#mai fukuyama

[imasallstars]

SELECT SHOP UPDATE

Time to enjoy a tea party in the woods, alongside the ever cute Mister Bear♪

The next set of outfits to be purchased is MILKTEA PARTY’s Outing With Mister Bear♪ One Piece outfit made to be promoted by Mai Fukuyama. Along with the featured idol, a handful of other idols are able to wear this outfit.

[wonderfullpawz]

yuh

[365idolmaster]

DAY 49

Today's character is Mai Fukuyama! Mai is quite young but pretty mature and responsible, as well as friendly. She used to be a child actress and became an idol from her mother's encouragement.

FUN FACT: Some fans might think that Mai is based on actress/singer/model Haruka Fukuhara

this drawing came out cute i think. i realize that i accidentally turned her shirt into a sweater-cardigan type thing by accident though lol

bye!

bonus images

[cinnamixi]

more imas redraws! i started off with new gen but afterwards i've been going in the order they appear in the producer notes in-game :)

[fictional-birthdays]

Happy Birthday, Mai Fukuyama, Kumiko Matsuyama, and Takane Shijou! (Cinderella Girls)

[deresute-ssrs]

Mai 2

[usayu]

SP@WNFOXY

[haveyouseenthisseries-poll]

[cocotome]

Meiji Tokyo Renka: Full Moon will be out on Switch and Steam 10/3/2024!!

[ladybabbi]

everything is blue . . .

Seren Hoshimi (misolade-edison)

Moa Kikuchi / Moametal (BABYMETAL)

Mai Hanase (iLiFE!)

Nano Suzume (iLiFE!)

Rinne Neru (NANIMONO)

Touma Mifuyu (NANIMONO)

Mizuki Kirihara (CANDY TUNE)

Rino Fukuyama (CANDY TUNE)

[s30620]

Chapter 169: Find the Culprit!

Sanjome was talking a lot this chapter about vibrations and frequencies, it's probably important and may become obvious later, but I have no idea what you're talking about bro. I like Okarun's little frog face as he walks away he's so cute. I think Sanjome might have been trying to steal Okarun's power here, since he made him yield, and had the blade ready, but maybe he realizes he doesn't have powers anymore and stopped?

Also Jiji sings this song in the chapter. It's "Hello" by Fukuyama Masaharu from 1995, it has this American surfer rock'n'roll vibe, very interesting.

[imasallstars]

2 DAYS LEFT to Starlight Stage’s 8th Anniversary

featuring U149 (Kozue Yusa, Yukimi Sajo, Mai Fukuyama, Chika Yokoyama) by Cygames Pictures Staff

[shortnotsweet]

THE THRILLING AND NOT AT ALL REPETITIVE ADVENTURES OF CAPTAIN MAN AND KID DANGER: “A CHRONOLOGY OF ENTIRELY TRUE AND HEROIC EVENTS COINCIDING WITH THE END OF HISTORY” [1] [2] [3] [4]

Henry Hart returns from Dystopia. He grew up and his hair grew back out, but it’ll take more time to get refamiliarized with the mundane.

[ Henry’s figure is ominously silhouetted, staring at Ray with the whites of his eyes and a glare of light where his heart should be. Ray smiles invitingly, and stands with his hands on his waist, wearing only a towel. A laundry basket sits next to him. Posters are mounted on the wall to his back, including Captain Man merchandise, motivational material, and a reference to The End of History and the Last Man. ]

Following the resolution of the Cold War, Francis Fukuyama argued in his 1992 political novel The End of History and the Last Man that global democratization and the expansion of Western, liberal values would bring about a post-war, post-development society. Democratization was the process in which civilization reached its final form; it would mark not only the end of communism, but the end of history. No more glorious revolution. No more hunger. The world could remain where it was. Fukuyama was, of course, wrong.

To be a hero is to know: there will be no end of history. You may hope for one, but you act as if it will never come, because it won’t. Otherwise, what is the point? There will be crime, and war, and hurt children. No amount of blood or money can save us for-ever. Your symbols cannot finish what has been started, but they can keep you alive until then; when you fight for long enough, it is hard to return to the repetitive things:

To living with people again.

To walking in the daylight without flinching, and, most importantly—

To laundry.

[fataldrum]

The Magnus Protocol and The End of History

In episode 21 of TMP, Leonardo Kennings, co-treasurer of the Magnus Institute, debates the Institute’s plan to participate in the London Millennium Exhibition.  

The calculations provided by Dr Welling and his team presuppose that any outputs from the site will be broadly balanced; that as a symbol of the future it captures both optimism and despair – the belief in a better world and the terror that a new millennium will bring nothing except new ways to suffer. It is my belief, however, that the actual balance of energies involved will be profoundly skewed towards the fearful and despairing[…]

This modern social and political order, following the fall of the USSR, has taken root in the popular imagination as a natural and final state of society with an emergent and inherent stability. The turning of the millennium is therefore felt as an “end of history” to borrow a term, and in this context the Dome may be seen as a monument to this order. A full stop. 

I’ve been hearing a lot about The End of History lately and wanted to share some information for those who are unfamiliar. Note that this is based on secondary sources like Philosophy Tube and the podcast If Books Could Kill, because I’m not about to read 400+ pages of a neoconservative being deeply wrong about everything.

In 1992, political scientist Francis Fukuyama wrote The End of History and The Last Man. In it, he makes a pretty bold claim: Western liberal democracy is the final stage of society. After the recent collapse of the Soviet Union, people worldwide would accept capitalism and American-style democracy as the objectively superior way of life. 

Once every country adopted liberal democracy, there would be no real need for major social change. Small events would continue to happen, but the overall shape of history is an arc that ends with liberal democracy. Everything else would just be minor adjustments. That’s it, guys, we won. History is canceled!

Admittedly the word end can be a bit deceptive. On one level, Fukuyama was describing liberal democracy as the final destination of society. But he was also using end in the sense of a goal, borrowing from the works of Hegel. 

I don’t need to tell you that Fukuyama was full of shit. Every major event since 9/11 has been a massive callout post for him specifically. To be fair, he wasn’t alone in his bullshit. Plenty of Western political scientists assumed the fall of the Soviet Union would lead to mass adoption of liberal democracy. 

There was a lot of misplaced optimism at the end of the Millennium. Take, for instance, the Millennium Dome in London.

A massive undertaking, this 48-acre building would cost £789 million and be the ninth largest building in the world. Tony Blair, the Prime Minister at the time, declared confidently that it would be "a triumph of confidence over cynicism, boldness over blandness, excellence over mediocrity." Critics called it a Museum of Toxic Waste, based on the site’s history as a gasworks. 

The Dome contained 14 zones aiming to depict modern British life. There was a concert by Peter Gabriel. There were daily acrobatic shows, and a special Blackadder film.

In the statement, Kenning asks the foreman how long the Dome will last. He went quiet for a moment, then told me he wasn’t sure. “Could be there forever!” he said, with an odd manic edge to his voice. “Or it could be gone in a year. You just… never know. Do you? You never know what’s coming.” 

Organizers predicted the Dome would bring in 12 million visitors per year. They got just over half that. It was closed after a year, and even then, it cost over £1 million per month to maintain. The government couldn’t even sell the damn thing, because who needs the world’s ninth largest building? It ruined a fair number of careers. To quote the Sunday Times: 

At worst it is a millennial metaphor for the twentieth century. An age in which all things, like the Dome itself, became disposable. A century in which forest and cities, marriages, animal species, races, religions and even the Earth itself, became ephemeral. What more cynical monument can there be for this totalitarian cocksure fragile age than a vast temporary plastic bowl, erected from the aggregate contribution of the poor through the National Lottery. Despite the spin, it remains a massive pantheon to the human ego, the Ozymandias of its time.

Kennings describes the Dome as “almost uniquely dangerous to our work as a place of power, adding, “It is my firm belief that not only is this site already on its own journey to become a decidedly hostile locus, but that the future it represents, and that we are being pushed to incorporate into our grand ritual, is unfit being so profoundly and irrevocably poisoned.”

The Magnus Institute burned down on December 24th, 1999. The Dome was officially opened to the public on December 31, 1999. It appears Kennings was right about one thing: the Dome was a very bad idea for the Magnus Institute.

[familyabolisher]

At times in the writing of wine history, wine itself has been treated as a historical actor. This is the case in many of the sweeping histories of wine, such as Hugh Johnson’s original Vintage: The Story of Wine, Paul Lukacs’s recent Inventing Wine, John Varriano’s Wine: A Cultural History, or Marc Millon’s Wine: A Global History. These lucid and entertaining histories, written by great narrators with serious wine expertise, follow a similar narrative arc. Wine is the central protagonist, the potable Zelig, popping up in different historical moments in different parts of the world. The story begins in the Fertile Crescent, where Wine is born, or in the ancient Mediterranean, where Wine enters a boisterous adolescence in the symposia and bacchanalia of the ancient Greeks. The reader is invited to pause and appreciate the wine-themed mosaic and shards of amphorae. The story then skips a few centuries and a few hundred miles, to medieval Europe (we are left to wonder what Wine has done in between), where Wine joins forces with powerful and institutionalized Christianity and canny monks create a patchwork of orderly clos on the Côte d’Or: bless them! Wine remains in France, or perhaps summers in Germany, and Bordeaux emerges in the seventeenth century, eventually finding its way to Britain (we are treated to a Samuel Johnson quote, or Pepys). Port and sherry have their seafaring adventures. The nineteenth century opens with Champagne surviving war, producing widows and conquering Russian markets; France produces Pasteur, who produces better wine, a triumph of science and the Enlightenment; wine is enjoying its golden years. Then, three-quarters of the way through this drama, tragedy strikes, in the form of the vine disease phylloxera. Wine is dealt a staggering blow and its very survival is threatened. Fortunately, a new world of scientists, mavericks, and neoliberal entrepreneurs emerge: capital is found, the plucky New World steps in to help, and new vines are grafted. Wine is saved! This cannot be criticized as being a Eurocentric narrative, because the tale concludes in California, or Uruguay, or China. Undeniably, at the conclusion of this story there is incredible momentum and optimism. Global wine production is the highest it has ever been, consumption of wine is high, and wine is (relatively) cheap. Were he a wine historian, Francis Fukuyama would declare it the end of wine history.

This hagiography of Wine is a great read: a mouth-watering tale of high drama, blind monks, and supple tannins. And it is not necessarily inaccurate. But it is, on the other hand, what British historians have called a Whiggish narrative: one that presumes continual progress, culminating in the current era, which is assumed to be the best ever. This Whiggishness may overlook some of the current difficulties in the market, or shrug off past problems in the wine industry, since all ended well. Geographically and chronologically it is uneven, such that the producers studied here generally do not merit inclusion until they have become major global actors. This type of narrative structure is what gives the false impression that South Africa produced a great wine called Constantia in the eighteenth century, and then produced nothing again until 1994. The place of Wine as the embattled protagonist who overcomes many hardships (vine diseases, consumer apathy, high taxation) and emerges triumphant and affordable in the late twentieth century, is also what is known in Marxist terms as “commodity fetishism.” As Bruce Robbins has argued, in the new commodity histories, “each commodity takes its turn as the star of capitalism.” The commodity itself, rather than the social and economic relationships that led to its production, becomes the driving force of the narrative.

Jennifer Regan-Lefebvre, Imperial Wine: How the Empire Made Wine's New World

[idiotsonlyevent]

one of my favorite moments in dorohedoro is spell 138, a chapter focusing only on restaurant tanba's staff and asuka being fed and cared for by kirion while it rains in the sorcerer's world. there's a montage of kirion getting food, cooking, and then helping feed fukuyama, tanba, and asuka, before tanba brings up that it's rain from the hole:

kirion immediately stiffens; no one knows that they're a human, trafficked to the sorcerer's world to be used as practice, only surviving because they ran away and stumbled upon tanba and his shop.

kirion is forced to confront the fact that the people that they've been living with, have grown to care for (minus asuka lol), and are Actively Nursing Back To Health Right At This Moment may not even consider theirs' a life worth living. if tanba or fukuyama found out what kirion really is, they could harm or kill them! its scary and anxiety-inducing, but then . . .

this happens. tanba admits to never having practiced on humans, leading fukuyama (and asuka) to admit the same thing. to them, it's probably not that big of a deal, but they have no idea how strongly this affects kirion; they no longer have to hide a core aspect of their identity for fear of violence or rejection. if and when kirion decides to tell tanba and fukuyama that they're human, they know that they'll still be safe and cared for, regardless. ultimately, this relief(?) is what allows kirion to make one of the most important decision in the manga, a decision that will allow their friends to live:

it's not a coincidence that almost all of the most important players at this point in the story are those at the fringes of society: kirion, a human living in the sorcerer's world; nikaido, a sorcerer who tried to become a human turning devil; asu, a devil-turned-sorcerer for betraying chidaruma; shin, a half-human half-sorcerer; caiman . . . i could go on! yeah, dorohedoro is a story about class warfare and resentment, but it is also a story about how friendship and solidarity can save you. things turn out the way they do, because all of these people, who, for a Lot of the story before this point, were considered 'weak' or 'useless,' use their unique abilities and act to create a better world.