#kokeshi important

[yandere-kokeshi]

— BIG MESSAGE

I’m gonna go through my follower list in about 5 minutes to block any ageless or underage block. Please DM me if you have any questions. Otherwise, have a nice day :)

[kokeshi-mynx]

OKAY SO basically softdark!boyfriendsdad!bucky kind of becomes obsessed w reader the moment he meets her but she’s literally dating his son so he can��t do anything abt it. EXCEPT he does. he starts being kind of touchy feely and getting too close but gaslights reader into thinking that it’s normal. he starts lying to his son being like “she’s up to no good, i bet she’s cheating” until bucky fabricates a story/situation to make it look like reader really did cheat. so they break up and reader goes to bucky crying and everything. cue him then taking advantage of her sadness and vulnerability by gaslighting reader into thinking that it’s totally normal.

thoughts??

I FUCKING LOVE THIS!!!!

This is... this makes my mouth water. I may or may not have screeched when I read this

100%! I'd love to see you write this ^^!!!

[kokeshi-mynx]

@sakuracream

This is Soma. I don't make the rules 😂😂

[yandere-kokeshi]

is anyone else having the problem where you open links and it takes you to the web instead within that link? If that makes sense. 

It’s pissing me off and I wanna know if it’s just me or tumblr’s issue

Edit: I fixed it. I'm so happy 😭‼️

[kokeshi-mynx]

Important question do you think Shigiraki can drive??

To be honest, no. I cannot see him driving. He's one of those people who stop too early, in which, sends you flying or jumps you.

He's also really nasty, like... I cannot see him having a clean car whatsoever

And if he did drive, probably a family van or biggest truck in my life

[yandere-kokeshi]

— Important message

Hi everyone :).

I am posting this for my own safety seeing as this mentioned harasser has gone out of their way to interact with myself, including @luvit and many other dark-fanfiction writers within this fandom.

There also may be more included, which is why I personally have decided to type out a post of my own.

TW: talks about slight discourse on this subject.

Edit: 2/29/2024: I'm on now BREAK. I will not be responding to any messages, asks, or submissions until the 5th.

This person, who originally was named @/bastardsloane (now casual-homosexual-enthusiast), would copy and paste fics and edit them in a way so it’s not "boring" to them.

They also harassed others for not finishing requests; not using the correct pronouns, or stating that the reader uses female anatomy and has gone out of their way to make alt accounts to harass me and others. Furthermore, they will pose as a new follower and interact with me and others to gain attention/validation.

The intention of this post is so that it can be known that they typically have posts regarding Price from COD (Aka: Berry Sloane), any/or male pronouns and MDNI, as well as having the Palestine flag in their bio. They immediately interact, reblog or comment on posts that we have posted.

This is not a post to spread hate — rather a word of caution in case this person has harassed you as well. @luvit, once posting the draft, will have a deeper explanation on why this person is someone you should not associate with.

As of now, I have decided that, a) I will be taking a break. And b) I have contacted Tumblr about this, and I hope to get an email back soon.

In the meantime, I will still be active, but not posting or writing anything relating to the fandoms that I love. My inbox and DMs are open for any messages.

[kokeshi-mynx]

This is cool as shit

[kokeshi-mynx]

sobbing his dick NOT itchy why would you say that 😭😭😭😭😭

Original thing that I reblogged

IDK 😭😭

That was the first thing that came to my mind 😭

Im so sowwryy

[djpachipikachu]

full historical au doodle dump bc i am very much still thinking about this thing,,,, the sword holding down jei is made by the hamato clan , similar to the sword that held down the shredder !

yuichi is not a fully realised samurai as he never completed his training, so he does not have his daishō ! he uses bokken and his bō and stolen weapons to survive, and since the swords are a samurai’s soul , yuichi’s soul is untethered and it was easier to use the mystic sword to hold jei down

a beta leo design as well ! the hamato brothers are all kappa who are in servitude to karai and splinter , as they saved them from serving draxum ! so the boys feel they owe their lives to karai and splinter

the kokeshi dolls r important also but they’re mainly there bc i didnt wanna draw the boys with actual dips in their skulls it freaked me out

[cloudynyxx]

Interview of Death Parade Staff - Key Animators

The Appeal of Key Animation and the Joy of Animation Supervision Animator Roundtable Discussion

Shōsuke Ishibashi / 石橋 翔祐 [Key Animator] Takashi Kojima / 小島 崇史 [Key Animator] Ryōta Azuma / 東 亮太 [Animation Director / Key Animator] Izumi Murakami / 村上 泉 [Prop Design / Key Animator] — Please tell us about a memorable scene from "Death Parade" that you participated in

Azuma: I have mainly worked on PD Takuya's works, which is how I got involved in Death Parade. I was given the opportunity to be the animation director for episode six, which was a very unique episode. To be honest, I didn't have much experience as an animation director, so key cuts were handled by Kojima-san, Ishibashi-san, Murakami-san, and other skilled animators and artists, who made the important scenes more appealing. Especially Ishibashi-san. His cuts were the first to get delivered, and they had an enormous number of keyframes where Mayu was moving ecstatically with very detailed acting. It was completely different from the keyframes I usually draw, so I was shocked to see how he handled it. It had a positive influence on me. Murakami: I think Ishibashi-san created Mayu's character. Ishibashi: No, that's not it. Since I participated in episode six first, Mayu was the first character I animated. I was like, "Huh? Decim hasn’t shown up yet," (laughs). I worked on episode 4 afterwards. Murakami: When I joined, Ishibashi-san's rough animation was already complete, so I watched the footage and thought, "Mayu is a girl who moves like this," and I understood what to do. Also, Episode Director Shishido was the type to entrust a lot to the animators. Kojima: Yes, Shishido [Jun]-san's storyboards are very easy to visualize in motion. Speaking of memorable things, in Death Parade, there were many scenes where the space was constructed in 3D, right? Ishibashi: Yeah, that's right. The first scene I worked on was in front of the bar counter in Viginti in episode six. It was challenging because it was not originally constructed in 3D. But then when I started working on other episodes, I realized that this [3D layout] was easy. Kojima: Working with 3D layouts means you don't have to draw backgrounds [laughs], which is convenient, but I also worried that neglecting to draw them might make my skills in that area rusty, so I had some doubts about whether it was the right approach. Ishibashi: I understand that. But drawing so many kokeshi dolls was tough... Murakami: Oh, I'm sorry. It's my fault that there were so many kokeshi dolls. When I was asked by Tachikawa-san (series composer and director) to design a Japanese-style bar, I thought it would be nice to have lots of kokeshi dolls lined up like bottles of alcohol, so I drew the image board with that in mind...

— PD Takuya and Kurita-san mentioned that Kojima-san broadened the range of character acting in Death Parade.

Kojima: Is that so? That's great to hear. In the first episode we worked on around 55 cuts, and during the meeting, either Director Tachikawa or Director Shishido-san requested that I present the acting with all the intensity of someone emotionally breaking down in tears at a press conference. So, I watched some videos for reference and drew accordingly. When it came to the ninth episode, I was initially consulted about the air hockey scen, but wanting to try something new, I asked to work on the scene where Shimada's sister is assaulted instead. Ishibashi: I thought you were definitely going to choose hockey, so I was like, "Oh, this is it?” (laughs). The cut with the light glinting on the knife,  the acting was so skillful there that we left it untouched and just let it run as it was. Kojima: (laughs) Well, I can't help but feel like I've been doing nothing but pitiful scenes most of the time. Also, the skating scene in episode eleven was very difficult. Ishibashi: That scene was mainly handled by Murakami-san, right? I also participated a bit, like drawing the childhood skating scenes. Kojima: I was allowed to draw the start of the skating scene. I did about 4 cuts in that area. Murakami: As for me…I am filled with a feeling of wanting to fix it… Ishibashi: No, you did really well. You had quite a number of cuts, right?Murakami: The number of cuts was around twelve. With everyone's help, we managed to complete it somehow. We had assistance from the 2nd key animation team as well.

— It seems that episode eleven had one of the stricter schedules among all the episodes. Ishibashi: Indeed, I was worried about whether we could really broadcast the episode or not, but the atmosphere in the studio wasn’t tense at all, and I felt very good. It was more like, "Can we do it?" rather than "Oh no, oh no!" (laughs). In the end, we managed to complete it (laughs). Murakami: While drawing, I kept thinking, "I can't believe this is going to air in a week," "unbelievable." Ishibashi: I think it was because Kurita-san, PD Takuya, and desk clerk Nakatani (Satoshi) were people who had such a reassuring presence. When I heard laughter coming from their corner, I thought, "As long as Tachikawa-san is laughing, it will still be OK.” — Who was the easiest character to draw? Azuma: The dark-haired woman was relatively easy to draw, but Decim was quite challenging to get right. Kurita-san's designs are characterized by having their mouths positioned lower on their jaws, but when I started drawing, I unconsciously kept placing the mouth too high… Kojima: All the main characters were difficult. Decim especially was a total struggle for me. Personally, I might not be good with characters who lack expressions. I found it enjoyable to draw characters with expressive faces or those in despair. Ishibashi: I found the dark-haired woman somewhat difficult to draw, but Decim was relatively easier for me. With guest characters, there was some flexibility in altering their faces, which might have been influenced by Kojima-kun's work in episode 1, where he broadened the scope of the acting. Murakami: I had already given up on trying to make them look on-model (laughs). Kurita-san's characters, when drawn by him, are very beautiful, but if you don't draw them well, the balance gets messed up. It's beyond me... (laughs). Also, in episode six, drawing Memine the cat was challenging. Azuma: But you were the one who could draw the cat the best. It was really helpful while working as an animation director. Murakami: Really? I didn't know what to do, so I started with a lot of cat sketches. Ishibashi: In episode six, Murakami-san drew great facial expressions in the live scene in the C part. Especially when everyone was like, "Yay!" (laughs). Speaking of what left an impression on me, in episode nine where I was the animation director, Hiromi Ishigami-san, Ryoma Ebata-san, Tetsuya Masuda-san, and Akitsugu Hisagi-san participated as key animators, and it was really enjoyable. Ishigami-san is my senior, but it had been about 7 years since I last saw her original drawings, and I was again impressed by how good she is. Ebata-san's presentation of Tatsumi smoking a cigarette and putting it out with his foot had a very good sense of perspective. Ebata-san was also in charge of the part during the ending theme, where the emotions were conveyed amazingly even without any dialogue. And Masuda-san also did a lot of keyframes. I personally like Masuda-san's drawings, so I got excited whenever I received his keyframes... But even though I'm talking so familiarly, I don't actually know Masuda-san at all (laughs).

— So you've only seen his keyframes.

Ishibashi: That's right. So when I came to the studio for the animation meetings, I wanted to meet him... I was saying "Masuda-san, Masuda-san" so much that they thought we were old acquaintances, but no one told me "Masuda-san is here" (laughs). I was shocked (laughs). Azuma: As an animation director, it makes me happy when I receive wonderful keyframe drawings. This time, there were a lot of good people of a similar age as me who participated, and I was glad that I was able to get a lot of inspiration from them. Kojima: As for what left an impression... Well, due to certain circumstances, I didn't work inside the building, so I feel like there's a bit of a difference in atmosphere here (laughs). But if I had been working inside, it would have been a bit more enjoyable, so it's a bit disappointing (laughs). Ishibashi: Kojima-kun and I have worked together at a different company before so I was looking forward to working together again, but when I heard that you wouldn't be joining the company, I was a little disappointed. Kojima: Since I didn't have many opportunities to meet people this time, I'll try my best to work in the studio next time (laughs). Ishibashi: (laughs) Speaking of disappointments... Personally, I wish I could have seen more of Kurita-san's keyframes. Like in the first episode, the scene where Decim pulls out the thread. Or in part C of episode three, when Chiyuki does that flourish at the end. Every time I thought, "Who did this!?", it turned out to be mostly Kurita-san (laughs). Kurita-san always talks as if he hasn't done anything, but I thought that was unfair. Murakami: He did mention he wanted to do keyframes. Ishibashi: When someone is that skilled, of course they would want to do keyframes. As an animation supervisor, you're in a supportive role, helping with the difficult parts and making sure the characters are on-model, so the keyframes are more exciting. Kojima: But as a Chief Animation Supervisor, Mr. Kurita, was able to make corrections in a way that preserved the good points of the person in charge of the original drawings, and I think this is one of the reasons why I enjoyed working on this project.

— Murakami-san, is there any particular scene that left an impression on you?

Murakami: Working on the figure skating scenes was really fun, but bowling was also really enjoyable. My previous project [Ace of Diamond] also had sports-related elements. Sports movements are different from everyday actions; they're very straightforward. For example, if you're "throwing a ball," you're solely focused on the act of throwing. That aspect makes your work very focused and exciting. During the bowling scenes, I consciously tried to convey the weight of the ball. However, the fun part is from drawing to the rough animation. When you’re in it, you think, "This might work," but when it comes together as a finished visual, you end up reflecting, "It's not as good as I hoped," right? Ishibashi, isn't that how all animators feel? [Ishibashi laughs]. The linetest is probably the most intense emotionally (laughs). There's no color or anything decided, so your imagination can run wild.

— It seems like the animators had quite a bit of freedom in their drawings, from what I've heard.

Ishibashi: When we were asked to "do this part," there were many areas where we had a lot of freedom. It might have been a bit challenging, but it allowed animators to expand their creativity. Kojima: It was easy for me too. I really enjoyed the work. Azuma: Especially with guest characters, since they only appear in that particular episode, I think they were given a lot of freedom to draw. Mayu in episode six, for example, was a character where we were told we could go all out with the comedic, exaggerated expressions, so there was a lot of freedom. Ishibashi: Mayu's face when she's hit with wind from below was really something (laughs). Murakami: Yes, there were many cuts where we could do whatever we wanted with the acting. Ishibashi: When we were asked to "do this part," there were many areas where we had a lot of freedom. It might have been a bit challenging, but it allowed animators to expand their creativity. Kojima: It was easy for me too. I really enjoyed the work. Azuma: Especially with guest characters, since they only appear in that particular episode, I think they were given a lot of freedom to draw. Mayu in episode six, for example, was a character where we were told we could go all out with the comedic, exaggerated expressions, so there was a lot of freedom. Ishibashi: Mayu's face when she's hit with wind from below was really something (laughs). Murakami: Yes, there were many cuts where we could do whatever we wanted with the acting.

—  Looking back on the series, were there any episodes that left a deep impression on you?

Kojima: I like episodes eight and nine. They're a bit gut-wrenching, but there's something about the feeling of hopelessness that I appreciate. You don't see stories like that often. Ishibashi: I'm quite sensitive, so watching sad stories makes me sad too. I prefer more gentle endings, like in episode three. Also, the farewell between Chiyuki and Decim in episode twelve, that scene made me cry a lot (laughs). Murakami: When I saw episode twelve, I thought, "I was doing a ‘good story’ anime" (laughs). This series had different vibes for each episode, which was interesting, but episode six had a really good balance... The story was wild, and so was the animation. It was a lot of fun to watch. However, just before it aired, I started worrying, "Did we go too far?" "Is it going to be okay?" Even Shishido-san, who storyboarded it, was worried. Azuma: Is that so? I thought episode six was interesting from the moment I started working on it (laughs). So, I wasn't worried at all. I was like, "It's definitely going to be fun! Watch it!" Ishibashi: Actually, what made me wonder if it would be okay was the opening. When I first saw the storyboard, I thought, "Huh? Is this really for Death Parade?" (laughs). Azuma: Yes, that's right. When I heard the song, I was so excited that I thought, "Oh! (laughs). [Murakami laughs] Overall, this project was challenging, but it was also enjoyable.

━┅━┅━┅━┅━┅━┅━┅━┅━┅━

NOTE: I am not fluent in Japanese! I translated this with the help of a language partner. However, as neither of us are fluent in one another's native tongue, there may be errors in the translation. I typically don't share things I translate in my free time, but since no one has tackled these interviews in nearly 10 years, I figured it was nice to put these out there for folks who may be interested.

[kokeshi-mynx]

HAHHAA YAAASAAAA

I HOPEFULLY WONY GET FEET PIC ASKS

PSA Regarding Hateful Anons

Tumblr recently made it a requirement for you to be logged in to send asks anonymously. If you receive a hateful ask, don’t publish it - report it to Tumblr. It can be traced back to the user that sent it and with enough reports that person’s account will be suspended.

Share to raise awareness but also to make the clowns who think this behaviour is acceptable think twice before acting brave behind the guise of invisibility.

[leisi-lilacdreams]

gotta make my own kokeshi doll they're so expensive but pretty

it's important to do non digital art too

i'm also practicing doing product photos

progress photos under cut

[yandere-kokeshi]

— IMPORTANT NEWS ! !

For these past weeks, I’ve been struggling with MW2, causing me to have severe writing block. Looking at documents, I feel stumped. I can’t get anything out, especially requests, and guilt has been piling on me for a bit now. For that reason, I have decided to take an indefinite hiatus for this fandom.

This doesn’t mean I'm quitting – just moving on and going to adventure new fandoms!

Speaking of which, I have decided to openly begin writing for Barbie, GoT, and Tekken 8.

And because of that, requests will be opened this weekend (MTZ) :)!

[kokeshi-mynx]

Frenzy from transformers!!

I was kinda right! He's pretty cool.

[dxllhcuse]

Let’s talk about Ichimatsu’s clones

Out of all the blood art that she developed, one of the biggest abilities she has developed in the past 188 years is the ability to create clones of herself. Most often her clones represent the emotions within her. The main emotions would be Karekuri(Happiness), Kokeshi(Anger), and Iki(Sadness). There are also another two clones of Ichimatsu, but they’re far less powerful than these emotions. When the clones are not around, they’re the ones doing the job of controlling Ichimatsu in the regular form. Each of the clones is very important for Ichimatsu as they help her to become much more powerful in the future. I’ll each explain more of their clones and what are their responsibilities.

Iki - Sadness / Grief / Pessimistic

Representing the Sadness and pessimistic feelings of Ichimatsu, Iki was their very first emotion to come out. Wasn’t surprised as during the burning of what used to be her village, she chose to spend some time isolated in her little island as her memories slowly faded away. Although Iki is the oldest of the group, she still gets bosses around and scolded by her younger sister Kokeshi. Not as much as Karekuri since she is the oldest of the clones.

After all her kamishimo shows the status rank she’s in when it comes to theatre play. She does the Chanting/Singing part of the Bunraku theatre. Using her writing and vocal cords, she can able to project any emotions towards anyone that is listening to her singing/chanting to the point it stuns. Although a powerful move, it only works at their home and nothing else.

Kokeshi - Anger/ resentment / Vengeful

Kokeshi as said previously represents the anger and vengeful emotions of Ichimatsu. She was developed as a second clone to Ichimatsu as the sadness, guilt, regret eventually become all just anger, upset, and irritated. Despite being the second one to come out, she often bosses around the other clones and assign them a task to do. Kokeshi wears a gamishimo as being the second eldest

Kokeshi when in theatre often play the Shamisen and can summon one. This Shamisen including other instruments that are played in Bunraku theatre, all able to manipulate the rooms and house where Ichimatsu lives. Similarly to Iki, Kokeshi have an ability that only works whenever she is inside the house.

Karakuri - Happiness / Joy / Optimistic

Representing the happiness and Joy emotions of Ichimatsu, she was the last emotion to come out. Although her memories all have been forgotten, Ichi comes back to what she loves doing; puppetry and art. She begins making her line of dolls and has her little troupe performing puppetry. Karekuri was developed as Ichi realizes the advantage of being a demon and her passion for being an artist. Sometimes her sisters don’t take Karekuri seriously; however, this doesn’t bother her.

She wears a Monstuki, a simple formal wear that represents being in a low rank. As previously said, this doesn’t bother her. In fact, she mostly plays any other instruments required for a play and designed most background stages. Just like Kokeshi, her instruments can able to manipulate the rooms and the house, however, it only works on the house itself.

Kimekomi and Hoto - two extra helpers in the scene

KimeKomi and Hoto are two clones that also have been developed recently, however, they’re mostly used to helping Ichimatsu with puppetry or whenever she is in her third form. Their appearance is exactly like Ichi, just the difference is that they have the Kuroko every day. They’re not powerful, however, have some typical strength and flexibility of a demon.

[hunklet]

Like an Obligation - Shintaro Sakamoto, Let’s Dance Raw (2014)

ゆっくり溶け出していく 大切な物がひとつづつ ああ それを見ている 何もできずに快楽を求めるあまり こんなにいびつに進化した 大人たちが立っている こけしみたいに Important things are slowly melting away, one by one Oh... I’m looking at them go, and there’s nothing I can do They spent so much time in pursuit of pleasure  And now it’s clear how warped everything’s become Adults are standing around like kokeshi

義務のように美しく  義務のように夢見がち 義務のようにほほえんで  義務のように虚ろ  Beautiful, like an obligation Holding onto your dreams, like an obligation Smiling, like an obligation Empty, like an obligation

もしもこんな世の中で  君のようになれるなら もしもこんな世の中で 君がいなくなったら  If I could be like you, in this lifetime If you vanished, in this lifetime

義務のように美しく  義務のように語らない  義務のように愛し合い  義務のように眠る Beautiful, like an obligation Tight-lipped, like an obligation Loving each other, like an obligation Resting, like an obligation 

もしもこんな世の中で 君のようになれるなら もしもこんな世の中で 君がいなくなったら If I could be like you, in this lifetime If you vanished, in this lifetime

キャンドルがゆれる部屋で センスのいい曲がかかり 大人たちが泣いている 何も感じない In a room with a flickering candle A tasteful song is playing The adults are crying They don’t feel a thing

義務のように美しい 義務のように愛し合う Beautiful, like an obligation Loving each other, like an obligation