Death Note) chama atenção como Airi Katagiri, colega de trabalho de Fujinuma, sempre alegre e cheia de entusiasmo. Um amorzinho!

A relação de amizade e confiança entre os dois é muito bonita.

A atriz Tomoka Kurotani que interpreta Sachiko Fujinuma, a mãe do protagonista, tem uma atuação excelente! Ela parenta ser uma mãe comum, mas um pouco distraída, indiferente. Porém, aos poucos sua personagem vai se desenvolvendo e sendo explicada ao público.

Shigeyuki Totsugi interpreta Gaku Yashiro. Professor da turma de Satoru, Gaku é para ele o mais próximo de uma figura paterna.

Jin Shirasu como Kenya Kobayashi (adulto). Colega de escola e melhor amigo de Satoru.

A série vai alternando entre momentos de bastante tensão e outros mais leves para que cada personagem seja desenvolvido e aprofundado, o que é muito bom, pois o elenco consegue cativar e gerar uma conexão com o telespectador, o que deixa tudo mais emocionante. Dá uma vontade de colocar esse povo num potinho e sair correndo!

Para os fãs de doramas japoneses ou para quem curte um suspense eletrizante e emocionante é uma ótima opção.

Você começa a ver um episódio e quando se der conta vai querer maratonar a série de vez.

A mensagem da trama é muito sensível e bonita. Vale muito a pena!

Com certeza, uma série que não dá pra apagar da mente 😉

[crazyasianlove]

Shin Kuukou Senkyo Ep. 1 (Sub. Esp)

DESCARGAR O VER ONLINE AQUÍ

[lumilasi]

Potential scrapped fic revival(?)

So. Back when I first started writing for bnha, I originally intended to make a villain-side centric sequel for my first fic Reanimate, as some of my older followers may know. (Dunno if any of you are still around haha) I ended up scrapping the whole deal - which eventually led to my recent Reanimate revamp - because I didn’t like any of the plot ideas I had at the time.

Now however, after the manga has progressed quite a bit, I’ve gotten some new ideas that I like much more. I originally thought about just like, making short comic strips about this untold story, but the more I thought about it, the more I felt I’d get it done better as a writing, knowing how impatient I am with doing comic strips heh. I’m still kind of torn which way I should go about it, or if I should do it at all given it’s been so long since I finished Reanimate, so I dunno if there’s even people still around who’d be interested in reading it.

The new plot idea I have would have three primary major plot points:

1. Rescuing Kurogiri from Prison (whenever he’d be Shirakumo in this verse is still up to debate for me. While it could provide some interesting plot material, at this point I don’t know how I’d solve that situation)

2. Sako revival (as Reanimate readers might remember, Sako didn’t appear at all in Reanimate, purely because back when I wrote it, he’d barely had any development or screen time, so I literally forgot he existed OTL I’m still salty at myself for that. Since I never described how exactly he died in the villain gang’s verse however, I have an idea as to how to bring him back - without any horrid Nomu shenanigans)

3. Some form of the MLA arc still, given that hasn’t happened to this Tomura and his gang yet. (I’d try to make it really different from canon, given I already wrote the whole shit show for Crossroads once, and its kinda going to happen in Depths in a way; plus having my two characters there will naturally mix things up somewhat)

The more character-related stuff would primarily revolve around Tomura slowly outgrowing his Sensei and realizing the man’s a piece of shit and has made him see himself in a worse light that what is healthy/right for him, thanks to this new found family (and lover/boyfriend/insert appropiate term here with Dabi) he has around him. Culminating in him telling the rotten potato to fuck off, one way or another. Maybe his motivations shift into something slightly less purely destructive/self destructive, but still obviously stays a villain.

Secondary part would likely end up being about Kain (my character introduced in Reanimate that has appeared in some of my other fics as well) sort of figuring out what kind of person he ultimately wants to be. Namely, he’s dealing with some....unfortunate similarities with AFO’s nature - because when I made him, he just sort of happened to fall under the same character archetype/personality, because his actual inspirations also had similarities with AFO lmao, I didn’t even realize this at first when making him, only after having him for a while did I pick up on the awkward similar vibes - and is trying to see if he should just embrace it, or have some humanity/empathy left.

Also my other chara Ryuu being buddies with Jin, because Jin deserves all the friends. Also just....lot of chaotic found family shenanigans, Dabi being a flirty bastard like he was in Reanimate, and so on.

So, IDK, should I consider actually writing it as a full blown fic, or somehow try to squeeze out some of the key parts as comic strips? (Or just illustrations with short scene descriptions, as this latter is more likely for me to be able to do lmao)

[leenaevilin]

[Announcemnet] No.9 -不滅の旋律- (no.9 -fumetsu no senritsu-)

the show will be running from November 11th, 2018 to December 2nd, 2018 (Tokyo) @ TBS赤坂ACTシアター (TBS Akasaka ACT Theater) December 7th, 2018 and December 10th, 2018 (Kanagawa) @ KAAT神奈川芸術劇場 (KAAT Kanagawa Geijutsu Gekijou)  December 22nd, 2018 and December 25th, 2018 (Osaka) @ オリックス劇場 (Oryx Gekijou) January 11th, 2019 and January 14th, 2019 (Fukuoka) @ 久留米シティプラザ (Kurume City Plaza)

Cast:

Inagaki Gorou as Ludwig van Beethoven (ルードヴィヒ・ヴァン・ベートーヴェン)

Gouriki Ayame as Maria Stein (マリア・シュタイン)

Katagiri Jin as Johann Nepomuk Mälzel (ヨハン・ネポムク・メルツェル)

Murakawa Eri as Nannette Stein Streicher (ナネッテ・シュタイン・シュトライヒャー)

Suzuki Hiroki as Nikolaus Johann (van) Beethoven (ニコラウス・ヨーハン・ベートーヴェン)

Okada Yoshinori as Johann Andreas Streicher (ヨハン・アンドレアス・シュトライヒャー)

Fukami Motoki as Fritz Seidel (フリッツ・サイデル)

Hashimoto Atsushi as Kaspar Anton Karl (van) Beethoven (カスパール・アント・カール・ベートーヴェン)

Hirosawa Sou as Johanna (ヨハンナ)

Ogawa Gen as Karl van Beethoven (カール・ヴァンベートーヴェン)

Nosaka Hiromu as Soldier (兵士)

Okunuki Kaoru as Josephine von Brunsvik (ヨゼフィーネ・フォン・ブルンスヴィグ)

Haba Yuuichi as Johan van Beethoven/Stefan Ravic (ヨハン・ヴァン・ベートーヴェン/ステファン・ラヴィック)

Hasegawa Hatsunori as Victor van Hustler (ヴィクトル・ヴァン・ハスラー)

homepage twitter natalie

[arashi-stones]

99.9刑事専門弁護士のキャストとスタッフの皆さん、この3ヶ月間、お疲れ様でした！

素晴らしい作品/ドラマをありがとうございました。

日曜の夜が楽しく過ごせたのをありがとうございました。💕

[worldtriggereview]

Chapters 40-43

Yoneya’s like. Listen, I know I’ve spent this entire series so far getting trounced but I’m not a lil bitch okay.

Not Yuma making the =3= face on top of a pile of corpses

I love how Yuma’s like. Osamu’s a good person and doesn’t realize what you’re doing, I however, have no qualms about ending your bloodline here and now.

Yuma’s out here explaining his 3D murder chess process and Osamu’s like “Write that down, write that down!”

I won’t say it yet but if you’re familiar with World Trigger, and if you’re reading this you are, you already know what Ashihara has to say about this sort of stereotypical shounen “I’ll work really hard and become stronger *gets random power up*” Trope. :3

Other neighbor countries that have been mentioned but not been relevant

We’ve seen this with Galopula as well!

Since Fujin’s current status is being used as needed on a rotating basis, here’s the list of agents who can use it. We don’t know much about Saeki, Yukimaru, and Katagiri at this point, we know Yukimaru is similar to Ikoma in strength, and an attacker in Katagiri squad, and Katagiri himself is a gunner. Saeki is an all arounder on Kusakabe squad, so all the contenders are A rank level agents. although they’re not all attackers. Realistically, Kako, Katagiri, Yuba, and Arashiyama and never going to touch fujin, since they don’t use swords, which leaves Kazama, Kitora, Miwa, Yukimaru, Saeki, and Ikoma as the non Jin Fujin candidates who we might see use it in the future. Obviously there’s already the history there with Miwa using it in the large scale invasion, but if I had to say who we’d see using it my money would be on Ikoma or maybe Murakami, Ikoma since he’s already used to using long ranged slashing attacks with kogetsu swordplay, and Murakami because he could learn quickly with his side effect.

Yeah, that’s the same line Jin mentioned before with Mikumo. Incheresting...

“That’s what’s going to give you a chance to fit into the upcoming invasion arc so the author can show off a character development moment”

Art appreciation moment. World Trigger really has very crisp, clean lines, so this jittering effect plus all the details really stands out, especially for background stuff. It makes it seem like the ground itself is shaking and being distorted from these gates. Really neat.