#opens ( toyo )

[galacticstarjump]

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[thenextroad]

When it comes to purchasing tires for your vehicle, two popular all-terrain category are the Toyo Open Country AT3 VS Falken Wildpeak AT3W.

[yuzurujenn]

[2024.11.25] Weekly Toyo Keizai Nov issue: Yuzuru Hanyu: An evolving entertainer

The world's most famous figure skater is now on the verge of further evolution. Ahead of the opening of his latest tour, "Echoes of Life," on December 7, he shares his thoughts on being a "professional" and the influence he holds.

Text Mai Yamamoto Design: Satoko Suzuki, Kanaka Nakamura Photography: Shuji Umetani Cooperation: WINEstudios

Yuzuru Hanyu achieved back-to-back Olympic victories in Sochi 2014 and Pyeongchang 2018. He was the youngest individual recipient of the People's Honor Award. At the Beijing Olympics in 2022, he attempted his dream of a quadruple axel jump, attracting worldwide attention. Yuzuru Hanyu is a rare figure skater. His popularity remains immense. Tickets for his shows remain hard to come by, regardless of the venue, and his performances attract fans from all over Japan and the world. His long-term commitment to disaster relief has garnered widespread support, creating a large circle of aid centred around him. After transitioning to professional skating in the summer of 2022, he has focused on expanding his figure skating. He is creating new entertainment that expresses his own stories through large-scale productions such as video and on-ice projection mapping. What is Yuzuru Hanyu trying to achieve? An exclusive interview delves into what happens when he takes action, including insights from related companies and local governments. Special interview

After turning professional, he held solo shows and solo tours, which were previously unimaginable in the traditional figure skating world. He created a unique show format called "Ice Story." He is also now exploring new ways of connecting with his fan community. What is the young entertainer thinking in the midst of such transformative times?

--What was the reason for the success of all your solo shows "Prologue," "GIFT," and "RE_PRAY"?

Honestly, it's hard to define what "success" means in this world. However, one thing I can proudly say is that tickets for all the shows were almost sold out. Many people bought tickets to see me skate. Ticket sales are an important indicator, and I want to maintain the perspective that "almost sold out = almost successful." When I think about the factors behind the success, it's not just my own ability, but something much bigger. How can we make the show better and what is most needed? Everyone involved in the show put in a lot of effort and thought. I think the success came as a result of that.

--In your first solo show "Prologue," you performed 8 programs in each show, mostly from your competitive skating repertoire.

Although not all the performances were full versions, "Prologue" was a show with many parts that I had to manage with my own strength and technique. The Tokyo Dome performance "GIFT" was coming up in few months, so I approached this show with the mindset that I was going to shape my solo show from now on.

The production and management team also took a trial-and-error approach to this new challenge. I didn't consider "Prologue" as an "experiment" but instead wanted to succeed as a complete piece of work. However, it was significant that this show helped us all share the image of a solo show as a team.

The next show, "GIFT," was a one-time performance. How do we showcase a skater in the vast Tokyo Dome? How could figure skating as an expressive art be expanded? It was an unknown challenge for all of us.

The challenges and appeal of the Tokyo Dome

--Normally, seats close to the rink are popular at ice shows, but for "GIFT," all the seats were far from the rink. Overcoming and making use of this condition was a key feature of the show. You incorporated elements of a music concert into the direction. For example, there were scenes where dancers performed around the rink. While such a direction is not unusual in live performances at dome venues, it’s not something you can do at a regular ice show since it would obstruct the view of the audience and make it difficult to see the skaters.

It was an unusually extravagant production for an ice show, but without it, the space between the rink and the audience would have seemed rather empty. Loneliness and solitude are important pieces in constructing the story of "GIFT," so there was also a desire to bring out these emotions. But in the individual sport of figure skating, the skater is already a solitary figure. Simply performing in an empty space would have made the performance feel too lonely. To surprise and entertain the audience, it was necessary to do something different from the usual.

I want everyone, no matter where they sit, to have a special experience.

--It's a refreshing feeling that it's interesting to watch from a distance.

It’s a difficult point. When considering demand, many people say the best experience is when they watch from the front row. The speed and dynamics of a skater are more noticeable up close, and you can feel their expressions and breathing and even sense their gaze on you, which is part of the appeal of sitting near the rink.

However, I don’t think the figure skating I want to show is limited to just the charm of close-up views. I always think, “No matter where you sit, I want you to have a special experience that you can only have in that seat.” In "GIFT," there were no seats close to the rink, so we focused all our efforts on how the skating can be seen from a distance.

--This approach of "no matter where you sit" is also carried over into the arena tour "RE_PRAY."

We refined the know-how that we gained from "GIFT." And one more point. In figure skating competitions, generally, the skaters perform on the long side of a 30m x 60m rink, the 60m side of the rink, with the side where the judges are located as the front. This is how people perceive the rink as being horizontal. However, after turning professional, I started placing great importance on showing the rink from the short side, with the 30m side as the front. On one side of the short side, we placed a large LED screen, and the audience sat in front and on either side. We used projection mapping to link the visuals on the ice with the skating paths, and we also used large gauze curtains. Since we are using the rink vertically, I am also conscious of utilising the depth and perspective of the space.

--So, the short side seems like the "winning" side, but there are more seats on the long side. Doesn’t that lower audience satisfaction?

Actually, there are things that can only be felt from the long side. In figure skating, how far you can glide in one step and how fast you can go is crucial, and this is most apparent during long-distance movements. Therefore, on the long side, you can enjoy the big horizontal movements that are typical of figure skating, while on the short side, the focus is on utilising the depth, which is a new attempt. Also, in programs that use projection mapping, the visuals on the ice and the skating trajectory are more clearly visible from seats further away.

--So, the experience is different depending on the seat.

When I look at the data of those who bought tickets for my shows, I see that many are repeat customers. Because of this, when I was thinking about the structure and direction of "RE_PRAY," I focused on the concept that 'by watching it repeatedly, you can experience a different world each time (replay).

Additionally, this is something common in dance and ballet, but in expressive forms like those, the appeal tends to be stronger on the front-facing side of the body. Plus, figure skating is like performing on a stage placed in the center, meaning the audience can view it from 360 degrees. Therefore, in ice shows, we must be conscious of the 360-degree perspective in the direction and lighting. The fusion of the 360-degree design of the skating and the 360-degree design of the staging creates a fascinating experience where different views can be seen depending on the seat.

--"RE_PRAY" seemed to attract many new fans.

"RE_PRAY" had a theme of games, and word-of-mouth spread among game fans, which led many people to come to the venue or attend the live viewing for the first time.

The production and management team always want to create a show that new audiences can enjoy. However, even so, the most important thing is to consider those who think, "After all, I love Hanyu most." First of all, I want to create something that my fans will think is cool. Then, I think about the people who come to the show for the first time. Since people who love music, ballet, or have a deep appreciation for the arts also attend, I want to ensure that the experience doesn’t feel cheap, but rather that they can think, 'I had a luxurious experience by coming to this show.'

--There are more and more performances attracting attention from fans of the works you've collaborated with, such as 'GIFT,' which has a picture book published by the creative group CLAMP, and 'Meteor,' a song from the anime series 'Gundam SEED'. Is this a conscious effort?

I do think about bringing in fresh collaborations. But when it comes to games, anime, or manga, when I collaborate or use songs, it’s important that "I am really interested in it, I love it, I have been exposed to it for many years, and I have accumulated knowledge and experience." If I don't have depth in my approach to the work, I can’t show respect for it, and my performance will end up shallow.

That shallowness would likely be felt by the fans of that work, so I don’t want to casually take advantage of the popularity of someone else’s work. I want to make sure I respect and value the people who love these works. Because I genuinely love it myself, I can understand what would make people who also love that work or field feel like, 'It would be fun if it were expressed this way.' I want to focus on doing things that I can dive into deeply and do well.

"As a medium and a brand"

--You once said that "Yuzuru Hanyu is a medium." Do you still feel that way?

Essentially, I still feel the same. There's a line in the song "Sainoujin Ouenka (Support Song for the Troubled Talent)" by BUMP OF CHICKEN that says, "There is no song sung just for me." I believe that’s true. On the other hand, many people experience a song that touches their hearts, or an image forming in their mind when they listen to it. That’s something the creator probably didn’t intend. It’s from the creativity of the listener that unique emotions and actions are born.

It's the same with my figure skating and the words I say. When the person who receives them recalls something from it and feels their imagination being sparked, they say things like “That touched me” or “I like it.”

In that sense, I see myself as a medium. When I try to convey something, it is not always possible for 100% of what I am thinking to reach the audience. But if, in that moment, my attempt to convey something helps someone recall or evoke something within themselves, then I believe that’s the most accurate form of expression.

--I imagine there are also difficulties in maintaining the 'Yuzuru Hanyu brand' as a medium and meeting expectations.

Right now, I have a team of many people who worked with me on my solo shows. We share and discuss the image of 'how Yuzuru Hanyu should be presented' through the perspectives of people with diverse expertise. I receive their advice and align it with my own objective view and feelings of 'what I want to do.'

In the end, only I know how I feel. Now that I am starting to place more value on my own feelings, I have a clear image of what I want to do. But, if I were to solely produce myself based on my own feelings, the product would end up too narrow in its perspective. Although, it feels strange to call myself a product...

Now, I can speak comfortably in front of my fans.

--Was it difficult for you to value your own feelings in the past?

I think I was much more empty before. In figure skating, everything is left up to the judges. The score changes depending on what the judges think. So, in order to earn points and win, I had to prioritise what kind of music to choose, what themes to pick, and what to express, rather than what I personally wanted to express. I spent a long time thinking about how I would be evaluated. It may also be a habit from when I was a child. I’ve always felt that the happiest thing is when someone becomes happy or when someone is pleased.

So, I wasn’t sure what personal happiness from within me really was. But over time, as I worked on ice shows and new programs, I gradually came to understand what happiness arises from within me. I think I’ve started to be able to cherish that feeling. In a good way, skating is no longer just something personal to me. Being part of this larger movement of ‘creating a show with everyone’s help’, I’ve started to understand what personal happiness is. Although it’s still somewhat unclear and difficult for me to grasp.

-- Is it like separating the happiness of "work = skating" from the happiness of your private life and balancing them?

I wonder. To some extent, I try to separate them, but in reality, they proceed simultaneously. Skating and the various projects that stem from it aren't absolutely essential to my survival, but without them, I would lose my sense of purpose. In that case, I think 'purpose' and 'happiness' might be the same thing. So, when my personal happiness aligns with the success of a project, I think, 'Well, in the end, they are one and the same.'

"Realising the presence of fans"

--You maintained a stance of not revealing your private life or sharing unnecessary information during your competitive years. However, in the past few months, you’ve been expanding the ways you communicate with your fans, such as through messages for YouTube membership subscribers and radio (audio broadcasts).

"The frustration of not being able to express what I want to convey has always been there since my competitive years. For example, after a competition where things didn’t go well, if I were to analyse the cause and explain it in detail, it might come across as making excuses. There was a long period when I felt I shouldn’t show any weakness, and I thought I couldn’t afford to show any openings. If I showed my weakness, there were some... how should I put it... bad people who would seize upon it. It's hard to say (laughs).

However, during the "RE_PRAY" tour, I came to realise that there are so many people, including those in the membership, who are genuinely looking forward to my skating. Of course, each fan has their own heart, and when I say something, the interpretation will vary among individuals, and the images that come to mind will be different. But now I can speak with the reassurance that these people are supporting me in such a positive and kind way. I’ve gradually started to be able to express things that I had buried deep inside me with the help of everyone.

--Is that the main difference between your amateur career and your professional career?

When I was competing, I was fighting with everyone, including my fans. No matter what performance or result I had, people would say, "You did a great job," or "I'm glad for you," but deep down, I'm sure everyone wanted me to come in first. In the professional world, I don't have to fight anymore. As long as I do a good performance and look happy, most of the fans will tell me that makes them happy too. Because of that, I can feel at ease and entrust myself to the fans.

--On the other hand, there is a unique excitement in competition. Without clear rivals, is there something you’re doing to maintain the enthusiasm of the fans in ice shows?

It’s difficult. This is something I’m thinking a lot about right now. It’s not easy to create the same excitement in an ice show as in a competition. Without a clear goal of overcoming something or becoming number one, the sense of unity between me and the fans, as well as among the fans themselves, can easily become fragmented.

However, through my skating, I believe I can evoke the memories of the competition days, like the landscapes seen at the competition venues and their surroundings, and the images and emotions from those times. Therefore, for my long-time fans, I consciously perform in a way that helps them recall what they hold dear. I believe it’s possible for them to feel the excitement from back then, plus see how much I’ve improved since.

Also, like the ‘suspension bridge effect’, I’ve had many situations where I fought through a crisis. For example, at the Pyeongchang Olympics, and at many other competitions where my ankle was in terrible shape, or my overall physical condition was bad. When I managed to overcome those tough situations and win, many people thought, "It's cool that he won against the odds."

My biggest goal now is to create something that makes people think, "This person's skating is really good," without needing the ‘suspension bridge effect’. ----------------------------------------------------------------------------- Yuzuru Hanyu, born on December 7, 1994, in Sendai. He won gold medals at the 2014 Sochi Olympics and the 2018 Pyeongchang Olympics. In 2018, he was awarded the People's Honor Award. In 2022, he attempted the quadruple axel at the Beijing Olympics, finishing in 4th place. In July 2022, he turned professional. He pioneered a new frontier in figure skating with his solo performance "Ice Story." Since the Great East Japan Earthquake, he has been diligently working on supporting recovery efforts.

Source: Weekly Toyo Keizai 2024/11/30 issue, pg 62-69 Info: https://www.amazon.co.jp/dp/B0DM558RM9 

[iluxurycruisedthatship]

The Kazama & Mishima’s naming traditions and the Next Gens of Kazama’s children!

Alright so I've been cooking this for a while since they dropped Jun's parents name on T8. Bear in mind, I'm in no way fluent in Japanese nor I'm a native, but I have google on my side to educate me better about Japanese naming systems and the kanji they used for naming the child (jinmeiyo and joyo).

I just want to named XiaoJin’s future babies so bad, kay?! Lol. Even though I know Jin is opposed to any plan of continuing the lineage (which is heartbreaking 😭💔) but the XiaoJin's shipper in me cannot be extinguished!! 🔥🔥🔥 I still want to named them! Lol.

Anyway! Feel free to correct me with your information! I'm open to any kind of knowledge 💖

Psst! If you don't want to read these longass founds and explanation, you can jump right away to the bottom of this post, there’s a pic that summarise these texts, lol.

Alrightt! Without further ado, let's deep dive into Kazama/Mishima lore!!

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So...

Tekken 8 has finally dropped some lore about Kazama family, and it's about Jun to be exact. There, we can get a glimpse of Jun's parent name:

Soon after, a Japanese KazuJun's fan dropped this tweet :

Assuming a native Japanese able to decipher those characters correctly, now we finally have Jun's parents name kanji:

純一 the father, and 恵 the mother.

As we all know, kanji has several way of reading. Cited from pon-navi, there are two typical ways of reading kanji, kun-yomi and on-yomi. In addition, there is a reading system called "jinmei kun" which is used only for names.

"Soo?? What's their name?! How do we know the correct reading?!"

Here's the thing!!

Tekken has giving us hints that Mishima family has a tradition to give their children with their kanji name, following a common practice in Japan. Let's take a look at their kanji.

仁八, Jinpachi

平八, Heihachi & 一美, Kazumi

一八, Kazuya

Notice the similarities? You’re right! The Mishima child inherited their parents' kanji! The sons inherit '八' kanji, with Heihachi inherited '八' from Jinpachi and Kazuya inherited both kanji from Heihachi (八) and Kazumi (一).

As it is a common practice, the same can be said with the Kazama family! Although in their case, they might not be inheriting the kanji but instead with the reading of the said character. Or maybe phonetically similar would be correct here.

For example, this is Jun's kanji: 準

This character '準' can be read several ways, some of them are : Jun, shun, setsu, taira, toshi, narau, nori, hitoshi.

And one of her father kanji is: 純

'純' can be read as : kito, Jun, atsu, atsushi, aya, itaru, ito, kiyoshi, sunao, sumi, tsuna, to, makoto, yoshi.

Have you noticed it? That's right! '純' and '準' can be both read as Jun! It means that Jun's kanji has the same reading as her father's kanji, although they have different kanji characters.

From here, we can assume that Jun's father can be called Jun____ as well.

As for the other kanji, '一' can be read as: hito, hitotsu, hajime, ichi, itsu, i, osamu, kuni, susumu, tada, chi, nobu, hajimu, hajime, hi, hiji, hide, hitoshi, makoto, masashi, moto, ka, kazu, kata, atsu.

Looking from the lists, together his name could be read most plausibly as : Junichi, Junitsu, or Juni. Imo, Junichi sounds the best, so yeah, I completely agree with the KazuJun's fan.

Now we all know that Kazama has similar sounding name with different kanji.

On the other hand, the mother has '恵' that can be read as: megumu, megumi, kei, e, aya, sato, satoshi, shige, toshi, yasu, yoshi.

While it could be anything, I think it's either Megumi or Megumu. Why? Because I found out that '恵' has the same reading as one of Jin's kanji reading! lol. Let's take a look at Jin's kanji!

This is Jin's kanji: 仁

It can be read as: Jin, ni, nin, kimi, kimu, sato, sane, shinobu, tadashi, to, toyo, nobu, nori, hisashi, hito, hitoshi, hiroshi, masa, masashi, mi, megumi, megumu, yasushi, yoshi.

Do you find it? Both '恵' and '仁' can be read as Megumi/Megumu! lol.

One of the speculation is that Jun named her son Jin as a sign of respect to her father in law, Jinpachi (仁八). Even though Jin is a Mishima by blood, he doesn't inherit the '八' character as he was raised in Kazama family. So he inherited just the '仁' character. Besides, it also sounds almost the same. Jun.. Jin.. It's phonetically similar, right? And if Jin were born a girl, I bet he would be called Megumi/Megumu instead just like his grandmother, lol.

Thus, we can safely conclude that the Mishima has the habit to inherit their kanji characters while the Kazama inherit the reading of their kanji's name.

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AND NOW! HERE COMES THE MAIN DISH!!!! 💖💖💖

What about the future Kazama kids?! Let’s move on to that and do the real cooking here for the XiaoJin's babies name! :D

We have seen Jin's kanji, but what about Xiayou?? Xiaoyu is Chinese by birth, and her hanzi (Chinese characters) are 凌曉雨 and リン・シャオユウ is how it's written in Japanese katakana.

凌, Líng: surpass / リン (Rin)

曉, Xiao: dawn / シャオ (Shao)

雨, Yu: rain / ユウ (Yu)

Now, I'd like to think that they would combine or use either their character or its reading for their baby! Also! They might use some of Jin's family name's characters :D

Here are some of my ideas for the babies name :

For boy:

晨一, Shinichi, a portmanteau of Jin and Xiaoyu's nickname and kanji inherited from Junichi/Kazuya.

Explanation: the first kanji '晨' means Dawn, which has the same meaning as Xiaoyu hanzi '曉'. The kanji reading is also the combination of Xiaoyu's nickname and Jin. Shao+Jin=Shin. It also sounds similar. Jin, Shin, it's rhyming, right? Just like Jun and Jin!

For the second kanji '一' I'd like to think the story behind it was that Xiaoyu wanted to preserve Kazama/Mishima naming practice but Jin was reluctant to do it. In the end, they decided to take the kanji '一' which was present in both Kazama and Mishima, that's in Junichi (純一) and Kazuya (一八).

For girl :

凌, Shino, a portmanteau of Xiaoyu's nickname and Jin, same character as Xiao’s hanzi that could also be the feminine ver. of Shin.

Explanation: it’s rather simple, I use the same character in Xiaoyu’s hanzi that has different reading while also the combination of Jin and Xiaoyu’s name. In Chinese ‘凌’ read as Ling but in Japanese, ‘凌’ has several reading. One of them is Shino. Shino could be the sister or the twin sister of Shinichi, in case XiaoJin have two child or twins in the future :)

琳, Rin, a kanji that has the same reading as Xiaoyu’s name and phonetically similar with Jin.

Explanation: I think this one is easy to understand! Rin and Jin, phonetically similar like what Kazama would've named their children. It’s also Xiaoyu’s surname in Japanese. The kanji ‘琳’ itself means ‘beautiful jewel’ and in Chinese the hanzi means 'beautiful jade’, and it reminds them of the greens in Yakushima forest, Jin's home.

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Alright, now that I’ve spilled out all of the stuff inside my chest and calmed down, I’ll give you a simple name chart for those who don’t want to read wall of texts, lol. Hope this helps!

I guess that’s all for now, lol. I’ll add my thoughts if I had any later on. Thank you for coming to my TED talk! 😂🙏

[trash-monkey]

The Endless Sea

Chapter 8

My pupils dilate wide like a cat as my Omega instincts are scrambled at sounds of a child wailing from the front door of the apartment complex.

"Stay!" Takemitchy insisted as he grabbed into my arm when I stood up seeing my Omega instincts are in control and the suppressants fading fast from my blood stream.

"Breath (Y/N)" he instructed as a wet Draken appears in the door frame with wailing baby in his arms, the little guy has a full head of white hair and his are a bright lime green as he's only wearing a oversized shirt with a diaper underneath.

"Aw, poor little pup." Takemitchy coos when gently taking the pup from Draken once I started taking deep breaths to get my Omega instincts under control which Mitsuya comes into view with a toddler boy and a young teen of a girl, the boy has black mess hair with sea colored eyes while wearing a oversized t-shirt like the baby as the girl only has overall which are roll up around here knee and her brown hair are in messy piggy tails. When unmated Omegas are in heat and hears a pup wailing they go into protect mode making they'll harm anyone that gets near the pup which is why Takemitchy hold me back to get a hold of myself again before I could hurt Draken, seeing me and Takemitchy got the kids handled they returned to scavenging.

"Let's get them upstairs and feed" I said as I guide the toddler to hold Takemitchy's hand so I can help guide the teen upstairs as I can see her faded green eyes are clouded meaning she's blind.

"What's your name, Sweetheart?" I asked while guiding her up.

"Mao Taro and the baby is my brother, Nao, as the toddler is Toyo Miki." Although the girl's voice is soft sounding it echos through the staircase as we got up the last one before going though the apartment door which Takemitchy is lightly bouncing Nao and had as Toyo sitted at the small table in the living room, I gently helped Mao sit down.

"Takemitchy, you sit and I'll fix them something to eat" I offered as a few moments earlier I noticed Mao is on the skinny side which I can guess she's been giving all the food to the kids, I went to take more heat suppressants from our apartment before going into the small kitchen balcony where the handmade stove is and start a fire which I opened a few cans of stew we have as it'll be best to settle on the kids stomachs better then anything else.

"Careful, it's hot." I warned the two as I sit a bowl of stew in front of them with the last few slices of bread we have.

"I'll be right back to help you eat but I need to see if we have any for Nao, ok" I told Toyo and Mao before heading back to the storage after glancing at Takemitchy which I meet wet Draken at the door.

"Did you find anything for the baby?" I asked while passing through the door frame to see a few bags sitting on the floor of the living room which I immediately started looking through, I give a sigh when finding a pack of diapers so I set it aside.

"A few things but there wasn't much." He stated as he throws four baby bags at me from the door frame so not to get water onto the floor but sadly I didn't react fast enough and got hit in the body with them which he give me a apologetic look, I give him a soft smile in return.

"This must be tough on you, being in your heat and now kids." Draken stated as he keep that I'm also surrounded by two Alphas and a unknown third gender Beta unsaid, I give a nod.

"I'll get through it." I said back as I go through the baby bags which I find two can of formula, three packs of wips, four bottles, and two pacifiers so I stick them all into one of the baby bags before going through the plastic bags again.

"Still it's tough." He mumbled which reminds me that he was raised in a brothel so he knows how Omegas and Betas are, he's more comfortable with a Omegas heat unlike other Alphas and can control himself better too.

"You had a Alpha before this?" He asked since Omegas usually have a Alpha in highschool as they turn 15 which is of age to become a mate and Alphas must turn 16 to be the proper age of finding a mate, Betas of age is 17 has they don't have a rut or heat cycle to interfere with their daily lives like the other two so with this social standard most Omegas don't even finish highschool.

"No" I answered back quickly although I didn't mean to bark it out after pausing in my task as no Alpha has wanted to be to know me and the other Alphas that had approached me only wanted me to help them through their ruts, I denied them as I'm not that type of Omega.

"I see" He stated understanding what I'm leaving unsaid.

"What about Takemitchy? You two seem to be getting closer every." He asked curiously as he takes a seat at the door stoop seemingly wanting to use this short time to get to know me one on one.

"That we are, although his grandmother has rised him on the old school Pack Family tradition." I confessed as I find more decently cleaned baby clothes which I immediately put into the baby bag and hoping they can fit the little guy, I also am lucky to find two sets of clothes for Toyo too which I put them and two dresses I believe can fit Mao into the baby bag too.

"Some in the brothel was old fashioned too so I know a little bit of it and I assume you two have already figured out who's the main wife is then? I'll take a guess and say it's you." I giggled at his guess before nodding with a amused smile on my lips right as Hanma stumble in with some material they're stripping from the daycare but he immediately grins mischievously when seeing us like we are.

"Oh, what do we got here~" He teases us which both me and Draken rolled our eyes although we have a small smile at his usual fooling, I stand up and pass by the two on the way back to the apartment hearing the two talking while I guess Hanma is bugging Darken.

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[andidowi]

✨ Exploring the National Taichung Theater ✨

Designed by the visionary architect Toyo Ito, this architectural marvel in Taichung is nothing short of breathtaking. The theater's fluid and organic design feels like stepping into a modern cave, where art and nature blend seamlessly.

🌊 From the outside, a flowing stream winds its way around the building, guiding visitors into its unique interior. The water feature continues inside, creating a tranquil atmosphere as it weaves around shops, corners, and open spaces.

🎭 Inside, the curvilinear walls and ceilings evoke a sense of awe, while the lighting and textures enhance its contemporary yet natural vibe. The space feels alive, almost like it's sculpted by nature itself.

Although my visit was brief, this space truly left an impression. It's more than just a theater—it's an experience that connects you to art, design, and nature in a deeply inspiring way. Definitely a must-visit if you're ever in Taiwan!

[forgeline]

The coolest SUV that you'll find on or off the road. This incredible 1970 Ford Bronco is one of the Signature Series Broncos manufactured by Velocity Restorations. It's powered by a 460HP Ford Performance Gen III Coyote 5.0L V8 mated to a 10R80 10-speed automatic transmission with a two-speed Atlas transfer case and rides on a Roadster Shop RS4R chassis, Bilstein shocks, Chevy Colorado 4-wheel disc brakes, 33x12.50R17 Toyo Open Country A/T tires, and 17x9.0 Forgeline forged three piece ET3 six-lug wheels finished with Polished centers & Polished outers! See more at: https://www.forgeline.com/customer-gallery-velocity-restorations/cgk2791

[maddogofshimano]

Izo Boss Rush: The Revenge of Izo

Ishin Spoilers

This was the other raffle winner for @majimemegoro​ ! Sorry it ended up taking longer than expected, hopefully I won’t have to rush back and correct some things once ishin drops in a little over a week!

I skipped all the ishin events when they first happened because I was on the cusp of being able to play it and didn’t want to spoil myself (or flounder horrifically!) so I’m glad I can go back to them now (and only flounder somewhat)

Summary:

After Ryoma and Izo’s opening confrontation, Ryoma has some time to kill. Izo, on the other hand, has some people to kill.

In order to carry out a reformation of the Tosa caste system, Sakamoto Ryoma is named Party Representative, head of the Tosa Loyalist Party.

However, he is ambushed by members of the Loyalist Party, including the second in command, Okada Izo.

Ryoma was able to fend off Izo’s attack with his own sword.

He has planned to meet with Yoshida Toyo that night at Kochi Castle, however some time remains before then.

Hanpeita: ...So will you be going to Kochi Castle once it gets a bit darker, Ryoma?

Ryoma: I'm...

<flashback, as evidenced by the sepia>

Yoshida: ...Well then, Ryoma. Since you've returned to Tosa, have you had bonito tataki? Ryoma：…No. Yoshida: "Yoiyoi" has some good bonito. I'm not able to go, but you should go try it. (Tl note: yoiyoi is 酔い酔い, a restaurant in ishin. the name is literally like "drunken drunken" and I don't think I've seen how it'll be localized, so you just get the name spelled out as is)

Ryoma: ....I plan on wandering around a bit more. I think I'll go try the bonito that Pops recommended to me. <he leaves>

Shop Keeper: Thank you! Please come again. Ryoma: Haa~, that was delicious. Naturally there's no better bonito than in Tosa... hmm? ???: Ahhhh! Help me! Ryoma: I'm pretty sure those are the men who pretended to be in the Tosa Loyalist Party... And on the other side... Okada Izo.  Fake Tosa Loyalist Party Member: F-Forgive me! We'll never impersonate the Tosa Loyalist Party again!

Izo: ...Not good enough. Die. Fake Loyalist: A-Ahhhh! <Ryoma steps in>

Ryoma: .....We should drop this. Izo: You're... Sakamoto Ryoma. Making an entrance here, huh.... Ryoma: I've already told you this. If you joined the Loyalist Party because you want to kill people, you should leave.

Ryoma: You all should get out of here. ....I'll hold this guy off. Fake Loyalist: Y-Yes sir...!

<the fake loyalist group leaves>

<Izo takes a swing at Ryoma>

Ryoma: !? Izo: I may have lost earlier, but that was merely a single bout. ....I'll kill you this time.  Izo: If I win, I'm going to kill you and then I'll kill them. Ryoma: ...And if I win, you'll let those men go. Izo: ...Fine. Izo: We'll go to the old battleground beside the river. There won't be any people there.  Ryoma: ...Okay. Let's go.

<they go, and the boss rush event happens>

Izo: Guh... Ryoma: That's the end of that...

<he sheathes his sword>

Izo: Wait... why don't you strike me down? Ryoma: ...I didn't join the Loyalist Party so that I could kill people. You and I are different. <Ryoma walks off>

Izo: ....Heh. The style that would be expected of the "Party Representative". Splendidly done.

Izo: ....I will make sure you regret that. The one who will support Takechi-sensei... is me.

<he leaves, and someone else steps in>

Hanpeita: ...As expected, Ryoma won. Hanpeita: Letting even those who attempt to kill you live, that kindness... no, it's softness. Hanpeita: ...Yes. That's the kind of man you are. 

Hanpeita: Then I suppose we have no choice but to follow our own paths... kyoudai.

<END> Bonus time:

This one was pretty short but boy howdy does translating ishin kick my ass with all these character and place names I’m not used to. I do think it’s really funny that they just tacked another loss onto Izo’s record like this. Just for fun. 

Hanpeita is Shibusawa in ishin kiwami which will....... make some things very interesting, I think. 

Thank you to this youtube channel for once again supplying me with events, I owe everyone who recorded them my life

[sanguine-salvation]

☀ , ↓, ☾

[ mun related - ACCEPTING ]

☀ ━ how long have you been roleplaying? how did you get into it?

// A long time! I actually started RPing online when I was like... 11 dafjhgakjd SO WAY TOO YOUNG TO BE PLAYING ONLINE, DO NOT DO WHAT I DID (thankfully nothing weird ever happened to me, I literally just played on like some Warrior Cats and Zelda forums). So that's about 21 years! I always liked playing pretend and writing when I was a kid, and one of my parents did IRC roleplay, so I knew what it was and just kinda wiggled into it!

↓ ━ have you had any bad experiences with roleplaying?

// OH GODS, YEA. You don't roleplay for 21 years without some stinky times. Actually, I had an experience so bad on tumblr I stopped RPing publicly for about 8 years, and stayed mostly to private with a very few select partners. I won't name the group since it's long gone, but yeah, the members were really clique-y, started excusing some creepy nsfw stuff about kid-coded characters, and it was just a bad experience all around after the honeymoon period of first joining peeled off and showed the really awful side of everything. I ducked out fast after that and didn't come back until I opened up this blog, tbh. Thankfully, this has been a LOT more fun and my love of public RP has been greatly stoked!

☾ ━ how many pets do you own? if none, what kind of animals do you like?

// I personally have two cats (Lil Cassandra Cain & Sonion the Wobblekitty) and a dog (Toyohisa, or just Toyo)! But I am adopting my boyfriend's pets as stepkids, so that is two more doggies (Bandit & Butter) and a gremlin sort-of shaped like a cat (Freyja). My favorite animals are lizards, chickens, cats, and rabbits!

[365days365movies]

Japanuary I: Ikiru (1952) - Review

This film is...incredible.

And I mean that, too. I may have gotten a bit amped because of the messages about the futility of bureaucracy, but the very fact that I was affected proves the efficacy of this movie. This is moving in several ways. It's heartbreaking, it's rabble-rousing, it's thought-provoking, and it's a treatise on the nature of a life lived and a life fulfilled. Some of the best filmmaking I've ever seen, and absolutely one of the best films I've ever watched. I genuinely can't recommend this film enough, whether or not you're a film buff. But be warned...you should be in the right mood to watch it.

That said, what do others think of this film? Well, unsurprisingly, it's one of the most loved films ever made. It's got a 98% on Rotten Tomatoes (for the critics score, audience is 97%), an 8.3/10 on iMDb, a 4.5/5 on Letterboxd, and an impossible 92 on Metacritic, holy shit. Yeah, this is an incredibly well-loved movie, although nobody seems to think it's perfect. And...yeah, I agree. I have some minor criticisms with this movie, which I'll go into, but I still can't deny how utterly excellent it is. So, without further ado, check out the Review below the jump!

SPOILERS AHEAD!!! KINDA!!!

Cast and Acting - 9/10

...I just...holy shit, Takashi Shimura. He's one of Akira Kurosawa's mainstay heavy-hitter actors, and WOW DOES THAT MAKE SENSE! Shimura is absolutely amazing in this film, and in the modern world, easily could've won Best Actor at the Oscars, even though this is a foreign language film. His performance as a truly broken Kanji Watanabe searching for meaning and purpose is fantastic, and he showcases his character development through multiple moments in this film. It's honestly difficult for me to say things that haven't been said about his performance, but you can just...feel it. Like, it's incredibly, depressingly resonant. It's hopelessness tinted with the desperation to hope. It's just...so...fucking...GOOD.

That said, everybody else is great, but not as good. You can't be as good as Shimura is in this film, to be honest, it's just so hard to compete with. Still, credit to be given to Shinchi Himori, Nobuo Kaneko, Yunosuke Itō, and Miki Odagiri for some notable appearances and performances, especially Odagiri for her genuine performance as Toyo. It's a hell of a cast, but Shimura takes it over entirely. It's honestly incredibly impressive.

Plot and Writing - 10/10

Holy shit, the way this film is structured was incredibly effective for me. The themes of finding fulfillment and having unseen personal struggles are potent and relatable, but the sheer and utter arraignment of bureaucracy in Japan after World War II is...enragingly palpable. I honestly meant what I said in the review when I said it stoked anti-bureaucratic fires within me that I didn't know existed, but good God, I felt that hard-as-hell. I've seen scenes like the opening in films before, where someone's led on a runaround, only to get back where they started, and I actually wonder if this is where that film and TV trope started. It's incredibly effective, as is the ending section of the film where said bureaucracy attempts to erase Watanabe's work. Just feeling his efforts drowned in the machine, with no difference made within the levels of bureaucracy...just...GAH FUCK, I'm getting mad again. Moving on, moving on...

As I said before, the film was written by Akira Kurosawa, Shinobu Hashimoto, and Hideo Oguni, inspired by the Leo Tolstory novella The Death of Ivan Ilyich. Not sure about that last part in terms of how much was adapted, but it doesn't matter. This film is masterfully written, and a real dissection of what it means to live, and what it means for that living to have meaning, in any portion of that life. After all, even if the bureaucrats seem to erase his legacy immediately, the mothers won't forget. Their children won't forget. His family...might forget, they're pieces of shit, all of 'em. Yeah, that's another theme of this film: family ignoring you and being real shitty, NO MATTER HOW HARD YOU TRIED TO RAISE YOUR UNGRATEFUL SPINELESS BOOR OF A SON ALL BY YOURSELF GAAAAAAAH!!!!

...Moving on.

Direction and Cinematography - 10/10

Talk about the master at work! Unsurprisingly, Akira Kurosawa knocks this one out of the park in many ways, as does cinematographer Asakazu Nakai. Even in the GIFs I've shown, there's obvious care in each of the shots, and the direction of the actors is obviously top-notch throughout. No complaints, and no comments that haven't been made elsewhere. Excellent direction, excellent cinematography, this film looks fantastic!

Production and Set Design - 10/10

Honestly, second verse, same as the first here. I believe I'm in 1950s Japan because...well, we are there. This is a realistic looking and feeling film, and somehow...SOMEHOW...feels mostly timeless even though it's obviously dated. There are packed dance halls with outdated Western dancing, there're very stereotypical Japanese neighborhoods and wardrobes that are obviously old, and there's a lot of paperwork, and yet...it's effortless. It's a beautiful film enhanced by the set-dressing and production. Fantastic.

Music and Editing - 9/10

The second half dragged a bit. Yeah, that portion of the review after Kanji dies, where I drag on for a bit about the poison of Japanese bureaucracy? That's how long the movie drags that out. And hell, it's effective, but there's some cutting that could've been done there, I think. However, even if that was the case, it's overwhelmed by clever editing and use of music. Obviously, the song Gondola no Uta is a major part of the film, and is used twice with devastating effectiveness, both times! Other pieces of music, including the Happy Birthday song in a well-posed scene, are used incredibly well. Credit to Fumio Hayasaka for the composing of this film, and we've actually seen him a few times already, in Rashomon, Seven Samurai, and Ugetsu. And this won't be the last time, either.

Man, this movie was a hell-of-a-way to start this Japanuary. Definitely going to keep on the Kurosawa thread for a minute here, since he's one of the most important Japanese filmmakers in the history of the country's cinema, and all that. Next up, though, I'm touching on one of my favorite things: adaptations of a classic property. I'm a sucker for comic book movies (which is something I haven't talked about on this blog, but is true nonetheless), and I've talked previously about my love of Greek mythology, amongst other mythologies (basic bitch as that may be). But there's a taste of mine that's even more basic bitch of me, from a literary standpoint, if that's even possible. And it's also something that I've surprisingly barely touched upon in this blog. So, next time, and without further ado...the Bard.

Next: Throne of Blood (1957) - dir. Akira Kurosawa

[doxebroauto]

Ford Everest Platinum Độ Ngoại Thất Mạnh Mẽ Và Độc Đáo Tại Bro Auto.

Ford Everest Platinum độ ngoại thất mang đến diện mạo mạnh mẽ và đẳng cấp. Với phuộc YSS Z-Series giảm xóc, chiếc xe sẽ có khả năng vận hành ổn định và linh hoạt hơn. Mâm Forged 20inch W2 FlowFormed mẫu WFF-A kết hợp với lốp off-road TOYO OPEN COUNTRY R/T Nhật Bản giúp xe vượt mọi địa hình một cách dễ dàng. Bộ ốc titan và ốp má phanh Brembo CNC gia tăng sự bền bỉ và thẩm mỹ cho chiếc xe. Ngoài ra, dán PPF Teckwrap USA bảo vệ ngoại thất, và sơn các chi tiết xe màu đen bóng, tạo vẻ ngoài sang trọng. Để sở hữu chiếc Ford Everest độ độc đáo này, hãy đến ngay BRO AUTO để được tư vấn và lắp đặt.

[yuzurujenn]

[2024.11.25] Weekly Toyo Keizai Nov issue: Commitment to Supporting Disaster-stricken Areas

The strong commitment to supporting disaster-stricken areas. Behind the scenes of charity events and visits to the affected regions, as shared by the people involved.

When it comes to a live performance featuring Yuzuru Hanyu, people from both urban and rural areas gather in large numbers. However, the 'Noto Peninsula Reconstruction Support Charity Ice Show Challenge' held on September 15 this year was a streaming-only, nearly audience-free event. The skaters who participated were Yuzuru Hanyu, Takahito Mura, Akiko Suzuki, and Satoko Miyahara. Tickets were priced at 4,500 yen, which is not cheap, but over 10,000 tickets were sold. The proceeds were donated to Ishikawa Prefecture.

On social media, there were notable reports of ticket purchases from overseas. Although the service 'Lemino,' available only in Japan, was used for streaming and could not be accessed from abroad, many fans wanted to support the disaster-stricken area and expressed their solidarity with Hanyu.

The donation from the proceeds of the performance is expected to amount to several tens of millions of yen. "I want to do something that will help the people who were affected by the disaster in Noto." This wish of Hanyu's was the driving force behind the event, which was organized by TV Kanazawa. Keichi Sato, the managing director at TV Kanazawa, who oversaw the operation, said, "I’ve been in the television industry for a long time, but charity events of this scale are rare. I was truly surprised by the huge response and how many people tuned in."

The planning for the event began in May, and everything was done on trial and error. "Initially, we were thinking of holding an ice show with audience," said Sato. There had been ice shows in Kanazawa before, but those required laying ice in the arena, which involved substantial costs. It would be difficult to run the show in the black, and it could stray from the charity’s original purpose. At that time, the only ice-skating rink in the prefecture, the "Kenmin Sports Plaza" operated by an affiliated organization of Ishikawa Prefecture, emerged as a possible venue.

"It’s an old facility for practice, and it wouldn’t be suitable for a grand show. There were structural issues, and bringing many people to the site would be difficult. We were worried whether they would even be able to skate here, but they kindly agreed to it," said Sato. Although the rink is typically open in October, they persuaded the prefecture's officials to start preparing the ice two weeks in advance, allowing the performance to take place on September 15.

As discussions progressed about the type of charity event to host, the idea of a "no-audience, paid streaming" format emerged. TV Kanazawa used its expertise in television production to make the event possible. "With streaming, we can create a TV show-like experience. We should include something that shows Noto as it is right now," said Sato.

During the performance, live broadcasts connected the scenes from Noto and the skating rink, showcasing a performance by the local drum team "Wajima Wadaiko Toranosuke" and a calligraphy performance by the "Noto High School Calligraphy Club." The energy of the local younger generation, along with the warm interactions between the performers, strongly conveyed the significance of the event to the viewers.

For TV Kanazawa, which has about 80 employees, this performance was a major event, and more than half of the employees were involved in one way or another. "The performance was a challenge for us, too. I think TV Kanazawa grew a lot through this experience," said Sato.

Furthermore, at the suggestion of TV Kanazawa, it has been decided that Hanyu will cooperate with a tourism promotion project by Ishikawa Prefecture.

The Mission of the Survivor

In June of this year, ahead of the performance, Hanyu visited Wajima as part of his special message for the TV program "news every." on Nippon Television. This was also something Hanyu requested. The reporting team for "news every." which has long supported disaster-stricken areas, said, "Hanyu, who experienced the Great East Japan Earthquake in Sendai, seems to feel it is his mission as a survivor to convey the realities of the disaster areas and the importance of disaster prevention."

The Meaning of "A Gold Medal for the People" Back-to-back victories to support reconstruction efforts.

When visiting disaster-stricken areas, he takes his Olympic gold medals with him. "Even people who don’t know me will smile just by seeing the two gold medals. That’s the power of the Olympics," said Hanyu. Since his junior years, he had dreamed of winning Olympic gold, which he achieved at the age of 19. Then, in September at the age of 29, during a press interview after the charity performance, he revealed that one of the goals behind his Olympic consecutive victories was to start supporting the disaster-stricken areas. His childhood dream of competing in the Olympics changed after the Great East Japan Earthquake to a desire to 'win for the sake of reconstruction.' What kind of change took place in Hanyu's heart during that time?

"What was it... I’m thinking about it for the first time, but I don’t think it was such a complicated process," said Hanyu. The roots of his commitment to helping others began in 2004, when at the age of 10, he lost his home rink due to financial difficulties. A year later, following an appeal from Shizuka Arakawa, who won a gold medal at the Turin Olympics, the local government took action, and the rink was reopened. "Thanks to Arakawa, we were able to practice again," Hanyu recalled.

Wanting to be a source of strength for others

He realized the power of a gold medal. He wanted to win gold and use it to help others. For Hanyu, the gold medal was for others. "After the earthquake, the major purpose of my gold medals was to support reconstruction. It wasn’t a change, but more of a natural progression."

From a young age, Hanyu has had an innate desire to make people happy. "When I was little, I wanted to skate well like my sister and be praised. What made me happiest was seeing people smile when they watched me skate. The gold medal was an extension of that. So, when I think about it now, my desire to make people happy has always been the same. It seems that everything was connected. I understand it now."

However, there are moments when he cannot rely on the power of the medal. "If I’m skating for reconstruction support, it depends on me as I am now. As a single skater, I will give it my all."

At the performance, he focused on bringing out the charm of the local performers from the disaster-affected area. Photographer Toru Yaguchi, who followed Hanyu from practice to the performance as the official photographer, said, "Hanyu paid particular attention to adjusting his movements to match the local young taiko drummers during practice. I really felt that he valued the feelings of the local performers."

After the Sochi Olympics, a visit to Ishinomaki, a tsunami-hit area, seems to have become his formative experience in visiting disaster-stricken areas. Hanyu, who had initially been hesitant to visit, was warmly welcomed by the town. Not only the schools he visited, but also people on the street, called out to him, saying, 'You did a great job at the Olympics,' and 'We're rooting for you, Hanyu.' He was deeply moved by the warmth of the people, and at the same time, this experience made him realize that his gold medal could be a catalyst for bringing smiles to the disaster-hit areas. Since then, Hanyu has been actively suggesting to the press team, 'I want to go to Fukushima,' and 'I want to visit the areas affected by the Hokkaido Eastern Iburi Earthquake.'

"Even amidst his busy schedule, Hanyu has always made time to support disaster-stricken areas I think that disaster recovery and disaster prevention has become another part of his life’s work," said the reporting team.

Events bearing the name "Yuzuru Hanyu" have also become a source of support for disaster-stricken areas. The 'Yuzuru Hanyu Exhibition,' sponsored by the Yomiuri Shimbun, has been held three times so far and has donated approximately 156.52 million yen from merchandise profits. Part of the donations have been set aside as a "Large-Scale Disaster Support Fund," which is used to provide financial support to affected local governments and other organizations in need. The current balance of the fund is said to be approximately 65.93 million yen.

Source: Weekly Toyo Keizai 2024/11/30 issue, pg 72-73 Info: https://www.amazon.co.jp/dp/B0DM558RM9 

[youkaidaimaou]

街を散策・「赤穂玩具博物館」/ Ako Toy Museum

一年前の冬は、移住をした夏以降の体調不良から少しずつ良くなり、療養とリハビリを兼ねた山歩きに出掛けていました。そして、最近は、住んでいる街を散策するリハビリを少しずつ増やしていて、かねてから気になっていた、「赤穂玩具博物館」へ行ってきましたので紹介します。 Last winter, I was gradually getting better from the poor health I had been feeling since the summer I moved here, so I went hiking to recuperate and rehabilitate. Recently, I have been gradually increasing my rehabilitation by walking around the town where I live, and I went to the Ako Toy Museum, which I had been interested in for a long time, so I would like to introduce it to you. �� 正面外観 / Front View 』 赤穂市の中心にある赤穂城の北正面にある博物館は、築50年以上は経っている一軒家で、家屋より古い車や看板で外観は埋め尽くされており、雰囲気のある、一種異様な光景です。

『 スバル360 / Subaru 360 』

この博物館の看板車は、何と言っても 1960年発売のスバル360 でしょう。2ストローク 2気筒 360㏄ のエンジンで、煙を吐きながら走る姿が思い出されます。展示車両は、テールランプの形状から、1967年頃の車両だと思われます。 そして、その前方の薄いウグイス色の車両は、1957年発売の三輪軽トラック、ダイハツ・ミゼットで、ハンドル形状が丸ハンドルですから、恐らく 1959年以降の年式だと思われます。

The museum's signature vehicle is undoubtedly the Subaru 360, released in 1960. Its two-stroke, two-cylinder, 360cc engine brings to mind the image of it spewing smoke as it drives. The vehicle on display is thought to be from around 1967, judging from the shape of the taillights. And the light green vehicle in front of it is a three-wheeled light truck, the Daihatsu Midget, released in 1957, and since it has a round steering wheel, it is probably from 1959 or later.

『 入口 / Entrance 』

この博物館の最初の難関は「入口」探しでした。看板や車、自転車だら��で、一般的な博物館の入り口をイメージすると入れません。黄色の「SSチェーン薬局」の看板のした、森永キャラメルの看板の左隣、由美かおりさんの笑顔に迎えられながら、狭い入口をくぐり抜けます。しかし、身長 145㏄ 以上の方は、頭部打撲事故に注意が必要です。

The first challenge in this museum was finding the entrance. There are signs, cars, and bicycles everywhere, and if you imagine a typical museum entrance, you won't be able to get in. We pass through the narrow entrance, greeted by the smiling face of Kaori Yumi, located to the left of the Morinaga Caramel sign, under the yellow "SS Chain Pharmacy" sign. However, if you are over 145cm tall, please be careful of head injuries. 『 入口の右隣には / Right next to the Entrance 』

入口の右隣を覗けば、「ウルトラセブン」が飛んでいます。そして、その「ウルトラセブン」を荷台に載せて運んでいるのが、1959年発売、マツダ（当時は東洋工業）の軽三輪トラック・K360 です。当時は、ダイハツ・ミゼットと同じ軽三輪トラック同士で人気を分けていましたが、僕は 5歳の頃に初めて運転した想い出のある K360 がお勧めです。このよく似た 2台の見分け方はドアを見れば簡単です。ミゼットのドアは 後ヒンジの前開きで、K360 は一般的な 前ヒンジの後開きです。さらに、K360 の後につけているのが、フロントカウルの形状から、恐らく、1960年頃のシルバー ビジョン だと思われますが自信ありません。そして、その 2台の背後からヘッドライトを出しているのは、1957年型の ダットサン 210 か、翌1958年型の ダットサン 211 だと思います。後のブルーバードの祖先ですね。

Looking to the right of the entrance, you can see "Ultra Seven" flying. And the vehicle carrying "Ultra Seven" on its loading platform is the Mazda (then Toyo Kogyo) K360, a light three-wheeled truck released in 1959. At the time, the Daihatsu Midget and the other light three-wheeled trucks were equally popular, but I recommend the K360, which I remember driving for the first time when I was 5 years old. It's easy to tell the difference between these two similar vehicles by looking at the doors. The Midget's doors are rear-hinged and open in the front, while the K360's are standard front-hinged and open at the back. Furthermore, judging from the shape of the front cowl, the vehicle attached to the back of the K360 is probably a Silver Vision from around 1960, but I'm not sure. And the car with the headlights coming out from behind those two is probably a 1957 model Datsun 210 or a 1958 model Datsun 211. It's the predecessor to the later Bluebird. 『 博物館内部には / Inside the Museum 』

2004年に開館した博物館の内部には、館長の鈴腹さんが長年に亘って収集を続けたおもちゃやミニチュアカー、家電品や様々な広告用展示物など、戦前を含めた昭和時代の品々で埋め尽くされていて、50歳台以上の方には見覚えのある品があるでしょう。また、昭和を知らない世代でも、江戸や明治、大正時代の品々の博物館とは違って、現代の文化やコマーシャリズムの源流を見る事ができるでしょう。（画像はありません、ごめんなさい） しかし、身長 170㎝ 以上の方は、古い家屋と展示物のため、頭上に注意が必要です。実際、僕は博物館を出るまでに 3回頭をヒットしました。また、内部は展示物満載ですから、少人数で入館される事をお勧めします。

The museum, which opened in 2004, is filled with items from the Showa era, including prewar items, such as toys, miniature cars, home appliances, and various advertising exhibits that the director, Mr. Suzuhara, has been collecting for many years, and there will be some familiar items for those over 50 years old. Also, even those who do not know the Showa era will be able to see the origins of modern culture and commercialism, unlike museums with items from the Edo, Meiji, and Taisho eras. (No images, sorry) However, those who are over 170 cm tall should be careful of the overhead due to the old house and exhibits. In fact, I hit my head three times before leaving the museum. Also, since the inside is packed with exhibits, I recommend entering with a small group.

[trash-monkey]

The Endless Sea

Chapter 9

"I found a few things for everyone!" I smiled as I stroll back into the apartment with the large stitch themed baby bag over my shoulder to see Takemitchy has got Toyo and Mao eating slowly when the stew cooled off enough to eat without burning a tongue, I set the baby bag down near the wall when noticing that I haven't given them anything to drink. I walked into the kitchen to fill some cups we have while making a mental note to boil for water to drink as Mitsuya boiled two gallons yesterday and with three new more mouths to feed we need even more then that.

"Here, I'll be right back Takemitchy." I hand the two their cups of water and giving Takemitchy the baby bag before pulling a bucket of water from below which I put it on the stove to boil for the kids to wash in. I leave for to the ground level to see Draken as left back to the daycare to scavenge and see Hanma is about to do the same.

"Hanma!" I called out before he can jump back into the water which he turns to me with his usual mischievous grin.

"And what can I help you with, sweetheart~" I rolled my eyes playfully at his nickname for me and walked over to him.

"I need one of you to boil water as mine and Takemitchy's hands are full with helping the kids, I was hoping you can spear one of you to do the job as with three more mouth we need massive amount of water." I explained the situation which he nods understanding.

"Ok, I'll talk it over with the other two." Hanma with a slight frown but it's quickly replaced with a grin as his yellow eyes stares down at me.

"But can I keep a kiss for the trouble?"

"WHAT!" I almost yelled as my face becomes red while his face got closer to mine which I backed up until my back hits the wall and he traps me against it.

"You heard what I asked for"

"B-But why? A-anyway I need to get back!" I stuttered out while trying to hide the wobble in my knees with how close he is to me and change the subject.

"Please?" A shiver gose down my spine when he whispered into my ear without his mischievous tone as he bends his knees so his own body is level with mine and press it against me, his massive hands are next to me head on the wall. Like a deer caught in headlights I stare into his eyes with a blush face as this behavior is unusual for him.

"Pretty please?" He kneels down onto the floor and I still don't see any signs of bad intentions in his features.

"O-ok" I said breathlessly in disbelief at the sight in front of me and half believing I'm dreaming right now, my heart is beating fast just at the thought of his lips meeting mine which his yellow eyes glanced down at my trembling lips. For the first time ever I see Hanma generally give me a soft smile which I closed my eyes when his head moved closer and I gasped when our lips meet causing my toes curled up at the wonderful feeling.

"Wow" I mumbled under my breath after Hanna lips are suddenly gone and heard a splash which when I opened my eyes to see him gone, slowly I touched my lips in disbelief and tenderly licked my lips.

"I'm back!" I called out as I arrived back to the apartment which Takemitchy smiles when seeing me coming in as I see he has little Nao laying on his arm, feeding from a bottle of formula that he had whipped up as Toyo and Mao sit by.

"They just finished eating." With that I take the dishes into the kitchen and see the water is boiling so I very carefully take it off the stove while using a dry dish towel as a mitten and pack it into the bathroom to cool off a bit before allowing the kids to wash in it, when I return in the living room I take a brush from the baby bag before sitting behind Mao.

"Let's brush your hair" I said before removing the hair ties and let her hair fall from the messy pigtails she had it in, being as careful and gentle as I can when brushing her hair.

"You're next" I smiled when noticing Toyo watching me which he pouts.

"Yes, you're going to get your nest of a hair brushed too little man" I joked as Takemitchy moves to burp litte Nao when the bottle is completely finished.

"Mao, can you wash yourself or do you wish for help?" I asked as I finished brushing her hair which is so greasy that it made it easy to brush.

"I can wash and dress myself, thank you for asking." She turned her head to me as I can see her face a bit.

"Ok, I'll lead you to the bathroom then." I let her stand as I do the same before pulling out the two dresses and underwear from the baby bag, I hand them to Mao which she's takes and I lead her to the bathroom. I guide her to sit on the stoll that I moved with us into the shower before checking on the water I brought in here earlier which is luckily had cooled down to being warm, I place as washcloth and a bar of soap by her feet before moving the bucket of water closer to her.

"Everything is set, just throw your dirty clothes onto the floor of the bathroom and I'll get them to wash later. When you're done just yell for one of us or you can try your luck." I gently giver her shoulder a pat before leaving the bathroom completely and return to the living room where I see Toyo has taken off of the brush I had left in the small table.

"Oh, I see you're ready to get your hair brushed." I teased a little and when I got closer he booked it to the other side of the table causing Takemitchy to laugh at our little scene, I sighed in amusement with a grin at Toyo playful nature.

"Oh, come on it won't be so bad Toyo. Mao got her brush and I bet she'll feel so much better after her bath." I crossed my arms when he ran away to the other side of our small table again when I got close.

"Is this a game you always play before bath time?" I asked with a giggle when Toyo got close across the small table I took the opportunity to grab him and hold him in my arms, Toyo pouts that he got caught.

"How about Takemitchy brush your hair?" I place Toyo on Takemitchy's lap before taking a dozing off Nao and sit down by them, he got Toyo settle and begin to brush the nest of hair.

"Aren't you a little cutie" I coo at the little boy in my arms as I can't hold myself back from doing so at the cute little boy, my Omega purrs within me which I unknowingly do as my full attention on the pup in my arms. Leaning my head down near his I started rubbing my nose against one of his little cheeks

"(Y/N), you know better!" Takemitchy reach over to hit me hard enough on the head with the hair brush to knock me out of the trace I was in as I was leaning my head down near Nao's and started rubbing my nose against one of his little cheeks, I was about to scent him as my own pup.

"But Takemitchy!" I whined and pout while leaving the 'no parents now' unsaid.

"I know but they need to be settled and comfortable first, also your heat although suppressed by the suppressants is still clouding your judgment." I deflate as I know he's right as it'll just be a horrible thing to do trying to replace their parents like that and right after being rescued, who knows how long they survived on their own in that daycare.

"I know and I'm sorry." I apologize to everyone even though some didn't know or understand what for but I still did it because I had to for almost claiming Nao as my own without thought or Mao's consent for that matter, that would just betray what little trust they have in us if they didn't want that.

"H-hello?" Mao calls from the bathroom which I immediately stand and walked to the bathroom to see her standing in the clean light blue dress with wet hair, I hold Nao in one arm and pick up her dirty clothes with the other which I put into the clothes basket before leading her back to the living room. After getting Mao back into the living room I went back to check to see if the water is still warm and if there's a need for more but luckily I don't have to reheat it or boil more so I return to the living room.

"Toyo, who do you want help you take a bath?" I asked the little boy sitting on Takemitchy's lap which he thinks for a moment with a goofy little face.

"Uhm.... Sissy!" He points to Mao across the small table with a smile.

"Toyo come here" Mao pats her lap which Toyo immediately stand up and tan over to her to sit.

"I know we're in a unknown place with unknown people but they're kind enough to save us from the daycare and we both know it wasn't going to last much later as it was falling apart by the day, they have taken us in while feeding and cleaning us which they didn't have to do so but this shows that they kind and a little bit trustworthy. Because your my smart little brother you also know I can't do much until I get a mental map of this place, so be good for these nice people for Sissy ok?" Toyo listen carefully to his older sister knowing she knows what's best for them as she's done her best so far and with reluctance Toyo nods with a small pout.

"Ok Sissy but you be there watching?"

"Yes I will, so which one you like to help you?" Mao gently asked Toyo.

"You pick Sissy!" This causes Mao to chuckle a bit.

"Let's choose Mr.(Y/N) as Mr. Takemitchy is tied up with Nao as the moment."

"Mao sweetheart you can call me Takemitchy if you like, I'm Takemichi Hanagaki and he's (Y/n) (L/n)." Takemitchy gestures to me at the end of introducing to the them.

"Call me (Y/N) and please no Mr, we're not that old yet." I joked causing Toyo to giggle and Mao to chuckle.

"Come on bath time, Toyo and Mao." I chuckled at myself for the lame joke.

"We better hit it before the water gets too cold." I stated as I lead the two into the bathroom before the water gets cold which I guide Mao to sit on the stoll that I remove from the shower beside the bathroom tub and I laid a towel over her lap so her clan dress doesn't get wet from Toyo splashing around in the tub, I pour the warm water into the tub after putting the stopper into the hole.

"I'm sorry buddy but I don't have any toys for you to play with during bath time." I stated as I help Toyo step into the warm water which he ohh at as he settles down into it, after washing his hair and his body I let him take care of his no-no-spot himself.

"I'll be right back." I tell Mao before leaving the bathroom to the kitchen which Hanma hands me a fresh boiled bucket of water and he got more from below for Nao when it's his time for a bath in the sink, I returned to the bathroom with clothes which I quickly dried Toyo and got him dressed.

'He looks so cute in the overalls shorts and stripe green shirt although a size too big but I did adjust the overalls a bit so they won't fall off.'

I thought while returning the two to the living room before taking the bucket of the stove and into the bathroom sink.

"Takemitchy, Nao's bathroom is ready." He takes Nao into the bathroom with the clothes I hand him before going knowing it's for the best for him to handle the baby more then I unless I basically stolen Nao as mine own in my heat affected mind, although the other two are still children their already scented from their mother so it doesn't affected me as much as Nao with him young and unscented.

_______________________________________________

[4x4tyresperth]

4x4 Tyres Perth: A Guide to Choosing the Right Tyres for Your Needs

Selecting the best 4x4 tyres in Perth requires careful consideration of your vehicle’s needs and the types of terrain you’ll be navigating. With tyres differing in traction, durability, and performance across surfaces like sand, mud, and rocky trails, understanding tyre features is essential. This guide covers key tyre specifications, durability aspects, and recommended brands, helping you find the ideal set for your off-road or mixed-terrain journeys.

Key Characteristics of 4x4 Tyres

Choosing 4x4 tyres involves more than selecting the correct size—specific tyre features impact stability, performance, and longevity across different terrains. Consider these factors when assessing tyre options:

Tread Patterns

The tread pattern is essential for traction and handling. Common types include:

All-Terrain (AT): Designed for balanced performance on-road and light off-road, these tyres are suitable for everyday use and occasional off-road excursions.

Mud-Terrain (MT): With a more aggressive tread pattern, MT tyres excel in muddy or loose surfaces, though they may wear faster on-road and can be noisier.

Highway Terrain (HT): Built for on-road driving, HT tyres provide a smooth, quiet ride but lack off-road traction.

Tyre Construction

The structure of a tyre affects its strength, flexibility, and puncture resistance, important for off-road performance.

Radial Construction: Common in 4x4 tyres, this construction offers comfort and stability, suitable for mixed driving on highways and moderate off-road conditions.

Bias Ply Construction: Designed for extreme off-road use, bias ply tyres deliver durability on rough terrains but wear quickly on paved surfaces.

Size & Load Capacity

Selecting the correct size and load capacity is crucial for safety and performance, especially for 4x4s carrying heavy loads or towing. Adequate load capacity ensures stability and reduces premature wear.

Durability Considerations

High-quality 4x4 tyres are built to endure rough terrains without sacrificing longevity. Look for features like puncture resistance, reinforced sidewalls, and heat-resistant materials. Harder rubber compounds are more durable, while softer compounds, offering better grip, may wear faster on rocky terrain.

Recommended 4x4 Tyres for Different Conditions

To aid in your selection, here are some top choices for various terrains, known for their balance of performance and durability.

Sand and Beach Driving

Top Choices: Goodyear Wrangler AT/S, BF Goodrich All-Terrain T/A KO2

Features: These tyres offer wider treads and flexible sidewalls for effective flotation on sand, reducing the risk of sinking.

Mud and Wet Terrain

Top Choices: Cooper Discoverer STT Pro, Mickey Thompson Baja MTZ P3

Features: Aggressive tread patterns with self-cleaning capability ensure traction in muddy areas, and reinforced sidewalls protect against punctures.

Rocky and Rough Trails

Top Choices: Toyo Open Country M/T, Falken Wildpeak AT3W

Features: These tyres feature deep treads for durability on rocky trails, providing protection and longevity in demanding off-road conditions.

Mixed Terrain & General Use

Top Choices: Pirelli Scorpion ATR, Yokohama Geolandar A/T G015

Features: Balanced tread design offers reliable grip on highways and traction on dirt or gravel, ideal for Perth’s varied landscapes.

Tips to Maximise Tyre Lifespan

Given the investment in quality 4x4 tyres, taking steps to prolong their life is essential.

Rotate Tyres Regularly: Rotate every 10,000 kilometres to ensure even wear, especially for vehicles under heavy load or towing.

Check Tyre Pressure: Proper inflation is crucial; under-inflated tyres wear on the edges, while over-inflated tyres wear in the centre. Adjust based on the terrain.

Maintain Alignment & Balance: Regular checks prevent uneven wear and improve handling, essential after off-road trips.

Inspect for Damage: After off-road driving, inspect tyres for cuts or punctures. Prompt repairs prevent further damage.

Selecting a Reputable Brand

In Perth, several brands are recognised for their quality 4x4 tyres suited to various terrains. Notable options include:

BF Goodrich: Known for resilience in challenging conditions, especially in mud and rocky terrain.

Cooper: Offers durable all-terrain and mud tyres with strong puncture resistance.

Goodyear: Versatile for both highway and moderate off-road use.

Mickey Thompson: Highly regarded for extreme off-road applications, providing superior traction and toughness.

Conclusion

Choosing the right 4x4 tyres is key to ensuring your vehicle performs optimally, safely, and comfortably across a range of terrains. Understanding the specific demands of different surfaces and selecting tyres with the appropriate features will maximise your efficiency and safety. For drivers in Perth, selecting the best 4x4 tyres equips you to tackle diverse landscapes with confidence.

[forgeline]

Carl’s awesome Lamborghini Huracan Evo Spyder was built by the team at Cicio Performance and is equipped with their C2000 package. It’s powered by a 2000+WHP Cicio-upgraded V10 engine equipped with a Cicio twin turbo kit manufactured by ETS and upgraded fuel system and drivetrain. It rides on Toyo Proxes R888R front tires on 18×8.5 Forgeline one piece forged monoblock CF1 Open Lug wheels finished in Gloss Back and 345/35R18 Mickey Thompson ET Street S/S rear tires on 18×11.5 Forgeline forged monoblock CF1R Beadlock wheels finished in Gloss Black with Gloss Black beadlock rings (engraved before powder coat)! See more at: https://forgeline.com/customer-gallery/carl-tasca

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