#jun otomo

[screamscenepodcast]

Celebrating episode 300, your deadicated hosts travel to Japan for Nobuo Nakagawa's masterpiece JIGOKU (1960)! The film stars Shigeru Amachi, Yoichi Numata and Utako Mitsuya.

Your hosts discuss nihilism, Buddhism, gore and more in this landmark episode.

Context setting 00:00; Synopsis 36:08; Discussion 49:48; Ranking 1:22:57

[corinadraws]

AO ASHI but bite size

[dweemeister]

Mars Express (2023, France)

When it came out in 1988, Katsuhiro Otomo’s Akira was one of the first Japanese anime films to have a seismic impact beyond its home nation. For many soon-to-be anime fans, it was their first experience with Japanese animation. Akira, along with Ghost in the Shell (1995, Japan), scared off feature film animators from even considering cyberpunk science fiction for decades. Was it a self-consciousness of attempting to make a sort of animated film that the Japanese had seemingly cornered? Or was it a lack of funding and knowhow? In any case (and I will surmise it might be all of those aforementioned reasons), stepping into that extremely limited animated tradition comes Jérémie Périn’s stellar Mars Express.

The film, surprisingly to me, comes from an original screenplay he co-wrote with Laurent Sarfati, and not from, as I thought while watching the film, any graphic novel, comic series, or any preexisting material. Périn and Sarfati are both best known for the 2016 adult animation television series LastMan (an adaptation of the French comic series of the same name) and music videos for electronic dance music (EDM) artists. For them, Mars Express represents a breathtaking leap in narrative ambition, pulling influences from its animated cyberpunk predecessors and classic film noir, as its story unfolds hurriedly in less than a half-hour. And in its mixture of hand-drawn and computerized animation, the seamless effects make the film one of the most fascinating animated works for a mature audience in some time.

By 2200, androids of different forms are an irreplaceable part of human society, which straddles between an impoverished Earth, a metropolitan Mars, and various other colonies. We first meet our two protagonists, private detectives Aline Ruby (Léa Drucker) and android partner Carlos Rivera (Mathieu Amalric), on Earth. Carlos is a “backup”, as he possesses the consciousness of Aline’s deceased partner of the same name. The duo (the film confusingly distinguishes the boundaries between private investigators and police) apprehend a robot hacker, Roberta Williams, who is wanted on a number of charges. But when they are going through Martian security just after landing, the warrant for the hacker disappears – forcing Alina and Carlos to release Roberta.

Soon after, on Mars, Aline and Ruby must find a cybernetics student named Jun Chow. Jun has illegally “jailbroken” androids (freeing androids from human control, a civil rights issue of 2200s human society). Instances of jailbroken androids can lead to the deaths of innocents and wanton destruction, and the very fear of jailbroken androids leads to widespread prejudice and preemptive violence. Before Aline and Carlos realize it, Jun Chow's disappearance and the case behind Roberta Williams' seemingly dropped charges have a connection – one that threatens the coexistence of human and android existence, their separate and shared societies.

Mars Express breaks no ground narratively, and many of its larger themes of android self-determination and human-automaton relations will not be new for science fiction fans. What separates Mars Express from its peers across artistic mediums (television, comics/graphic novels, literature, video games) is its fully realized world. Périn and Sarfati, without any source material to guide them, have constructed a futuristic society that always feels plausible, consistent, and alive. Residential interiors seldom look like a real estate listing photograph, laboratories have wires and machinery strewn about, and crime scenes involving destroyed androids are mechanically gruesome (almost all androids have some sort of purple hydraulic fluid that enables movement), with bolts, screws, and scrap metal mangled and twisted. Human capitalism extends its hand across society and, presumably, politics. Rather than explain the technology that surrounds our characters and comprises this futuristic society, Périn and Sarfati prefer instead to keep Aline and Carlos’ investigations moving. Explanations of how all of this technology works is kept to a bare minimum, keeping the film’s pacing brisk and allowing for the film’s most violent moments to retain an elevated sense of peril.

By this point in human history, technology is approaching a level where robots are nearing indistinguishability from humans. However, the androids in Mars Express range from the brand-new to noticeably outdated. They have a variety of appearances – from the most humanlike (Carlos, the nightclub androids), to something out of Boston Dynamics, to boxy clunkers – and functions. From backups like Carlos to industrial workers to sexual companions, the robots in the Mars Express universe form a fundamental aspect of life in the far future – separate, but not fully free from human demands and impulses.

Embodying this tenuous balance is Carlos. Despite his death, Carlos’ consciousness, now housed inside a machine, carries on while his previous life moves beyond him. Though Carlos remains in his old job as a private investigator, he cannot continue seeing his ex-wife and daughter. The details of their estrangement are murky – did it occur before or after Carlos’ death? – and his wife’s new boyfriend is openly hostile to him. The latter’s hostility is such that Carlos’ relationship to his daughter crumbles. Indirectly, this troubled family life leads Carlos to stray from his humanity and better comprehend the desires of his fellow robots.

By film’s end, perhaps reluctantly, he accepts that humans – at an individual and collective level – might never see him as a full being. Often in modern science fiction, a narrative will present sentient robots and humans coming to a partial or full understanding about the former’s sense of personhood. While this plays out between Aline and Carlos (Aline treats “backup” Carlos essentially the same as her late partner), we see little desire to move beyond using these robots for human self-interest. This lends Mars Express its tragic dimensions – one felt by both humanity and robots (and with very light sprinkles of satire) – and places Carlos as the primary conduit of that tragedy.

Aline, as written, is not as complex as Carlos, but her craftiness and street sense makes her a worthy addition into the line of private detectives in film noir and films derived from noir. Her inner demons are difficult to parse. Yet, as a recovering alcoholic who has a subdermal sobriety chip that is easy to override), she too represents a future imperfect. She has a total dearth of companionship outside her line of work, possibly afraid of commitment, and carries about her a cynicism that rubs her coworkers and others she encounters on the job the wrong way. This is no Star Trek-like utopia as Gene Roddenberry might have envisioned it while he was alive (to the consternation of his fellow producers who saw even the cosmopolitan United Federation of Planets as a future imperfect). Nor is Mars Express a fully dystopian narrative. Surrounded by endless amounts of fellow humans, computers and robots providing luxury that modern viewers can only dream of, and not wanting for anything, Aline remains jaded about her very existence. She would find emotional company in the private detectives that Humphrey Bogart, Glenn Ford, and Dick Powell played on-screen.

In general, any humans of human-appearing characters in Mars Express are 2D while any androids or backgrounds bustling with activity (the car crash scene) are CGI. CGI animation allows to more efficiently render the diversity of robots across the film – very few of them look alike. The 2D/CGI differences are perceptible, but the effects, miraculously, do not clash (as they might have had this film been released ten or twenty years earlier). The heavily CGI backgrounds of the Martian capital, Noctis, fuse well with the nervy electronic score from Fred Avil and Philippe Monthaye. And in moments where the filmmakers juxtapose 2D and 3D animation, the slight variances between the two can be psychologically unsettling and increase the tension in the film’s many violent moments – most notably the opening scene and the climax. Full credit to the animators for achieving such an outstanding visual (and aural) continuity among the two styles.

Jérémie Périn and his fellow crewmembers note that they made those decisions of 2D and CGI animation in respect to the film’s tight budget. European feature animation lacks the commercial foundations and stability seen among the major American and Japanese studios, and requires various public and private funding sources from across the European Union. In French animation (and this applies to live-action French cinema, too), regional subsidies provide a lifeline. Splitting work across five animation studios allowed the Mars Express production to acquire more subsidies, raising the budget (still modest in comparison to those major American and Japanese studios) to coincide with the larger staff necessary to animate the film.

Despite its breakneck speed to cram in all of its narrative and thematic ideas, Mars Express still finds time for reflection and consideration. It may not necessarily slow down to allow the viewer to collect themselves, but Aline and Carlos’ professional relationship and habits are enough for one to feel the weight of the film’s most pressing questions. Can even the most enlightened humans in a futuristic, interplanetary society ever see sentients robots as beings independent from human selfishness and desire? How does rampant capitalism and indulgence play into such a society? In science fiction and, more specifically, cyberpunk sci-fi, these topics are well-worn. Other works in this genre and subgenre provide answers with eerie prescience and compelling optimism. The manner in which Jérémie Périn and Laurent Sarfati approach and depict their society, however, distinguishes itself through its excellent characterization and worldbuilding. Mars Express is a worthy addition to the exploding science fiction milieu, in no small part due to lack of animated works daring to venture there.

My rating: 8/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[queenofsliferred]

Due to character limits, this will just be names of my OCs. You can get more information by clicking this link. I welcome nearly any question about my silly mary sues.

Adventure Quest: Chalia

Akira: Kuroda Emi

ATLA: Rimon Suu

Big Bang Theory: Alex Munroe

The Big Chill: Veronica Heather

Big Hero Six: Mati Spence, Masuyo Smith

Bleach: Chikako Aizen, Hotaru Kurosaki, Halcyon Boosalis

Buckaroo Banzai: Sage Spence

Buffy the Vampire Slayer: Isolabella Dawson

Cats & Dogs: Aurora Lee Phantasm

Chainsaw Man: Moe Nagamine

Channel Awesome: Avalon SexehTwilight Mary Sue, The Black Widow

Charlie the Unicorn: Jenniffer the Pegasus

Cowboy Bebop: Hazel Prince

Cyberpunk 2077: Himiko Otomo, Vidya "V" Zenith

Danganronpa: Sumire "Owlyn Srebrenka" Hino

Deadly Premonition: Absinthe Maidstone Stonewall MacShakeit, Abigail Maidstone

Death Note: Katherine "K" Kilgore, Melusine "Meruko" Badeaux, Sora Kurohoshi, Jezebel Blackheart, Mitsune Sakura

Devil May Cry: Beatrice Lacrimae, Lavinia Sparda-Amata

Devilman: Astraroth "Astra"

Digimon: Hana Otogi

Disastrous Life of Saiki K: Moemi Saiki

Dragon Age: Coriander Tabris, Craig Cousland, Dove Surana, Lieselotte Brosca, Princess Aeducan, Lovewave Lavellan

Dragon Ball: Remin, Unshiu

Earth Girls Are Easy: Andromevak "Andy"

Eltingville Club: Seraphim "Sera" Herrera

Fallout: None, Nothing

Fate: Cosette Everild-LaAnimus, Delphine Everlid-LaAnimus

Final Fantasy: Jehfa Fakthu

Fire Emblem: Briar, Delshad, Dreamer, Euphemia, Florian Gloucester, Historia, Marguerite Ciar, Primrose Gloucester, Solanine, Wander

Free!: Akira Hanamura

Friday the 13th: Lynn Curtis

Ghostbusters: Aisling Redhead (2016), Aisling Redhead (1986)

Goosebumps: Rosalind "RL" Greene

Gorillaz: Clotilda Culpepper

Grand Budapest Hotel: Cvetka Kovacs

Gundam: Atlus Darkwater, Nnyley Romantica

Halloween: Alice Linklater, Bijou Hart, Brianna Willow-Winters, Dolores Orth, Jason Lee Cranston, Lynn Curtis, Moon n Stars Morris

Harry Potter (All created when I was in middle and high school. This was before JK Rowling shat her diaper. I do not condone Joanne and her hateful bullshit and just wanted to share OCs I made as a kid.) : Akemi Akiyama, Cassandra Finnegan, Harmony Dumbledore, Jaycelynn "Jacky" Lavgine, Kendra Pepper

Independence Day: RL Stineler

Inuyasha: Aihime, Kiki (2004), Kiki Shiina, Usagi Hinode

Jennifer's Body: Christie Fatt Cox

JoJo's Bizarre Adventure: Fiori Stelline, Jonah Joestar-Angelakos, Kanon "Eileen Diamandis" Shiina, Otome Tanaka, Passion Angelakos, Sakuro Gackt-Myers, Stephanie McCormick

Jujutsu Kaisen: Chidori "Chitose" Iori

Jurassic Park: Anna Rose Morgan, Gillian Mayham, Jen Morris, Joy Tootoosis, JT Malcolm, Marina Malcolm, and Miharu Hamano

Kingdom Hearts: Kitana, Nerissa

Life Aquatic with Steve Zissou: Dazzle Kovacs

The Lorax: Cipher, Avalon and Story

Mario: Princess Velvet

Marvel: Allie N Blumsford, Genesis, Jamie Johnson, Jocasta "Cipher" Macbeth, Makelsolakveder, Zelda Kirkness

Mass Effect: Adette Shepard

Metalocalypse: Maiko "Manko Kechaman" Roberts

Mortal Kombat: Amaya, Emberlynn Augus, Feather Dance, Stryker's Dad, Kandace Stryker, Laytanya Moore, Marina "Monsoon", Kirke

My Hero Academia: Rin Amamiya, Kirameki Sarashina, Youmu Yumemite

Naruto: Akiko Haruno, Asuka Hatake, Hoshiyo Kanmuri, Kazuma Hanamori, Subaru Kanmuri

The Office: Cam Keeper

One Punch Man: Sumika Nagisa

Ouran High School Host Club: Bunko Matsushima, Ryunosuke Kanagawa

The Outsiders: Josephine "Joey" Wiehler, Serenity "SW" Wiehler, Sincerity Travis

Passengers: Dr. Galaxy Pepper

Persona: Jun Adachi, Junya Daidara, Marina, Momoka Mishima, Minako Iori, Sayaka Sakamoto, Stephanie McCormick, Tomoko Nakajima, Hamuko Arisato, Minako Arisato, Rin Amamiya, Yuka Narukami

Pokemon: Amanda, Altreis, Catalina, Dolores "Lolita-chan", Emilia, Isobel "Izzy", Galan, Gabrielle, Gelato, Medee, Muffy, Paloma, Pycal, Tila, Twinkle, Wasabon

Power Rangers: Emi Johnson, Dawn "Milky" Garson, Jacintha Cranson-Park, Lady Johnson, Lady Johnson (2017), Octavia Clearwater, Serena Ryder, Tamsin "Tami" Oliver, Thomas "Tommy" Oliver, Wednesday Neckoway, Yumeko Takahara, Ashton Redhead, Derek Ng, Jaiden Lawliet, Lux Cranston, Morgan Valentine, Nicholas DuBois, Scout Park, Saintan

Rance: Aellae, Ashelotte, Desu, Cosmia

Resident Evil: Ianthe Hawke

Rise of the Guardians: Eros

Riverdale: Winona "Sodapop" Bighetty

Sonic: Blossom, Purple, Jeff, Mango, Mist

SPY x Family: Lyubov

Stardew Valley: Stella

Star Wars: Hiak Ray "Talarth"

Steven Universe: Imperial Topaz, Nokomis Queens

Stranger Things: Heather Ranger

Street Fighter: Neroli

Sugar Sugar Rune: Akiko Sakura, Cerise Incroyable, Sugar Graves

Tezuka: Daiya Mondo, Melody Serendipity

Tokyo Ghoul: Teruko Yumemiya

Touken Ranbu: Kanon Tachibana, Momoe Tachibana, Tokiko Minami

Transformers: Carly Rae Jepsentron

Twin Peaks: Eden Hill

Until Dawn: Moon n Stars Morris, Rosario Hicks

View Askewniverse: Artoo "Ari" Hicks, Alyce Linklater, Bijou "Rhapsody" Hart, Jaycelynne "Squall" Thiffault, Nova Phoenix

Voltron Legendary Defender: Forever, Harper Thiffault

XIN: Myth

YuGiOh: Aikako Hisahama, Airi Sarahi, Hitomi Nakajima, Hotaru Tenjouin, Jason Trudeau, Jaycelynn Trudeau, Kairi Sarahi, Masuyo Tachibana, Momoe Yukimura, Naomi Sarahi, Ringo Hinagiku, Raven Sarahi

YuGiOh GX: Ai Yuki, Aika Hana, Anais Kuroda, Anastasia Rosseau, Emi Jounouchi, Hitomi Nakajima (GX), Jaycelynn Rosseau, Kaori Tenjouin, Katsuro Jounouchi, Marina Mikan, Naomi, Soul Yagami, Yuudai Yuki, Kaori Torimaki, Koden Saotome, Moira Tenjouin

YuGiOh 5Ds: Barbie O'Neil

YuGiOh ARC V: Shinju Sawatari

Zack and Miri Make a Porno: Pepper Culpepper

Crossovers: Jaycelynn Yuki, Aqua Marine, Desu

In History, Maybe - A coming-of-age story starring Hazel Nylan and her on-again-off-again girlfriend, Stephanie McCormick just trying to make it in the third biggest “city” in Manitoba.

Hazel Nylan , Stephanie McCormick

Nobody of the Luck - A fantasy-isekai story about depressed popular boy getting sucked into a fantasy themed eroge called Nobody of the Luck and saving the world by accident.

Tristan Stark, Aellae, Freya

Fractured Faerie Tales - Tristan is sucked into yet another eroge, this time its fairy tale themed.

Tristan, Cendrillion

RandoRanger - A team of spandex technicolour clad heroes are here to defeat the hentai tentacle monsters!

Masuyo Kusanagi, Ryota Matsuda

Starry Starry Night - Akiko Valentina constantly wished that she’d take that advice to heart for once in her life. Growing up, it seemed like every wish she’d make would come true. Life should’ve been a breeze… and it was for a while. Her family had won the lottery a few years ago, along with her mother’s seaweed gin distillery taking off which brought the Valentina Family even more fortune. Classes would be cancelled, boys asked her to the dance, her favourite TV shows would suddenly be back even when they were cancelled whenever she seemed to will it. Though, like a bad 90s kids horror series, there was always a cruel twist at the end.

Now living alone in the penthouse apartment her now dead family’s fortune got her, Akiko spends her free time overindulging herself in luxury, to distract herself from the dark. Things had gotten stale after two years of spoiling herself rotten.

“I wish something would happen in my boring life.”

One night, she’s approached by a stranger on the way home from partying…

Amber “Akiko” Valentina, Akira Angelus, Blair Princeton, Charles Broadmoor, Cheyenne Princeton, Fafnir, Gaylene, Kirk Grimme, Nyarou, Thorn

Fairy Ring - A small town on the border of southern Manitoba that hides some magical secrets.

Antigone, “Kisecawchuck”, Dorothy, Carly, David Young, Abigail Maidstone

Roseburough - A city with a dark past–its first settlers were a group of cultist for a demon of lust–that has a proclivity for less than pure activities.

Amelie, Anita Wood, Aurora, Circe, Dani Michaels, Daniel Michaels, Eitaro Satou, Emiri Satou, Genesis “Genni” Jones, Joey Spence

Eidolons and Eudaemonia -Eudaimonia is a world where each country worships a particular element. Each country has a temple and a candle that must be lit at all times to prevent a calamity. Its said that the candles represent hope, the one thing that kept ‘humanity’ going after the first calamity. Every few centuries, new candles must be created and infused with magic and blessings from each country before being placed in the temples and lit. It’s a ritual that has been carried on long before the formation of the Church of the Star Bringer, which eventually took control of candle duties. 

Team Disatisfaction: Anita, Arlis, Milk, Opal, Rubia, Vesta, The Artist

Lovewave

The Demon Lords: Lovena

Kuroi

Mizuka

Magical Flower Maidens: Anemone, Cassiane, Ione, Renthe, Sayuri, Zinnia

Tristan's Party: Tristan, Akihime, Plum and Peaches.

Story-less OCs:

Stephanie "Desu" McCormick, Stephen "Boku" McCormick, Aisling McCormick

Rhubarb

Mermaid Squad: Arctic, Sea Bunny, Goffik

[gwynndolin]

I Can Hear The Heart Beating As One by Yo La Tengo. or if you have heard that one; Dreams by Otomo Yoshihide's New Jazz Ensemble

Loathe tho I am to admit, I have tried Yo La Tengo many times and have not been able to get into them.

Dreams though is a new one to me and I am really loving it. I feel as though Black Country New Road had listened to this album a million times over before recording Ants From Up There, the way the saxaphone is mic'd up really is evocative to me. I will say, I don't understand if it's maybe just the version on spotify, or if there's just some sort of.. vision I don't understand? But the random high pitched drones in this album are really off putting (occasionally, anyway, the one on Yume is good and I enjoy it actually, but the one on Good Morning is a frequency that like, actively sets off pain receptors) and would probably prevent me from listening to this album pretty frequently.

I also like both of the singers but Jun Togawa's vocals have a really interesting, almost immature way of singing that really got me excited for the rest of the record and I was disappointed that she's only on like, 2. Maybe 3 of the songs?

That being said, Hahen Fukei is fucking crazy. Reminds me of what i wanted from this song from the Gurren Lagann soundtrack

Would just love more of Hahen Fukei honestly.

High 7/10 on this one.

Would probably be like an 8 if some of the high pitched drones were slightly more consumable, I think this album is really fucking cool.

Fave songs: Preach, Yume, Toi Hibiki, Eureka, Hahen Fukei

[byneddiedingo]

Shigeru Amachi in Jigoku (Nobuo Nakagawa, 1960)

Cast: Shigeru Amachi, Utako Mitsuya, Yoichi Numata, Hiroshi Hayashi, Jun Otomo, Akiko Yamashita, Kiyoko Tsuji, Fumiko Miyata, Akira Nakamura, Kimie Tokudaiji, Akiko Ono, Hiroshi Izumida. Screenplay: Nobuo Nakagawa, Ichiro Miyagawa. Cinematography: Mamoru Morita. Production design: Shosuke Sasane, Haruyasu Kurosawa. Film editing: Toshio Goto. Music: Michiaki Watanabe.

I know what hell is: listening to elevator music interrupted by assurances that "your call is important to us" while on infinite hold. Which is not the idea that director Nobuo Nakagawa and co-screenwriter Ichiro Miyagawa present. It's pretty much the traditional one of fire and torture. Jigoku is a cult film, as many of the better (or at least more arty) horror films become, and while I'm not a member of the cult I can appreciate the skill with which Nakagawa presents his vision. It's a movie that ranges from deeply somber to extraordinarily lurid. The protagonist, Shiro (Shigeru Amachi), is a student who, after celebrating his engagement to Yukiko (Utako Mitsuya), gets into a car driven by his sardonic friend Tamura (Yoichi Numata). On a dark road, Tamura runs down and kills a gangster, Kyoichi (Hiroshi Izumida), whose mother (Kiyoko Tsuji) witnesses the accident. Shiro wants to stop, but Tamura keeps driving. Since her son was a gangster, she doesn't report the hit-and-run to the police but, along with Kyoichi's girlfriend, Yoko (Akiko Ono), vows to hunt down Tamura and Shiro and kill them. After pleading with Tamura, Shiro decides to go to the police himself, but on the way the taxi driver -- whom Shiro briefly hallucinates as Tamura -- runs into a tree and Yukiko, who has reluctantly accompanied Shiro, is killed. Shiro's road to hell is certainly paved with good intentions, and after his death he winds up there. He has received a telegram that his mother is critically ill, so he goes to see her at the home for the elderly that his father runs in the country. She's not as ill as he feared -- the telegram was actually sent by Kyoichi's mother and girlfriend to lure him into their trap. He discovers that the old folks' home his father owns is actually run on the cheap, with a doctor who skimps on medicine and food. He also encounters Sachiko, a young woman who looks exactly like his fiancée, Yukiko, down to the pink parasol she carries. She turns out to be the sister Shiro didn't know he had, but by this time revelations are coming hard and fast: Tamura -- who appears more and more demonic -- turns up too, as do the potential assassins, and in an elaborate concoction of circumstances, everybody dies, including Shiro. And everybody goes to hell, which is a fantasia crafted out of depictions from old Buddhist paintings and traditional cinematic imaginings of the underworld. Shiro learns there that the taxi accident killed not only Yukiko but also their unborn child, and he spends much of his time trying to rescue the infant from the torments of the afterlife. The film ends, after much exploration of the more gruesome torments of hell, with Shiro's vision of the twinned Yukiko and Sachiko, both with pink parasols, but although it suggests Faust being redeemed by Gretchen, there's nothing to indicate that this is any kind of redemption for Shiro. In short, Jigoku is complicated, contrived, confusing, sometimes a little cheesy and more than a little morally questionable -- does Shiro really deserve to go through all this? -- but also thoroughly fascinating.

[reckonslepoisson]

Dreams, Otomo Yoshihide's New Jazz Ensemble (2002)

Perhaps Otomo Yoshihide’s greatest subversion of all: to play nice – or at least pretend to do so. After years of throwing himself across a spectrum of experimentalism, from the boisterous and primal to intricate and academic, Yoshihide’s Dreams opened with sounds that were curiously, anxiously melodic and easy-going. That pretence fell away soon enough, the work going on to feature a line-up of some of the most famous Japanese music names of an era (Phew, Jun Togawa, Sachiko M, to name a few) and lay out swinging art rock, high-end brain fry, oddball art pop and blaring free-improv. But that opening subversion lingers longest. Masterful.  

Pick: ‘Eureka’

[maochira]

Ao Ashi requests are now open!!!

The lack of Ao Ashi x reader on here is painful. Let me change that😔

My usual request rules still apply. But for Ao Ashi I'm only writing for a few characters so far! I might add more in the future. Also, I'll still mainly write for Blue Lock, but doing a bit for Ao Ashi on the side as well!!

Characters I currently write for: Ashito Aoi, Eisaku Otomo, Keiji Togashi, Yuma Motoki

Anything I write for Ao Ashi will be during season 1 of the anime because I haven't finished the manga yet!

I plan to add Tachibana, Kuroda, Jun, Hana and Kuribayashi one day in the future! Also probably Fukuda, Nozomi and Tsukishima maybe as father figures or something (like I currently write for the Blue Lock coaches.) Just wait until I get a better grasp on their personalities so I feel ready to write for them. Until then I'm writing for the four listed above!

[clemsfilmdiary]

Jigoku (1960, Nobuo Nakagawa)

Also known as: The Sinners of Hell

地獄　（中川信夫）

10/2/22

[sesiondemadrugada]

Jun Otomo.

[screamscenepodcast]

It is yet another TOKAIDO YOTSUYA KAIDAN (1959), but this time from experienced horror director Nobuo Nakagawa!

Balancing a return to its kabuki roots with a forward-looking use of colour and surrealism, this horror takes your hosts by storm! The film stars Shigeru Amachi, Katsuko Wakasugi and Shuntaro Emi.

Context setting 00:00; Synopsis 28:53; Discussion 44:01; Ranking 1:00:54

[beyblader-observations]

I finally got a Jun Otomo CD! Cheer Song (the first Japanese ending song of Bakuten Shoot Beyblade) is on it! And the other songs on the CD are just as lovely! He has such a cute, sweet, anime boy voice! The CD was a little pricey, but I am very happy with it!

[davidosu87]